These are modern English translations of ancient Chinese, ancient Egyptian, French, German, Greek, Gujarati, Italian, Japanese, Latin, Old English, Polish, Scots Dialect, Urdu and Uyghur poems by Antipater of Sidon, Basho, Charles Baudelaire, Paul Celan, Fukuda Chiyo-ni, Po Chu-I, Dante, Deor, William Dunbar, Faiz Ahmed Faiz, Veronica Franco, Mirza Ghalib, Hadrian, Heinrich Heine, Huang E, Sui Hui, Xu Hui, Issa, Allama Iqbal, Primo Levi, Li Qingzhao, Sophocles, Hisajo Sugita, Wladyslaw Szlengel, Perhat Tursun, Tzu Yeh, the Duke of Zhou, and other poets....
HEINRICH HEINE
Heinrich Heine is widely considered to be a major German poet.
The Seas Have Their Pearls
by Heinrich Heine
loose translation/interpretation by Michael R. Burch
The seas have their pearls,
The heavens their stars;
But my heart, my heart,
My heart has its love!
The seas and the sky are immense;
Yet far greater still is my heart,
And fairer than pearls and stars
Are the radiant beams of my love.
As for you, tender maiden,
Come steal into my great heart;
My heart, and the sea, and the heavens
Are all melting away with love!
Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose.
A Courtesan's Love Lyric (I)
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.
Here is a second version of the same poem ...
I Resolved to Make a Virtue of My Desire (II)
by Veronica Franco
loose translation/interpretation by Michael R. Burch
My rewards will match your gifts
If you give me the one that lifts
Me, laughing. If it comes free,
Still, it is of immense value to me.
Your reward will be—not just to fly,
But to soar—so incredibly high
That your joys eclipse your desires
(As my beauty, to which your heart aspires
And which you never tire of praising,
I employ for your spirit's raising).
Afterwards, lying docile at your side,
I will grant you 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 freely enjoys me.
Veronica Franco published two books: Terze rime (a collection of poems) and Lettere familiari a diversi (Faa collection of letters and poems). She also collected the works of other writers into anthologies and founded a charity for courtesans and their children. And she was an early champion of women's rights, one of the first ardent, outspoken feminists that we know by name today. For example ...
Capitolo 24
by Veronica Franco
loose translation/interpretation by Michael R. Burch
(written by Franco to a man who had insulted a woman)
Please try to see with sensible eyes
how grotesque it is for you
to insult and abuse women!
Our unfortunate sex is always subject
to such unjust treatment, because we
are dominated, denied true freedom!
And certainly we are not at fault
because, while not as robust as men,
we have equal hearts, minds and intellects.
Nor does virtue originate in power,
but in the vigor of the heart, mind and soul:
the sources of understanding;
and I am certain that in these regards
women lack nothing,
but, rather, have demonstrated
superiority to men.
If you think us "inferior" to yourself,
perhaps it's because, being wise,
we outdo you in modesty.
And if you want to know the truth,
the wisest person is the most patient;
she squares herself with reason and with virtue;
while the madman thunders insolence.
The stone the wise man withdraws from the well
was flung there by a fool ...
When I bed a man
who—I sense—truly loves and enjoys me,
I become so sweet and so delicious
that the pleasure I bring him surpasses all delight,
till the tight
knot of love,
however slight
it may have seemed before,
is raveled to the core.
We danced a youthful jig through that fair city—
Venice, our paradise, so pompous and pretty.
We lived for love, for primal lust and beauty;
to please ourselves became our only duty.
Floating there in a fog between heaven and earth,
We grew drunk on excesses and wild mirth.
We thought ourselves immortal poets then,
Our glory endorsed by God's illustrious pen.
But paradise, we learned, is fraught with error,
and sooner or later love succumbs to terror.
In response to a friend urging Veronica Franco to help her daughter become a courtesan, Franco warns her that the profession can be devastating:
"Even if Fortune were only benign and favorable to you in this endeavor, this life is such that in any case it would always be wretched. It is such an unhappy thing, and so contrary to human nature, to subject one's body and activity to such slavery that one is frightened just by the thought of it: to let oneself be prey to many, running the risk of being stripped, robbed, killed, so that one day can take away from you what you have earned with many men in a long time, with so many other dangers of injury and horrible contagious disease: to eat with someone else's mouth, to sleep with someone else's eyes, to move according to someone else's whim, running always toward the inevitable shipwreck of one's faculties and life. Can there be greater misery than this? ... Believe me, among all the misfortunes that can befall a human being in the world, this life is the worst."
I confess I became a courtesan, traded yearning for power, welcomed many rather than be owned by one. I confess I embraced a whore's freedom over a wife's obedience.— Dangerous Beauty, 1998
I wish it were not a sin to have liked it so.
Women have not yet realized the cowardice that resides,
for if they should decide to do so,
they would be able to fight you until death;
and to prove that I speak the truth,
amongst so many women,
I will be the first to act,
setting an example for them to follow.
The poem below is based on my teenage misinterpretation of a Latin prayer ...
Elegy for a little girl, lost
by Michael R. Burch
for my mother, Christine Ena Burch, who was always a little girl at heart
. . . qui laetificat juventutem meam . . .
She was the joy of my youth,
and now she is gone.
. . . requiescat in pace . . .
May she rest in peace.
. . . amen . . .
Amen.
I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem, which I started in high school and revised as an adult. From what I now understand, "ad deum qui laetificat juventutem meam" means "to the God who gives joy to my youth," but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Latin Vulgate Bible (circa 385 AD). I can't remember exactly when I read the novel or wrote the poem, but I believe it was around my junior year of high school, age 17 or thereabouts. This was my first translation. I revised the poem slightly in 2001 after realizing I had "misremembered" one of the words in the Latin prayer.
"The Leiden Riddle" is an Old English translation of Aldhelm's Latin riddle Lorica ("Corselet").
The Leiden Riddle
anonymous Old English riddle poem, circa 700
loose translation/interpretation by Michael R. Burch
The dank earth birthed me from her icy womb.
I know I was not fashioned from woolen fleeces;
nor was I skillfully spun from skeins;
I have neither warp nor weft;
no thread thrums through me in the thrashing loom;
nor do whirring shuttles rattle me;
nor does the weaver's rod assail me;
nor did silkworms spin me like skillfull fates
into curious golden embroidery.
And yet heroes still call me an excellent coat.
Nor do I fear the dread arrows' flights,
however eagerly they leap from their quivers.
Solution: a coat of mail.
Hadrian's Elegy
loose translation/interpretation by Michael R. Burch
1.
Little soul,
little tramp,
little vagabond ...
where are we fluttering off to,
so bedraggled, pale and woebegone,
who used to be so full of mirth?
Where are we going—from bad to worse?
Who’ll laugh last? Was the joke on us?
2.
My delicate soul,
now aimlessly fluttering ... drifting ... unwhole,
former consort of my failing corpse ...
Where are we going—from bad to worse?
From jail to a hearse?
Where do we wander now—fraught, pale and frail?
To hell?
To some place devoid of jests, mirth, happiness?
Is the joke on us?
This is a poem of mine that has been translated into Italian by Comasia Aquaro.
Her Grace Flows Freely
by Michael R. Burch
July 7, 2007
Her love is always chaste, and pure.
This I vow. This I aver.
If she shows me her grace, I will honor her.
This I vow. This I aver.
Her grace flows freely, like her hair.
This I vow. This I aver.
For her generousness, I would worship her.
This I vow. This I aver.
I will not damn her for what I bear
This I vow. This I aver.
like a most precious incense–desire for her,
This I vow. This I aver.
nor call her “whore” where I seek to repair.
This I vow. This I aver.
I will not wink, nor smirk, nor stare
This I vow. This I aver.
like a foolish child at the foot of a stair
This I vow. This I aver.
where I long to go, should another be there.
