Tuesday, 30 September 2025

R.M. Rilke: 'Der Panther'

 


Der Panther

              Im Jardin des Plantes, Paris

 

Sein Blick ist von Vorübergehen der Stäbe

so müd geworden, daß er nichts mehr hält.

Ihm ist, als ob es tausend Stäbe gäbe

und hinter tausend Stäben keine Welt.

 

Der weiche Gang geschmeidig starker Schritte,

der sich im allerkleinsten Kreise dreht,

ist wie ein Tanz von Kraft um eine Mitte,

in der betäubt ein großer Wille steht.

 

Nur manchmal schiebt der Vorhang der Pupille

sich lautlos auf—. Dann geht ein Bild hinein,

geht durch der Glieder angespannte Stille—

und hört im Herzen auf zu sein.

 

The Panther

              In the Jardin des Plantes, Paris

 

His gaze holds nothing more, grown tired and misted

from all the bars that past his eyes have twirled.

It seems as if a thousand bars existed

and then behind a thousand bars no world.

 

His powerful padding with its supple splendour

describes a circle held in tightest bands,

is like a dance of force around a centre

in which completely dazed a great will stands.

 

But rarely does the pupil’s lid slide open

without a sound – and lets an image through,

through the tense silence of his limbs in motion –

and in his heart its life’s extinguished too.


He wrote about other animals too. Here's one about a swan.

 

 

R.M. Rilke: 'Denn wir sind nur die Schale und das Blatt' (1903)

 


Denn wir sind nur die Schale und das Blatt.

Der große Tod, den jeder in sich hat,

das ist die Frucht, um die sich alles dreht.

 

The Book of Hours (The Book of Poverty and Death)

 

 

For we are but the shell and outer leaf.

The great Death lodged deep down within each sheath,

that is the fruit and all things’ cornerstone.

 

 

Monday, 29 September 2025

ZKG 33: 'sunder warumbe'

 

Meister Eckhart

ZKG 33

 

sunder warumbe

 

the shoot has but its root

evolving on its own

into its final fruit

revolving round its stone




Sunday, 28 September 2025

B.S. Ingemann: 'Aftensang' (Fred hviler over land og by)

 


Aftensang

 

Fred hviler over Land og Bye,

     Ei Verden larmer meer:

Fro smiler Maanen til sin Skye,

     Til Stjerne Stjerne seer.

 

Og Søen blank og rolig staaer

     Med Himlen i sin Favn;

Paa Dammen fjerne Vogter gaaer

     Og lover Herrens Navn.

 

Det er saa fredeligt, saa tyst

     I Himmel og paa Jord;

Vær ogsaa stille i mit Bryst,

     Du Flygtning som der boer!

 

Slut Fred, o Hjerte, med hver Sjæl,

     Som her Dig ei forstaaer!

See over Bye og Dal i Qvel

     Nu Fredens Engel gaaer.

 

Som Du han er en Fremmed her:

     Til Himlen staaer hans Hu;

Dog i det stille Stjerneskjær

     Han dvæler her som Du.

 

O, lær af ham din Aftensang,

     Fred med hver Sjæl paa Jord;

Til samme Himmel gaaer vor Gang,

     Adskilles end vort Spor.

 

Fred med hvert Hjerte, fjern og nær,

     Som uden Ro mon slaae!

Fred med de Faa, som mig har kjær,

     Og dem jeg aldrig saae!

 

Fred med hver Aand, som hader mig!

     Den skal mig elske vist,

Naar samlet i Guds Himmerig

     Vi ham lovprise hist.

 

 

1672 fik de såkaldte "blegemænd" tilladelse til at anlægge deres pladser på en strækning mellem nuværende Blegdamsvej og Sortedamssøen. Dammene, som lå her de næste 200 år, blev nummereret i rækkefølge begyndende sydfra. I dammene kunne de hvide varer fugtes, hvorefter de blev lagt til blegning i solen. Tjenestepigerne blev sendt herud et par gange hvert år.

Digteren B. S. Ingemann skildrede også fænomenet: “Og Søen blank og rolig Staar med Himlen i sin Favn. Paa Dammen fjerne Vogter gaar og lover Herrens Navn”. Den i verset omtalte vogter var ansat for at passe på, at de udlagte hvidevarer ikke blev stjålet. Han skulle regelmæssig blæse i et kohorn, således at folk vidste, at han var vågen. Hos Carl Ploug omtales kohornet som en "Blegdamstuba".

       

 

 

Evening Song

 

Peace rests o’er town and countryside,

     No worldly noises mar:

At its own cloud the moon smiles wide,

     Till star can gaze on star.

 

And smooth and shining lies the lake,

     The sky in its embrace,

On bleach greens guards keep distant wake

     And praise the God of grace.

 

It is so still, with all at rest

     In heav’n and here on earth,

Be also still now in my breast,

     You fugitive since birth!

 

Make peace, oh heart, with every soul

     That fails to read you here,

And peace’s angel now behold,

     O’er town and vale so near.

 

Like you, he is a stranger here:

     His mind’s on heaven set,

Yet in the tranquil starlight clear

     Like you, he lingers yet.

 

Oh, learn from him your evening song:

     Peace with each soul on earth!

We for a common heaven long,

     Although our paths diverge.

 

Peace with each heart, both far and near,

     That restlessness may gnaw!

Peace with the few that hold me dear,

     And those I never saw!

