from The Importance of Being Earnest

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from The Importance of Being Earnest

Oscar Wilde (1854-1900)

A: tristia fata iubent: similis fit femina matri:     non fit vir similis (tristia fata!) suae. J: nonne sapis? A: pulchro modulor! sat vera loquela est:     haud nimium veram suavibus esse decet. J: quippe salis taedet. coepit iam quisque lepores:     occurrit lepidus, quicquid inibis iter.     laeditur immenso lepidorum publica damno     res. date, di, stultis posse manere! A: manent. J: nosse velim certe. quo more loquuntur? A: inepti?     de lepidis. J: o mens stulta et inepta gregis!
from The Importance of Being Earnest
Algernon: All women become like their mothers. That is their tragedy. No man does. That’s his. Jack: Is that clever? Algernon: It is perfectly phrased! And quite as true as any observation in civilised life should be. Jack: I am sick to death of cleverness. Everybody is clever nowadays. You can’t go anywhere without meeting clever people. The thing has become an absolute public nuisance. I wish to goodness we had a few fools left. Algernon: We have. Jack: I should extremely like to meet them. What do they talk about? Algernon: The fools? Oh, about the clever people, of course. Jack: What fools.

Translation: Copyright © Timothy Adès

More poems by Oscar Wilde...

Crows

LES CORBEAUX

Arthur Rimbaud (1854-91)

LES CORBEAUX
Seigneur, quand froide est la prairie, Quand dans les hameaux abattus Les longs angelus se sont tus… Sur la nature défleurie Faites s’abattre des grands cieux Les chers corbeaux délicieux! Armée étrange aux cris sévères, Les vents froids attaquent vos nids! Vous, le long des fleuves jaunis, Sur les routes des vieux calvaires, Sur les fossés et sur les trous Dispersez-vous, ralliez-vous! Par milliers, sur les champs de France, Où dorment les morts d’avant-hier, Tournoyez, n’est-ce pas, l’hiver, Pour que chaque passant repense? Sois donc le crieur du devoir, Ô notre funèbre oiseau noir! Mais, saints du ciel, en haut du chêne, Mât perdu dans le soir charmé, Laissez les fauvettes de mai Pour ceux qu’au fond du bois enchaîne, Dans l’herbe d’où l’on ne peut fuir, La défaite sans avenir.
Crows
Lord, when the countryside is cold, And nature naked and unflowered, When in the hamlets overpowered The last long angelus has tolled, Bring down from your wide heavens those Adorable, delicious crows! Strange armies of the cheerless cries, The icy winds assault your homes! Along the banks of yellowed streams, On roads of ancient calvaries, Over the ditches and the delves Scatter yourselves, unite yourselves! In thousands, on the fields of France, Where sleep the dead of yesteryear, Will you not whirl with winter here, Bring second thoughts to transients? Give voice, our black sepulchral bird, Cry duty as your battle-word! Come, saints above, on oaken steep, Where twilight charms great masts away: Turn from the warbling birds of May To those enchained in forest deep, In thickets where no wings are fleet, By ineluctable defeat.

Translation: Copyright © Timothy Adès

More poems by Arthur Rimbaud...

Vowels 1. My version avoiding letter E

Vocalisations

Arthur Rimbaud (1854-91)