This I vow. This I aver.
I’ll rejoice in her freedom, and always dare
This I vow. This I aver.
the chance that she’ll flee me–my starling rare.
This I vow. This I aver.
And then, if she stays, without stays, I swear
This I vow. This I aver.
that I will joy in her grace beyond compare.
This I vow. This I aver.
Her Grace Flows Freely
by Michael R. Burch
Italian translation by Comasia Aquaro
La sua grazia vola libera
7 luglio 2007
Il suo amore è sempre casto, e puro.
Lo giuro. Lo prometto.
Se mi mostra la sua grazia, le farò onore.
Lo giuro. Lo prometto.
La sua grazia vola libera, come i suoi capelli.
Lo giuro. Lo prometto.
Per la sua generosità, la venererò.
Lo giuro. Lo prometto.
Non la maledirò per ciò che soffro
Lo giuro. Lo prometto.
come il più prezioso desiderio d’incenso per lei,
Lo giuro. Lo prometto.
non chiamarla “sgualdrina” laddove io cerco di aggiustare.
Lo giuro. Lo prometto.
Io non strizzerò l’occhio, non riderò soddisfatto, non fisserò lo sguardo
Lo giuro. Lo prometto.
Come un bambino sciocco ai piedi di una scala
Lo giuro. Lo prometto.
Laddove io desidero andare, ci sarebbe forse un altro.
Lo giuro. Lo prometto.
Mi rallegrerò nella sua libertà, e sempre sfiderò
Lo giuro. Lo prometto.
la sorte che lei mi sfuggirà—il mio raro storno
Lo giuro. Lo prometto.
E dopo, se lei resta, senza stare, io lo garantisco
Lo giuro. Lo prometto.
Gioirò nella sua grazia al di là del confrontare.
Lo giuro. Lo prometto.
Sonnet 26
by Giacomo da Lentini
loose translation/interpretation by Michael R. Burch
I've seen it rain on sunny days;
I’ve seen the darkness split by light;
I’ve seen white lightning fade to haze;
Seen frozen snow turn water-bright.
Some sweets have bitter aftertastes
While bitter things can taste quite sweet:
So enemies become best mates
While former friends no longer meet.
Yet the strangest thing I've seen is Love,
Who healed my wounds by wounding me.
Love quenched the fire he lit before;
The life he gave was death, therefore.
How to warm my heart? It eluded me.
Yet extinguished, Love sears all the more.
Giacomo da Lentini, also known as Jacopo da Lentini or by the appellative Il Notaro (“The Notary”), was an Italian poet of the 13th century who has been credited with creating the sonnet.
Dante Translations by Michael R. Burch
Little sparks may ignite great Infernos.—Dante, loose translation/interpretation by Michael R. Burch
In Beatrice I beheld the outer boundaries of blessedness.—Dante, loose translation/interpretation by Michael R. Burch
She made my veins and even the pulses within them tremble.—Dante, loose translation/interpretation by Michael R. Burch
Her sweetness left me intoxicated.—Dante, loose translation/interpretation by Michael R. Burch
Love commands me by determining my desires.—Dante, loose translation/interpretation by Michael R. Burch
Follow your own path and let the bystanders gossip.—Dante, loose translation/interpretation by Michael R. Burch
The devil is not as dark as depicted.—Dante, loose translation/interpretation by Michael R. Burch
There is no greater sorrow than to recall how we delighted in our own wretchedness.—Dante, loose translation/interpretation by Michael R. Burch
As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you nosedive in the mildest breeze?—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you quail at the least breath of wind?—Dante, loose translation/interpretation by Michael R. Burch
Midway through my life’s journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
—Dante, loose translation/interpretation by Michael R. Burch
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
Paradiso, Canto III:1-33, The Revelation of Love and Truth
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
That sun, which had inflamed my breast with love,
Had now revealed to me—as visions move—
The gentle and confounding face of Truth.
Thus I, by her sweet grace and love reproved,
Corrected, and to true confession moved,
Raised my bowed head and found myself behooved
To speak, as true admonishment required,
And thus to bless the One I so desired,
When I was awed to silence! This transpired:
As the outlines of men’s faces may amass
In mirrors of transparent, polished glass,
Or in shallow waters through which light beams pass
(Even so our eyes may easily be fooled
By pearls, or our own images, thus pooled):
I saw a host of faces, pale and lewd,
All poised to speak; but when I glanced around
There suddenly was no one to be found.
A pool, with no Narcissus to astound?
But then I turned my eyes to my sweet Guide.
With holy eyes aglow and smiling wide,
She said, “They are not here because they lied.”
Excerpt from Paradiso
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
O Virgin Mother, daughter of your Son,
Humble, and yet held high above creation,
You are the apex of all Wisdom known!
You are the Pinnacle of human nature,
Your nobility instilled by its Creator
who did not qualm to be born with your features.
Love was engendered in your perfect womb
Where warmth and holy peace were given room
For heaven's Perfect Rose, once sown, to bloom.
Now unto us you are a Torch held high:
Our noonday sun—the light of Charity,
Our wellspring of all Hope, a living sea.
Madonna, so pure, high and all-availing,
The man who desires grace of you, though failing,
Despite his grounded state, is given wing!
Your mercy does not fail us, Ever-Blessed!
Indeed, the one who asks may find his wish
Unneeded: you predicted his request!
You are our Mercy; you are our Compassion;
you are Magnificence; in you creation
becomes the sum of Goodness and Salvation.
Sonnet: "Love's Faithful Ones" from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
To every gentle heart true Love may move,
And unto whom my words must now be brought
For wise interpretation’s tender thought—
I greet you in our Lord's name, which is Love.
Through night’s last watch, as winking stars, above,
Kept their high vigil over men, distraught,
Love came to me, with such dark terrors fraught
As mortals may not casually speak of.
Love seemed a being of pure Joy and held
My heart, pulsating. On his other arm,
My lady, wrapped in thinnest gossamers, slept.
He, having roused her from her sleep, then made
My heart her feast—devoured, with alarm.
Love then departed; as he left, he wept.
Excerpts from LA VITA NUOVA
by Dante Alighieri
Ecce deus fortior me, qui veniens dominabitur mihi.
Here is a Deity, stronger than myself, who comes to dominate me.
—Dante, loose translation/interpretation by Michael R. Burch
Apparuit iam beatitudo vestra.
Your blessedness has now been manifested unto you.
—Dante, loose translation/interpretation by Michael R. Burch
Heu miser! quia frequenter impeditus ero deinceps.
Alas, how often I will be restricted now!
—Dante, loose translation/interpretation by Michael R. Burch
Fili mi, tempus est ut prætermittantur simulata nostra.
My son, it is time to cease counterfeiting.
—Dante, loose translation/interpretation by Michael R. Burch
Ego tanquam centrum circuli, cui simili modo se habent circumferentiæ partes: tu autem non sic.
Love said: “I am as the center of a harmonious circle; everything is equally near me. No so with you.”
—Dante, loose translation/interpretation by Michael R. Burc
Sonnet: “Love’s Thoroughfare” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
“O voi che par la via”
All those who travel Love's worn tracks,
Pause here awhile, and ask
Has there ever been a grief like mine?
Pause here, from that mad race;
Patiently hear my case:
Is it not a piteous marvel and a sign?
Love, not because I played a part,
But only due to his great heart,
Afforded me a provenance so sweet
That often others, as I went,
Asked what such unfair gladness meant:
They whispered things behind me in the street.
But now that easy gait is gone
Along with the wealth Love afforded me;
And so in time I’ve come to be
So poor that I dread to ponder thereon.
And thus I have become as one
Who hides his shame of his poverty
By pretending happiness outwardly,
While within I travail and moan.
Sonnet: “Cry for Pity” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
These thoughts lie shattered in my memory:
When through the past I see your lovely face.
