Uricon

Not avoiding A, I, O, or U

A E Housman (1859-1936)

Not avoiding A, I, O, or U
On Wenlock Edge the wood's in trouble; His forest fleece the Wrekin heaves; The gale, it plies the saplings double, And thick on Severn snow the leaves. 'Twould blow like this through holt and hanger When Uricon the city stood: 'Tis the old wind in the old anger, But then it threshed another wood. Then, 'twas before my time, the Roman At yonder heaving hill would stare: The blood that warms an English yeoman, The thoughts that hurt him, they were there. There, like the wind through woods in riot, Through him the gale of life blew high; The tree of man was never quiet: Then 'twas the Roman, now 'tis I. The gale, it plies the saplings double, It blows so hard, 'twill soon be gone: To-day the Roman and his trouble Are ashes under Uricon.
Uricon
Wind on Long Mynd puts woods in anguish; On Clun, a sylvan shag rains down. Caught in that blast, frail saplings languish; Sabrina dons a milfoil gown. Thus did it blow through holt and gully Whilst Roman Viroconium stood. It blows today; its tantrums bully A Saxon, not a Roman, wood. I wasn’t born, as far-flung Roman Saw, long ago, that windblown hill. Such blood still warms a Saxon ploughman, As his; such hurtful thoughts, hurt still. That wind has wildwoods now in labour, And through yon Roman it ran high. Not tranquil is our human arbour! It was a Roman; now, ’tis I. Caught in that blast, frail saplings languish; It blows so hard, ’twill pass anon: What hid that Roman and his anguish? Ruin and dust of Uricon.
Published online by the Poetry Society: https://www.placesofpoetry.org.uk/

Translation: Copyright © Timothy Adès

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Ljuba

Categories
German

Ljuba

Peter Altenberg (1859-1919)

Die da nicht kommen an Deinen Tisch, Die sind klüger als ich! Die schützen sich! Ich aber, gleich der Motte im Lichte, mache meinen Selbsterhaltungs-Trieb zu nichte! Ich will lieber in Licht und Hitze sterben, als gesichert um Anna oder Grete werben! Die da nicht kommen an Deinen Tisch, Die sind dümmer als ich! Sie schützen sich!
Ljuba
Those who don’t come to your table *Cleverer than me* They keep out of trouble! But I’m like the moth in the light My self-preservation instinct, I disable! I’d rather die in the light and heat Than safely court Ann or Marguerite. Those who don’t come to your table *Sillier* than me They keep out of trouble!

Translation: Copyright © Timothy Adès

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Loveless

She was Freud’s famous patient, ‘Anna O’. „Mir ward die Liebe nicht“

Bertha Pappenheim (1859-1936)

She was Freud’s famous patient, ‘Anna O’. „Mir ward die Liebe nicht“
Mir ward die Liebe nicht – Drum leb ich wie die Pflanze, Im Keller ohne Licht. Mir ward die Liebe nicht – Drum tön ich wie die Geige, Der man den Bogen bricht. Mir ward die Liebe nicht – Drum wühl ich mich in Arbeit Und leb mich wund an Pflicht. Mir ward die Liebe nicht – Drum denk ich gern des Todes, Als freundliches Gesicht.
Loveless
Loveless Living like a plant In an unlit cellar Loveless Sounding like a fiddle With a broken bow Loveless Plunging into work With a wound of duty Loveless Glad to think of Death Friendly face I know.

Translation: Copyright © Timothy Adès

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My Little Duchess

La Duquesa Job

Manuel Gutiérrez Nájera (1859-95)