Lipograms!
Vocalisations
A noir, E blanc, I rouge, U vert, O bleu: voyelles, Je dirai quelque jour vos naissances latentes: A, noir corset velu des mouches éclatantes Qui bombinent autour des puanteurs cruelles, Golfes d’ombre; E, candeurs des vapeurs et des tentes, Lances des glaciers fiers, rois blancs, frissons d’ombelles; I, pourpres, sang craché, rire des lèvres belles Dans la colère ou les ivresses pénitentes; U, cycles, vibrements divins des mers virides, Paix des pâtis semés d’animaux, paix des rides Que l’alchimie imprime aux grands fronts studieux; O, suprême clairon plein des strideurs étranges, Silences traversés des Mondes et des Anges: – O l’Oméga, rayon violet de Ses Yeux! Georges Perec's version in his book 'La Disparition' which avoids the letter E: A noir, (Un blanc), I roux, U safran, O azur: Nous saurons au jour dit ta vocalisation: A, noir carcan poilu d'un scintillant morpion Qui bombinait autour d'un nidoral impur, Caps obscurs; qui, cristal du brouillard ou du Khan, Harpons du fjord hautain, Rois Blancs, frissons d'anis? I, carmins, sang vomi, riant ainsi qu'un lis Dans un courroux ou dans un alcool mortifiant; U, scintillations, rond divins du flot marin, Paix du pâtis tissu d'animaux, paix du fin Sillon qu'un fol savoir aux grands fronts imprima; O, finitif clairon aux accords d'aiguisoir, Soupirs ahurissant Nadir ou Nirvâna: O l'omicron, rayon violin dans son Voir !
Vowels 1. My version avoiding letter E
A black, X blank, I blood, U grass, O sky: I’ll bring to light your backgrounds. Wait a bit. A, smooth black armour of a flashing fly Buzzing around a horrid stinking pit, Dark gulfs; X, fair camp-canvas, vapour-drips, Alp-cusps, snow-kings and shaking fumitory; I, crimsons, spat blood, luscious laughing lips, Furious, or only drunk with saying sorry: U, holy rhythms of a Gaian main, Calm grazing-grounds of cows, calm brows and brain That witchcraft furrows, mind-span that absorbs; O, mighty trump, full-blown with wondrous chords, Still voids for flights of worlds and spirit-birds. O, big round O, viola-ray, O Orbs! That was with E thrown out. This is With A thrown out: Written by the youthful genius from C-Mézières (Nil.)... E pure white, I red, U green, O blue: I’ll tell your origins in just one jiffy. First, sleek jet corset of some flies which flew Like buzz-bombs over sink-holes fiercely whiffy, Dim depths; E, tents or white condensing drips, proud snow-crests, virgin kings, the trembling umbel; I, crimsons, blood-gouts, luscious chortling lips, Once furious, or drunk, but now quite humble: U, holy rhythms of the snot-green brine, Furrows incised on brows, whose chemistries Conjure gold spells; quiet greenbelt strewn with kine; O, mighty trump, full-blown with wondrous chords, Still voids for flights of worlds or spirit-birds: O, big round O, lobbed violet of Her Eyes! Without letter I by the ne’er-do-well wonder-boy who stole La Mauté’s husband, A black, E snow, J blood, U green, O blue: My task: your backgrounds have to be revealed. A, sleek black corset of a fly that flew around a swamp malodorous, concealed, Buzzy; E, canvas tents and puffs of steam, Proud snowy crests, proud monarchs, trembly umbel; J, purples, blood-gouts, lovely mouths that stream Laughter of rage, once drunk perhaps, now humble; U, holy groundhog throb of snot-green seas, The peace of beast-strewn pastures, peace of ruts Dug by dark spells on brows of PhD’s; O, the last trump, full of strange brazen brays, Mute tracts traversed by worlds’ and angels’ routes, O Omega, those eyeballs’ purple rays! Without U by the whippersnapper from Charleville-Mézières, A black, E white, I blood, X grass, O sky: Here’s how the whole gang started. Wait a bit. A, smooth black corset of a flashing fly prancing atop a horrid stinking pit, black holes; E, canvas tents, condensing drips, white kings, fierce glacier-spears, the cowslip’s shiver; I, crimson, spat blood, mirth of lovely lips Enraged, or tipsy, off to see the shriver; X, cycles, holy throb of snot-green seas, The peace of beast-strewn meadows, peace of grooves That witchcraft scored on brows of PhD’s; O, the last blast, blown with weird brazen brays, Still voids traversed by worlds’ and angels’ hooves, O Orbs, great Omega, viola-rays! Without UE Thank that blatant makar, a faraway castaway at Harar A night, X snow, I blood, Y grass, O sky: How did that gang start off, now? Wait a bit. A, smooth black thorax of a flashing fly prancing atop a horrid stinking pit, black voids; X, canvas camps and foggy drips, snow-kings, high glacial swords, a cowslip’s frisson; I, crimson, spat blood, mirth of tasty lips Angry, or tipsy, off to find a parson; Y, holy rhythmic throb of briny snots, Calm grazing-grass of moo-cows, calm of spraints That magic’s drawn on brows of toiling