When you are near me, thus, Love fills all Space,
And often whispers, “Is death better? Fly!”
My face reflects my heart's blood-red dammed tide,
Which, fainting, seeks some shallow resting place;
Till, in the blushing shame of such disgrace,
The very earth seems to be shrieking, “Die!”
’Twould be a grievous sin, if one should not
Relay some comfort to my harried mind,
If only with some simple pitying
For this great anguish which fierce scorn has wrought
Through the faltering sight of eyes grown nearly blind,
Which search for death now, as a blessed thing.
Sonnet: “Ladies of Modest Countenance” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch
You who wear a modest countenance
With eyelids weighed down by such heaviness,
How is it, that among you every face
Is haunted by the same pale troubled glance?
Have you seen in my lady's face, perchance,
the grief that Love provokes despite her grace?
Confirm this thing is so, then in her place,
Complete your grave and sorrowful advance.
And if indeed you match her heartfelt sighs
And mourn, as she does, for the heart's relief,
Then tell Love how it fares with her, to him.
Love knows how you have wept, seeing your eyes,
And is so grieved by gazing on your grief
His courage falters and his sight grows dim.
While the following poem is not a translation, per se, it is my interpretation of another poet's idea, as explained after the poem ...
The Pain of Love
by Michael R. Burch
for T. M.
The pain of love is this:
the parting after the kiss;
the train steaming from the station
whistling abnegation;
each interstate's bleak white bar
that vanishes under your car;
every hour and flower and friend
that cannot be saved in the end;
dear things of immeasurable cost ...
now all irretrievably lost.
The title "The Pain of Love" was suggested by Little Richard, then eighty years old, in an interview with Rolling Stone. Little Richard said someone should create a song called "The Pain of Love." How could I not obey a living legend? I have always found the departure platforms of railway stations and the vanishing broken white bars of highway dividing lines to be depressing, so they were natural images for my poem. Perhaps someone can set the lyrics to music and fulfill the Great Commission!
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?
The Duke of Zhou (circa 1100-1000 BC), a member of the Zhou Dynasty also known as Ji Dan, played a major role in Chinese history and culture. He has been called “probably the first real person to step over the threshold of myth into Chinese history” and he may be the first Chinese poet we know by name today, and the spiritual ancestor of Confucius as well. The Duke was a capable and loyal regent for his young nephew King Cheng and successfully suppressed a number of rebellions. He has also been credited with writing the I Ching and the Book of Songs, also called the Book of Odes, and with creating yayue (“elegant music”) which became Chinese classical music. His poem “The Owl” was apparently written while he was away fighting on his nephew’s behalf, after court dissenters accused him of plotting to usurp the throne.
Chixiao (“The Owl”)
by Duke Zhou
loose translation/interpretation by Michael R. Burch
Owl!
You've stolen my offspring,
Don't shatter my nest!
When with labors of love
I nurtured my fledglings.
Before the skies darkened
And the dark rains fell,
I gathered mulberry twigs
To thatch my nest,
Yet scoundrels now dare
Impugn my enterprise.
With fingers chafed rough
By the reeds I plucked
And the straw I threshed,
I now write these words,
Too hoarse to speak:
I am homeless!
My wings are withered,
My tail torn away,
My home toppled
And tossed into the rain,
My cry a distressed peep.
Star Gauge
Sui Hui (c. 351-394 BC)
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!
Sui Hui, also known as Su Hui and Lady Su, appears to be the first female Chinese poet of note.
Reflection
Xu Hui (627–650)
loose translation/interpretation by Michael R. Burch
Confronting the morning she faces her mirror;
Her makeup done at last, she paces back and forth awhile.
It would take vast mountains of gold to earn one contemptuous smile,
So why would she answer a man's summons?
Due to the similarities in names, it seems possible that Sui Hui and Xu Hui were the same poet, with some of her poems being discovered later, or that poems written later by other poets were attributed to her.
Tzu Yeh (circa 400 BC)
loose translation/interpretation by Michael R. Burch
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 (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
loose translation/interpretation by Michael R. Burch
Do you not see
that we
have become like branches of a single tree?
Tzu Yeh (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
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 (circa 400 BC)
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.
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").
Waves
Zhai Yongming (1955-)
loose translation/interpretation by Michael R. Burch
The waves manhandle me like a midwife pounding my back relentlessly,
and so the world abuses my body—
accosting me, bewildering me, according me a certain ecstasy ...
Monologue
Zhai Yongming (1955-)
loose translation/interpretation by Michael R. Burch
I am a wild thought, born of the abyss
and—only incidentally—of you. The earth and sky
combine in me—their concubine—they consolidate in my body.
I am an ordinary embryo, encased in pale, watery flesh,
and yet in the sunlight I dazzle and amaze you.
I am the gentlest, the most understanding of women.
Yet I long for winter, the interminable black night, drawn out to my heart's bleakest limit.
When you leave, my pain makes me want to vomit my heart up through my mouth—
to destroy you through love—where's the taboo in that?
The sun rises for the rest of the world, but only for you do I focus the hostile tenderness of my body.
I have my ways.
A chorus of cries rises. The sea screams in my blood but who remembers me?
What is life?
Zhai Yongming is a contemporary Chinese poet, born in Chengdu in 1955. She was one of the instigators and prime movers of the “Black Tornado” of women’s poetry that swept China in 1986-1989. Since then Zhai has been regarded as one of China’s most prominent poets.
Pyre
Guan Daosheng (1262-1319)
loose translation/interpretation by Michael R. Burch
You and I share so much desire:
this love―like a fire—
that ends in a pyre's
charred coffin.
"Married Love" or "You and I" or "The Song of You and Me"
Guan Daosheng (1262-1319)
loose translation/interpretation by Michael R. Burch
You and I shared a love that burned like fire:
two lumps of clay in the shape of Desire
molded into twin figures. We two.
Me and you.
In life we slept beneath a single quilt,
so in death, why any guilt?
Let the skeptics keep scoffing:
it's best to share a single coffin.
Guan Daosheng (1262-1319) is also known as Kuan Tao-Sheng, Guan Zhongji and Lady Zhongji. A famous poet of the early Yuan dynasty, she has also been called "the most famous female painter and calligrapher in the Chinese history ... remembered not only as a talented woman, but also as a prominent figure in the history of bamboo painting." She is best known today for her images of nature and her tendency to inscribe short poems on her paintings.
The Day after the Rain
Lin Huiyin (1904-1955)
loose translation/interpretation by Michael R. Burch
I love the day after the rain
and the meadow's green expanses!
My heart endlessly rises with wind,
gusts with wind ...
away the new-mown grasses and the fallen leaves ...
away the clouds like smoke ...
vanishing like smoke ...
Music Heard Late at Night
Lin Huiyin (1904-1955)
loose translation/interpretation by Michael R. Burch
for Xu Zhimo
I blushed,
hearing the lovely nocturnal tune.
The music touched my heart;
I embraced its sadness, but how to respond?
The pattern of life was established eons ago:
so pale are the people's imaginations!
Perhaps one day You and I
can play the chords of hope together.
It must be your fingers gently playing
late at night, matching my sorrow.
Lin Huiyin (1904-1955), also known as Phyllis Lin and Lin Whei-yin, was a Chinese architect, historian, novelist and poet. Xu Zhimo died in a plane crash in 1931, allegedly flying to meet Lin Huiyin.
Saying Goodbye to Cambridge Again
Xu Zhimo (1897-1931)
loose translation/interpretation by Michael R. Burch
Quietly I take my leave,
as quietly as I came;
quietly I wave good-bye
to the sky's dying flame.
The riverside's willows
like lithe, sunlit brides
reflected in the waves
move my heart's tides.
Weeds moored in dark sludge
sway here, free of need,
in the Cam's gentle wake ...
O, to be a waterweed!
