A Poetry Thread

  • Thread starter Thread starter donbosco
  • Start date Start date
  • Replies: 76
  • Views: 636
  • Off-Topic 
Here's another, only three translations of this one so I'll post them here:

The Fountain of Blood

It seems to me at times my blood flows out in waves
Like a fountain that gushes in rhythmical sobs.
I hear it clearly, escaping with long murmurs,
But I feel my body in vain to find the wound.

Across the city, as in a tournament field,
It courses, making islands of the paving stones,
Satisfying the thirst of every creature
And turning the color of all nature to red.

I have often asked insidious wines
To lull to sleep for a day my wasting terror;
Wine makes the eye sharper, the ear more sensitive!

I have sought in love a forgetful sleep;
But love is to me only a bed of needles
Made to slake the thirst of those cruel prostitutes!

— William Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)


The Fountain of Blood

My blood in waves seems sometimes to be spouting
As though in rhythmic sobs a fountain swooned.
I hear its long, low, rushing sound till, doubting,
I feel myself all over for the wound.

Across the town, as in the lists of battle,
It flows, transforming paving stones to isles,
Slaking the thirst of creatures, men, and cattle,
And colouring all nature red for miles.

Sometimes I've sought relief in precious wines
To lull in me the fear that undermines,
But found they sharpened every sense the more.

I've also sought forgetfulness in lust,
But love's a bed of needles, and they thrust
To give more drink to each rapacious whore.

— Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)


The Fountain of Blood

It seems to me sometimes my blood is bubbling out
As fountains do, in rhythmic sobs; I feel it spout
And lapse; I hear it plainly; it makes a murmuring sound;
But from what wound it wells, so far I have not found.

As blood runs in the lists, round tumbled armored bones,
It soaks the city, islanding the paving-stones;
Everything thirsty leans to lap it, with stretched head;
Trees suck it up; it stains their trunks and branches red.

I turn to wine for respite, I drink, and I drink deep;
(Just for one day, one day, neither to see nor hear!)
Wine only renders sharper the frantic eye and ear.

In terror I cry to love, "Oh, put my mind to sleep!"
But love for me is only a mattress where I shrink
On needles, and my blood is given to whores to drink.

— Edna St. Vincent Millay, Flowers of Evil (NY: Harper and Brothers, 1936)
 
I don't know if this clears things or further muddies them...but here goes:

Primo Levi answers in “After R.M. Rilke”

Lord, it’s time; the wine is already fermenting.
The time has come to have a home,
Or to remain for a long time without one.
The time has come not to be alone,
Or else we will stay alone for a long time.
We will consume the hours over books,
Or in writing letters to distant places,
Long letters from our solitude.
And we will go back and forth through the streets,
Restless, while the leaves fall.

And this poem by Levi is a HUGE favorite of mine and I read it first, then went in search of the Rilke one.
Dude, thank you SO much for introducing me to Levi. I feel like I've heard his name or know who he was, or rather, should know who he was, but I really don't think I did. I'm kinda tripping now (but what better time to read poetry? (this goddamn keyboard, godbless it) , but Levi's rendering of Rilke's poem really hits home. You can tell by my previous posts that I'm interested in translation (as was and thanks to Nabokov, who had his own ideas on the subject), but this is a rerendering like I haven't seen (actually I did see it when you first posted it but for some reason (ha) it grabbed me now). I like it. It's like people say they like a cover song when the artist "makes it his own" but really the clay was already there, had already been made, and then it got reshapen. This Levi rendering of Rilke is really somehting. And now I've stumbled upon this, along the same lines (I think) "by" Baudelaire (<-"by" in parenthesis b/c like peepa talking on the other thread about reading Marquez and Borges, etc., in "the original"): (actually now that I've somewhat investigated, this might be a closely literal (ha!) translation, but of course I don't speak french (or spanish)..

Be Drunk​

Charles Baudelaire
1821 –1867
You have to be always drunk. That’s all there is to it—it’s the only way. So as not to feel the horrible burden of time that breaks your back and bends you to the earth, you have to be continually drunk.

But on what? Wine, poetry or virtue, as you wish. But be drunk.

And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking . . . ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.”

From Modern Poets of France: A Bilingual Anthology, translated and edited by Louis Simpson, published by Story Line Press, Inc. Copyright © 1997 by Louis Simpson. Reprinted by permission of the author and Story Line Press, Inc. All rights reserved.
 
You are welcome on Levi. We read him in my classes but never enough.

Translation is fascinating...I try to do it from Spanish to English (the other way is not something I'll ever be able to tackle with any proficiency) with smallish things. I wrote this over on the "Latin American Politics" thread: "I regularly assign a book, a barely fictional account of the Mexican Revolution called The Underdogs or Los de Abajo. I’ve used two different translations over the years and the slang translations in them differs wildly. I appreciate it when the translator provides their own “Foreword” and does some explaining of their decision-making."
 
