Friday, 29 May 2026

Marie Dauguet: 'Je n'ai jamais goûté tout ce qui plaît aux femmes'

 


Je n’ai jamais goûté tout ce qui plaît aux femmes

 

Je n’ai jamais goûté tout ce qui plaît aux femmes,

J’aime la force entière et l’effort violent,

Prendre pour compagnon mon vouloir persistant,

Rester le maître enfin absolu dans mon âme.

 

Mon dédain fut profond de leurs minces labeurs,

De l’espace muré où les joies sont permises

Et du renoncement, des bonheurs sans franchise,

De leurs amours d’esclave où la fierté se meurt.

 

De tout ce qui les garde (et malgré qu’on en dise)

Loin du soleil réel, puériles, végétant,

Avec ces petits pieds que l’usage leur brise

Et cet esprit, comme eux, à jamais impotent.

 

Jamais je n’aurais pu d’une lèvre ravie,

Parler de ce ruban, d’un collier de corail,

Du miroir, du bouquet, de valse, d’éventail,

Sous son aspect mignard, considérer la vie.

 

Jamais je n’aurais pu, sous le poids du chagrin,

Pressoir broyant le cœur comme un rouge raisin,

Entre la mort guettant et la foi qui divague,

Comparer à mes pleurs, les perles de mes bagues;

 

Bercer l'enfant pleurant de doux radotements,

Regarder vers le ciel sans le soupçonner vide;

D’un faux bien, quel qu’il soit, leurrer mon cœur avide;

N’être qu'une enfant simple aux bras forts d’un amant.

 

J’étais de mes pensées solitaires éprise;

Virilement toujours mon âme s’appartint;

Aucun des mots appris ne la rendait soumise

Et rien ne s’accordait entre elle et son destin.

 

Les mensonges que j’aime, aux nuances subtiles,

Nés de mon sang, leurs contours immenses vacillent,

Sur vos fronts s’étoilant, ô bergers aryens,

Ils importuneraient les doux cieux féminins.

 

Et si parfois je pleure au fond des cathédrales,

Si, dominant mon lit, veille le crucifix,

C’est parce que, des dieux que l’humanité fit,

Celui-ci les surpasse en tendresse idéale;

 

Mais je respecte en moi cet homme que je suis,

Dont le vent du néant vient glacer chaque fibre,

Tandis que son cerveau cherche… anxieux et libre,

Seul à travers la nuit, sous la branche de buis.

 

11 mars 1911

 

 

I’ve never tasted all that women so extol

 

I’ve never tasted all that women so extol,

I love full force, to sample violent efforts’ thrill,

To take as my companion my persistent will,

Remain the final total master of my soul.

 

Their petty labours roused in me profound disdain

As did the walled-in space where joys can be allowed

Their self-denial, unsanctioned pleasures unavowed,

Their slave-like loves, where pride must pine in vain.

 

All that which keeps them (in spite of what people swear)

Far from the real sun, lethargic, childish, spent,

And with their dainty feet that usage would impair

And with a spirit which, like them, is impotent.

 

I’d never have been able, with ecstatic voice,

To talk about ribbons, some coral necklace praise,

A mirror, a bouquet, some waltz, this fan so choice,

Or to consider life in such a precious way.

 

I’d never have been able, weighed down by distress,

To crush my heart like a red grape in some large press,

Or, struggling between death and faith that’s strayed or fled,

Compare my rings’ fine pearls with tears I sometimes shed.

 

Console a weeping child with senseless murmured charms,

Or skyward gaze without suspecting emptiness;

Deceive my avid heart with any false caress;

Be but a simple child clasped in a lover’s arms.

 

Only by solitary thoughts was I enthused

And, forever virile, my soul was all its own;

By not a single word it learnt was it subdued,

Between it and its destiny agreement there was none.

 

The lies I love, with all their subtly changing shades,

Born of my blood, have shifting contours, fluctuate,

Starring your brows, oh Aryan herdsmen, I surmise

They would do nothing but disturb soft female skies.