Beneath shady elms
a nebulous rainbow
crumples and reforms
in the soft ebb and flow.
Seek a dream? Pole upstream
to where grass is greener;
rig the boat with starlight;
sing aloud of love's splendor!
But how can I sing
when my song is farewell?
Even the crickets are silent.
And who should I tell?
So quietly I take my leave,
as quietly as I came;
gently I flick my sleeves ...
not a wisp will remain.
(6 November 1928)
Xu Zhimo's most famous poem is this one about leaving Cambridge. English titles for the poem include "On Leaving Cambridge," "Second Farewell to Cambridge," "Saying Goodbye to Cambridge Again," and "Taking Leave of Cambridge Again."
The Red Cockatoo
by Po Chu-I (772-846), a Chinese poet
loose translation/interpretation by Michael R. Burch
A marvelous gift from Annam—
a red cockatoo,
bright as peach blossom,
fluent in men's language.
So they did what they always do
to the erudite and eloquent:
they created a thick-barred cage
and shut it up.
Po Chu-I (772-846) is best known today for his ballads and satirical poems. Po Chu-I believed poetry should be accessible to commoners and is noted for his simple diction and natural style. His name has been rendered various ways in English: Po Chu-I, Po Chü-i, Bo Juyi and Bai Juyi.
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.
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!
SORROWS OF THE WILD GEESE by HUANG E
These are my modern English translations of poems by the Chinese poet Huang E (1498–1569), also known as Huang Xiumei. She has been called the most outstanding female poet of the Ming Dynasty, and her husband its most outstanding male poet. Were they poetry’s first power couple? Her father Huang Ke was a high-ranking official of the Ming court and she married Yang Shen, the prominent son of Grand Secretary Yang Tinghe. Unfortunately for the young power couple, Yang Shen was exiled by the emperor early in their marriage and they lived largely apart for 30 years. During their long separations they would send each other poems which may belong to a genre of Chinese poetry I have dubbed "sorrows of the wild geese" …
Sent to My Husband
by Huang E
loose translation/interpretation by Michael R. Burch
The wild geese never fly beyond Hengyang ...
how then can my brocaded words reach Yongchang?
Like wilted willow flowers I am ill-fated indeed;
in that far-off foreign land you feel similar despair.
“Oh, to go home, to go home!” you implore the calendar.
“Oh, if only it would rain, if only it would rain!” I complain to the heavens.
One hears hopeful rumors that you might soon be freed ...
but when will the Golden Cock rise in Yelang?
Luo Jiang's Second Complaint
by Huang E
loose translation/interpretation by Michael R. Burch
The green hills vanished,
pedestrians passed by
disappearing beyond curves.
The geese grew silent, the horseshoes timid.
Winter is the most annoying season!
A lone goose vanished into the heavens,
the trees whispered conspiracies in Pingwu,
and people huddling behind buildings shivered.
Bitter Rain, an Aria of the Yellow Oriole
by Huang E
loose translation/interpretation by Michael R. Burch
These ceaseless rains make the spring shiver:
even the flowers and trees look cold!
The roads turn to mud;
the river's eyes are tired and weep into in a few bays;
the mountain clouds accumulate like dirty dishes,
and the end of the world seems imminent, if jejune.
I find it impossible to send books:
the geese are ruthless and refuse to fly south to Yunnan!
Broken-Hearted Poem
by Huang E
loose translation/interpretation by Michael R. Burch
My tears cascade into the inkwell;
my broken heart remains at a loss for words;
ever since we held hands and said farewell,
I have been too listless to paint my eyebrows;
no medicine can cure my night-sweats,
no wealth repurchase our lost youth;
and how can I persuade that damned bird singing in the far hills
to tell a traveler south of the Yangtze to return home?
Le Balcon (The Balcony)
by Charles Baudelaire, a French poet
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!
Duellem (The Duel)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch
Two combatants charged!
Their fearsome swords
brightened the air with fiery sparks and blood.
Their clashing blades
clinked odd serenades,
reminding us: youth's inspired by overloud love.
But now their blades lie broken, like our hearts!
Still, our savage teeth and talon-like fingernails
can do more damage than the deadliest sword
when lovers lash about with such natural flails.
In a deep ravine haunted by lynxes and panthers,
our heroes roll around in a cozy embrace,
leaving their blood to redden the colorless branches.
This abyss is pure hell; our friends occupy the place.
Come, let us roll likewise here, cruel Amazon,
let our hatred's ardor never be over and done!
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?
Ancient Egyptian Harper’s Songs
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). Such more skeptical versions of the "Harper's Song" include "Harper's Song: Tomb of Neferhotep" and " Harper's Song: Tomb of Inherkhawy." These are my personal favorites of both genres ...
This song comes from a tomb which contains an image of Djehutiemheb and Hedjmetmut seated at an offering table while their son, dressed as a priest, pours libations and burning incense before them. It seems the song may be a blessing being voiced by the son, as the text appears before his representation.
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 ...
***
This song from the funerary stela of Iki depicts the deceased sitting at an offering table with his wife, with the rotund harpist Neferhotep sitting on the other side of the table. Neferhotep was one of the earliest known Egyptian singer/harpists. His portrait and his song were included on the stela of a man named Iki.
Harper's Song: Tomb of Iki
loose translation/interpretation by Michael R. Burch
O tomb, you were prepared for a festival,
your foundations anchored in happiness!
The harpist Neferhotep, son of Henu.
***
Interestingly, the three Harper's songs found in the tomb of the priest Neferhotep seem to display very different viewpoints about the afterlife, if we can take the first two to be saying that death is peaceful because no one is doing anything ...
Harper's Song: Tomb of Neferhotep
loose translation/interpretation by Michael R. Burch
I.
I have heard songs inscribed in ancient tombs,
extolling earth-life while belittling the Beyond ...
but why condemn the kingdom of Eternity,
the just and the fair,
which holds no terrors?
II.
Death abhors violence: no man there arms himself against his brother.
No one rebels in that peaceful kingdom.
All our ancestors rest there, since man’s earliest days;
the multitudes assemble there, every one,
for none may tarry overlong in the land of Egypt.
There is no one who will not cross over.
III.
Earth-life is no more than the span of a dream,
but fair welcomes are given when one reaches the West.
***
Harper's Song: Tomb of Intef
loose translation/interpretation by Michael R. Burch
from the tomb of the Pharaoh Intef
Here lies a happy prince
because death is the kindest fate.
One generation passes, another remains:
so it has been since our eldest ancestors.
Now those who were once "gods" rest in their sepulchers
along with other nobles
and those who built their tombs.
Their palaces are gone,
and what has become of them?
What of the words of Imhotep and Hardedef,
whose sayings are still recited entire?
What of their palaces?
Their walls have collapsed into ruins,
their halls have vanished
as if they never existed!
And no one returns from that realm
to inform us of their state
or to calm our fears.
We remain in the dark until we join them ...
Hence, rejoice with happy hearts!
It is best to forget: heedlessness is happiness!
Humor your hearts as long as you live!
Perfume your hair with myrrh,
adorn yourself in your finest linens,
anoint yourself with the costliest oils, fit for a god,
heap up your treasures here on earth!
Let your heart remain buoyant! Don't let it sink!
Humor your heart and find happiness!
Here on earth do as your heart demands!
What use is mourning,
when weary-hearted Osiris pays tears no heed?
Weeping and wailing spares no man from the grave,
so make every day your holiday. Never tire of joy's pursuits!
Because no one is allowed to take his possessions with him
and none who departs ever returns!
This song, also known as “The Lay of the Harper,” appears in the tomb of Paatenemheb, where the introductory line says it was copied from the tomb of a King Intef (a name used by several kings from 11th and 17th dynasties). The poem is also preserved in the Ramesside New Kingdom Harris 500 papyrus. These works are accepted by scholars as being a copy of a genuine Middle Kingdom text.