La Duquesa Job
En dulce charla de sobremesa, mientras devoro fresa tras fresa y abajo ronca tu perro Bob, te haré el retrato de la duquesa que adora a veces el duque Job. No es la condesa que Villasana caricatura, ni la poblana de enagua roja que Prieto amó; no es la criadita de pies nudosos, ni la que sueña con los gomosos y con los gallos de Micoló. Mi duquesita, la que me adora, no tiene humos de gran señora; es la griseta de Paul de Kock. No baila “Boston”, y desconoce de las carreras el alto goce, y los placeres del “five o’clock”. Pero ni el sueño de algún poeta, ni los querubes que vió Jacob, fueron tan bellos cual la coqueta de ojitos verdes, rubia griseta que adora a veces el duque Job. Si pisa alfombras no es en su casa, si por Plateros alegre pasa y la saluda Madame Marnat, no es, sin disputa, porque la vista, sí porque a casa de otra modista desde temprano rápida va. No tiene alhajas mi duquesita, pero es tan guapa y tan bonita, y tiene un cuerpo tan “vlan”, tan “schutt”, de tal manera trasciende a Francia, que no le igualan en elegancia ni las clientes de Helene Kossut. Desde las puertas de la Sorpresa hasta la esquina del Jockey Club, no hay española, yankee o francesa, ni mas bonita, ni mas traviesa que la duquesa del duque Job. ¡Cómo resuena su taconeo en las baldosas! ¡Con que meneo luce su talle de tentación! ¡Con que airecito de aristocracia mira a los hombres, y con que gracia frunce los labios! ¡Mimí Pinson! Si alguien al alcanza, si la requiebra, ella, ligera como una cebra, sigue camino del almacén; pero ¡ay del tuno si alarga el brazo! Nadie le salva del sombrillazo que le descarga sobre la sien. ¡No hay en el mundo mujer mas linda! ¡Pie de andaluza, boca de guinda, “esprit” rociado de Veuve Clicot; talle de avispa, cutis de ala, ojos traviesos de colegiala como los ojos de Louise Theo! Agil, nerviosa, blanca, delgada, media de seda bien restirada, gola de encaje, corse de ¡crac!, nariz pequeña, garbosa, cuca, y palpitantes sobre la nuca rizos tan rubios como el coñac. Sus ojos verdes bailan el tango; nada hay más bello que el arremango provocativo de su nariz. Por ser tan joven y tan bonita cual mi sedosa blanca gatita, diera sus pajes la emperatriz. ¡Ah! Tu no has visto, cuando se peina, sobre sus hombros de rosa reina caer los rizos en profusión. ¡Tu no has oido que alegre canta, mientras sus brazos y su garganta de fresca espuma cubre el jabón! jY los domingos! …¡Con que alegría oye en su lecho bullir el día y hasta las nueve quieta se está! ¡Cual se acurruca la perezosa, bajo la colcha color de rosa, mientras a misa la criada va! La breve cofia de blanco encaje cubre sus rizos, el limpio traje aguarda encima del canapé; altas, lustrosas y pequeñitas sus puntas muestran las dos botitas, abandonadas del catre al pie. Despues, ligera, del lecho brinca; ¡oh, quien la viera cuando se hinca blanca y esbelta sobre el colchón! ¿Que vale junto de tanta gracia las ninas ricas, la aristocracia, ni mis amigas de cotillón? Toco; se viste; me abre; almorzamos; con apetito los dos tomamos un par de huevos y un buen “beefsteak”,    media botella de rico vino, y en coche, juntos, vamos camino del pintoresco Chapultepec. Desde las puertas de la Sorpresa hasta la esquina del Jockey Club, no hay española, yankee o francesa, ni mas bonita ni mas traviesa que la duquesa del duque Job.
My Little Duchess
Table-talk. Good jokes and speeches.                                                I eat strawberries and peaches                                                                            over your snoring pug-dog, ‘Probe’. Here’s a portrait of the duchess now and then worshipped by Duke Job. Not the Villasana countess, nor the wench whose scarlet flounces                                    thrilled Prieto, modest serge; not the moll of swells who go to your cock-fights, Micoló! - nor some knobbly-footed drudge. My little duchess, who adores                                        me, lacks a great lady’s airs and graces; she’s the grisette of Paul de Kock. She doesn’t dance Bostons, and ignores the high delight of going to the races and the joys of le five o’clock. Lovelier dream than any bard had                          celebrated round the globe, or cherubim that Jacob studied: such is the cheeky green-eyed redhead now and then worshipped by Duke Job. Out and about, she treads deep pile,                    goes down Silver Street in style,                                  ‘moddomed’ by Madame Pontoon. Not that she’s investing there: chez some other couturière she’s expected, sharp at noon. My little duchess has no objets                          d’art, she’s sensational, she’s frabjous, she’s va-va-voom, she’s rooty-toot: there is no dame à la mode in France                                                                        matches her chassis for élégance, even chez Mme Hélène Kossut. Nowhere, from La Sorpresa’s entry            to the steps of the Jockey Club, is there a Spanish, French, or Yankee lass of such dazzle, dash and duende as the duchess of Duke Job. Drumming heels along the tiles!                      Flashing figure that beguiles with a marked undulación! Blueblood’s air as she surveys passing men; she pouts with grace worthy of Mimí Pinsón. If some wheedling oaf waylays her,          she keeps shopping, my duquesa, lithe as lynx or zebra foal. Woe betide if she lets fly, biffs him one above the eye with unerring parasol! There’s no woman fine as she.                            Fairy feet and bel esprit sparkling-fresh as Veuve Clicquot; wasp-waist, smooth skin fit to fly, cherry lip, cute ‘college’ eye: eyes that say Louise Théo. Nimble, rapid, pearly-white,                                    fine silk stockings drawn on tight, lacy throat, the corset’s ‘crack!’ - nose so small, so spruce and trim; ringlets on the collar’s rim, nodding, ruddy as cognac. Two green eyes go tango-dancing:          nothing can be more entrancing than her nose’s pert retroussé! Empress, you’d give up your page- boy, could you match her looks and age: whitest silk of Duchess Pussy! You’ve not seen her wield the comb,                                  when the royal ringlets come                                      tumbling on that pink épaule! You’ve not heard the joyful note trilled, when on her arms and throat thick and fresh the soapsuds fall! Sundays! Carefree, negligée,                        she delights in sounds of day, undisturbed till nine or ten. While the maid is out at Mass,              with what joy the lazy lass frowsts in rosy counterpane!                Little cap to hide the tresses,                                      lacy-white; new-laundered dresses poised above the long-backed seat; high boots’ pointed tips, well-glossed, peep at bedside, blithely tossed, jettisoned by tiny feet. Up she bounds all feather-light                from her bed. So svelte and white on the horsehair! Not for millions, not for bride of lordly race could I ever trade such grace, not for sweethearts at cotillions. Brring! I’m here! She’s dressed, to greet me for lunch. We gaily eat pair of eggs and perfect steak. Picturesque Chapultepec! Rich wine, one demi-bouteille, sends our carriage on its way.                                                  Nowhere, from La Sorpresa’s entry        to the steps of the Jockey Club, is there a Spanish, French, or Yankee lass of such dazzle, dash and duende as the duchess of Duke Job.
Comentario

