Touchstones
These are poems that became touchstones for me. So much so that I translated them myself...
A short revealing frock?
It's just my luck
your lips were made to mock!
—Sappho, fragment 155, loose translation/interpretation by Michael R. Burch
That enticing girl's clinging dresses
leave me trembling, overcome by happiness,
as once, when I saw the Goddess in my prayers
eclipsing Cyprus.
—Sappho, fragment 22, loose translation/interpretation by Michael R. Burch
Eros harrows my heart:
wild winds whipping desolate mountains,
uprooting oaks.
—Sappho, fragment 47, loose translation/interpretation by Michael R. Burch
The poem above is my favorite Sappho epigram. The metaphor of Eros (sexual desire) harrowing mountain slopes, leveling oaks and leaving them desolate, is really something―truly powerful and evocative. According to Edwin Marion Cox, this Sapphic epigram was "quoted by Maximus Tyrius about 150 BC. He speaks of Socrates exciting Phaedus to madness, when he speaks of love."
She keeps her scents
in a dressing-case.
And her sense?
In some undiscoverable place.
—Sappho, fragment 156, loose translation/interpretation by Michael R. Burch
Poets translated here include the first poet we know by name, the ancient Sumerian priestess/poetess Enheduanna, along with famous names like Basho, Baudelaire, Chaucer, Dante, Goethe, Hafez, Issa, Kabir, Neruda, Rilke, Rumi, Sappho, Tagore, Valery, Verlaine and Virgil, and not-so-famous names but “should be’s” like Kajal Ahmad, Veronica Franco, Ono no Komachi, Charles d’Orleans, Vera Pavlova, Taras Shevchenko, Georg Trakl, Renee Vivien and Tzu Yeh.
There were some interesting synchronicities along the way, such as two magnificent poems by Pablo Neruda and Rabindranath Tagore for man’s best friend ending up side-by-side.
IT’S ALL GREEK TO ME, OR ROMAN
Mnemosyne was stunned into astonishment when she heard honey-tongued Sappho, wondering how mortal men merited a tenth Muse. — Antipater of Sidon, loose translation/interpretation by Michael R. Burch
Here, O stranger, the sea-crashed earth covers Homer,
herald of heroes' valour…
—Antipater of Sidon, loose translation/interpretation by Michael R. Burch
Euryalus, born of the blue-eyed Graces,
scion of the bright-tressed Seasons,
son of the Cyprian,
whom dew-lidded Persuasion birthed among rose-blossoms.
—Ibykos/Ibycus, loose translation/interpretation by Michael R. Burch
Mariner, do not question whose tomb this may be,
But go with good fortune: I wish you a kinder sea.
attributed to Plato, loose translation/interpretation by Michael R. Burch
Does my soul abide in heaven, or hell?
Only the sea gulls in their high, lonely circuits may tell.
Glaucus, loose translation/interpretation by Michael R. Burch
Blame not the gale, nor the inhospitable sea-gulf, nor friends' tardiness,
Mariner! Just man's foolhardiness.
Leonidas of Tarentum, loose translation/interpretation by Michael R. Burch
You ask me why I've sent you no new verses?
There might be reverses.
—Martial, loose translation/interpretation by Michael R. Burch
You ask me to recite my poems to you?
I know how you'll "recite" them, if I do.
—Martial, loose translation/interpretation by Michael R. Burch
You ask me why I choose to live elsewhere?
You're not there.
—Martial, loose translation/interpretation by Michael R. Burch
Warmthless beauty attracts but does not hold us; it floats like hookless bait. — Capito, loose translation/interpretation by Michael R. Burch
Gaius Ateius Capito (c. 30 BC-22 AD) was a Roman jurist and senator in the time of the emperors Augustus and Tiberius.
Catullus CI aka Carmina 101: “His Brother’s Burial”
loose translation/interpretation by Michael R. Burch
Through many lands and over many seas
I have journeyed, brother, to these wretched rites,
to this final acclamation of the dead ...
and to speak — however ineffectually — to your voiceless ashes
now that Fate has wrested you away from me.
Alas, my dear brother, wrenched from my arms so cruelly,
accept these last offerings, these small tributes
blessed by our fathers’ traditions, these small gifts for the dead.
Please accept, by custom, these tokens drenched with a brother’s tears,
and, for all eternity, brother, “Hail and Farewell.”
"The Descent into the Underworld"
by Virgil
loose translation/interpretation by Michael R. Burch
for Martin Mc Carthy
The Sibyl began to speak:
“God-blooded Trojan, son of Anchises,
descending into the Underworld’s easy
since Death’s dark door stands eternally unbarred.
But to retrace one’s steps and return to the surface:
that’s the conundrum, that’s the catch!
Godsons have done it, the chosen few
whom welcoming Jupiter favored
and whose virtue merited heaven.
However, even the Blessed find headway’s hard:
immense woods barricade boggy bottomland
where the Cocytus glides with its dark coils.
But if you insist on ferrying the Styx twice
and twice traversing Tartarus,
if Love demands you indulge in such madness,
listen closely to how you must proceed...”
THE MOST ANCIENT VOICES
The ancient Sumerian Epic of Gilgamesh (circa 2150 BC) is the most ancient masterpiece of storytelling and is widely considered to be the first great work of literature.
He Lived: Excerpts from “Gilgamesh”
loose translation/interpretation by Michael R. Burch
I.
He who visited hell, his country’s foundation,
Was well-versed in mysteries’ unseemly dark places.
He deeply explored many underworld realms
Where he learned of the Deluge and why Death erases.
II.
He built the great ramparts of Uruk-the-Sheepfold
And of holy Eanna. Then weary, alone,
He recorded his thoughts in frail scratchings called “words”:
Frail words made immortal, once chiseled in stone.
III.
These walls he erected are ever-enduring:
Vast walls where the widows of dead warriors weep.
Stand by them. O, feel their immovable presence!
For no other walls are as strong as this keep’s.
IV.
Come, climb Uruk’s tower on a starless night—
Ascend its steep stairway to escape modern error.
Cross its ancient threshold. You are close to Ishtar,
the Goddess of Ecstasy and of Terror!
V.
Find the cedar box with its hinges of bronze;
lift the lid of its secrets; remove its dark slate;
read of the travails of our friend Gilgamesh—
of his descent into hell and man’s terrible fate!
VI.
Surpassing all kings, heroic in stature,
Wild bull of the mountains, the Goddess his Dam
—She bedded no man; he was her sole rapture—
Who else can claim fame, as he thundered, “I AM!”
Enheduanna (circa 2285-2250 BCE) was the daughter of the famous King Sargon the Great of Akkad. Enheduanna is the first ancient writer whose name remains known today. She appears to be the first named poet in human history, the first known author of prayers and hymns, and the first librarian and anthologist. Enheduanna was an innovator, doing things that had never been done before, as she said herself:
These are my innovations,
O Mighty Queen, Inanna, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.
—Enheduanna, loose translation/interpretation by Michael R. Burch
Enheduanna was the entu (high priestess) of the goddess Inanna (also known as Ishtar, Astarte and Aphrodite) and the moon god Nanna (Sin) in the Sumerian city-state of Ur. Enheduanna's composition Nin-me-šara ("The Exaltation of Inanna") details her expulsion from Ur, located in southern Iraq, along with her prayerful request to the goddess for reinstatement.
Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess!
—Enheduanna, loose translation/interpretation by Michael R. Burch
Enheduanna may also have been the first feminist, as she placed Inanna above the male gods of her Sumerian pantheon!
Enheduanna composed 42 liturgical hymns addressed to temples across Sumer and Akkad. She was also the first editor of a poetry anthology, hymnal or songbook, and the first poet to write in the first person. Her Sumerian Temple Hymns was the first collection of its kind; indeed, Enheduanna so claimed in closing: "My king, something has been created that no one had created before." Today poems and songs are still being assembled according to the model she established over 4,000 years ago!
Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation/interpretation by Michael R. Burch
Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb ...
Dark shrine,
like a mother's wounded breast,
blood-red and terrifying ...
Though approaching through a safe-seeming field,
our hair stands on end as we near you!
Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles ...
your ramparts are massive,
like a trap!
But once we’re inside,
as the sun rises,
you yield widespread abundance!
Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!
Oh, see how his thick, lustrous hair
cascades down his back!
Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!
Ningishzida was a deity of the Netherworld: he was the chair-bearer who carried notable persons to their destination. The ancient Sumerians believed the Netherworld was set deep in the mountains, so a mountain shrine was perhaps a "natural" for Ningishzida.
Enheduanna also wrote the first anti-war poem, a mere four millennia ahead of her time…
Lament to the Spirit of War
by Enheduanna
loose translation/interpretation by Michael R. Burch
You hack down everything you see, War God!
Rising on fearsome wings
you rush to destroy our land:
raging like thunderstorms,
howling like hurricanes,
screaming like tempests,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!
Men falter at your approaching footsteps.
Tortured dirges scream on your lyre of despair.
Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down mountainsides.
Spirit of hatred, greed and vengeance!
Dominatrix of heaven and earth!
Your ferocious fire consumes our land.
Whipping your stallion
with furious commands,
you impose our fates.
You triumph over all human rites and prayers.
Who can explain your tirade,
why you carry on so?
The oldest extant love lyric appears to be the ancient Sumerian poem "The Love Song of Shu-Sin," which has also been called "The Love Song for Shu-Sin" because it was apparently written to be recited to the ancient Sumerian king Shu-Sin by a woman he was about to marry (or perhaps just have sex with). The poem was written circa 2000 BC, making it ancient indeed!
The Love Song of Shu-Sin
loose translation/interpretation by Michael R. Burch
Darling of my heart, my belovèd,
your enticements are sweet, far sweeter than honey!
Darling of my heart, my belovèd,
your enticements are sweet, far sweeter than honey!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
Sweetheart, let me do the sweetest things for you!
This crevice you'll caress is far sweeter than honey!
In the bedchamber, dripping love’s honey,
let us enjoy the sweetest thing.
Sweetheart, let me do the sweetest things for you!
This crevice you'll caress is far sweeter than honey!
Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will give you gifts.
I know how to give your body pleasure—
then sleep easily, my darling, until the sun dawns.
To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil’s heart,
give me your caresses!
My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-pot lid!
Cup your hand over it like a honey cup!
This is a balbale-song of Inanna.