swots; O, mighty blast, blown hard with odd brass brays, Still voids, tram-tracks of worlds and flying saints: O Orbs, big Royal Orbs, viola-rays! Without O Arthur Rimbaud scripsit, scalpsit, slurpsit A black, E white, I red, U green, Z sky: What lies behind these items? Wait a bit. A, shiny hull that guards a flashing fly Buzzing beside an evil stinking pit, Dark gulfs; E, fair camp-canvas, misty drips, Alp-cusps, pale kings and lilies vacillating; I, scarlet, spat red cells, sweet laughing lips, Irate, unless half-cut with exculpating: U, cycles, drums that grace a Gaian main, Calm heifers’ pastures ; tranquil temples, brain Adept at study, wrinkled by witchcraft; Z, mighty trumpet-blast, replete with genius, Vacuums where angels flit and planets waft: Z, zigzag Z-ray, plump and purple Zinnias! This is with E, I, U all thrown out. Do thank A.R., that vocal makar, a faraway castaway at Harar! A black, X snow, Y blood, Z grass, O sky: My task’s to show how all that lot locks on. A, smooth black thorax of a flash-brat fly that swoops atop a nasty hollow john,   dark blots; X, canvas camps and drops of fogs, snow-lords, cold polar swords, and blooms that worry; Y, maroon, spat blood, hoots, and tasty snogs, Angry or blotto, two ways to say sorry;       Z, calm of pastor’s grass that’s food for cows, Salt snot-floods’ holy rhythms; calm of cwms                 Laboratory-drawn on scholars’ brows;   O, top-rank blasts, blown hard for odd brass brays, Good ghosts on non-clang pathways, worlds on zooms: - O Grand, O Final Orbs! O gamma-rays! EEEEE Extreme verses! We’ve kept the E, we’ve eschewed the rest, we never needed them. We persevered! E jet, E sleet, E red, E green, E… See Whence these emerged! We’re exegetes: we’ll tell. E, welded vestments the resplendent bee Needs, when she seeks the sewer’s repellent smell, Grey depths; E, wet sheens, essences, speedwells, Ellesmere’s deep-freezes, Re e neve, tents; E, belched red cells, the glee des lèvres belles: She’s vexed… let’s see! She’s legless, she repents! E, wheels, celestes, green meres where petrels breed, Self-seeded beeves well-rested where they feed, Experts’ meek temples, trenches hexes pressed; E, endless sennets, revellers’ blended cheers, The ether’s messengers, the seven seers; E, EVEREST, E’S EYES, THE LEVEL BEST!!!
Rimbaud was a poet of meteoric brilliance, quickly burnt out. I must get to know him better! I have translated a thousand poems, mostly rhymed and rhyming: a great many are sonnets, including all the 154 sonnets of Shakespeare, which I rewrote without using letter E; but only one is a sonnet by Rimbaud; inevitably this one is his celebrated poem ‘Vowels’ (Voyelles). Inevitably too, I translated Voyelles without using the letter E. The result is what is called a Lipogram – a piece of writing where one or several letters are deliberately avoided. It is an experimental way of writing pioneered by the ‘Oulipo’ movement, founded in 1960. Oulipo is a French abbreviation for ‘workshop of potential literature’ and its exponents treat words and language in a playful and inventive way. Its notable members have included the novelists Georges Perec and Italo Calvino. Voyelles is one of six classic French poems that Georges Perec rewrote without an E in his entirely E-less novel La Disparition. This novel is available in the equally E-less English translation A Void, by Gilbert Adair: it’s great fun to read. The French poems aren’t there: Adair, with good reason, inserted English poems instead, notably ‘The Raven’ by Poe. ‘Quoth the raven, Nevermore’ becomes ‘Said my black bird, Not Again’… So it was left to me to translate the six French poems without using letter E. My version of Rimbaud’s ‘Vowels’ is on the great Brindinpress website of translated poetry, at http://www.brindinpress.com/pfrimvo1.htm . Nearby you will find Norman Cameron’s version, among others, and my one other Rimbaud poem, ‘Crows’. Norman Cameron is a great translator of Rimbaud, but on my bookstall of translated poetry I prefer Martin Sorrell’s very fine versions, in the compact and sharply priced volume from Oxford University Press. Martin has also translated Verlaine, Apollinaire and Lorca in the same series. Writing this blog has caused me to revisit my lipogrammatic ‘Vowels’ file and add to it. As you will see, in each version I avoided the vowel/s shown at the top; but in the last version I used no vowel except ‘E’. The title ‘Vocalisations’ is that used by Perec when he rewrote the poem in French without letter E. It is the commonest letter in French, as it is in English. Here’s Rimbaud’s original, followed by my variations. Rimbaud perceives the vowels as having colours! Some people perceive musical notes, or musical instruments, in that way: the technical term is synesthesia.