 

And if at times inside cathedrals I should weep,

If, gazing down, a crucifix guards where I rest,

It is because, of all the gods that humans keep,

This one surpasses them in ideal tenderness.

 

But I respect the man of which I’m also made,

Whose every fibre the void’s wind will chill in me,

While in his mind he searches… anxious and yet free,

Alone, throughout the night, within a box-tree’s shade.

 

11 March 1911

 

Tuesday, 26 May 2026

Jan Marten de Vries: 'Herinneringen'


Herinneringen

 

Er was zo’n zestig jaar voorbijgegaan,

Zij woonde ook in mijn herinneringen,

gevat in geuren en in kleine dingen:

gedachten aan ’t begin van mijn bestaan.

 

De buurvrouw was ’t: zij schonk mij koffie in

– de laatste keer was ’t aanmaaklimonade

of was het misschien warme chocolade? –

en vroeg aandachtig hoe het mij verging.

 

Maar ik, ik keek vooral en vaak naar buiten

– dit was het laatste huis in oude staat

met van die fraai vertekenende ruiten –

 

en ik was weer die peinzend kleine jongen

die achter ’t raam stond, kijkend naar de straat:

ik had mij van de woorden losgezongen.

 

 

Recollections

 

Some sixty years ago it must have been,

she also was retained in memories,

still dwelt in scents and trivialities:

thoughts from my earliest years, held deep within.

 

She was my neighbour: coffee made for me –

– it had been lemon squash the time before,

or maybe been hot chocolate? I’m not sure –

‘And how are things?’ she asked attentively.

 

I mostly window-gazed at life outside

– this one unchanged house time could not defeat,

with those panes that distort and make things slide –

 

and once again that pensive lad was me,

behind the window, looking at the street:

from words I’d sung myself completely free.

 

 

Monday, 25 May 2026

Jan Marten de Vries: 'De berk'


 

De berk

 

‘t Was op een hoge heuvel, dat zij zei:

‘Ik houd zo van ‘t geluid van berkenbomen,

aan hun geritsel is niet te ontkomen,

ik ga er nooit een ongemerkt voorbij.’

 

En ik, ik ken de berk al lang: als kind

gebruikte ik de afgescheurde vellen

voor letters en voor cijfers, om te tellen,

al lukte het niet altijd met de inkt.

 

En inderdaad: ik hoorde ‘t hoge ruisen

zoals het werd gedreven door de wind,

een duidelijk waarneembaar zilver suizen.

 

Hoe kan het, dat ik, ondanks goede oren,

de boom die ik herkennen kon als kind

altijd wel zag, maar nooit heb willen horen?

 

 

The birch

 

It was on some high hill she said to me:

‘I am so fond of how the birch trees sound,

Their rustling leaves you just can’t get around,

I never fail to notice such a tree.’

 

To me, its bark was a familiar sight –

when young I stripped this layer off it, so

I could make numerals or letters, though

I didn’t always get the ink quite right.

 

And, yes indeed: its soughing I could hear

whenever some breeze made it sway and sigh –

a silver shivering, distinct and clear.

 

How can it be that I with my keen ear

the tree that as a child I recognised

straightway on sight, did never wish to hear?



Sunday, 24 May 2026

A lesson to be learned? Some thoughts about a poem by Uffe Harder


About half an hour ago I asked AI where this line of poetry came from: ‘Man kunne forestille sig solen’. It replied that it came from Årstider, a collection by Morten Søndergaard.

I replied that this was wrong, that the line did indeed come from a collection Årstider, but the line was the beginning of a poem by Uffe Harder.


AI admitted it had made a false association.


I had just translated the poem into English, so I asked AI if it could do so too.



Man kunne forestille sig solen

 

Man kunne forestille sig solen

som en stor sort sky

der langsomt bevægede sig hen over himlen

og efterlod alt mørkt bag sig

 

Man kunne også forestille sig

at skorstenen på fabrikken derovre

pludselig begyndte at ryge med hvid røg

og at rotterne kom frem fra deres huller

for at danse på asfalten.