The first carpe diem or "seize the day" poems may be the various versions of the ancient Egyptian "Harper's Song" (or "Song of the Harper"). These may also be the oldest ubi sunt or "where are they now" poems. Such poems were inscribed in Egyptian tombs along with the image of a blind man playing a harp. Thus it is believed these were songs performed during funeral services for the deceased. Versions of the "Harper's Song" found in tombs of the Old Kingdom (c. 2686-2181 BC) tend to be short and traditional in regard to the afterlife (i.e., affirmative). Middle Kingdom (c. 2055-1786 BC) and New Kingdom (1539-1075 BC) versions tend to be longer and sometimes encourage listeners to "seize the day" while rejecting the more traditional Egyptian view of eternity (for instance, satirizing large funerary monuments and saying possessions cannot be taken into the afterlife).
Harper's Song: Tomb of Djehutiemheb
loose translation/interpretation by Michael R. Burch
... The sky is opened for you,
the earth opened for you,
for you the good path leads into the Necropolis.
You enter and exit like Re.
You stride unhindered like the Lords of Eternity ...
An Ancient Egyptian Love Lyric (circa 1085-570 BC)
loose translation/interpretation by Michael R. Burch
Is there anything sweeter than these hours of love,
when we're together, and my heart races?
For what is better than embracing and fondling
when you visit me and we surrender to delights?
If you reach to caress my thigh,
I will offer you my breast also —
it's soft; it won't jab you or thrust you away!
Will you leave me because you're hungry?
Are you ruled by your belly?
Will you leave me because you need something to wear?
I have chests full of fine linen!
Will you leave me because you're thirsty?
Here, suck my breasts! They're full to overflowing, and all for you!
I glory in the hours of our embracings;
my joy is incalculable!
The thrill of your love spreads through my body
like honey in water,
like a drug mixed with spices,
like wine mingled with water.
Oh, that you would speed to see your sister
like a stallion in heat, like a bull to his heifer!
For the heavens have granted us love like flames igniting straw,
desire like the falcon's free-falling frenzy!
An Ancient Egyptian Love Song (circa 1300-1200 BC)
loose translation/interpretation by Michael R. Burch
Lover, let’s slip down to the pond;
I’ll bathe while you watch me from the nearest bank.
I’ll wear my sexiest swimsuit, just for you,
made of sheer linen, fit for a princess!
Come, see how it looks when it’s wet!
Can I coax you to wade in with me?
To let the cool water surround us?
Then I’ll dive way down deep, just for you,
and come up dripping,
letting you feast your eyes
on the little pink fish I’ve found.
Then I’ll say, standing there in the shallows:
Look at my little pink fish, love,
as I hold it in my hand.
See how my fingers caress it,
slipping down its sides, then inside!
See how it wiggles?
But then I’ll giggle softly and sigh,
my eyes bright with your seeing:
It’s a gift, my love, no more words!
Come closer and see,
it’s all me!
The Shijing or Shi Jing ("Book of Songs" or "Book of Odes") is the oldest Chinese poetry collection, with the poems included believed to date from around 1200 BC to 600 BC. According to tradition the poems were selected and edited by Confucius himself. Since most ancient poetry did not rhyme, these may be the world’s oldest extant rhyming poems. While the identities and sexes of the poets are not known, the title of this ancient poem may mean "Aunt" and thus suggest that it was possibly written by an aunt for a relative.
Shijing Ode #4: “JIU MU”
ancient Chinese rhyming poem (c. 1200-600 BC)
loose translation/interpretation by Michael R. Burch
In the South, beneath trees with drooping branches
thick with vines that make them shady,
we find a lovely princely lady:
May she repose in happiness!
In the South, beneath trees with drooping branches
whose clinging vines make hot days shady,
we wish warm embraces for a lovely lady:
May she repose in happiness!
In the South, beneath trees with drooping branches
whose vines entwining make them shady,
we wish true love for a lovely lady:
May she repose in happiness!
The next poem is an ancient Chinese ode that sounds like a young man complaining about the airs of rich girls. Truly there is nothing new under the sun!
Shijing Ode #9: “HAN GUANG”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch
In the South leafless trees
offer men no shelter.
By the Han the girls loiter,
but it’s vain to entice them.
For the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.
When firewood is needed,
I would cut down tall thorns to bring more.
Those girls on their way to their palaces?
I would feed their horses.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.
When firewood is needed,
I would cut down tall trees to bring more.
Those girls on their way to their palaces?
I would feed their colts.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.
"Caedmon's Hymn" was probably composed sometime between 658 and 680 AD and appears to be the English language's oldest extant (surviving) poem. That makes it older than Beowulf, as far as we know.
Cædmon's Hymn
loose translation/interpretation by Michael R. Burch
Humbly we honour heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!
"Wulf and Eadwacer" is an anonymous Old English/Anglo-Saxon poem noted for its rich ambiguity. In all likelihood “Wulf” was written by a female scop, circa 960-990 AD, if not earlier, and thus quite possibly predates “Beowulf.” If so, I will declare it the first masterpiece of the English language.
Wulf and Eadwacer
loose translation/interpretation by Michael R. Burch
My clan's curs pursue him like crippled game;
they'll rip him apart if he approaches their pack.
Ungelīc is ūs! (It is otherwise with us!)
Wulf's on one island; I'm on another.
His island's a fortress, fastened by fens. (fastened=secured)
Here, bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
Ungelīc is ūs! (It is otherwise with us!)
My hopes pursued Wulf like panting hounds,
but whenever it rained—how I wept!—
the boldest cur clutched me in his paws:
good feelings, to a point, but the end loathsome!
Wulf, O, my Wulf, my ache for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.
Have you heard, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.
William Dunbar (c. 1460-1530) was an early Scottish master who has been called the Poet Laureate of the court of King James IV of Scotland.
Sweet Rose of Virtue
by William Dunbar
loose translation/interpretation by Michael R. Burch
Sweet rose of virtue and of gentleness,
delightful lily of wanton loveliness,
richest in bounty and in beauty clear
and in every virtue men hold most dear,
except only that you are merciless.
Into your garden, today, I followed you;
there I found flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently,
yet nowhere one leaf nor petal of rue.
I fear that March with his last arctic blast
has slain my fair flower and left her downcast;
whose piteous death does my heart such pain
that I long to plant love's root again―
so comforting her bowering leaves have been.
If the tenth line seems confusing, it helps to know that rue symbolizes pity and also has medicinal uses; thus I believe the unrequiting lover is being accused of a lack of compassion and perhaps of withholding her healing (i.e., sexual) attentions. The penultimate line can be taken as a rather naughty double entendre, but I will leave that interpretation up to the reader! I believe Dunbar meant the rose to symbolize the female vulva and "rute" to suggest intercourse.
The "Song of Amergin" and its origins remain mysteries for the ages. The ancient poem, perhaps the oldest extant poem to originate from the British Isles, or perhaps not, was written by an unknown poet at an unknown time at an uncertain location. The unlikely date 1268 BC was furnished by Robert Graves, who translated the "Song of Amergin" in his influential book The White Goddess (1948). Graves remarked that "English poetic education should, really, begin not with Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin." Recounted in the Leabhar Gabhála (The Book of Invasions), the poem has been described as an invocation, as a mystical chant, as an affirmation of unity, as sorcery, as a creation incantation, and as the first spoken Irish poem. I have also seen it titled "The Rosc of Amergin" with a rosc being a war chant or incantation. A sort of magical affirmation to give one power over one’s enemies.
The Song of Amergin
loose translation/interpretation by Michael R. Burch
I am the sea blast
I am the tidal wave
I am the thunderous surf
I am the stag of the seven tines
I am the cliff hawk
I am the sunlit dewdrop
I am the fairest of flowers
I am the rampaging boar
I am the swift-swimming salmon
I am the placid lake
I am the summit of art
I am the vale echoing voices
I am the battle-hardened spearhead
I am the God who inflames desire
Who gives you fire
Who knows the secrets of the unhewn dolmen
Who announces the ages of the moon
Who knows where the sunset settles
Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch
Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.
Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.
By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.
In my opinion Charles d'Orleans (c. 1394-1465), who wrote masterpieces in both his native French and Middle English, was one of the world’s greatest poets and quite possibly the greatest love poet after my immortal Sappho.
Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization by Michael R. Burch
So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.
For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near—
God keep her soul, I can no better say.
Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer—
God keep her soul, I can no better say.
When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier—
God keep her soul, I can no better say.
What a tremendous poem, even in translation, if I may venture so myself. You can find more of my translations of the marvelous Charles d’Orleans by clicking or tapping his hyperlinked name.
Otomo no Sakanoue no Iratsume (c. 700-750) was an important ancient Japanese poet. She had 79 poems in Manyoshu ("Collection of Ten Thousand Leaves"), the first major anthology of classical Japanese poetry, mostly waka. The compiler of the anthology was Otomo no Yakamochi (c. 718-785). Otomo no Sakanoue no Iratsume was his aunt, tutor and poetic mentor. In the first stanza, Lady Otomo has left her children in Nara, possibly to visit her brother. In the second stanza, it is believed the jewel is Lady Otomo's daughter who has been entrusted to the care of her husband. As for the closing stanza, according to the notes of the Manyoshu, it was popularly believed that a person would appear in the dreams of the one for whom he/she yearned.
To a Daughter More Precious than Gems
by Otomo no Sakanoue no Iratsume
loose translation/interpretation by Michael R. Burch
Heaven's cold dew has fallen
and thus another season arrives.
Oh, my child living so far away,
do you pine for me as I do for you?
I have trusted my jewel to the gem-guard;
so now there's nothing to do, my pillow,
but for the two of us to sleep together!
I cherished you, my darling,
as the Sea God guards his treasury's pearls.
But you are pledged to your husband
(such is the way of the world)
and have been torn from me like a blossom.
I left you for faraway Koshi;
since then your lovely eyebrows
curving like distant waves
ever linger in my eyes.
My heart is as unsteady as a rocking boat;
besieged by such longing I weaken with age
and come close to breaking.
If I could have prophesied such longing,
I would have stayed with you,
gazing on you constantly
as into a shining mirror.
I gaze out over the fields of Tadaka
seeing the cranes that cry there incessantly:
such is my longing for you.
Oh my child,
who loved me so helplessly
like bird hovering over shallow river rapids!
Dear child, my daughter, who stood
sadly pensive by the gate,
even though I was leaving for a friendly estate,
I think of you day and night
and my body has become thin,
my sleeves tear-stained with weeping.
If I must long for you so wretchedly,
how can I remain these many months
here at this dismal old farm?
Because you ache for me so intently,
your sad thoughts all confused
like the disheveled tangles of your morning hair,
I see you, dear child, in my dreams.
MORE ANCIENT CHINESE POETRY
Li Bai (701-762) was a romantic figure who has been called the Lord Byron of Chinese poetry. He and his friend Du Fu (712-770) were the leading poets of the Tang Dynasty era, which has been called the "Golden Age of Chinese poetry." Li Bai is also known as Li Po, Li Pai, Li T’ai-po, and Li T’ai-pai.