Translation: Copyright © Timothy Adès

More poems by Arthur Rimbaud...

Amorous Lament

Complainte amoureuse

Alphonse Allais (1854-1905)

Complainte amoureuse
Oui, dès l'instant que je vous vis, Beauté féroce, vous me plûtes ; De l'amour qu'en vos yeux je pris, Sur-le-champ vous vous aperçûtes ; Mais de quel air froid vous reçûtes Tous les soins que pour vous je pris ! Combien de soupirs je rendis ! De quelle cruauté vous fûtes ! Et quel profond dédain vous eûtes Pour les vœux que je vous offris ! En vain je priai, je gémis : Dans votre dureté vous sûtes Mépriser tout ce que je fis. Même un jour je vous écrivis Un billet tendre que vous lûtes, Et je ne sais comment vous pûtes De sang-froid voir ce que j'y mis. Ah! fallait-il que je vous visse, Fallait-il que vous me plussiez, Qu'ingénument je vous le disse, Qu'avec orgueil vous vous tussiez ! Fallait-il que je vous aimasse, Que vous me désespérassiez, Et qu'en vain je m'opiniâtrasse, Et que je vous idolâtrasse Pour que vous m'assassinassiez !
Amorous Lament
Yes, soon as on you I set eyes You pleased me, savage beauty, you: The love I garnered in your eyes You spotted it at once, but you Were cold and slow to recognise The lengths to which I went for you; I sighed for you such crowds of sighs! What cruelty accrued from you! How utterly you could despise The promises I made to you! In vain my groans and pleas and cries, In your hard-heartedness you knew How to disdain my enterprise. Even one day I wrote to you Such tender words as get replies: I don’t know how you managed to Peruse and yet not sympathise. It chanced that I clapped eyes on you, That you were pleasing to my eyes, Which fondly I revealed to you; You were too vain to vocalise. I chanced to fall in love with you! Despised, despairing, desperate, I hopelessly hypothesise: Quite uselessly I idolise One seeking to assassinate!
Said at Chichester, June 2026. - It seems the poem appeared in 1867, so it may not be by A.A.

Translation: Copyright © Timothy Adès

More poems by Alphonse Allais...

Setting a Jewel

Engarce

Salvador Díaz Mirón (1853-1928)

Engarce
El misterio nocturno era divino. Eudora estaba como nunca bella, y tenía en los ojos la centella, la luz de un gozo conquistado al vino. De alto balcón apostrofóme a tino; y rostro al cielo departí con ella tierno y audaz, como con una estrella... ¡Oh qué timbre de voz trémulo y fino! ¡Y aquel fruto vedado e indiscreto se puso el manto, se quitó el decoro, y fue conmigo a responder a un reto! ¡Aventura feliz! - La rememoro con inútil afán; y en un soneto monto un suspiro como perla de oro.
Setting a Jewel
The evening was mysterious, divine; Eudora, yet more lovely than before: and in her eyes there was a spark of fire, a fierce exultant joy, achieved by wine. From the high tier, the name she called was mine! Thanking my stars, I left the place with her, gentle and bold, as one who leads a star. Oh, but her voice was tremulous and fine. And that forbidden fruit unprincipled wrapped herself in her mantle, and, forgetting decorum, coaxed me to the field of honour! A fine adventure, lovingly recalled. Rather than dream, I write a sonnet on her, to catch my sigh, a pearl in a golden setting.
Díaz Mirón, a Mexican, is buried in the Rotonda de los Hombres Ilustres. His life ‘abounded with revolutionary plots, political quarrels, duels and vigorous journalistic debates.’ In 1892 he killed a man in self-defence; in 1910 he was imprisoned for trying to kill a fellow-Deputy, but the Revolution freed him.