Translation: Copyright © Timothy Adès

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In The Heart Of Night

Βαθιά, τὴ νύχτα

George Drosinis (1859-1951)

Βαθιά, τὴ νύχτα
Βαθιά, τὴ νύχτα τὰ μεσάνυχτα, μὲ τ᾿ ἀνοιχτὰ φτερὰ τοῦ ὀνείρου, πετᾷ ἡ ψυχή μου, σκλάβα ἐλεύθερη, στοὺς μυστικοὺς κόσμους τοῦ Ἀπείρου, τὴ νύχτα βλέπει ὅλα τ᾿ ἀθώρητα, ποὺ ἀπόκρυβεν ἡ πλάνα μέρα τὴ νύχτα ἀκούει ὅλα τ᾿ ἀκούσματα (ἢ ἀνάκουστα) στὸν ἀτρικύμιστον ἀέρα. Βλέπει τῶν κάστρων (ἢ τάφων) τὰ φαντάσματα καὶ τὰ λευκὰ στοιχειὰ τῶν κάστρων κι ἀκούει τῶν δέντρων τὸ μεγάλωμα καὶ τὸ περπάτημα τῶν ἄστρων.
In The Heart Of Night
At midnight in the heart of night On dream’s wide wings my spirit flies, Speeds on its way, a slave set free, To worlds unknown and infinite. What cheating day had hid, it sees: Sees the invisible at night, And hears at night the yet unheard, In air not stirred by any breeze. It raises phantoms from the graves, Sees ghosts all white on castle walls, Harks to the swelling growth of trees, Tells the slow passage of the stars. NEL CUORE DELLA NOTTE (Italian version by Bruno Lavagnini) Nel cuore della notte, a mezzanotte, In volo sulle aperte ali del sogno, Si slancia l’alma mia, libera schiava, Verso mondi segreti ed infiniti. E vede nella notte l’invisibile, Che il giorno ingannator le nascondeva, E nella notte ascolta il non udibile, Nella calma dell’aria senza vento. E scorge delle tombe le fantasime, E vede dei castelli i bianchi spettri, E degli alberi il farsi grande ascolta E il passar lento delle stelle intende.