Quiet Night Thoughts
by Li Bai
loose translation/interpretation by Michael R. Burch
Moonlight illuminates my bed
as frost brightens the ground.
Lifting my eyes, the moon allures.
Lowering my eyes, I long for home.
My interpretation of this famous poem is a bit different from the norm. The moon symbolizes love, so I imagine the moon shining on Li Bai’s bed to be suggestive, an invitation. A man might lower his eyes to avoid seeing something his wife would not approve of.
Lines from Laolao Ting Pavilion
by Li Bai
loose translation/interpretation by Michael R. Burch
The spring breeze knows partings are bitter;
The willow twig knows it will never be green again.
A Toast to Uncle Yun
by Li Bai
loose translation/interpretation by Michael R. Burch
Water reforms, though we slice it with our swords;
Sorrow returns, though we drown it with our wine.
Du Fu (712-770) is also known as Tu Fu. The first poem, "Moonlit Night," is addressed to the poet's wife, who had fled war with their children. Ch'ang-an is ironic because it means "Long-peace."
Moonlit Night
by Du Fu
loose translation/interpretation by Michael R. Burch
Alone in your bedchamber
you gaze out at the Fu-Chou moon.
Here, so distant, I think of our children,
too young to understand what keeps me away
or to remember Ch'ang-an ...
A perfumed mist, your hair's damp ringlets!
In the moonlight, your arms' exquisite jade!
Oh, when can we meet again within your bed's drawn curtains,
and let the heat dry our tears?
Lone Wild Goose
by Du Fu
loose translation/interpretation by Michael R. Burch
The abandoned goose refuses food and drink;
he cries querulously for his companions.
Who feels kinship for that strange wraith
as he vanishes eerily into the heavens?
You watch the goose as it disappears;
its plaintive calls cut through you.
The indignant crows ignores us both:
the bickering, bantering multitudes.
Tzŭ-Yeh (or Tzu Yeh) was a courtesan of the Jin dynasty era (c. 400 BC) also known as Lady Night or Lady Midnight. Her poems were pinyin ("midnight songs"). Tzŭ-Yeh was apparently a "sing-song" girl, perhaps similar to a geisha trained to entertain men with music and poetry. She has also been called a "wine shop girl" and even a professional concubine! Whoever she was, it seems likely that Rihaku (Li-Po) was influenced by the lovely, touching (and often very sexy) poems of the "sing-song" girl. Centuries later, Arthur Waley was one of her translators and admirers. Waley and Ezra Pound knew each other, and it seems likely that they got together to compare notes at Pound's soirees, since Pound was also an admirer and translator of Chinese poetry. Pound's most famous translation is his take on Li-Po's "The River Merchant's Wife: A Letter." If the ancient "sing-song" girl influenced Li-Po and Pound, she was thus an influence―perhaps a very important influence―on English Modernism. The first Tzŭ-Yeh poem makes me think that she was, indeed, a direct influence on Li-Po and Ezra Pound.
I heard my love was going to Yang-chou
So I accompanied him as far as Ch'u-shan.
For just a moment as he held me in his arms
I thought the swirling river ceased flowing and time stood still.
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
Will I ever hike up my dress for you again?
Will my pillow ever caress your arresting face?
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
Night descends ...
I let my silken hair spill down my shoulders as I part my thighs over my lover.
Tell me, is there any part of me not worthy of being loved?
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
I will wear my robe loose, not bothering with a belt;
I will stand with my unpainted face at the reckless window;
If my petticoat insists on fluttering about, shamelessly,
I'll blame it on the unruly wind!
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
When he returns to my embrace,
I’ll make him feel what no one has ever felt before:
Me absorbing him like water
Poured into a wet clay jar.
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
Bare branches tremble in a sudden breeze.
Night deepens.
My lover loves me,
And I am pleased that my body's beauty pleases him.
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
Do you not see
that we
have become like branches of a single tree?
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
I could not sleep with the full moon haunting my bed!
I thought I heard―here, there, everywhere―
disembodied voices calling my name!
Helplessly I cried "Yes!" to the phantom air!
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
I have brought my pillow to the windowsill
so come play with me, tease me, as in the past ...
Or, with so much resentment and so few kisses,
how much longer can love last?
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
When she approached you on the bustling street, how could you say no?
But your disdain for me is nothing new.
Squeaking hinges grow silent on an unused door
where no one enters anymore.
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
I remain constant as the Northern Star
while you rush about like the fickle sun:
rising in the East, drooping in the West.
―Tzu Yeh, loose translation/interpretation by Michael R. Burch
David Hinton said T'ao Ch'ien (365-427) "stands at the head of the great Chinese poetic tradition like a revered grandfather: profoundly wise, self-possessed, quiet, comforting." T'ao gained quasi-mythic status for his commitment to life as a recluse farmer, despite poverty and hardship. Today he is remembered as one of the best Chinese poets of the Six Dynasties Period.
Swiftly the years mount
by T'ao Ch'ien
loose translation/interpretation by Michael R. Burch
Swiftly the years mount, exceeding remembrance.
Solemn the stillness of this spring morning.
I will clothe myself in my spring attire
then revisit the slopes of the Eastern Hill
where over a mountain stream a mist hovers,
hovers an instant, then scatters.
Scatters with a wind blowing in from the South
as it nuzzles the fields of new corn.
Drinking Wine V
by T'ao Ch'ien
loose translation/interpretation by Michael R. Burch
I built my hut here amid the hurriedness of men,
but where is the din of carriages and horses today?
You ask me "How?" but I have no reply.
Here where the heart is isolated, the earth stands aloof.
Harvesting chrysanthemums by the eastern hedge,
I see the southern hills, afar;
The balmy air of the hills seems good;
migrating birds return to their nests.
This seems like the essence of life,
and yet I lack words.
Returning to Live in the Country
by T'ao Ch'ien
loose translation/interpretation by Michael R. Burch
The caged bird longs for its ancient woodland;
the pond-reared Koi longs for its native stream ...
Dim, dim lies the distant hamlet;
lagging, lagging snakes the smoke of its market-place;
a dog barks in the alley;
a cock crows from atop the mulberry tree ...
My courtyard and door are free from turmoil;
in these dust-free rooms there is leisure to spare.
But too long a captive caught in a cage,
when will I return to Nature?
Li Qingzhao was a poet and essayist during the Song dynasty. She is generally considered to be one of the greatest Chinese poets. In English she is known as Li Qingzhao, Li Ching-chao and The Householder of Yi’an.
The Migrant Songbird
Li Qingzhao aka Li Ching-chao (c. 1084-1155)
loose translation/interpretation by Michael R. Burch
The migrant songbird on the nearby yew
brings tears to my eyes with her melodious trills;
this fresh downpour reminds me of similar spills:
another spring gone, and still no word from you ...
The Plum Blossoms
Li Qingzhao aka Li Ching-chao (c. 1084-1155)
loose translation/interpretation by Michael R. Burch
This year with the end of autumn
I find my reflection graying at the edges.
Now evening gales hammer these ledges ...
what shall become of the plum blossoms?
Wang Wei (699-759) was a Chinese poet, musician, painter, and politician during the Tang dynasty. He had 29 poems included in the 18th-century anthology Three Hundred Tang Poems. "Lu Zhai" ("Deer Park") is one of his best-known poems.
"Lu Zhai" ("Deer Park")
by Wang Wei
loose translation/interpretation by Michael R. Burch
Uninhabited hills ...
except that now and again the silence is broken
by something like the sound of distant voices
as the sun's sinking rays illuminate lichens ...
"Lovesickness"
by Wang Wei
loose translation/interpretation by Michael R. Burch
Those bright red berries you have in the South,
the luscious ones that emerge each spring:
go gather them, bring them home by the bucketful,
they’re as tempting as my desire for you!
The Ormosia (a red bean called the “love pea”) is a symbol of lovesickness.
Farewell (I)
by Wang Wei
loose translation/interpretation by Michael R. Burch
Where the mountain began its ascent,
we stopped to bid each other farewell...
Now here dusk descends as I shut my wooden gate.
Come spring, the grass will once again turn green,
but will you also return, my friend?
Farewell (II)
by Wang Wei
loose translation/interpretation by Michael R. Burch
We dismounted, drank to your departure.
I asked, “My friend, which way are you heading?”
You said, “Nothing here has been going my way,
So I’m returning to the crags of Nanshan.”
“Godspeed then,” I said, “You’ll be closer to Heaven,
among those infinite white clouds, never-ending!”
Sui Hui (c. 351-394 BC or sometime between 304 BC and 439 BC), also known as Su Hui and Lady Su, appears to be the first female Chinese poet of note, along with Tzŭ-Yeh. And her "Star Gauge" or "Sphere Map" may be the most impressive poem written in any language to this day, in terms of complexity. "Star Gauge" has been described as a palindrome or "reversible" poem, but it goes far beyond that. According to contemporary sources, the original poem was shuttle-woven on brocade, in a circle, so that it could be read in multiple directions. Due to its shape the poem is also called Xuanji Tu ("Picture of the Turning Sphere"). It has been claimed that there are up to 7,940 ways to read the poem. My translation is just one of many possible readings of a portion of the poem.
Star Gauge
Sui Hui
loose translation/interpretation by Michael R. Burch
So much lost so far away
on that distant rutted road.
That distant rutted road
wounds me to the heart.
Grief coupled with longing,
so much lost so far away.
Grief coupled with longing
wounds me to the heart.
This house without its master;
the bed curtains shimmer, gossamer veils.
The bed curtains shimmer, gossamer veils,
and you are not here.
Such loneliness! My adorned face
lacks the mirror's clarity.
I see by the mirror's clarity
my Lord is not here. Such loneliness!
Luo Binwang (c. 619–684) was a Tang Dynasty poet who wrote his famous goose poem at age seven.
Ode to the Goose
by Luo Binwang
loose translation/interpretation by Michael R. Burch
Goose, goose, goose!
You crane your neck toward the sky and sing
as your white feathers float on emerald-green water
and your red feet part silver waves.
Goose, goose, goose!
JAPANESE HAIKU AND TANKA
Grasses wilt:
the braking locomotive
grinds to a halt
― Yamaguchi Seishi, loose translation/interpretation by Michael R. Burch
This world?
Moonlit dew
flicked from a crane’s bill.
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch
This world of dew
is a dewdrop world indeed;
and yet, and yet ...
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch
From what I have read, the poem above was written shortly after the death of Issa's daughter.
The first soft snow:
leaves of the awed jonquil
bow low
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Winter in the air:
my neighbor,
how does he fare? ...