Translation: Copyright © Timothy Adès

More poems by Salvador Díaz Mirón...

I am off to the Market Day

Au marché de Saint-Paul j'irai

Germain Nouveau (1851-1920)

Au marché de Saint-Paul j'irai
Au marché de Saint-Paul j'irai, Ma petite et je te vendrai. Je vendrai tes yeux effrontés Cent beaux écus fort bien comptés. Et je vendrai tes doigts rusés, Ces oiseaux mal apprivoisés, Et ta lèvre qui toujours ment Quatre-vingts doublons seulement. Je vendrai tes bras fins et longs Et les roses de tes talons, De tes genoux et de tes seins Vingt mille francs napolitains. Je vendrai le jour de Saint-Paul. Et la raie autour de ton col Et les jolis plis de ta chair Un million, ce n'est pas cher. Et ton chignon tordu, pareil A l'or flambant dans le soleil, Et tes baisers je les vendrai Aux enchères que je tiendrai. Aux enchérisseurs les plus forts Je vendrai ton âme et ton corps, Et ton coeur, s'il est recherché, Sera par-dessus le marché.
I am off to the Market Day
En français : https://www.youtube.com/watch?v=DtRCu-7DfUk In English : https://www.youtube.com/watch?v=vxnkXXypnik I am off to the market-day I’ll be bargaining you away I’ll be selling your shameless eyes One hundred pounds, good merchandise Next I shall sell your fingers sly Those untamed birds that love to fly And your lip that brazenly lies For eighty roubles, what a prize And I shall sell your fine long arms And your heels with their rosy charms And your soft breasts, your lovely knees For sovereigns from the Sicilies. It’s market day and I shall float The pretty furrow at your throat And every lovely fleshy fold One million: it’s fairly sold. Your twist of hair that’s tightly rolled And flashes in the sun like gold, Your kisses too will all be sold In the auction that I will hold Highest bidders will take control When I sell you, body and soul. And your heart, if some folk enquire? Held back: its worth is much, much higher.

Translation: Copyright © Timothy Adès

More poems by Germain Nouveau...