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right, Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
 
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
 
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.

"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"

IMG_6412.jpeg
 
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.

"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"

IMG_6412.jpeg


is that old thing still up?
 

Tae a Fert​

(sometimes attrib. to Robert Burns, but likely doubtful)

Oh, whit a sleekit, horrible beastie,
Lurks in yer stomach efter a feastie.
As ye sit doon among yer kin,
There starts tae stir an’ enormous wind.
The neeps an’ tatties an’ mushy peas
Stert workin’ like a gentle breeze.
But soon the puddin’ wi’ the sonsie face
Will huv ye blawin’ a’ ower the place.
Naw matter whit the hell ye dae
A’body gonnae huv tae pay.
Even if ye try tae stifle
It’s like a bullet oot a rifle.
Haud yer erse tight tae the chair
Tae try an’ stop the leakin’ air.
Shift yersel’ fae cheek tae cheek
An’ pray tae god it disnae reek.
But a’ yer efforts go asunder,
Oot it comes like a clap o’ thunder.
It ricochets aroon’ the room
Michty me, a sonic boom.
Gidness me, it fairly reeks,
Ah hope ah hivnae keich ma breeks.
Straight tae the bog ah better scurry
Whit the hell, it’s nae ma worry.
A’body roon aboot me’s chokin’
One or two are nearly bokin’.
Ah’ll feel much better fur a while
Ah cannae help but raise a smile.
“wis him” ah shout, wi accusin’ glower
alas, too late. He’s just keeled ower.
“ya dirty bugger”, they shout and stare
Ah dinnae feel welcome ony mair.
Where e’re ye be, let yer wind gang free
Soond advice for thee and me.
Whit a fuss at rabbie’s perty
Ower the sake o’ one wee ferty
 
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right, Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Yet another "great" who plagiarized Neil Peart. :mad:
 
Reading this thread reminded me of a scene from a movie. Admittedly my understanding and reading of poetry is limited, which may be obvious in this choice of poem.

she being Brand

-new;and you
know consequently a
little stiff i was
careful of her and(having

thoroughly oiled the universal
joint tested my gas felt of
her radiator made sure her springs were O.

K.)i went right to it flooded-the-carburetor cranked her

up,slipped the
clutch(and then somehow got into reverse she
kicked what
the hell)next
minute i was back in neutral tried and

again slo-wly;bare,ly nudg. ing(my

lev-er Right-
oh and her gears being in
A 1 shape passed
from low through
second-in-to-high like
greasedlightning)just as we turned the corner of Divinity

avenue i touched the accelerator and give

her the juice,good

(it

was the first ride and believe i we was
happy to see how nice she acted right up to
the last minute coming back down by the Public
Gardens i slammed on

the
internalexpanding
&
externalcontracting
brakes Bothatonce and

brought allofher tremB
-ling
to a dead.

stand-
;Still)
 
This thread allows me to mention a couple of really good poets I actually know.

Tyree Daye is a wonderful poet. He teaches at UNC. He is also such a nice person.

Meg Day teaches at NC State. Again, a talented poet and nice person.
 
Kids Who Die

This is for the kids who die,
Black and white,
For kids will die certainly.
The old and rich will live on awhile,
As always,
Eating blood and gold,
Letting kids die.

Kids will die in the swamps of Mississippi
Organizing sharecroppers
Kids will die in the streets of Chicago
Organizing workers
Kids will die in the orange groves of California
Telling others to get together
Whites and Filipinos,
Negroes and Mexicans,
All kinds of kids will die
Who don’t believe in lies, and bribes, and contentment
And a lousy peace.

Of course, the wise and the learned
Who pen editorials in the papers,
And the gentlemen with Dr. in front of their names
White and black,
Who make surveys and write books
Will live on weaving words to smother the kids who die,
And the sleazy courts,
And the bribe-reaching police,
And the blood-loving generals,
And the money-loving preachers
Will all raise their hands against the kids who die,
Beating them with laws and clubs and bayonets and bullets
To frighten the people—
For the kids who die are like iron in the blood of the people—
And the old and rich don’t want the people
To taste the iron of the kids who die,
Don’t want the people to get wise to their own power,
To believe an Angelo Herndon, or even get together

Listen, kids who die—
Maybe, now, there will be no monument for you
Except in our hearts
Maybe your bodies’ll be lost in a swamp
Or a prison grave, or the potter’s field,
Or the rivers where you’re drowned like Leibknecht
But the day will come—
You are sure yourselves that it is coming—
When the marching feet of the masses
Will raise for you a living monument of love,
And joy, and laughter,
And black hands and white hands clasped as one,
And a song that reaches the sky—
The song of the life triumphant
Through the kids who die.