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
A kite floats
at the same place in the sky
where yesterday it floated ...
― Yosa Buson loose translation/interpretation by Michael R. Burch
Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Our life here on earth:
to what shall we compare it?
It is not like a rowboat
departing at daybreak,
leaving no trace of man in its wake?
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Let us arrange
these lovely flowers in the bowl
since there's no rice
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Petals I amass
with such tenderness
prick me to the quick.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch
An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Ono no Komachi is an excellent representative of the Classical, or Heian, period (circa 794-1185 AD) of Japanese literature and one of the best-known poets of the Kokinshu (circa 905), the first in a series of anthologies of Japanese poetry compiled by imperial order. She is also one of the Rokkasen — the six best waka poets of the early Heian period, during which poetry was considered the highest art. In other words, like Sappho to the ancient Greeks, Komachi was considered to be one of the very best poets of her era. Or we might compare her to Madonna and Beyonce in ours. But Komachi's poems of unrequited love, and of neglect by her lovers, remind me most of Sappho.
If fields of autumn flowers
can shed their blossoms, shameless,
why can’t I also frolic here —
as fearless, wild and blameless?
—Ono no Komachi, loose translation/interpretation by Michael R. Burch
I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch
So cruelly severed,
a root-cut reed ...
if the river offered,
why not be freed?
—Ono no Komachi, loose translation/interpretation by Michael R. Burch
Alas, the beauty of the flowers came to naught
as I watched the rain, lost in melancholy thought ...
—Ono no Komachi, loose translation/interpretation by Michael R. Burch
Sad,
the end that awaits me —
to think that before autumn yields
I'll be a pale mist
shrouding these rice fields.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch
GLOBAL EPIGRAMS
Every wave conceals monsters,
and yet teardrops become pearls.
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
A lifetime of sighs scarcely reveals its effects,
yet how impatiently I wait for you to untangle your hair!
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
All your life, O Ghalib, you repeated the same mistake:
your face was dirty but you kept obsessively cleaning the mirror!
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
Oh naïve heart, what will become of you?
Is there no relief for your pain? What will you do?
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
To whom shall I complain when I am denied Good Fortune in acceptable measure?
Thus I demanded Death, but was denied even that dubious pleasure!
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
If you want to hear rhetoric flower,
hand me the wine decanter.
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
On the subject of mystic philosophy, Ghalib,
your words might have struck us as deeply profound
and we might have pronounced you a saint ...
Yes, if only we hadn't found
you drunk
as a skunk!
—Mirza Ghalib, loose translation/interpretation by Michael R. Burch
I shattered your heart;
now I limp through the shards
barefoot.
―Vera Pavlova, loose translation/interpretation by Michael R. Burch
I test the tightrope,
balancing a child
in each arm.
―Vera Pavlova, loose translation/interpretation by Michael R. Burch
Winter―a beast.
Spring―a bud.
Summer―a bug.
Autumn―a bird.
Otherwise I'm a woman.
―Vera Pavlova, loose translation/interpretation by Michael R. Burch
Immortalize me!
With your bare, warm palm
please sculpt and mold my malleable snow.
Polish me until I glow.
―Vera Pavlova, loose translation/interpretation by Michael R. Burch
God saw it was good.
Adam saw it was impressive.
Eve saw it was improvable.
―Vera Pavlova, loose translation/interpretation by Michael R. Burch
Certainly, saints, the world’s insane:
If I tell the truth they attack me,
If I lie they believe me.
—Kabir, loose translation/interpretation by Michael R. Burch
Keep the slanderer near you, build him a hut near your house.
For, when you lack soap and water, he will scour you clean.
—Kabir, loose translation/interpretation by Michael R. Burch
Without looking into our hearts,
how can we find Paradise?
—Kabir, loose translation/interpretation by Michael R. Burch
Last night, your memory stole into my heart
as spring sweeps uninvited into barren gardens,
as morning breezes reinvigorate dormant deserts,
as a patient suddenly feels well, for no apparent reason ...
—Faiz Ahmed Faiz, loose translation/interpretation by Michael R. Burch
Please don't ask me how deeply it hurt!
Her sun shone so bright, even the shadows were burning!
—Ahmad Faraz, loose translation/interpretation by Michael R. Burch
I am strange—so strange
that I self-destructed and don't regret it.
―Jaun Elia, loose translation/interpretation by Michael R. Burch
The wound is deep—companions, friends—embrace me!
What, did you not even bother to stay?
―Jaun Elia, loose translation/interpretation by Michael R. Burch
My nature is so strange
that today I felt relieved when you didn't arrive.
―Jaun Elia, loose translation/interpretation by Michael R. Burch
Night and day I awaited myself;
now you return me to myself.
―Jaun Elia, loose translation/interpretation by Michael R. Burch
Greeting me this cordially,
have you so easily erased my memory?
―Jaun Elia, loose translation/interpretation by Michael R. Burch
VOICES FROM AROUND THE GLOBE
INSCRIPTION ON THE GATE OF HELL
Before me nothing created existed, to fear.
Eternal I am, and eternal I endure.
Abandon all hope, ye who enter here.
—Dante, loose translation/interpretation by Michael R. Burch
Speechless
by Ko Un, a Korean poet
loose translation/interpretation by Michael R. Burch
At Auschwitz
piles of glasses,
mountains of shoes ...
returning, we stared out different windows.
Miklós Radnóti was, in my opinion, one of the very best Holocaust poets. These “postcards” were written on what became his death march as Nazi soldiers herded Jewish concentration camp prisoners away from the advancing Russian armies.
Postcard 1
by Miklós Radnóti
loose translation/interpretation by Michael R. Burch
Out of Bulgaria, the great wild roar of the artillery thunders,
resounds on the mountain ridges, rebounds, then ebbs into silence
while here men, beasts, wagons and imagination all steadily increase;
the road whinnies and bucks, neighing; the maned sky gallops;
and you are eternally with me, love, constant amid all the chaos,
glowing within my conscience — incandescent, intense.
Somewhere within me, dear, you abide forever —
still, motionless, mute, like an angel stunned to silence by death
or a beetle hiding in the heart of a rotting tree.
Postcard 2
by Miklós Radnóti
loose translation/interpretation by Michael R. Burch
A few miles away they're incinerating
the haystacks and the houses,
while squatting here on the fringe of this pleasant meadow,
the shell-shocked peasants quietly smoke their pipes.
Now, here, stepping into this still pond, the little shepherd girl
sets the silver water a-ripple
while, leaning over to drink, her flocculent sheep
seem to swim like drifting clouds.
Postcard 3
by Miklós Radnóti
loose translation/interpretation by Michael R. Burch
The oxen dribble bloody spittle;
the men pass blood in their piss.
Our stinking regiment halts, a horde of perspiring savages,
adding our aroma to death's repulsive stench.
Postcard 4
by Miklós Radnóti
loose translation/interpretation by Michael R. Burch
I toppled beside him — his body already taut,
tight as a string just before it snaps,
shot in the back of the head.
"This is how you'll end too; just lie quietly here,"
I whispered to myself, patience blossoming from dread.
"Der springt noch auf," the voice above me jeered;
I could only dimly hear
through the congealing blood slowly sealing my ear.
This was his final poem, written October 31, 1944 near Szentkirályszabadja, Hungary. "Der springt noch auf" means something like "That one is still twitching."
Enough for Me
by Fadwa Tuqan, a Palestinian poet
loose translation/interpretation by Michael R. Burch
Enough for me to lie in the earth,
to be buried in her,
to sink meltingly into her fecund soil, to vanish ...
only to spring forth like a flower
brightening the play of my countrymen's children.
Enough for me to remain
in my native soil's embrace,
to be as close as a handful of dirt,
a sprig of grass,
a wildflower.
Mahmoud Darwish (1941-2008), the Poet Laureate of the Palestinians, was the preeminent Arab poet of his day. Darwish was a Palestinian Arab born in the Galilean village of Barweh, which was razed to the ground by Israelis during the Nakba ("Catastrophe") of 1948, along with hundreds of other Palestinian villages. Like hundreds of thousands of Palestinians, Darwish became an exile, along with his family, because his ancestral village had been destroyed. The title of his first book, Wingless Sparrows, speaks volumes. It was published when he was nineteen. And yet Darwish rejected anti-Semitism, saying: “The accusation is that I hate Jews. It's not comfortable that they show me as a devil and an enemy of Israel. I am not a lover of Israel, of course. I have no reason to be. But I don't hate Jews.” As a young man, Darwish faced house arrest and imprisonment because of his political activism. He left Palestine in 1971 to study briefly at the University of Moscow, after which he worked for a newspaper in Cairo, then in Beirut as an editor of Palestinian Issues. When he joined the PLO in 1973, he was banned from reentering Palestine. Still, he recognized the humanity of the Jews; some were his oppressors, others his lovers: “I will continue to humanise even the enemy ... The first teacher who taught me Hebrew was a Jew. The first love affair in my life was with a Jewish girl. The first judge who sent me to prison was a Jewish woman. So from the beginning, I didn't see Jews as devils or angels, but as human beings.”
Palestine
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch
This land gives us
all that makes life worthwhile:
April's blushing advances;
the aroma of bread baking at dawn;
a woman haranguing men;
the poetry of Aeschylus;
love's trembling beginnings,
a kiss on a moss-covered boulder;
mothers who dance to the flute's sighs;
and the invaders' fear of memories.
This land gives us
all that makes life worthwhile:
September's rustling end;
a woman leaving forty behind, still full of grace, still blossoming;
sunlight illuminating prison cells;
clouds taking on the shapes of unusual creatures;
the people's applause for those who smile at their erasure,
mocking their assassins;
and the tyrant's fear of songs.
This land gives us
all that makes life worthwhile:
Lady Earth, mother of all beginnings and endings!
In the past she was called Palestine
and tomorrow she will still be called Palestine.
My Lady, because you are my Lady, I deserve life!
Identity Card
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch
Record!
I am an Arab!
And my identity card is number fifty thousand.
I have eight children;
the ninth arrives this autumn.
Will you be furious?
Record!
I am an Arab!
Employed at the quarry,
I have eight children.
I provide them with bread,
clothes and books
from the bare rocks.
I do not supplicate charity at your gates,
nor do I demean myself at your chambers' doors.
Will you be furious?
Record!
I am an Arab!
I have a name without a title.
I am patient in a country
where people are easily enraged.
My roots
were established long before the onset of time,
before the unfolding of the flora and fauna,
before the pines and the olive trees,
before the first grass grew.
My father descended from plowmen,
not from the privileged classes.
My grandfather was a lowly farmer
neither well-bred, nor well-born!