The Amazing Ballad of the Human Fly

El asombroso corrido del hombre mosca

Poet Unknown
El asombroso corrido del hombre mosca
Señores voy a contarles un corrido furibundo, de los que espantan al mundo porque son fenomenales. México, que es capital, lleno de asombro quedó, del acto que presenció porque fue fenomenal. Nunca en los siglos pasados se vio acto tan culminante, porque esto sí es deslumbrante no son papeles mojados. El Hombre Mosca ha causado de todos la admiración; su acto es de gran sensación pues lo deja a uno pasmado. Figuraos, la multitud bajo el sol desesperada por eso sí preparada sin tener ya ni quietud. Por fin, que suena la hora: ¡qué cosa más admirable! sube el Hombre sin un cable cual la mosca voladora. Hacia la torre derecha al Hombre se ve subir; imposible me es decir una cosa tan bien hecha. Cual una mosca que anda tranquila sobre un pastel, así mismo sube él (ilegible desde el original) demanda. ¡Qué arrogancia! ¡Qué maestría! esto es arte y es destreza el Hombre que con presteza sube en plena luz del día. Qué agilidad en su trepar: él no encuentra redundancia, y todo el mundo con ansia le contempla en su elevar. En el reloj dan las dos y él como una mosca errante, no hay duda, es un gigante que mucho le ayuda Dios. La multitud que es inmensa presta su contemplación; es digno de admiración y también de recompensa. Puedo probarles, señores, que más de un corazón late que el Mosca se desbarate y terminen sus funciones. Cuando ya en la elevación se abraza bien de la cruz, es que tiene buena luz para su contemplación. Y aún sigue lo admirable, este Hombre sí es un artista: ya en cruz, como una arista hace figura intachable. Queda con un pie parado sobre la cruz se ejercita: ¡Bah! Esto ya no es mosquita sino un hombre desalmado. En la cruz hace piruetas pero con mucho valor; allí se acabó el temor y abajo las bocas abiertas. A este hombre si por desgracia a caer fuera a una prisión, le serviría de diversión y ni por salir tendría ansia. De Mosca se acordaría en un rato muy bien dado; él estaba bien salvado con libertad y alegría. Y entonces todos burlados quedarían sin duda alguna; este Hombre es una fortuna todos estamos pasmados. La multitud sorprendida del acto tan sorprendente, se mostró benevolente con el que arriesga su vida. Toda la gente le daba dinero muy bien ganado; este Hombre sí ha triunfado, justo era lo que ganaba. Y si no lo quieren creer ved aquí el Hombre subir, aunque yo no sé mentir si sois de mi parecer. Y con ésta me despido ya con ganas de volar, hasta quisiera cantar otra vez este corrido.
The Amazing Ballad of the Human Fly
Sirs, here is a tale, a tale that is crazy, the world’s most amazing, they are phenomenal. Mexico, the capital, was a city astounded by the act they presented, it was phenomenal. Never did past ages see so overwhelming an act, truly flaming, and no sodden papers! The Human Fly gained complete admiration, his act, a sensation, left everyone stunned. Imagine the crowd in hot sun, despairing, alert and preparing, on tenterhooks, worried! The clock sounds the hour. The Man is a marvel, he climbs with no cable like a fly in mid–air. They see he has gone up that right–hand tower. It’s not in my power to describe how it’s done. He calmly ascends, as a fly might, who takes a walk on a cake: he meets the demands. What skill! what disdain! Such art and such mastery. The Man goes up speedily in the glare of the sun. A feat of agility with no room to spare! He climbs even higher, they watch with anxiety. Two o’clock. Who’ll deny that here is a giant, that God lends a hand to the wandering fly? The numberless crowd is in rapt contemplation: he’s earned admiration, deserves his reward. Sirs, you have my assurance that hearts pounding hard say the Fly must be crazed, they should halt his performance! At the uppermost station he embraces the cross: the bright sunlight pours on his contemplation. Well, this is remarkable, the Man’s a true artist, up there on that cross he’s of stone, irreproachable. He keeps one foot planted on the cross, bends and stretches: no fly, but a nerveless man of iron, undaunted, on a cross pirouetting, with wonderful valor: above, there’s no terror, below, mouths are gaping. If this man by misfortune should fall into prison, it would be a diversion, no problem escaping. He’d think of the Fly, the time would be short, he’d soon be restored to freedom and joy. There’s many he’d fool, and that’s beyond hazard: this Man’s to be treasured, we’re stunned, one and all. The crowd was amazed at the feat they had witnessed and showed itself generous for his life was at hazard. All those who were there gave him well–deserved money that he got by his glory, he earned fair and square. If you doubt me, come see: here’s the Man climbing high, though I can’t tell a lie if I think you’re like me. So I leave you, farewell, because I must fly, till once again I come singing this tale.
Published in Agenda, 48/3–4, November 2014. Beautifully recited by Lucy Tregear at the evening of Mexican poetry and music, British Museum, February 2010. Broadsheet : http://museoblaisten.com/en/Obra/7763/Asombroso-Hombre-Mosca. But the artwork is not by JG Posada - he died in 1911 ! Full report: https://revistacuartoscuro.com/el-hombre-mosca/ Babe White: https://www.facebook.com/watch/?v=697608637114792

Translation: Copyright © Timothy Adès

Solitudo - my Latin

Solitude

Ella Wheeler Wilcox (1850-1919)