 

 

One could imagine the sun

 

One could imagine the sun

as a large black cloud

moving slowly across the sky

and leaving everything dark behind it

 

One could also imagine

that the factory chimney over there

suddenly began to give off white smoke

and that the rats came out of their holes

to dance on the asphalt.


 

Here is what AI wrote back:


 

 My translation was identical except for writing  'and' in line 4 and the avoidance of repeating the word ‘smoke with’ in line seven.

 

I have tested AI many times with poems to translate. It comes up with hilarious suggestions quite often. To fail to spot the weakness of two ‘smokes’ in a poem is a typical lapse.

 

But the fact that my translation and AI’s are almost identical twins also suggests that the poem is perhaps more a chopped-up piece of prose than a poem.

N.F.S. Grundtvig: 'I al sin Glands nu straaler Solen'

 


I al sin Glands nu straaler Solen

 

I al sin Glands nu straaler Solen,

Livs-Lyset over Naadestolen,

Nu kom vor Pinselilje-Tid,

Nu har vi Sommer skær og blid,

Nu spaar os mer end Englerøst

I Jesu Navn en gylden Høst.

 

I Sommer-Nattens korte Svale

Slaar højt Fredskovens Nattergale,

Saa alt, hvad Herren kalder sit,

Maa slumre sødt og vaagne blidt,

Maa drømme sødt om Paradis,

Og vaagne til vor Herres Pris.

 

Det aander himmelsk over Støvet,

Det vifter hjemlig gjennem Løvet,

Det lufter liflig under Sky

Fra Paradis, opladt paa ny,

Og yndig risler ved vor Fod

I Engen Bæk af Livets Flod.

 

Det volder alt den Aand, som daler,

Det virker alt den Aand, som taler

Ej af sig selv, men os til Trøst,

Af Kiærlighed med Sandheds Røst,

I Ordets Navn, som her blev Kjød

Og foer til Himmels hvid og rød.

 

Opvaagner alle dybe Toner

Til Pris for Menneskets Forsoner!

Forsamles alle Tungemaal

I Takkesangens Offerskaal!

Istemmer over Herrens Bord

Nu Menighedens fulde Kor!

 

I Jesu Navn da Tungen gløder

Hos Hedninger saa vel som Jøder;

I Jesus-Navnets Offerskaal

Hensmelter alle Modersmaal;

I Jesu Navn udbryder da

Det evige Halleluja!

 

Vor Gud og Frelser uden Lige!

Da blomstrer Rosen i dit Rige,

Som Sole vi gaa op og ned

I din enbaarnes Herlighed;

Thi du for Hjertet, vi gav dig,

Gav os med ham dit Himmerig!

 

 


Now gleams the sun in all its splendour

 

Now gleams the sun in all its splendour,

o’er mercy seat life’s light to tender –

now Whitsun lily’s time is here,

now we have summer mild and clear –

will more than angel’s voice proclaim

a golden harvest in Christ’s name.        

 

In summer night’s brief coolness ringing

the forest’s nightingales are singing,

so all that God will ne’er forsake

may sweetly sleep and gently wake,

may sweetly dream of paradise

and wake their God to glorify.

 

And o’er the dust sighs heav’nly breathing,

and through the leaves wind’s gently heaving,

and ’neath the clouds a breeze that blew

from paradise is charged anew,

and in the meadow at our feet

from life’s own stream comes murmur sweet.

 

This wreaks all spirit now descending,

this speaks all spirit without ending

not of itself but – us to soothe –

of love, with voice of lasting truth,

as word made flesh that from the dead

rose up to heaven, white and red!

 

And all mankind its voice now raises

to sing its great Redeemer’s praises!

All tongues together now extol

their Lord at the communion bowl!

Over His table chants entire

the congregation’s mighty choir.

 

In Jesu’s name are tongues afire,

as jews and gentiles like aspire,

in Jesu’s sacrificial bowl

all tongues now melt to form one whole,

in Jesu’s name their voices lend

to Hallelujahs without end!

 

Our God and Father, mightiest power!

Now blooms the rose in Thy great bower,

like suns do we now rise and set,

in Thy Son’s glory are we met,

since for the heart that we gave Thee

through Him Thou gav’st us heaven’s key!