Still, they taught me the pride of the sun
before teaching me how to read;
now my house is a watchman's hut
made of branches and cane.
Are you satisfied with my status?
I have a name, but no title!
Record!
I am an Arab!
You have stolen my ancestors' orchards
and the land I cultivated
along with my children.
You left us nothing
but these bare rocks.
Now will the State claim them also
as it has been declared?
Therefore!
Record on the first page:
I do not hate people
nor do I encroach,
but if I become hungry
I will feast on the usurper's flesh!
Beware!
Beware my hunger
and my anger!
Perhat Tursun (1969-) is one of the foremost living Uyghur language poets, if he is still alive. Born and raised in Atush, a city in China's Xinjiang Uyghur Autonomous Region, Tursun began writing poetry in middle school, then branched into prose in college. Tursun has been described as a "self-professed Kafka character" and that comes through splendidly in poems of his like "Elegy." Unfortunately, Tursun was "disappeared" into a Chinese "reeducation" concentration camp where extreme psychological torture is the norm. According to a disturbing report he was later "hospitalized." Apparently no one knows his present whereabouts or condition, if he has one. According to John Bolton, when Donald Trump learned of these "reeducation" concentration camps, he told Chinese President Xi Jinping it was "exactly the right thing to do." Trump’s excuse? "Well, we were in the middle of a major trade deal."
Elegy
by Perhat Tursun, A Uyghur poet
loose translation/interpretation by Michael R. Burch
"Your soul is the entire world."
— Hermann Hesse, Siddhartha
Asylum seekers, will you recognize me among the mountain passes' frozen corpses?
Can you identify me here among our Exodus's exiled brothers?
We begged for shelter but they lashed us bare; consider our naked corpses.
When they compel us to accept their massacres, do you know that I am with you?
Three centuries later they resurrect, not recognizing each other,
Their former greatness forgotten.
I happily ingested poison, like a fine wine.
When they search the streets and cannot locate our corpses, do you know that I am with you?
In that tower constructed of skulls you will find my dome as well:
They removed my head to more accurately test their swords' temper.
When before their swords our relationship flees like a flighty lover,
Do you know that I am with you?
When men in fur hats are used for target practice in the marketplace
Where a dying man's face expresses his agony as a bullet cleaves his brain
While the executioner's eyes fail to comprehend why his victim vanishes, ...
Seeing my form reflected in that bullet-pierced brain's erratic thoughts,
Do you know that I am with you?
In those days when drinking wine was considered worse than drinking blood,
did you taste the flour ground out in that blood-turned churning mill?
Now, when you sip the wine Ali-Shir Nava'i imagined to be my blood
In that mystical tavern's dark abyssal chambers,
Do you know that I am with you?
The Fog and the Shadows
adapted from a novel by Perhat Tursun
loose translation/interpretation by Michael R. Burch
“I began to realize the fog was similar to the shadows.”
I began to realize that, just as the exact shape of darkness is a shadow,
even so the exact shape of fog is disappearance
and the exact shape of a human being is also disappearance.
At this moment it seemed my body was vanishing into the human form’s final state.
After I arrived here,
it was as if the danger of getting lost
and the desire to lose myself
were merging strangely inside me.
While everything in that distant, gargantuan city where I spent my five college years felt strange to me; and even though the skyscrapers, highways, ditches and canals were built according to a single standard and shape, so that it wasn’t easy to differentiate them, still I never had the feeling of being lost. Everyone there felt like one person and they were all folded into each other. It was as if their faces, voices and figures had been gathered together like a shaman’s jumbled-up hair.
Even the men and women seemed identical.
You could only tell them apart by stripping off their clothes and examining them.
The men’s faces were beardless like women’s and their skin was very delicate and unadorned.
I was always surprised that they could tell each other apart.
Later I realized it wasn’t just me: many others were also confused.
For instance, when we went to watch the campus’s only TV in a corridor of a building where the seniors stayed when they came to improve their knowledge. Those elderly Uyghurs always argued about whether someone who had done something unusual in an earlier episode was the same person they were seeing now. They would argue from the beginning of the show to the end. Other people, who couldn’t stand such endless nonsense, would leave the TV to us and stalk off.
Then, when the classes began, we couldn’t tell the teachers apart.
Gradually we became able to tell the men from the women
and eventually we able to recognize individuals.
But other people remained identical for us.
The most surprising thing for me was that the natives couldn’t differentiate us either.
For instance, two police came looking for someone who had broken windows during a fight at a restaurant and had then run away.
They ordered us line up, then asked the restaurant owner to identify the culprit.
He couldn’t tell us apart even though he inspected us very carefully.
He said we all looked so much alike that it was impossible to tell us apart.
Sighing heavily, he left.
Mirror
by Kajal Ahmad, a Kurdish poet
loose translation/interpretation by Michael R. Burch
My era's obscuring mirror
shattered
because it magnified the small
and made the great seem insignificant.
Dictators and monsters filled its contours.
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.
The Lonely Earth
by Kajal Ahmad
loose translation/interpretation by Michael R. Burch
The pale celestial bodies
never bid her "Good morning!"
nor do the creative stars
kiss her.
Earth, where so many tender persuasions and roses lie interred,
might expire for the lack of a glance, or an odor.
She's a lonely dusty orb,
so very lonely!, as she observes the moon's patchwork attire
knowing the sun's an imposter
who sears with rays he has stolen for himself
and who looks down on the moon and earth like lodgers.
Kurds are Birds
by Kajal Ahmad
loose translation/interpretation by Michael R. Burch
Per the latest scientific classification, Kurds
now belong to a species of bird!
This is why,
traveling across the torn, fraying pages of history,
they are nomads recognized by their caravans.
Yes, Kurds are birds! And,
even worse, when
there's nowhere left to nest, no refuge from their pain,
they turn to the illusion of traveling again
between the warm and arctic sectors of their homeland.
So I don't think it strange Kurds can fly but not land.
They wander from region to region
never realizing their dreams
of settling,
of forming a colony, of nesting.
No, they never settle down long enough
to visit Rumi and inquire about his health,
or to bow down deeply in the gust-
stirred dust,
like Nali.
Ben Sana Mecburum: "You are indispensable"
by Attila Ilhan, a Turkish poet
loose translation by Nurgül Yayman and Michael R. Burch
You are indispensable; how can you not know
that you're like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?
Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...
Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.
A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...
Are you the blue child of June?
Ah, no one knows you—no one knows!
Your deserted eyes are like distant freighters ...
perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?
Whenever I think of life
seated at the wolves' table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?
Renée Vivien, born Pauline Mary Tarn (1877-1909), was a British poet and high-profile lesbian of the Belle Époque who wrote French poems in the style of the Symbolistes and Parnassiens.
Undine
by Renée Vivien
loose translation/interpretation by Kim Cherub (an alias of Michael R. Burch)
Your laughter startles, your caresses rake.
Your cold kisses love the evil they do.
Your eyes—blue lotuses drifting on a lake.
Lilies are less pallid than your face.
You move like water parting.
Your hair falls in rootlike tangles.
Your words like treacherous rapids rise.
Your arms, flexible as reeds, strangle,
Choking me like tubular river reeds.
I shiver in their enlacing embrace.
Drowning without an illuminating moon,
I vanish without a trace,
lost in a nightly swoon.
Song
by Renée Vivien
loose translation/interpretation by Michael R. Burch
When the moon weeps,
illuminating flowers on the graves of the faithful,
my memories creep
back to you, wrapped in flightless wings.
It's getting late; soon we will sleep
(your eyes already half closed)
steeped
in the shimmering air.
O, the agony of burning roses:
your forehead discloses
a heavy despondency,
though your hair floats lightly ...
In the night sky the stars burn whitely
as the Goddess nightly
resurrects flowers that fear the sun
and die before dawn ...
Amazone
by Renée Vivien
loose translation/interpretation by Michael R. Burch
the Amazon smiles above the ruins
while the sun, wearied by its struggles, droops to sleep.
murder’s aroma swells Her nostrils;
She exults in blood, death’s inscrutable lover.
She loves lovers who intoxicate Her
with their wild agonies and proud demises.
She despises the cloying honey of feminine caresses;
cups empty of horror fail to satisfy Her.
Her desire, falling cruelly on some wan mouth
from which she rips out the unrequited kiss,
awaits ardently lust’s supreme spasm,
more beautiful and more terrible than the spasm of love.
The French poem has “coups” and I considered various words – “cuts,” “coups,” “coups counted,” etc. – but I thought because of “intoxicate” and “honey” that “cups” worked best in English.
“Nous nous sommes assises” (“We Sat Down”)
by Renée Vivien
loose translation/interpretation by Michael R. Burch
Darling, we were like two exiles
bearing our desolate souls within us.
Dawn broke more revolting than any illness...
Neither of us knew the native language
As we wandered the streets like strangers.
The morning’s stench, so oppressive!
Yet you shone like the sunrise of hope...
***
As night fell, we sat down,
Your drab dress grey as any evening,
To feel the friendly freshness of kisses.
No longer alone in the universe,
We exchanged lovely verses with languor.
Darling, we dallied, without quite daring to believe,
And I told you: “The evening is far more beautiful than the dawn.”
You nudged me with your forehead, then gave me your hands,
And I no longer feared uncertain tomorrows.
The sunset sashayed off with its splendid insolence,
But no voice dared disturb our silence...
I forgot the houses and their inhospitality...
The sunset dyed my mourning attire purple.
Then I told you, kissing your half-closed eyelids:
“Violets are more beautiful than roses.”
Darkness overwhelmed the horizon...
Harmonious sobs surrounded us...
A strange languor subdued the strident city.
Thus we savored the enigmatic hour.
Slowly death erased all light and noise,
Then I knew the august face of the night.
You let the last veils slip to your naked feet...
Then your body appeared even nobler to me, dimly lit by the stars.
Finally came the appeasement of rest, of returning to ourselves...
And I told you: “Here is the height of love…”
We who had come carrying our desolate souls within us,
like two exiles, like complete strangers.
Come As You Are
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch
Come as you are, forget appearances!
Is your hair untamable, your part uneven, your bodice unfastened? Never mind.
Come as you are, forget appearances!
Skip with quicksilver steps across the grass.
If your feet glisten with dew, if your anklets slip, if your beaded necklace slides off? Never mind.
Skip with quicksilver steps across the grass.
Do you see the clouds enveloping the sky?
Flocks of cranes erupt from the riverbank, fitful gusts ruffle the fields, anxious cattle tremble in their stalls.
Do you see the clouds enveloping the sky?
You loiter in vain over your toilet lamp; it flickers and dies in the wind.
Who will care that your eyelids have not been painted with lamp-black, when your pupils are darker than thunderstorms?