Translation: Copyright © Timothy Adès

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Love

Αγάπη

Kostis Palamas (1859-1943)

Αγάπη
Περδικόστηθη Τσιγγάνα, ώ μαγεύτρα, πού μιλείς τά μεσάνυχτα πρός τ’ άστρα γλώσσα προσταγείς, πού μιλώντας γιγαντεύεις καί τούς κόσμους ξεπερνάς καί τ’ αστέρια σού φορούνε μιά κορώνα ξωτικιάς! Σφίξε γύρω μου τή ζώνη τών αντίκρειω σου χεριών· είμ’ ο μάγος τής αγάπης, μάγισσα τών αστεριών. Μάθε με πώς νά κατέχω τά γραφτά θνητών κι εθνών, πώς τ’ απόκρυφα τών κύκλων καί τών ουρανών· πώς νά φέρνω αναστημένους σέ καθρέφτες μαγικούς τίς πεντάμορφες τού κόσμου κι όλους τούς καιρούς· πώς υπάκουους τούς δαιμόνους, τούς λαούς τών ξωτικών στούς χρυσούς νά δένω γύρους τών δαχτυλιδιών, κάθως δένω καί τό λόγο, δαίμονα καί ξωτικό, στό χρυσό τό δαχτυλίδι, στό ρυθμό.
Love
Partridge-breasted gypsy woman, witch who at the midnight hour utters to the starry heavens words of power: speaking, you grow vast, unearthly; worlds are overwhelmed, bow down: all the stars confer a wondrous fairy crown! Clasp your valiant arms around me, masculine, the belt of Mars: clasp, and know me for love’s wizard, witch of stars. Teach me how to scan the pages, men’s and nations’ destinies, secrets of the circling ages and the skies: how to work the magic mirrors, how to resurrect at last all the world’s most lovely women, and the past; how to tame the hosts of demons, airy phantoms fluttering, bind them in a talismanic golden ring, even as I bind together word and ghost and demon, all in the golden finger-circlet rhythmical!
Published In Other Words, though far from a complete poem as it turned out.

Translation: Copyright © Timothy Adès

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Versailles

Categories
French

Versailles

Albert Samain (1858-1900)

Grand air. Urbanité des façons anciennes. Haut cérémonial. Révérences sans fin. Créqui, Fronsac, beaux noms chatoyants de satin. Mains ducales dans les vieilles valenciennes, Mains royales sur les épinettes. Antiennes Des évêques devant Monseigneur le Dauphin. Gestes de menuet et cœurs de biscuit fin; Et ces grâces que l’on disait autrichiennes… Princesses de sang bleu, dont l’âme d’apparat, Des siècles, au plus pur des castes macéra. Grands seigneurs pailletés d’esprit. Marquis de sèvres; Tout un monde galant, vif, brave, exquis et fou, Avec sa fine épée en verrouil, et surtout Ce mépris de la mort, comme une fleur, aux lèvres!
Versailles
Grandeur. Old fashions and their polished grace. High ceremony. Endless curtseying. Exalted names in satin shimmering. Hands ducal edged with antique Flanders lace, Hands royal on spinets. Antiphonies of bishops for Monseigneur le Dauphin, minuet gestures, hearts of biscuit fin, the so-called Austrian urbanities… princesses of blue blood, their dignity steeped in a caste’s historic purity; great nobles graced with wit; fine swords in sheath; porcelain marquesses; a festival, choice, lively, brave, mad, gallant; above all, their lips wear, like a flower, that scorn of death!