—Langston Hughes, 1938
 
Dude, thank you SO much for introducing me to Levi. I feel like I've heard his name or know who he was, or rather, should know who he was, but I really don't think I did. I'm kinda tripping now (but what better time to read poetry? (this goddamn keyboard, godbless it) , but Levi's rendering of Rilke's poem really hits home. You can tell by my previous posts that I'm interested in translation (as was and thanks to Nabokov, who had his own ideas on the subject), but this is a rerendering like I haven't seen (actually I did see it when you first posted it but for some reason (ha) it grabbed me now). I like it. It's like people say they like a cover song when the artist "makes it his own" but really the clay was already there, had already been made, and then it got reshapen. This Levi rendering of Rilke is really somehting. And now I've stumbled upon this, along the same lines (I think) "by" Baudelaire (<-"by" in parenthesis b/c like peepa talking on the other thread about reading Marquez and Borges, etc., in "the original"): (actually now that I've somewhat investigated, this might be a closely literal (ha!) translation, but of course I don't speak french (or spanish)..

Be Drunk​

Charles Baudelaire
1821 –1867
You have to be always drunk. That’s all there is to it—it’s the only way. So as not to feel the horrible burden of time that breaks your back and bends you to the earth, you have to be continually drunk.

But on what? Wine, poetry or virtue, as you wish. But be drunk.

And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking . . . ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.”

From Modern Poets of France: A Bilingual Anthology, translated and edited by Louis Simpson, published by Story Line Press, Inc. Copyright © 1997 by Louis Simpson. Reprinted by permission of the author and Story Line Press, Inc. All rights reserved.
There's a movie starring John Turturro about Primo Levi. As Turturro has long been a favorite actor of mine, I watched it. Turturro is fine, but I found the movie boring. Really boring and I remember little about it. But that was a long time ago, and I had no particular interest in Primo Levi.

So if you want to give that film a chance, now you know about it (if you hadn't before). It obviously doesn't come with a recommendation from me, but some critics liked it back in the day.
 
Barbecue Service

After the brother who drank has been buried,
The gravepot stunned by sun
In the woods,
We men still living pass the bottle.
We barbecue pigs.
The tin-roofed sheds with embers
Are smoking their blue sacrifice
Across Carolina.

~James Applewhite
 
Barbecue Service

After the brother who drank has been buried,
The gravepot stunned by sun
In the woods,
We men still living pass the bottle.
We barbecue pigs.
The tin-roofed sheds with embers
Are smoking their blue sacrifice
Across Carolina.

~James Applewhite


Here is the whole poem...

I have sought the elusive aroma
Around outlying cornfields, turned corners
Near the site of a Civil War surrender.
The transformation may take place
At a pit no wider than a grave,
Behind a single family’s barn.
These weathered ministers
Preside with the simplest of elements:
Vinegar and pepper, split pig and fire.
Underneath a glistening mountain in air,
Something is converted to a savor: the pig.
Flesh purified by far atmosphere.
Like the slick-sided sensation from last summer,
A fish pulled quick from a creek
By a boy. Like breasts in a motel
With whiskey and twilight
Become a blue smoke in memory.
This smolder draws the soul of our longing.

I want to see all the old home folks,
Ones who may not last another year.
We will rock on porches like chapels
And not say anything, their faces
Impenetrable as different barks of trees.
After the brother who drank has been buried,
The graveplot stunned by sun
In the woods,
We men still living pass the bottle.
We barbecue pigs.
The tin-roofed sheds with embers
Are smoking their blue sacrifice
Across Carolina.


-James Applewhite
 
HIGH NOON IN QAXACA

A las cuatro y a las cinco de la mañana
They are getting up and into the backs of old trucks
And heading into the city of Oaxaca
From all over the state of Oaxaca
They are standing up in the back of the trucks
Packed in perhaps twenty men and women
Standing up in the jolting trucks
A las siete de la mañana
They are all on the back roads heading for the city of Oaxaca
From all over the state of Oaxaca
They are silent as the trucks jolt along
Standing erect in the trucks with the high wooden sides
The men in their white stiff straw hats curled up at the edges
The men in the clothes they wear on Sundays or días de fiesta
The same clothes they wear on work days
Only the women are dressed up
Women in their best colorful costumes
In their beautiful colored dresses
red or ochre like the earth
For they are of the earth they are made of earth
They are the mothers of the small brown people
the women of the brown people packed in the trucks
The abuelas y abuelitas
Hermanas y hijas y tías