You loiter in vain over your toilet lamp; it flickers and dies in the wind.
Come as you are, forget appearances!
If the wreath lies unwoven, who cares? If the bracelet is unfastened, let it fall. The sky grows dark; it is late.
Come as you are, forget appearances!
Only Let Me Love You
by Michael R. Burch
after Rabindranath Tagore
Only let me love you, and the pain
of living will be easier to bear.
Only let me love you. Nay, refrain
from pinning up your hair!
Only let me love you. Stay, remain.
A face so lovely never needs repair!
Only let me love you to the strains
of Rabindranath on a soft sitar.
Only let me love you, while the rain
makes music: gentle, eloquent, sincere.
Only let me love you. Don’t complain
you need more time to make yourself more fair!
Only let me love you. Stay, remain.
No need for rouge or lipstick! Only share
your tender body swiftly ...
Unfit Gifts
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch
At sunrise, I cast my nets into the sea,
dredging up the strangest and most beautiful objects from the depths ...
some radiant like smiles, some glittering like tears, others flushed like brides' cheeks.
When I returned, staggering under their weight, my love was relaxing in her garden, idly tearing leaves from flowers.
Hesitant, I placed all I had produced at her feet, silently awaiting her verdict.
She glanced down disdainfully, then pouted: "What are these bizarre things? I have no use for them!"
I bowed my head, humiliated, and thought:
"Truly, I did not contend for them; I did not purchase them in the marketplace; they are unfit gifts for her!"
That night I flung them, one by one, into the street, like refuse.
The next morning travelers came, picked them up and carted them off to exotic countries.
I Cannot Remember My Mother
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch
I cannot remember my mother,
yet sometimes in the middle of my playing
a melody seemed to hover over my playthings:
some forgotten tune she loved to sing
while rocking my cradle.
I cannot remember my mother,
yet sometimes on an early autumn morning
the smell of the shiuli flowers fills my room
as the scent of the temple's morning service
wafts over me like my mother's perfume.
I cannot remember my mother,
yet sometimes still, from my bedroom window,
when I lift my eyes to the heavens' vast blue canopy
and sense on my face her serene gaze,
I feel her grace has encompassed the sky.
This Dog
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch
Each morning this dog,
who has become quite attached to me,
sits silently at my feet
until, gently caressing his head,
I acknowledge his company.
This simple recognition gives my companion such joy
he shudders with sheer delight.
Among all languageless creatures
he alone has seen through man entire—
has seen beyond what is good or bad in him
to such a depth he can lay down his life
for the sake of love alone.
Now it is he who shows me the way
through this unfathomable world throbbing with life.
When I see his deep devotion,
his offer of his whole being,
I fail to comprehend ...
How, through sheer instinct,
has he discovered whatever it is that he knows?
With his anxious piteous looks
he cannot communicate his understanding
and yet somehow has succeeded in conveying to me
out of the entire creation
the true loveworthiness of man.
My Dog Died
by Pablo Neruda
loose translation/interpretation by Michael R. Burch
My dog died;
so I buried him in the backyard garden
next to some rusted machine.
One day I'll rejoin him, over there,
but for now he's gone
with his shaggy mane, his crude manners and his cold, clammy nose,
while I, the atheist who never believed
in any heaven for human beings,
now believe in a paradise I'm unfit to enter.
Yes, I somehow now believe in a heavenly kennel
where my dog awaits my arrival
wagging his tail in furious friendship!
But I'll not indulge in sadness here:
why bewail a companion
who was never servile?
His friendship was more like that of a porcupine
preserving its prickly autonomy.
His was the friendship of a distant star
with no more intimacy than true friendship called for
and no false demonstrations:
he never clambered over me
coating my clothes with mange;
he never assaulted my knee
like dogs obsessed with sex.
But he used to gaze up at me,
giving me the attention my ego demanded,
while helping this vainglorious man
understand my concerns were none of his.
Aye, and with those bright eyes so much purer than mine,
he'd gaze up at me
contentedly;
it was a look he reserved for me alone
all his entire sweet, gentle life,
always merely there, never troubling me,
never demanding anything.
Aye, and often I envied his energetic tail
as we strode the shores of Isla Negra together,
in winter weather, wild birds swarming skyward
as my golden-maned friend leapt about,
supercharged by the sea's electric surges,
sniffing away wildly, his tail held erect,
his face suffused with the salt spray.
Joy! Joy! Joy!
As only dogs experience joy
in the shameless exuberance
of their guiltless spirits.
Thus there are no sad good-byes
for my dog who died;
we never once lied to each other.
He died, he's gone, I buried him;
that's all there is to it.
Love Sonnet XI
by Pablo Neruda
loose translation/interpretation by Michael R. Burch
I crave your mouth, your voice, your hair.
I stalk the streets, silent and starving.
Bread does not satisfy me; dawn does not divert me
from my relentless pursuit of your fluid spoor.
I long for your liquid laughter,
for your sunburned hands like savage harvests.
I lust for your fingernails' pale marbles.
I want to devour your breasts like almonds, whole.
I want to ingest the sunbeams singed by your beauty,
to eat the aquiline nose from your aloof face,
to lick your eyelashes' flickering shade.
I pursue you, snuffing the shadows,
seeking your heart's scorching heat
like a puma prowling the heights of Quitratue.
Excerpt from “To the Moon”
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch
Scattered, pole to starry pole,
glide Cynthia's mild beams,
whispering to the receptive soul
whatever moonbeams mean.
Bathing valley, hill and dale
with her softening light,
loosening from earth’s frigid chains
my restless heart tonight!
Over the landscape, near and far,
broods darkly glowering night;
yet welcoming as Friendship’s eye,
she, soft!, bequeaths her light.
Touched in turn by joy and pain,
my startled heart responds,
then floats, as Whimsy paints each scene,
to soar with her, beyond...
I mean Whimsy in the sense of both the Romantic Imagination and caprice. Here, I have the idea of Peter Pan flying off with Tinker Bell to Neverland.
To the boy Elis
by Georg Trakl, an Austrian poet who wrote in German
loose translation/interpretation by Michael R. Burch
Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.
Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.
Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.
A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?
A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss
from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:
the lost gold of vanished stars.
TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive bloody sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.
Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch
We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering loins make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.
TRANSLATOR'S NOTE: This is a poem about a major resolution: changing the very nature of one's life. While it is only my personal interpretation, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.
Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch
Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.
I Know The Truth
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch
I know the truth—abandon lesser truths!
There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes, generals, poets, lovers?
The wind is calming now; the earth is bathed in dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll sleep together, under the earth,
we who never gave each other a moment's rest above it.
I Know The Truth (Alternate Ending)
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch
I know the truth—abandon lesser truths!
There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes, generals, poets, lovers?
The wind caresses the grasses; the earth gleams, damp with dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll lie together under the earth,
we who were never united above it.
Poems about Moscow
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch
Above the city Saint Peter once remanded to hell
now rolls the delirious thunder of the bells.
As the thundering high tide eventually reverses,
so, too, the woman who once bore your curses.
To you, O Great Peter, and you, O Great Tsar, I kneel!
And yet the bells above me continually peal.
And while they keep ringing out of the pure blue sky,
Moscow's eminence is something I can't deny ...
though sixteen hundred churches, nearby and afar,
all gaily laugh at the hubris of the Tsars.
The Guest
by Anna Akhmatova
loose translation/interpretation by Michael R. Burch
Everything’s the same: a driving snow
Hammers the dining room windows.
Meanwhile, I remain my usual self.
But a man came to me.
I asked him, “What do you want?”
“To be with you in hell.”
I laughed: “It’s plain you intend
To see us both damned!”
But he lifted his elegant hand
to lightly caress the flowers.
“Tell me how they kiss you,
Tell me how you kiss.”
His eyes, observing me blankly,
Never moved from my ring,
Nor did a muscle move
In his implacable face.
We both know his delight
is my unnerving knowledge
that he is indifferent to me,
that I can refuse him nothing.
THE MUSE
by Anna Akhmatova
loose translation/interpretation by Michael R. Burch
My being hangs by a thread tonight
as I await a Muse no human pen can command.
The desires of my heart — youth, liberty, glory —
now depend on the Maid with the flute in her hand.
Look! Now she arrives; she flings back her veil;
I meet her grave eyes — calm, implacable, pitiless.
“Temptress, confess!
Are you the one who gave Dante hell?”
She answers, “Yes.”
The evening light is broad and yellow
by Anna Akhmatova
loose translation/interpretation by Michael R. Burch
The evening light is broad and yellow;
it glides in on an April rain.
You arrived years late,
yet I’m glad you came.
Please sit down here, beside me,
receive me with welcoming eyes.
Here is my blue notebook
with my childhood poems inside.
Forgive me if I lived in sorrow,
spent too little time rejoicing in the sun.
Forgive, forgive, me, if I mistook
others for you, when you were the One.
I have also translated this tribute poem written by Marina Tsvetaeva for Anna Akhmatova:
Excerpt from “Poems for Akhmatova”
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch
You outshine everything, even the sun
at its zenith. The stars are yours!
If only I could sweep like the wind
through some unbarred door,
gratefully, to where you are ...
to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness ...
Le Balcon (The Balcony)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch
Paramour of memory, ultimate mistress,
source of all pleasure, my only desire;
how can I forget your ecstatic caresses,
the warmth of your breasts by the roaring fire,
paramour of memory, ultimate mistress?
Each night illumined by the burning coals
we lay together where the rose-fragrance clings—
how soft your breasts, how tender your soul!
Ah, and we said imperishable things,
each night illumined by the burning coals.
How beautiful the sunsets these sultry days,
deep space so profound, beyond life’s brief floods ...
then, when I kissed you, my queen, in a daze,
I thought I breathed the bouquet of your blood
as beautiful as sunsets these sultry days.
Night thickens around us like a wall;
in the deepening darkness our irises meet.
I drink your breath, ah! poisonous yet sweet!,
as with fraternal hands I massage your feet
while night thickens around us like a wall.
I have mastered the sweet but difficult art
of happiness here, with my head in your lap,
finding pure joy in your body, your heart;
because you’re the queen of my present and past
I have mastered love’s sweet but difficult art.
O vows! O perfumes! O infinite kisses!
Can these be reborn from a gulf we can’t sound
as suns reappear, as if heaven misses
their light when they sink into seas dark, profound?
O vows! O perfumes! O infinite kisses!
Il pleure dans mon coeur (“It rains in my heart”)
by Paul Verlaine
loose translation/interpretation by Michael R. Burch
It rains in my heart
As it rains on the town;
Heavy languor and dark
Drenches my heart.