Saturday, 23 May 2026

Erik Lindegren: 'mannen utan väg' (1942)




the pathless man is a collection of poems by Erik Lindegren published in 1942. With its polyphonic, pictorial language, it is considered one of the most distinctive and ground-breaking collections of poetry ever published in Swedish. 

The book's forty poems constitute a union of disharmoniously shattered imagery collected in a harmonious and symmetrical form, so-called fragmented sonnets, each consisting of fourteen lines divided into seven two-line stanzas. Lindegren's intention, like a literary equivalent to Picasso's painting Guernica, was to express the powerlessness of his contemporaries during World War II. 

the pathless man was written in 1939-1940. Literary influence is noticeable from T.S. Eliot's The Wasteland, Gunnar Ekelöf's Sent på jorden and his friend Artur Lundkvist's 1930s poetry. Impressions from surrealism and Lundkvist's dissemination of the latest modernist poetry was also important. Lindegren was also strongly influenced by such surrealist visual artists as Salvador Dali and members of the Halmstad Group, as well as classical music, primarily Stravinsky and Bach, when creating the poems. 

To see the entire collection in a dual language version, go to here.

Friday, 22 May 2026

Albert Verwey: 'Maanlicht'




Maanlicht

 

O geur'ger heft zich iedre bloeme

     In maanlicht-milden middernacht,

Als ik de zoete bloeme noeme,

     Die mij des dages tegenlacht.

 

En schoon ik sterre en maanlicht roeme,

     Dat zoet'lijk slaapt op 't bloembed zacht,

De kleine, die ik mijne noeme,

     Is sterrenstraal en bloemenpracht.

 

En tot de blanke bloeme nijg ik,

     Of droom en geur ook mij omving; -

 

En tot de stille sterren stijg ik,

     En murmel mijn herinnering; -

 

En met ontloken lippen zwijg ik

In mijner minne mijmering. –

 

 

Moonlight

 

More fragrant rises every flower

     In moonlight’s gentle depths of night,

When I the flower name at this hour

     Whose daytime smile for me is bright.

 

Though star and moonlight I’m extolling

     That on its flower-bed sleeps so fine,

The small flower who by name I’m calling,

     Is radiant star and flower divine.

 

And to this gleaming flower I’m bending,

     As were both dream and scent for me;–

 

And to the silent stars ascending

     I’m murmuring my memory; –

 

With wordless open lips descending

     Into my loved one’s reverie. –

 

 

Wednesday, 20 May 2026

Albert Verwey: 'De zin van het rijm' (PS 57)

 


DE ZIN VAN HET RIJM

 

Geheimen heb ik vaak, en klaar, gesproken

En leg nu in dit klaarste ’t grootst geheim:

In paring en omarming van het rijm

Liggen verlangen en geluk verdoken.

 

En wordt de binding schijnbaar opgebroken,

Ge weet toch dat ik van verlangen zwijm:

Eer ge kunt spreken wordt de korte vlijm

Van de angst door nieuwe omcirkeling gewroken.

 

Een beetre vorm vonden de minnaars niet,

De dichters die de pols van ’t leven vonden

In ’t zoete klinken van hun rijmend lied.

 

Hun woorden waren 't kloppen van hun wonden

En zelfs het oopnen van een nieuw verschiet

Werd door hun kunst aan de oude kim verbonden.

 

 

THE MEANING OF RHYME

 

Often, and clearly, secrets I have uttered

And in what’s clearest I the greatest lay:

In rhymes’ embrace and coupling interplay

A longing and a bliss both lie tight-shuttered.

 

And if the tie apparently gets broken,

You know for sure that I from longing swoon:

Ere you can speak, the avenging razor wound

Of fear by fresh encirclement is woken.

 

A better form was ne’er by lovers found,

The poets who the pulse of life discovered

Within their rhyming song’s so pleasing sound.

 

Their wounds’ own pulsing did these words impart,

Even a new horizon was uncovered

And melded with the old one by their art.

 

 

Translated in collaboration with Albert Hagenaars

Poetic Synapses 57