They are the mothers and sisters and aunts and daughters
Of the short brown obreros and campesinos
Standing in the jolting trucks in the back roads
All over the state of Oaxaca
A las nueve de la mañana
They are on the first paved roads leading into the city of Oaxaca
Then they are on the two-lane highways to the city of Oaxaca
Standing silent in the open trucks
In their work trucks and in beat-up buses
Converging on the city of Oaxaca from all over the state of Oaxaca
With its sixty percent unemployment
They are the working men and women of the Unidad Popular
And there are banners on the sides of some trucks and buses
Proclaiming their solidarity and their hard resolve
To change their world for the better
To change their lives for the better
The lives of the pobres everywhere
Their deep resolve to liberate themselves
From centuries of stoop work for others
For the owners of everything
The campos and haciendas
The mills and molinos
The poor of the world in the liberation movements
In all the Third World countries of the world
A las diez de la mañana
They are entering the outskirts of the city
They are passing through the barrios
The broken-down barrios on the outskirts of the city
On the periferia of the city of Oaxaca
The undersides of the city that the turistas never see
The junked-up outskirts of the machine shops and garages
And tin-roofed factories and truck repair shops
And Pemco filling stations
They are the people of the Unidad Popular
Heading for the center of the city of Oaxaca
winding through all the side streets into the centro
A las once de la mañana

They are all pouring into the Avenida de la Independencia
They have parked their trucks in the side streets and piled out
Into the Avenida de la Independencia
And there they come
A las once de la mañana
Here they come with a big brass band up front
With tubas and trumpets and drums
At the head or the forming columns of men and women
Pouring in from the side streets
Into the Avenida de la Independencia in the center of Oaxaca
And first come all the women in straight lines in the street
Striding or limping with solemn calm faces open faces
Looking with their dark brown eyes
At the ornate entrances and small elegant hotels
And seeing the well dressed people watching
From the sidewalks and doorways and windows
And all walking slowly and silent in their red and ochre costumes
The women of all ages so dignified
Walking in front of their men their campesinos
Who now also come totally silent walking quiet
In long lines in their beat-up white hats
And they too are proud of their stirring solidarity
With the band up front blasting out their surging spirit
A las once de la mañana
They are coming and coming
Thousands and thousands of them
pouring into the Avenida de la Independencia
From all the side streets and far flung farms and haciendas
the compañeras and compañeros
Coming together here in the Unidad Popular
And the men with their stolid faces
Looking out silent with their black brown eyes
Guarded and defiant in their silences
As they come marching six abreast
In endless lines of campesinos and their sisters and mothers
A las once de la mañana
They are pouring into the huge plaza of the Zócalo
At the center of the city of Oaxaca
And they have no weapons at all
No guns or knives or machetes
They have left them all behind in their huts and palapas
They have left their machetes stuck in the brown earth of their campos
A las once de la mañana

They will know where to find their machetes if need be
Another time a later time
If they have not changed anything at a later time
When perhaps nothing has changed in their eternal slavery
And the Zócalo and the plaza in front of the Cathedral
Is filling up with the thousands and thousands
And in front of the Cathedral there are loudspeakers set up
And the speeches are beginning
The gritos of the leaders
The cries of the labor leaders
And the working people of the whole state of Oaxaca
Are still packing into the plaza
And a las doce de la mañana
The bells of the Cathedral that have been silent all the time
As the silent workers poured into the plaza
The cathedral bells now ring out
Echoing across the plaza
Across the Zócalo
And through the city of Oaxaca
And a las doce de la mañana
The speeches of the peasant leaders of the people
Are raising their rough voices over the loudspeakers
And the air vibrates with their hoarse cries
While in the inner patio of the Hotel Monte Albán
The real leaders of this day of solidarity
The ones behind it all
The Union leaders
The políticos
Are speaking in good Spanish to the press
And to the television cameras trained on them
In a corner of the huge hotel patio these real leaders
Of this great manifestación
In immaculate white shirts
Are speaking straight into the television cameras
These leaders with education and white shirts
Are telling the press of Oaxaca and of all Mexico
Exactly what their movimiento is all about
While outside in the plaza the indigenous speakers
Are still shouting over the speakers to the thousands and thousands
Their somehow innocent tough voices
Echoing against the Cathedral walls
And they are the real compañeros of Flores Magón and of Zapata
The descendants of Magón and Zapata crying out
For more than the crust of their daily bread
While the “insiders” inside the hotel
The ones with their own agendas
Are telling the world que pasa
In their confrontation with the owners of everything
They are moving the movimiento where they want it to move
And they know how promises made in the plazas
May be betrayed in the back countr
y
Al mediodía de Oaxaca
Al mediodía de su vida
Al mediodía of the people
of Oaxaca
At high noon in the life of the pobres of Oaxaca
In the heart of their blood and passion.

BY LAWRENCE FERLINGHETTI, UNC CLASS OF 1941



 
Back
Top