Oh, the sweet-sounding rain
Cleansing pavements and roofs!
For my listless heart's pain
The pure song of the rain!
Still it rains without reason
In my overcast heart.
Can it be there's no treason?
That this grief's without reason?
As my heart floods with pain,
Lacking hatred, or love,
I've no way to explain
Such bewildering pain!
Published by Better Than Starbucks
Taras Hryhorovych Shevchenko (1814-1861) was also known as Kobzar Taras, or simply Kobzar ("The Bard"). The foremost Ukrainian poet of the 19th century, Shevchenko was also a playwright, writer, artist, illustrator, folklorist, ethnographer and political figure. He is considered to be the father of modern Ukrainian literature and, to some degree, of the modern Ukrainian language. Shevchenko was also an outspoken champion of Ukrainian independence and a major figure in Ukraine's national revival. In 1847 he was convicted for explicitly promoting the independence of Ukraine, for writing poems in the Ukrainian language, and for ridiculing members of the Russian Imperial House. He would spend 12 years under some form of imprisonment or military conscription.
Dear God!
by Taras Shevchenko
loose translation/interpretation by Michael R. Burch
Dear God, disaster again!
Life was once calm ... serene ...
But as soon as we began to break the chains
Of bondage that enslaved us ...
The whip cracked! The serfs' blood flew!
Now, like ravenous wolves fighting over a bone,
The Imperial thugs are at each other's throats again.
Zapovit ("Testament")
by Taras Shevchenko
loose translation/interpretation by Michael R. Burch
When I die, let them bury me
on some high, windy steppe,
my tomb a simple burial mound,
unnoticed and unwept.
Below me, my beloved Ukraine's
vast plains ... beyond, the shore
where the mighty Dnieper thunders
as her surging waters roar!
Then let her bear to the distant sea
the blood of all invaders,
before I rise, at last content
to leave this Earth forever.
For how, until that moment,
could I ever flee to God,
knowing my nation lives in chains,
that innocents shed blood?
Friends, free me from my grave — arise,
sundering your chains!
Water your freedom with blood spilled
by cruel tyrants' evil veins!
Then, when you're all one family,
a family of the free,
do not forget my good intent:
Remember me.
Love in Kyiv
by Natalka Bilotserkivets, a Ukrainian poet
loose translation/interpretation by Michael R. Burch
Love is more terrible in Kyiv
than spectacular Venetian passions,
than butterflies morphing into bright tapers –
winged caterpillars bursting aflame!
Here spring has lit the chestnuts, like candles,
and we have cheap lipstick’s fruity taste,
the daring innocence of miniskirts,
and all these ill-cut coiffures.
And yet images, memories and portents still move us...
all so tragically obvious, like the latest fashion.
Here you’ll fall victim to the assassin’s stiletto,
your blood coruscating like rust
reddening a brand-new Audi in a Tartarkan alley.
Here you’ll plummet from a balcony
headlong into your decrepit little Paris,
wearing a prim white secretarial blouse.
Here you can no longer discern the weddings from the funerals,
because love in Kyiv is more terrible
than the tired slogans of the New Communism.
Phantoms emerge these inebriated nights
out of Bald Mountain, bearing
red banners and potted red geraniums.
Here you’ll die by the assassin’s stiletto:
plummet from a balcony,
tumble headlong into a brand-new Audi in a Tartarkan alley,
spiral into your decrepit little Paris,
your blood coruscating like rust
on a prim white secretarial blouse.
"Words terrify when they remain unspoken." – Lina Kostenko, loose translation/interpretation by Michael R. Burch
Unsaid
by Lina Kostenko, a Ukrainian poet
loose translation/interpretation by Michael R. Burch
You told me “I love you” with your eyes
and your soul passed its most difficult exam;
like the tinkling bell of a mountain stream,
the unsaid remains unsaid.
Life rushed past the platform
as the station's speaker lapsed into silence:
so many words spilled by the quill!
But the unsaid remains unsaid.
Nights become dawn; days become dusk;
Fate all too often tilted the scales.
Words rose in me like the sun,
yet the unsaid remains unsaid.
Let It Be
by Lina Kostenko, a Ukrainian poet
loose translation/interpretation by Michael R. Burch
Let there be light! The touch of a feather.
Let it be forever. A radiant memory!
This world is palest birch bark,
whitened in the darkness from elsewhere.
Today the snow began to fall.
Today late autumn brimmed with smoke.
Let it be bitter, dark memories of you.
Let it be light, these radiant memories!
Don't let the phone arouse your sorrow,
nor let your sadness stir with the leaves.
Let it be light, ’twas only a dream
barely brushing consciousness with its lips.
Mixa Kozimirenko (1938-2005) was a Ukrainian Romani Gypsy poet, philosopher, educator, music teacher, composer and Holocaust survivor. He was a prominent figure and highly regarded in Ukrainian literary circles.
The Beggars
by Mixa Kozimirenko a Ukrainian poet
loose translation/interpretation by Michael R. Burch
Where, please tell me, should I hide my eyes
when a beggar approaches me
and my fatherland has more beggars
than anyplace else?
To cover my eyes with my hands, so as not to see,
not to hear the words ripping my soul apart?
My closed eyes cry
as the beggars walk by...
My eyes tight-shut, so as not to see them,
not to hear the words ripping my soul apart.
It is Mother Ukraine who’s weeping?
Can it be that her cry is unheard?
If the Last Rom Dies
by Mixa Kozimirenko
loose translation/interpretation by Michael R. Burch
If the last Rom dies,
a star would vanish above the tent,
mountains and valleys moan,
horses whinny in open fields,
thunderclouds shroud the moon,
fiddles and guitars gently weep,
giants and dwarfs mourn.
If the last Rom dies…
what trace will the Roma have left?
Ask anyone, anywhere!
The Romani soul is in their songs—look there!
In lands near and far, everywhere,
Romani songs hearten human hearts.
Although their own road to happiness is hard,
they respect Freedom as well as God,
while searching for their heaven on earth.
But whether they’ve found it—ask them!
Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose. Renaissance Venetian society recognized two very different classes of courtesans: the cortigiana onesta (intellectual courtesans) and the cortigiana di lume (lower-class prostitutes, often streetwalkers). Franco was perhaps the most celebrated cortigiana onesta, or "honest courtesan." Thanks to her fine education and literary talents, she was able to mingle with Venice's elites, befriending and sometimes bedding aristocrats and noblemen, even King Henry III of France, to whom she addressed two sonnets in her second book. She also became close friends with Domenico Venier, a patron of female poets, and was able to take advantage of the Venier palace library. Her poems display both passion and intelligence, and she sometimes engaged in witty poetic "duels" with the male poets she knew. For instance, Franco wrote the poem below in response to a poem by Marco Venier:
A Courtesan's Love Lyric
by Veronica Franco
loose translation/interpretation by Michael R. Burch
My rewards will be commensurate with your gifts
if only you give me the one that lifts
me laughing ...
And though it costs you nothing,
still it is of immense value to me.
Your reward will be
not just to fly
but to soar, so high
that your joys vastly exceed your desires.
And my beauty, to which your heart aspires
and which you never tire of praising,
I will employ for the raising
of your spirits. Then, lying sweetly at your side,
I will shower you with all the delights of a bride,
which I have more expertly learned.
Then you who so fervently burned
will at last rest, fully content,
fallen even more deeply in love, spent
at my comfortable bosom.
When I am in bed with a man I blossom,
becoming completely free
with the man who loves and enjoys me.
The Tomb of Edgar Poe
by Stéphane Mallarmé
loose translation/interpretation by Michael R. Burch
Transformed into himself by Death, at last,
the Bard unsheathed his Art’s recondite blade
to duel with dullards, blind & undismayed,
who’d never heard his ardent Voice, aghast!
Like dark Medusan demons of the past
who’d failed to heed such high, angelic words,
men called him bendered, his ideas absurd,
discounting all the warlock’s spells he’d cast.
The wars of heaven and hell? Earth’s senseless grief?
Can sculptors carve from myths a bas-relief
to illuminate the sepulcher of Poe?
No, let us set in granite, here below,
a limit and a block on this disaster:
this Blasphemy, to not acknowledge a Master!
"Le Cygne" ("The Swan")
by Stéphane Mallarmé
this untitled poem is also called Mallarmé's "White Sonnet"
loose translation/interpretation by Michael R. Burch
The virginal, the vivid, the vivacious day:
can its brilliance be broken by a wild wing-blow
delivered to this glacial lake
whose frozen ice-falls impede flight? No.
In past reflections on its thoughts today
the Swan remembers freedom, yet can't make
a song from its surroundings, only take
on the winter's ghostly hue of snow.
In the Swan's white agony its bared neck lies
within an icy guillotine its sense denies.
Slowly being frozen to its inner being,
the body ignores the phantom spirit fleeing ...
Cold contempt for its captor
does not avail the raptor.
I choose to love you in silence
by Rumi
loose translation/interpretation by Michael R. Burch
I choose to love you in silence
where there is no rejection;
to possess you in loneliness
where you are mine alone;
to adore you from a distance
which diminishes pain;
to kiss you in the wind
stealthier than my lips;
to embrace you in my dreams
where you are limitless ...
Songbird/Birdsong
by Rumi
loose translation/interpretation by Michael R. Burch
Birdsong relieves
my deepest griefs:
now I'm just as ecstatic as they,
but with nothing to say!
Please universe,
rehearse
your poetry
through me!
The Field
by Rumi
loose translation/interpretation by Michael R. Burch
Far beyond sermons of right and wrong there's a sunlit field.
I'll meet you there.
When the soul lazes in such lush grass
the world is too full for discussion.
Infectious!
by Hafiz aka Hafez, a Persian poet
loose translation/interpretation by Michael R. Burch
I became infected with happiness tonight
as I wandered idly, singing in the starlight.
Now I'm wonderfully contagious—
so kiss me!
Dispensing Keys
by Hafiz aka Hafez
loose translation/interpretation by Michael R. Burch
The imbecile
constructs cages
for everyone he knows,
while the sage
(who has to duck his head
whenever the moon glows)
keeps dispensing keys
all night long
to the beautiful, rowdy,
prison gang.
The Tally
by Hafiz aka Hafez
loose translation/interpretation by Michael R. Burch
Lovers
don't reveal
all
their Secrets;
under the covers
they
may
count each other's Moles
(that reside
and hide
in the shy regions
by forbidden holes),
then keep the final tally
strictly
from Aunt Sally!
This is admittedly a very loose translation of the original Hafiz poem!
Paul Valéry was buried in the seaside cemetery evoked in his best-known poem. From the vantage of the cemetery, the tombs seemed to “support” a sea-ceiling dotted with white sails. Valéry begins and ends his poem with this image ...