***
The stela of Nebankh from Abydos contains a Harper's Song with the deceased depicted sitting at an offering table with the harpist squatting before him:
Harper's Song: Tomb of Nebankh
loose translation/interpretation by Michael R. Burch
Tjeniaa the singer says:
Now you are seated securely in eternity,
in your eternal monument!
Your tomb is filled with food-offerings
and complete with every fitting thing.
Your soul is with you
and will never desert you,
Royal Treasurer and Seal-Bearer, Nebankh!
The sweet north wind is now your breath!
So says the honorable singer Tjeniaa,
whom he loved and who keeps his name alive
by singing to his soul every day.
***
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!
Here's another loose translation of mine, this one of a poem written in Scots by Hugh MacDiarmid. A "watergaw" is a fragmentary rainbow. This "translation" may be a bit unusual, since MacDiarmid wrote both English and Scots versions of the poem, but I like my English version better ...
The Watergaw
by Hugh MacDiarmid, a Scottish poet
loose translation/interpretation by Michael R. Burch
One wet forenight in the sheep-shearing season
I saw the uncanniest thing—
a watergaw with its wavering light
shining beyond the wild downpour of rain
and I thought of the last wild look that you gave
when you knew you were destined for the grave.
There was no light in the skylark's nest
that night—no—nor any in mine;
but now often I've thought of that foolish light
and of these irrational hearts of men
and I think that, perhaps, at last I ken
what your look meant then.
Intoxicants
by Amrut Ghayal (a Gujarati poet)
translation by Kanu V. Prajapati and Michael R. Burch
O, my mind! You're such a fool, afraid to drink the wine!
But show me anything in the universe that is not intoxicating.
These are my translations of several Urdu love poems by two wonderful poets, Faiz Ahmed Faiz and Mirza Ghalib:
Last Night
by Faiz Ahmed Faiz, and Urdu poet
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 ...
Tonight
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch
Do not strike the melancholy chord tonight!
Days smoldering with pain end up in ashes
and who the hell knows what the future may bring?
Last night's long lost, tomorrow's horizon's a wavering mirage,
and how can we know if we'll see another dawn?
Life is nothing, unless together we make it ring!
Tonight we are gods! Sing!
Do not strike the melancholy chord tonight!
Don't harp constantly on human suffering!
Stop complaining; let Fate conduct her song!
Give no thought to the future, seize now, this precious thing!
Shed no more tears for temperate seasons long vanished!
All sighs and cries soon weakly dissipate ... stop dithering!
Oh, do not strike the same flat chord again!
Ghazal
by Mirza Ghalib, an Urdu poet
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?
Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch
You should have stayed a little longer;
you left all alone, so why not linger?
We'll meet again, you said, some other day like this,
as if days like this can ever recur!
You left our house as the moon deserts night's skies,
as the evening light abandons its cycle.
You hated me: a wife abnormally distant;
you left me before your children were grown.
Only fools ask why Ghalib still lives:
his fate is to live desiring death.
Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch
Not the blossomings of song 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:
this weakness has 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.
Here's another Urdu poet:
I'm like a commodity being priced in the market-place:
every eye ogles me like a buyer's.
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch
If you insist, I'll continue playing my songs,
forever piping the flute of my heart.
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch
The moon has risen once again, yet you are not here.
My heart is a blazing pyre; what do I do?
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch
Now here's a poem whose second line enthralled C. S. Lewis. I'm not sure about the source of the original poem, but my "translation" is based on a poem of the same name by Henry Wadsworth Longfellow ...
Tegner's Drapa
loose translation/interpretation by Michael R. Burch
I heard a soft voice that faintly said,
"Balder the beautiful lies dead, lies dead ..."
a voice like the flight of white cranes, overhead—
ghostly, haunting the sun, life-abetting,
but a sun now irretrievably setting.
Then I saw the sun’s carcass, blackened with flies,
fall into night's chasm, to nevermore rise,
borne swiftly to Hel through disconsolate skies
as blasts from the Nifel-heim rang out, with dread,
"Balder lies dead, our fair Balder lies dead! ..."
Lost, lost forever, the runes of his tongue;
the warmth of his smile; his bright face, cherished, young;
the lithe grace of his figure, all the maids’ hearts undone ...
O, who could have dreamed such strange words might be said
as “Balder lies dead, gentle Balder lies dead! ...”
These are three English translations of Holocaust poems written in German by the Jewish poet Paul Celan. The first poem, "Todesfuge" in the original German, is one of the most famous Holocaust poems, with its haunting refrain of a German "master of death" killing Jews by day and writing "Your golden hair Margarete" by starlight. The poem demonstrates how terrible things can become when one human being is granted absolute power over other human beings. Paul Celan was the pseudonym of Paul Antschel. (Celan is an anagram of Ancel, the Romanian form of his surname.) Celan was born in Czernovitz, Romania in 1920. The son of German-speaking Jews, Celan spoke German, Romanian, Russian, French and understood Yiddish. During the Holocaust, his parents were deported and eventually died in Nazi labor camps; Celan spent eighteen months in a Nazi concentration camp before escaping.
Todesfuge ("Death Fugue")
by Paul Celan
loose translation/interpretation by Michael R. Burch
Black milk of daybreak, we drink it come morning;
we drink it come midday; we drink it, come night;
we drink it and drink it.
We are digging a grave like a hole in the sky; there's sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, "Your golden hair Margarete ..."
He writes poems by the stars, whistles hounds to stand by,
whistles Jews to dig graves, where together they'll lie.
He commands us to strike up bright tunes for the dance!
Black milk of daybreak, we drink you each morning;
we drink you at midday; we drink you at night;
we drink you and drink you.
The man of the house plays with serpents, he writes ...
he writes when the night falls, "Your golden hair Margarete ...
Your ashen hair Shulamith ..."
We are digging dark graves where there's more room, on high.
His screams, "You dig there!" and "Hey you, dance and sing!"
He grabs his black nightstick, his eyes pallid blue,
cries, "Hey you, dig more deeply! You others, keep dancing!"
Black milk of daybreak, we drink you each morning;
we drink you at midday, we drink you at night;
we drink you and drink you.
The man of the house writes, "Your golden hair Margarete ...
Your ashen hair Shulamith." He toys with our lives.
He screams, "Play for me! Death's a master of Germany!"
His screams, "Stroke dark strings, soon like black smoke you'll rise
to a grave in the clouds; there's sufficient room for Jews there!"
Black milk of daybreak, we drink you at midnight;
we drink you at noon; Death's the master of Germany!
We drink you come evening; we drink you and drink you ...
a master of Deutschland, with eyes deathly blue.
With bullets of lead our pale master will murder you!
He writes when the night falls, "Your golden hair Margarete ..."
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; he's a master of Germany ...
your golden hair Margarete ...
your ashen hair Shulamith.
O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch
O, little root of a dream
you enmire me here;
I'm undermined by blood —
no longer seen,
enslaved by death.
Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else's eyes
may see yet see me,
though I'm blind,
here where you
deny me voice.
You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch
You were my death;
I could hold you
when everything abandoned me —
even breath.
These are two translations of poems by the Italian Jewish Holocaust survivor Primo Levi:
Shema
by Primo Levi
loose translation/interpretation by Michael R. Burch
You who live secure
in your comfortable houses,
who return each evening to find
warm food,
welcoming faces ...
consider whether this is a man:
who toils in the mud,
who knows no peace,
who fights for crusts of bread,
who dies at another man's whim,
at his "yes" or his "no."
Consider whether this is a woman:
bereft of hair,
of a recognizable name
because she lacks the strength to remember,
her eyes as void
and her womb as frigid
as a frog's in winter.
Consider that such horrors have been:
I commend these words to you.
Engrave them in your hearts
when you lounge in your house,
when you walk outside,
when you go to bed,
when you rise.