Translation: Copyright © Timothy Adès

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Cleopatra

Cléopâtre

Albert Samain (1858-1900)

Cléopâtre
Lourde pèse la nuit au bord du Nil obscur. Cléopâtre, à genoux sous les astres qui brûlent, Soudain pâle, écartant ses femmes qui reculent, Déchire sa tunique en un grand geste impur, Et dresse éperdûment sur la haute terrasse Son corps vierge gonflé d'amour comme un fruit mûr. Toute nue, elle vibre ! Et, debout sous l'azur, Se tord, couleuvre ardente, au vent tiède et vorace. Elle veut — et ses yeux fauves dardent l'éclair – Que le monde ait ce soir le parfum de sa chair ! O sombre fleur du sexe éparse en l'air nocturne… Et le Sphynx immobile aux sables de l'Ennui Sent un feu pénétrer son granit taciturne ; Et le désert immense a remué sous lui.
Cleopatra
Night weighs down heavy on the darkened Nile. Stars burn; pale Cleopatra kneels, and bares her breast: her women, shocked, recoil; she tears her tunic with a gesture grandly vile, and on the lofty terrace flaunts, entire, ripe as a love-blown fruit, her virgin form. She shimmers, nude, uncoiling to the warm devouring wind, a serpent of desire. Dark flower of sex, that rides the breeze of night! To pleasure her (the tawny eyes flash bright) the world shall now her fleshly perfume take… The Sphynx becalmed on ocean monotone feels under him the mighty desert wake, and thrill of fire invade his silent stone.
Published in ‘Cleopatra's Face: Fatal Beauty’ by Michelle Lovric, British Museum Press, 2001.

Translation: Copyright © Timothy Adès

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Resting in Egypt

Le Repos En Egypte

Albert Samain (1858-1900)

Le Repos En Egypte
La nuit est bleue et chaude, et le calme infini… Roulé dans son manteau, le front sur une pierre, Joseph dort, le coeur pur, ayant fait sa prière; Et l’âne à ses côtés est comme un humble ami. Entre les pieds du Sphinx appuyée à demi, La Vierge, pâle et douce, a fermé la paupière; Et, dans l’ombre, une étrange et suave lumière Sort du petit Jésus dans ses bras endormi. Autour d’eux le désert s’ouvre mystérieux; Et tout est si tranquille à cette heure, en ces lieux Qu’on entendrait l’enfant respirer sous ses voiles. Nul souffle…La fumée immobile du feu, Mont ainsi qu’un long fil se perdre dans l’air bleu… Et le Sphinx éternel atteste les étoiles.
Resting in Egypt
The blue, hot night, the calm that has no end… Wrapped in his cloak, a stone beneath his head, Sleeps Joseph, pure in heart, his prayers said; The ass lies by him, like a humble friend. Between the Sphinx’s paws composed to rest, The Virgin, pale and sweet, has veiled her sight. The shadow glimmers with a strange, soft light: The infant Jesus sleeps upon her breast. The time and place are peaceful. Not a sound: Only the breathing of the babe. All round, The desert sands their mysteries unfold. The wind is still, the smoke climbs quietly, Like a long thread, to vanish in the sky; The timeless Sphinx bids all the stars behold.

Translation: Copyright © Timothy Adès

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Translation: Copyright © Timothy Adès

Mexican Landscape: from ‘Savage Idyll’

Paisaje: from ‘Idilio Selvaje’

Manuel José Othón (1858-1906)

Paisaje: from ‘Idilio Selvaje’
Mira el paisaje: inmensidad abajo, inmensidad, inmensidad arriba; en el hondo perfil, la sierra altiva al pie minada por horrendo tajo. Bloques gigantes que arrancó de cuajo el terremoto, de la roca viva; y en aquella sabana pensativa y adusta, ni una senda ni un atajo. asoladora atmósfera candente de se incrustan las águilas serenas como clavos que se hunden lentamente. Silencio, lobreguez pavor tremendos que viene sólo a interrumpir apenas el balope triunfal de los berrendos.
Mexican Landscape: from ‘Savage Idyll’
Look at the landscape: vastness down below, vastness on vastness in the sky. Between, sapped at their footing by the wild ravine, the high sierras rise, a distant show. Look, where the grim half-burnt savannah broods: gigantic block upon gigantic block, torn by the earthquake from the living rock. Never a track and never a path intrudes. A desolate and burning atmosphere, studded with eagles, high, ethereal, like nails on which unhurried hammers fall. Tremendous darkness, and tremendous fear and silence, interrupted if at all by the triumphal gallop of the deer.
Published in Agenda: Ekphrastic, online supplement 2019 and in Poetry Atlas

Translation: Copyright © Timothy Adès

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