Solitude
Laugh, and the world laughs with you; Weep, and you weep alone; For the sad old earth must borrow its mirth, But has trouble enough of its own. Sing, and the hills will answer; Sigh, it is lost on the air; The echoes bound to a joyful sound, But shrink from voicing care. Rejoice, and men will seek you; Grieve, and they turn and go; They want full measure of all your pleasure, But they do not need your woe. Be glad, and your friends are many; Be sad, and you lose them all,— There are none to decline your nectared wine, But alone you must drink life’s gall. Feast, and your halls are crowded; Fast, and the world goes by. Succeed and give, and it helps you live, But no man can help you die. There is room in the halls of pleasure For a large and lordly train, But one by one we must all file on Through the narrow aisles of pain.
Solitudo - my Latin
si rides, rident omnes: flens unicus ibis. gaudia Terra cupit: tristia plena tenet. quod canis, en colles reboant, sed in aere marcet quod gemis; ars resonat, mutus inersque dolor. gratus ovas cunctis, refugit te turba dolentem: ad gaudenda ruunt: commiseranda negant. stant hilari plures, tristi perduntur amici; Massica das cunctis, fel modo solus habes. turba dapes celebrat, vitant jejunia cuncti; da felix, vives; fratris egenus obis. aede voluptatis stat turba superba; doloris omnibus angustas sors dabit ire vias.

Translation: Copyright © Timothy Adès

More poems by Ella Wheeler Wilcox...

The Dream

Γεώργιος Βιζυηνός Τὸ Ὄνειρον

George Vizyenos (1848-94)

Γεώργιος Βιζυηνός Τὸ Ὄνειρον
Ἐψὲς εἶδα στὸν ὕπνο μου ἕνα βαθὺ ποτάμι –Θεός νὰ μὴν τὸ κάμῃ νὰ γίνῃ ἀληθινό! Στὴν ὄχθη του στεκόντανε γνωστό μου παλικάρι, χλωμὸ σὰν τὸ φεγγάρι, σὰν νύχτα σιγανό. Ἀγέρας τὸ παράσπρωχνε μὲ δύναμη μεγάλη, σὰν νἄθε᾿ νὰ τὸ βγάλῃ ἀπ᾿ τῆς ζωῆς τὴν μέση. Καὶ τὸ νερό, π᾿ ἀχόρταγα τὰ πόδια του φιλοῦσε, θαρρεῖς τὸ προσκαλοῦσε στ᾿ ἀγκάλια του νὰ πέσῃ. –Δεν εἶν᾿ ἀγέρας, σκέφθηκα, καὶ σένα ποὺ σὲ δέρνει. Ἡ ἀπελπισιὰ σὲ παίρνει κι ἡ ἀπονιὰ τοῦ κόσμου! Κι ἐχύθηκ᾿ ἀπ᾿ τὸν θάνατο τὸν δύστυχο ν᾿ ἁρπάξω… Ὠιμέ! Πρὶν ἢ προφθάξω ἐχάθηκ᾿ ἀπ᾿ ἐμπρός μου! Στὰ ρέματα παράσκυψα, νὰ τὸν εὑρὼ γυρεύω. Στὰ ρέματ᾿ ἀγναντεύω– Τὸ λείψανο μ᾿ ἀχνό!… Ἐψὲς εἶδα στὸν ὕπνο μου ἕνα βαθὺ ποτάμι –Θεός νὰ μὴν τὸ κάμῃ νὰ γίν᾿ ἀληθινό!
The Dream
Last night I saw all in my sleep     a river deep: God let it not come true! Silent as night beside the flood,     moon-pale, there stood a young man whom I knew. With force the stormwind striving     and smiting near drove him from the living; waves sucked his feet with kisses,     inviting him down to their embraces. Not by the storm I thought him     mistreated, despairing wretch forsaken. To snatch him safe I speeded,     nor caught him: abruptly he was taken. I stooped towards the river,     him to discover: my own pale corpse I knew! Last night I saw all in my sleep     a river deep: God let it not come true!
Published in In Other Words

Translation: Copyright © Timothy Adès

More poems by George Vizyenos...

Moonlight

Clair de Lune

Paul Verlaine (1844-96)

Clair de Lune
Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune, Ils n'ont pas l'air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.
Moonlight
Your soul’s a chosen country scene That masques and bergamasques beguile With lutes and dancing, though they seem Sad, underneath their fancy style. While in a minor key they sing Life’s pleasures and triumphant love, They seem to doubt their prospering, Lapped in the moonlight up above: The moonlight, calm, sublime and sad, That sets birds dreaming in the trees, While slender fountains rise amid Statues, and sob in ecstasies.
Said in the Purcell Room, London, 3 December 2018

Translation: Copyright © Timothy Adès

More poems by Paul Verlaine...