Repeat them to your children,
or may your house crumble
and disease render you helpless
so that even your offspring avert their faces from you.
Buna
by Primo Levi
loose translation/interpretation by Michael R. Burch
Wasted feet, cursed earth,
the interminable gray morning
as Buna smokes corpses through industrious chimneys.
A day like every other day awaits us.
The terrible whistle shrilly announces dawn:
"You, O pale multitudes with your sad, lifeless faces,
welcome the monotonous horror of the mud ...
another day of suffering has begun."
Weary companion, I see you by heart.
I empathize with your dead eyes, my disconsolate friend.
In your breast you carry cold, hunger, nothingness.
Life has broken what's left of the courage within you.
Colorless one, you once were a strong man,
A courageous woman once walked at your side.
But now you, my empty companion, are bereft of a name,
my forsaken friend who can no longer weep,
so poor you can no longer grieve,
so tired you no longer can shiver with fear.
O, spent once-strong man,
if we were to meet again
in some other world, sweet beneath the sun,
with what kind faces would we recognize each other?
Here's a translation of a poem by Wladyslaw Szlengel about his friend Janusz Korczak. Both were victims of the Nazis during the Holocaust ...
Excerpts from "A Page from the Deportation Diary"
by Wladyslaw Szlengel
loose translation/interpretation by Michael R. Burch
I saw Janusz Korczak walking today,
leading the children, at the head of the line.
They were dressed in their best clothes—immaculate, if gray.
Some say the weather wasn't dismal, but fine.
They were in their best jumpers and laughing (not loud),
but if they'd been soiled, tell me—who could complain?
They walked like calm heroes through the haunted crowd,
five by five, in a whipping rain.
The pallid, the trembling, watched high overhead,
through barely cracked windows—pale, transfixed with dread.
And now and then, from the high, tolling bell
a strange moan escaped, like a sea gull's torn cry.
Their "superiors" looked on, their eyes hard as stone.
So let us not flinch, as they march on, to die.
Footfall . . . then silence . . . the cadence of feet . . .
O, who can console them, their last mile so drear?
The church bells peal on, over shocked Leszno Street.
Will Jesus Christ save them? The high bells career.
No, God will not save them. Nor you, friend, nor I.
But let us not flinch, as they march on, to die.
No one will offer the price of their freedom.
No one will proffer a single word.
His eyes hard as gavels, the silent policeman
agrees with the priest and his terrible Lord:
"Give them the Sword!"
At the town square there is no intervention.
No one tugs Schmerling's sleeve. No one cries
"Rescue the children!" The air, thick with tension,
reeks with the odor of vodka, and lies.
How calmly he walks, with a child in each arm:
Gut Doktor Korczak, please keep them from harm!
A fool rushes up with a reprieve in hand:
"Look Janusz Korczak—please look, you've been spared!"
No use for that. One resolute man,
uncomprehending that no one else cared
enough to defend them,
his choice is to end with them.
This is one of the first Old English/Anglo-Saxon poems to employ a refrain:
Deor's Lament (Anglo Saxon poem, circa 10th century AD)
loose translation/interpretation by Michael R. Burch
Weland knew the agony of exile.
That indomitable smith was wracked by grief.
He endured countless troubles:
sorrows were his only companions
in his frozen island dungeon
after Nithad had fettered him,
many strong-but-supple sinew-bonds
binding the better man.
That passed away; this also may.
Beadohild mourned her brothers' deaths
but even more, her own sad state
once she discovered herself with child.
She predicted nothing good could come of it.
That passed away; this also may.
We have heard that the Geat's moans for Matilda,
his lady, were limitless,
that his sorrowful love for her
robbed him of regretless sleep.
That passed away; this also may.
For thirty winters Theodric ruled
the Mæring stronghold with an iron hand;
many knew this and moaned.
That passed away; this also may.
We have also heard of Ermanaric's wolfish ways,
of how he held wide sway in the realm of the Goths.
He was a grim king! Many a warrior sat,
full of cares and maladies of the mind,
wishing constantly that his kingdom might be overthrown.
That passed away; this also may.
If a man sits long enough, sorrowful and anxious,
bereft of joy, his mind constantly darkening,
soon it seems to him that his troubles are endless.
Then he must consider that the wise Lord
often moves through the earth
granting some men honor, glory and fame,
but others only shame and hardship.
This I will say for myself:
that for awhile I was the Heodeninga's scop,
dear to my lord. My name was Deor.
For many winters I held a fine office,
faithfully serving a just lord. But now Heorrenda
a man skilful in songs, has received the estate
the protector of warriors gave me.
That passed away; this also may.
"The Wife's Lament" or "The Wife's Complaint" is an Old English (Anglo-Saxon) poem found in the Exeter Book which is generally considered to be an elegy in the manner of the German frauenlied, or "woman's song," although there are other interpretations of the poem's genre and purpose. The Exeter Book has been dated to 960-990 AD, but of course the poem may have been written earlier.
The Wife's Lament
loose translation/interpretation by Michael R. Burch
I draw these words from deep wells of my grief,
care-worn, unutterably sad.
I can recount woes I've borne since birth,
present and past, never more than now.
I have won, from my exile-paths, only pain.
First, my lord forsook his folk, left,
crossed the seas' tumult, far from our people.
Since then, I've known
wrenching dawn-griefs, dark mournings ... oh where,
where can he be?
Then I, too, left—a lonely, lordless refugee,
full of unaccountable desires!
But the man's kinsmen schemed secretly
to estrange us, divide us, keep us apart,
across earth's wide kingdom, and my heart broke.
Then my lord spoke:
"Take up residence here."
I had few friends in this unknown, cheerless
region, none close.
Christ, I felt lost!
Then I thought I had found a well-matched man—
one meant for me,
but unfortunately he
was ill-starred and blind, with a devious mind,
full of murderous intentions, plotting some crime!
Before God we
vowed never to part, not till kingdom come, never!
But now that's all changed, forever—
our friendship done, severed.
I must hear, far and near, contempt for my husband.
So other men bade me, "Go, live in the grove,
beneath the great oaks, in an earth-cave, alone."
In this ancient cave-dwelling I am lost and oppressed—
the valleys are dark, the hills immense,
and this cruel-briared enclosure—an arid abode!
The injustice assails me—my lord's absence!
On earth there are lovers who share the same bed
while I pass through life dead in this dark abscess
where I wilt, summer days unable to rest
or forget the sorrows of my life's hard lot.
A young woman must always be
stern, hard-of-heart, unmoved,
opposing breast-cares and her heartaches' legions.
She must appear cheerful
even in a tumult of grief.
Like a criminal exiled to a far-off land,
moaning beneath insurmountable cliffs,
my weary-minded love, drenched by wild storms
and caught in the clutches of anguish,
is reminded constantly of our former happiness.
Woe be it to them who abide in longing.
These are my translations of poems by Sir Muhammad Iqbal (علامہمحمداقبال), also known as Allama Iqbāl (علامہاقبال, Allāma meaning "The Learned One"), a Lahori Muslim poet, philosopher and politician.
Withered Roses
by Allama Iqbal
loose translation/interpretation by Michael R. Burch
What shall I call you,
but the nightingale's desire?
The morning breeze was your nativity,
an afternoon garden, your sepulchre.
My tears welled up like dew,
till in my abandoned heart your rune grew:
this memento of love,
this spray of withered roses.
Ehad-e-Tifli (“The Age of Infancy”)
by Allama Iqbal aka Muhammad Iqbal
loose translation/interpretation by Michael R. Burch
The earth and the heavens remained unknown to me,
My mother's bosom was my only world.
Her embraces communicated life's joys
While I babbled meaningless sounds.
During my infancy if someone alarmed me
The clank of the door chain consoled me.
At night I observed the moon,
Following its flight through distant clouds.