Excerpts from “Le cimetière marin”(“The graveyard by the sea”)
from Charmes ou poèmes (1922)
by Paul Valéry
loose translation/interpretation by Michael R. Burch
Do not, O my soul, aspire to immortal life, but exhaust what is possible.
—Pindar, Pythian Ode 3
1.
This tranquil ceiling, where white doves are sailing,
stands propped between tall pines and foundational tombs,
as the noonday sun composes, with its flames,
sea-waves forever forming and reforming ...
O, what a boon, when some lapsed thought expires,
to reflect on the placid face of Eternity!
5.
As a pear dissolves in the act of being eaten,
transformed, through sudden absence, to delight
relinquishing its shape within our mouths,
even so, I breathe in vapors I’ll become,
as the sea rejoices and its shores enlarge,
fed by lost souls devoured; more are rumored.
6.
Beautiful sky, my true-blue sky, ’tis I
who alters! Pride and indolence possessed me,
yet, somehow, I possessed real potency ...
But now I yield to your ephemeral vapors
as my shadow steals through stations of the dead;
its delicate silhouette crook-fingering “Forward!”
8.
... My soul still awaits reports of its nothingness ...
9.
... What corpse compels me forward, to no end?
What empty skull commends these strange bone-heaps?
A star broods over everything I lost ...
10.
... Here where so much antique marble
shudders over so many shadows,
the faithful sea slumbers ...
11.
... Watchful dog ...
Keep far from these peaceful tombs
the prudent doves, all impossible dreams,
the angels’ curious eyes ...
12.
... The brittle insect scratches out existence ...
... Life is enlarged by its lust for absence ...
... The bitterness of death is sweet and the mind clarified.
13.
... The dead do well here, secured here in this earth ...
... I am what mutates secretly in you ...
14.
I alone can express your apprehensions!
My penitence, my doubts, my limitations,
are fatal flaws in your exquisite diamond ...
But here in their marble-encumbered infinite night
a formless people sleeping at the roots of trees
have slowly adopted your cause ...
15.
... Where, now, are the kindly words of the loving dead? ...
... Now grubs consume, where tears were once composed ...
16.
... Everything dies, returns to earth, gets recycled ...
17.
And what of you, great Soul, do you still dream
there’s something truer than deceitful colors:
each flash of golden surf on eyes of flesh?
Will you still sing, when you’re as light as air?
Everything perishes and has no presence!
I am not immune; Divine Impatience dies!
18.
Emaciate consolation, Immortality,
grotesquely clothed in your black and gold habit,
transfiguring death into some Madonna’s breast,
your pious ruse and cultivated lie:
who does not know and who does not reject
your empty skull and pandemonic laughter?
24.
The wind is rising! ... We must strive to live!
The immense sky opens and closes my book!
Waves surge through shell-shocked rocks, reeking spray!
O, fly, fly away, my sun-bedazzled pages!
Break, breakers! Break joyfully as you threaten to shatter
this tranquil ceiling where white doves are sailing!
Ode secrète (“Secret Ode”)
by Paul Valéry
loose translation/interpretation by Michael R. Burch
The fall so exquisite, the ending so soft,
the struggle’s abandonment so delightful:
depositing the glistening body
on a bed of moss, after the dance!
Who has ever seen such a glow
illuminate a triumph
as these sun-brightened beads
crowning a sweat-drenched forehead!
Here, touched by the dusk's last light,
this body that achieved so much
by dancing and outdoing Hercules
now mimics the drooping rose-clumps!
Sleep then, our all-conquering hero,
come so soon to this tragic end,
for now the many-headed Hydra
reveals its Infiniteness …
Behold what Bull, what Bear, what Hound,
what Visions of limitless Conquests
beyond the boundaries of Time
the soul imposes on formless Space!
This is the supreme end, this glittering Light
beyond the control of mere monsters and gods,
as it gloriously reveals
the matchless immensity of the heavens!
The Eager Traveler
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch
Even in the torture chamber, I was the lucky one;
When each lottery was over, unaccountably I had won.
And even the mightiest rivers found accessible refuge in me;
Though I was called an arid desert, I turned out to be the sea.
And how sweetly I remember you, oh, my wild, delectable love —
Like the purest white blossoms, on talented branches above.
And while I’m half-convinced that folks adore me in this town,
Still, all the hands I kissed held knives and tried to shake me down.
You lost the battle, my coward friend, my craven enemy,
When, to victimize my lonely soul, you sent a despoiling army.
Lost in the wastelands of vast love, I was an eager traveler,
Like a breeze in search of your fragrance, a vagabond explorer.
Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch
Not the blossomings of songs nor the adornments of music:
I am the voice of my own heart breaking.
You toy with your long, dark curls
while I remain captive to my dark, pensive thoughts.
We congratulate ourselves that we two are different:
that this weakness has not burdened us both with inchoate grief.
Now you are here, and I find myself bowing—
as if sadness is a blessing, and longing a sacrament.
I am a fragment of sound rebounding;
you are the walls impounding my echoes.
Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch
Life becomes even more complicated
when a man can’t think like a man ...
What irrationality makes me so dependent on her
that I rush off an hour early, then get annoyed when she's "late"?
My lover is so striking! She demands to be seen.
The mirror reflects only her image, yet still dazzles and confounds my eyes.
Love’s stings have left me the deep scar of happiness
while she hovers above me, illuminated.
She promised not to torment me, but only after I was mortally wounded.
How easily she “repents,” my lovely slayer!
Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch
It’s time for the world to hear Ghalib again!
May these words and their shadows like doors remain open.
Tonight the watery mirror of stars appears
while night-blooming flowers gather where beauty rests.
She who knows my desire is speaking,
or at least her lips have recently moved me.
Why is grief the fundamental element of night
when everything falls as the distant stars rise?
Tell me, how can I be happy, vast oceans from home
when mail from my beloved lies here, so recently opened?
Ho Xuan Huong (1772-1882) was a risqué Vietnamese poetess. Her verse, replete with nods, winks, sexual innuendo and a rich eroticism, was shocking to many readers of her day and will probably remain so to some of ours. Huong has been described as "the candid voice of a liberal female in a male-dominated society." Her output has been called "coy, often bawdy lyrics." More information about the poet follows these English translations of her poems.
Ốc Nhồi ("The Snail")
Ho Xuan Huong
loose translation/interpretation by Michael R. Burch
My parents produced a snail,
Night and day it slithers through slimy grass.
If you love me, remove my shell,
But please don't jiggle my little hole!
The Breadfruit or Jackfruit
Ho Xuan Huong
loose translation/interpretation by Michael R. Burch
My body's like a breadfruit ripening on a tree:
My skin coarse, my pulp thick.
My lord, if you want me, pierce me with your stick,
But don't squeeze or the sap will sully your hands!
Bánh trôi nước ("Floating Sweet Dumpling")
Ho Xuan Huong
loose translation/interpretation by Michael R. Burch
My powdered body is white and round.
Now I bob. Now I sink.
The hand that kneads me may be rough,
But my heart at the center remains untouched.
"The Ruin" is one of the great poems of English antiquity. This elegy/lament may have been written by an Anglo-Saxon scop who admired the long-lasting construction-work of the ancient Romans. The references to bath-houses and a stream gushing forth hot water suggest that the ruins in question are those of Bath, England. "The Ruin" appeared in the Exeter Book, which has been dated to around 960 to 990 AD. Of course the poems in the book could have been written at some earlier date—perhaps considerably earlier. In Anglo-Saxon poetry the Wyrdes were like the Fates of Greek mythology, and the Fates controlled human destinies. I have interpreted the poem to be a war of sorts between human Giants and the Wyrdes, so I have chosen to capitalize only the two warring parties. While it may seem that the Wyrdes won, the work of the Giants still stands ...
THE RUIN
loose translation/interpretation by Michael R. Burch
well-hewn was this wall-stone, till Wyrdes wrecked it
and the Colossus sagged inward ...
broad battlements broken;
the Builders' work battered;
the high ramparts ransacked;
tall towers collapsed;
the great roof-beams shattered;
gates groaning, agape ...
mortar mottled and marred by scarring hoar-frosts ...
the Giants’ dauntless strongholds decaying with age ...
shattered, the shieldwalls,
the turrets in tatters ...
where now are those mighty Masons, those Wielders and Wrights,
those Samson-like Stonesmiths?
the grasp of the earth, the firm grip of the ground
holds fast those fearless Fathers
men might have forgotten
except that this slow-rotting siege-wall still stands
after countless generations!
for always this edifice, grey-lichened, blood-stained,
stands facing fierce storms with their wild-whipping winds
because those master Builders bound its wall-base together
so cunningly with iron!
it outlasted mighty kings and their clans!
how high rose those regal rooftops!
how kingly their castle-keeps!
how homely their homesteads!
how boisterous their bath-houses and their merry mead-halls!
how heavenward flew their high-flung pinnacles!
how tremendous the tumult of those famous War-Wagers ...
till mighty Fate overturned it all, and with it, them.
then the wide walls fell;
then the bulwarks buckled;
then the dark days of disease descended ...
as death swept the battlements of brave Brawlers;
as their palaces became waste places;
as ruin rained down on their grand Acropolis;
as their great cities and castles collapsed
while those who might have rebuilt them lay gelded in the ground—
those marvelous Men, those mighty master Builders!
therefore these once-decorous courts court decay;
therefore these once-lofty gates gape open;
therefore these roofs' curved arches lie stripped of their shingles;
therefore these streets have sunk into ruin and corroded rubble ...
when in times past light-hearted Titans flushed with wine
strode strutting in gleaming armor, adorned with splendid ladies’ favors,
through this brilliant city of the audacious famous Builders
to compete for bright treasure: gold, silver, amber, gemstones.
here the cobblestoned courts clattered;
here the streams gushed forth their abundant waters;
here the baths steamed, hot at their fiery hearts;
here this wondrous wall embraced it all, with its broad bosom.
... that was spacious ...
For explanations of how he translates and why he calls his results "loose translations" and "interpretations" please click here: Michael R. Burch Translation Methods and Credits to Other Translators
I have read 14 different volumes of Sappho’s collected poems and fragments in translation. In my opinion, no translator has ever done it as well as Mike Burch. He and Sappho are a perfect match, and the work attests to that:
Sappho, fragment 47
loose translation Michael R. Burch
Eros harrows my heart:
wild winds whipping desolate mountains,
uprooting oaks.
These are incredible. I can only claim to have studied the epic of Gilgamesh with a scholar but heard and read Sappho’s poems when I was young.
So beautiful. The length of this post leads me to send it my computer and print it to read. Is that something you would allow me to do?