By day I pondered earth’s terrain
Only to be surprised by convenient explanations.
My eyes ingested light, my lips sought speech,
I was curiosity incarnate.
Excerpt from Rumuz-e bikhudi (“The Mysteries of Selflessness”)
by Allama Iqbal aka Muhammad Iqbal
loose translation/interpretation by Michael R. Burch
Like a candle fending off the night,
I consumed myself, melting into tears.
I spent myself, to create more light,
More beauty and joy for my peers.
Longing
by Allama Iqbal
loose translation/interpretation by Michael R. Burch
Lord, I’ve grown tired of human assemblies!
I long to avoid conflict! My heart craves peace!
I desperately desire the silence of a small mountainside hut!
Life Advice
by Allama Iqbāl
loose translation/interpretation by Michael R. Burch
This passive nature will not allow you to survive;
If you want to live, raise a storm!
Destiny
by Allama Iqbal
loose translation/interpretation by Michael R. Burch
Isn't it futile to complain about God's will,
When indeed you are your own destiny?
Here are more of my translations of Japanese haiku:
The butterfly
perfuming its wings
fans the orchid
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Silently observing
the bottomless mountain lake:
water lilies
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
We cannot see the moon
and yet the waves still rise
― Shiki Masaoka, loose translation/interpretation by Michael R. Burch
Like a heavy fragrance
snow-flakes settle:
lilies on rocks
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
The first morning of autumn:
the mirror I investigate
reflects my father's face
― Shiki Masaoka, loose translation/interpretation by Michael R. Burch
Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Cranes
flapping ceaselessly
test the sky's distant limits
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
An empty road
lonelier than abandonment:
this autumn evening
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
The new calendar:
as if tomorrow
is assured ...
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
Spring has come:
the nameless hill
lies shrouded in mist
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Because morning glories
hold my well-bucket hostage
I go begging for water
― Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch
The first chill rain:
poor monkey, you too could use
a woven cape of straw
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Ah butterfly,
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch
The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Tonight I saw
how the peony crumples
in the fire's embers
― Katoh Shuhson, loose translation/interpretation by Michael R. Burch
Pausing between clouds
the moon rests
in the eyes of its beholders
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
War
stood at the end of the hall
in the long shadows
― Watanabe Hakusen, loose translation/interpretation by Michael R. Burch
No sky,
no land:
just snow eternally falling ...
― Kajiwara Hashin, loose translation/interpretation by Michael R. Burch
See: whose surviving sons
visit the ancestral graves
white-bearded, with trembling canes?
― Matsuo Basho, translated by Michael R. Burch
Along with spring leaves
my child's teeth
take root, blossom
― Nakamura Kusatao, loose translation/interpretation by Michael R. Burch
Graven images of long-departed gods,
dry spiritless leaves:
companions of the temple porch
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Stillness:
a single chestnut leaf glides
on brilliant water
― Ryuin, loose translation/interpretation by Michael R. Burch
The sea darkening,
the voices of the wild ducks:
my mysterious companions!
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
The snake slipped away
but his eyes, having held mine,
still stare in the grass
― Kyoshi Takahama, loose translation/interpretation by Michael R. Burch
Will we meet again?
Here at your flowering grave:
two white butterflies
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
The bitter winter wind
ends here
with the frozen sea
― Ikenishi Gonsui, loose translation/interpretation by Michael R. Burch
These brown summer grasses?
The only remains
of "invincible" warriors ...
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
I remove my beautiful kimono:
its varied braids
surround and entwine my body
― Hisajo Sugita, loose translation/interpretation by Michael R. Burch
Fever-felled mid-path
my dreams resurrect, to trek
into a hollow land
― Matsuo Basho, loose translation/interpretation by Michael R. Burch
Right at my feet!
When did you arrive here,
snail?
― Issa, loose translation/interpretation by Michael R. Burch
This day of chrysanthemums
I shake and comb my wet hair,
as their petals shed rain
― Hisajo Sugita, loose translation/interpretation by Michael R. Burch
Oh, brilliant moon
is it true that even you
must fly as if you're tardy?
― Issa, loose translation/interpretation by Michael R. Burch
Falling snowflakes'
glitter
tinsels the sea
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
Blizzards here on earth,
blizzards of stars
in the sky
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
Completely encircled
in emerald:
the glittering swamp!
― Inahata Teiko, loose translation/interpretation by Michael R. Burch
Spring
stirs the clouds
in the sky's teabowl
― Kikusha-ni, loose translation/interpretation by Michael R. Burch
It fills me with anger,
this moon; it fills me
and makes me whole
― Takeshita Shizunojo, loose translation/interpretation by Michael R. Burch
Because he is slow to wrath,
I tackle him, then wring his neck
in the long grass
― Shimazu Ryoh, loose translation/interpretation by Michael R. Burch
Pale mountain sky:
cherry petals play
as they tumble earthward
― Kusama Tokihiko, loose translation/interpretation by Michael R. Burch
The frozen moon,
the frozen lake:
two oval mirrors reflecting each other.
― Hashimoto Takako, loose translation/interpretation by Michael R. Burch
Oh, bitter winter wind,
why bellow so
with no leaves to fell?
― Natsume Sôseki, loose translation/interpretation by Michael R. Burch
Winter waves
roil
their own shadows
― Tominaga Fûsei, loose translation/interpretation by Michael R. Burch
As thunder recedes
a lone tree stands illuminated in sunlight:
cicadas shrill
― Masaoka Shiki, loose translation/interpretation by Michael R. Burch
Girls gather sprouts of rice:
reflections of the water flicker
on the backs of their hats
― Kyoshi Takahama, loose translation/interpretation by Michael R. Burch
Murmurs follow the hay cart
this blossoming summer day
― Ippekiro Nakatsuka, loose translation/interpretation by Michael R. Burch
The wet nurse
paused to consider a bucket of sea urchins
then walked away
― Ippekiro Nakatsuka, loose translation/interpretation by Michael R. Burch
May I be with my mother
wearing her summer kimono
by the morning window
― Ippekiro Nakatsuka, loose translation/interpretation by Michael R. Burch
The hands of a woman exist
to remove the insides of the spring cuttlefish
― Sekitei Hara, loose translation/interpretation by Michael R. Burch
The moon
hovering above the snow-capped mountains
rained down hailstones
― Sekitei Hara, loose translation/interpretation by Michael R. Burch
Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
― Kakio Tomizawa, loose translation/interpretation by Michael R. Burch
Spring snow
cascades over fences
in white waves
― Suju Takano, loose translation/interpretation by Michael R. Burch
Petals fill the fountain;
the ochre of the orange-coloured rose leaves
clings to the stone.
― by Ts'ai Chi'h (also Ts'ao Chih, Cao Zhi), loose translation/interpretation by Michael R. Burch
Here's my translation of another poem by an early Scottish master, William Dunbar. My translation of Dunbar's "Sweet Rose of Virtue" appears toward the top of this page.
Lament for the Makaris [Makers, or Poets]
by William Dunbar [1460-1525]
loose translation/interpretation by Michael R. Burch
i who enjoyed good health and gladness
am overwhelmed now by life's terrible sickness
and enfeebled with infirmity ...
how the fear of Death dismays me!
our presence here is mere vainglory;
the false world is but transitory;
the flesh is frail; the Fiend runs free ...
how the fear of Death dismays me!
the state of man is changeable:
now sound, now sick, now blithe, now dull,
now manic, now devoid of glee ...
how the fear of Death dismays me!
no state on earth stands here securely;
as the wild wind shakes the willow tree,
so wavers this world's vanity ...
how the fear of Death dismays me!
Death leads the knights into the field
(unarmored under helm and shield)
sole Victor of each red mêlée ...
how the fear of Death dismays me!
that strange, despotic Beast
tears from its mother's breast
the babe, full of benignity ...
how the fear of Death dismays me!
He takes the champion of the hour,
the captain of the highest tower,
the beautiful damsel in her tower ...
how the fear of Death dismays me!
He spares no lord for his elegance,
nor clerk for his intelligence;
His dreadful stroke no man can flee ...
how the fear of Death dismays me!
artist, magician, scientist,
orator, debater, theologist,
must all conclude, so too, as we:
"how the fear of Death dismays me!"
in medicine the most astute
sawbones and surgeons all fall mute;
they cannot save themselves, or flee ...
how the fear of Death dismays me!
i see the Makers among the unsaved;
the greatest of Poets all go to the grave;
He does not spare them their faculty ...
how the fear of Death dismays me!
i have seen Him pitilessly devour
our noble Chaucer, poetry's flower,
and Lydgate and Gower (great Trinity!) ...
how the fear of Death dismays me!
since He has taken my brothers all,
i know He will not let me live past the fall;
His next prey will be — poor unfortunate me! ...
how the fear of Death dismays me!
there is no remedy for Death;
we all must prepare to relinquish breath
so that after we die, we may be set free
from "the fear of Death dismays me!"
Here are more of my epigrams based on ancient Greek epitaphs ...
Athenian Epitaphs
Be ashamed, O mountains and seas: these were men of valorous breath.
Assume, like pale chattels, an ashen silence at death.
Michael R. Burch, after Parmenio
These men earned a crown of imperishable glory,
Nor did the maelstrom of death obscure their story.
Michael R. Burch, after Simonides
They observed our fearful fetters, marched against encroaching darkness.
Now we gravely extol their excellence: Bravely, they died for us.
Michael R. Burch, after Mnasalcas
Stranger, flee!
But may Fortune grant you all the prosperity
She denied me.
Michael R. Burch, after Leonidas of Tarentum
I am loyal to you, master, even in the grave:
Just as you now are death's slave.
Michael R. Burch, after Dioscorides
Dead as you are, though you lie still as stone,
huntress Lycas, my great Thessalonian hound,
the wild beasts still fear your white bones;
craggy Pelion remembers your valor,
splendid Ossa, the way you would bound
and bay at the moon for its whiteness,
bellowing as below we heard valleys resound.
And how brightly with joy you would canter and run
the strange lonely peaks of high Cithaeron!
Michael R. Burch, after Simonides
Having never earned a penny,
nor seen a bridal gown slip to the floor,
still I lie here with the love of many,
to be the love of yet one more.
Michael R. Burch, after an unknown Greek poet
I lie by stark Icarian rocks
and only speak when the sea talks.
Please tell my dear father that I gave up the ghost
on the Aegean coast.
Michael R. Burch, after Theatetus
Everywhere the sea is the sea, the dead are the dead.
What difference to me—where I rest my head?
The sea knows I'm buried.
Michael R. Burch, after Antipater of Sidon
Who hung these glittering shields here,
these unstained spears and unruptured helmets,
dedicating to murderous Ares ornaments of no value?
Will no one cast these virginal weapons out of my armory?
Their proper place is in the peaceful halls of placid men,
not within the wild walls of Enyalius.
I delight in hacked heads and the blood of dying berserkers,
if, indeed, I am Ares the Destroyer.
Michael R. Burch, after Antipater of Sidon
Little I knew—a child of five—
of what it means to be alive
and all life's little thrills;
but little also—(I was glad not to know)—
of life's great ills.
Michael R. Burch, after after Lucian
Not to have been born is best,
and blessed
beyond the ability of words to express.
―Sophocles (circa 497-406 BC), loose translation/interpretation by Michael R. Burch
The Seikilos Epitaph
by Michael R. Burch, after Seikilos of Euterpes
1.
Shine, while you live;
blaze beyond grief,
for life is brief
and Time, a thief.
2.
shine while u can;
blaze beyond grief,
for life is brief,
Time is a thief
and Death takes its toll.
The so-called Seikilos Epitaph is the oldest known surviving complete musical composition which includes musical notation. It is believed to date to the first or second century AD. The epitaph appears to be signed “Seikilos of Euterpes” or dedicated “Seikilos to Euterpe.” Euterpe was the ancient Greek Muse of music.
Faiz Ahmed Faiz (1911-1984) was one of the most famous Urdu poets. In fact, his reputation is such that he has been called "the Poet of the East." His name is often spelled Faiz Ahmad Faiz in English.
The Desert of Solitude
by Faiz Ahmed Faiz, as performed by Iqbal Bano
loose translation by Michael R. Burch
In the wastelands of solitude, my love,
the echoes of your voice quiver,
the mirages of your lips waver.
In the deserts of alienation,
out of the expanses of distance and isolation's debris
the fragrant jasmines and roses of your presence delicately blossom.
Now from somewhere nearby,
the warmth of your breath rises,
smoldering forth an exotic perfume―gently, languorously.
Now far-off, across the distant horizon,
drop by shimmering drop,
fall the glistening dews of your beguiling glances.
With such tenderness and affection—oh my love!—
your memory has touched my heart's cheek so that it now seems
the sun of separation has set; the night of blessed union has arrived.
Speak!
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch
Speak, while your lips are still free.
Speak, while your tongue remains yours.
Speak, while you’re still standing upright.
Speak, while your spirit has force.
See how, in the bright-sparking forge,
cunning flames set dull ingots aglow
as the padlocks release their clenched grip
on the severed chains hissing below.
Speak, in this last brief hour,
before the bold tongue lies dead.
Speak, while the truth can be spoken.
Say what must yet be said.
Speak! (II)
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch
Speak, if your lips are free.
Speak, if your tongue's still your own.
And while you can still stand upright,
Speak if your mind is your own.
Do Not Ask
by Faiz Ahmed Faiz
loose translation by Michael R. Burch
Do not ask, my love, for the love that we shared before:
You existed, I told myself, so existence shone.
For a moment the only light that I knew, alone,
was yours; worldly griefs remained dark, distant, afar.
Spring shone, as revealed in your face, but what did I know?
Beyond your bright eyes, what delights could the sad world hold?
Had I won you, cruel Fate would have ceded, no longer bold.
Yet all this was not to be, though I wished it so.
The world knows sorrows beyond love’s brief dreams betrayed,
and pleasures beyond all sweet, idle ideals of romance:
the dread dark spell of countless centuries and chance
is woven with silk and satin and gold brocade.
Bodies are sold everywhere for a pittance—it’s true!
Besmeared with dirt and bathed in bright oceans of blood,
Crawling from infested ovens, a gory cud.
My gaze returns to you: what else can I do?
Your beauty haunts me still, and will to the last.
But the world is burdened by sorrows beyond those of love,
By pleasures beyond romance.
So please do not demand a love that is over, and past.
When Autumn Came
by Faiz Ahmed Faiz
loose translation by Michael R. Burch
So it was that autumn came to flay the trees,
to strip them nude,
to rudely abase their slender dark bodies.
Fall fell in vengeance on the dying leaves,
flung them down to the floor of the forest
where anyone could trample them to mush
undeterred by their sighs of protest.
The birds that herald spring
were exiled from their songs—
the notes ripped from their sweet throats,
they plummeted to the earth below, undone
even before the hunter strung his bow.
Please, gods of May, have mercy!
Bless these disintegrating corpses
with the passion of your resurrection;
allow their veins to pulse with blood again.
Let at least one tree remain green.
Let one bird sing.
Wasted
by Faiz Ahmed Faiz
loose translation by Michael R. Burch
You have noticed her forehead, her cheeks, her lips...
In whose imagination I have lost everything.
Countless
by Faiz Ahmed Faiz
loose translation by Michael R. Burch
I recounted the world's countless griefs
by recounting your image countless times.
Keywords/Tags: Faiz Ahmed Faiz, translation, Urdu, Pakistan, Pakistani, speak, truth, love, life, memory, spring, mrburdu