 

Peace with each mind that hates me yet!

     That hate will turn to love,

When in God’s heaven we are met

     And sing his praise above. 

 


Tineke Bracke: 'onuitgepakt'

 

unpacked

 

you arrived

in a body

that didn’t quite fit

 

with skin

that was still hardly creased

as if no one had ever

really worn it

 

you walked

as if the seams

had not been

stitched for you

 

and every movement

sounded like paper

that as yet doesn’t

dare to tear


To see the original poem, go to here.

Friday, 26 September 2025

Jacobus Revius. 'Scheppinge'

 


Scheppinge

 

God heeft de werelt door onsichtbare clavieren

Betrocken als een luyt met al sijn toebehoor.

Den hemel is de bocht vol reyen door en door,

Het roosken, son en maen die om ons hene swieren.

 

Twee grove bassen die staech bulderen en tieren

Sijn d’aerd en d’oceaan: de quinte die het oor

Verheuget, is de locht: de reste die den choor

Volmaket, is t’geboomt en allehande dieren.

 

Dees luyte sloech de Heer met sijn geleerde vingers,

De engels stemden in als treffelicke singers,

De bergen hoorden toe, de vloeden stonden stil:

Den mensch alleen en hoort noch sangeren noch snaren,

Behalven dien ’t de Heer belieft te openbaren

Na zijn bescheyden raet en Goddelijcken wil.

 

 

Creation

 

God with his wires invisible has strung the world

As ’twere a lute, with all of its accoutrements.

The welkin is the bowl, full-ribbed from end to end,

The rose, the sun and moon whose orbits round us twirl.

 

The two coarse bass strings that forever boom and roar

Are earth and ocean: the high chanterelle, so sweet

Upon the ear, the sky: the others that complete

The choir are the trees and beasts of every sort.

 

This lute th’Almighty plucked with His accomplished fingers,

The angels then joined in as His proficient singers,

The mountains listened rapt, the rivers all stood still:

And man alone hears neither singers nor the strings,

Unless it please God to reveal to him such things

According to His prudent plan and heav’nly will.


For more information about lute terminology and the difficulties of translating the sonnet into English, go to here.

 

 


 

Angelus Silesius: 'Die Ros' ist ohn' Warum'


 

 

Die Ros’ ist ohn’ Warum;

sie blühet, weil sie blühet;

Sie acht’ nicht ihrer selbst,

fragt nicht, ob man sie siehet.

 

No wherefore has the rose;

it blooms and blooms renew it;

it does not heed itself,

or ask if one can view it.


This concept was central to the thinking of the German mystic Meister Eckhart. You can find a crucial text here.

 

 

Johannes Immerzeel (1776-1841): 'Grafschrift van een filosoof'


 

Grafschrift van een filosoof

 

Naakt was ik, toen ik werd geboren;

Naakt lig ik onder dezen steen;

‘k Heb, sedert ik op aard verscheen,

Dus niets gewonnen of verloren.

 

Is ’t wonder, dat de mensch in ’t leven

Het beste spoor zoo moeilijk vindt?

Twee gidsen, die hem voort doen streven,

En beurtlings wenk en spoorslag geven,

Fortuin en Min zijn beiden blind.

 

 

A philosopher’s epitaph

 

Quite naked I arrived here at my birth;

Quite naked I lie too beneath this stone;

No gain or loss I thus have ever known

Since I made my appearance on this earth.

 

So is it any wonder that a man

Should maybe find the best path hard to find?

Two guides that fuel his search to find a plan,

And wave and point in turns is all they can,

Fortune and Love are both completely blind.

 

 


Thursday, 25 September 2025

Simon Vinkenoog: 'Koorts' (PS 37)

 


KOORTS

 

het boek te lezen en het boek te schrijven

dat alles zegt

verwachten en wanhopig wezen:

met de pen in de hand

geen woord kunnen zeggen

tussen duizenden boeken

geen woord kunnen lezen

 

schrijfstom en leesblind zijn

 

vergeten het woord dat amen zegt

het schrijven verleerd de pen

een doelloos voorwerp tussen lege

vingers: koortsthermometer

het boek een onbeschreven blad

de taal die ik bezat

verloren

eeuwig vergeten

doof en eindeloos wit

in de marge geboren

 

en dan de onvolmaaktheid vrouw

van jouw lichaam en mijn verzen

eender smart susanna in het bad

de tijd dat ik nog stamelwoede had

de eindeloze ogenblikken

dat mijn gedachten

vorm en inhoud kregen:

ademloos verloren

voorgoed vergeten

overal – simon – dezelfde smart

 

 

FEVER

 

to read the book and to write the book

that says everything

to be expectant and despairing:

with the pen in one’s hand

to be unable to say a word

among a thousand books

to be unable to read a word

 

to be mute-penned and word-blind

 

to forget the word that says amen

have unlearnt how to write the pen

an aimless object between one’s empty

fingers: a temperature measurer

the book a blank slate

the language I once possessed

now lost

forgotten for ever

born deaf and endlessly white

in the margin

 

and then the incompleteness wife

of your body and my verses

rather pain ‘susanna in the bath’

the time that I still had stammer rage

the endless moments

that my thoughts

gained form and content:

breathlessly lost

forgotten for ever

everywhere – simon – the one same pain

 

 

Translated in collaboration with Albert Hagenaars

Poetic Synapses 37

 

Paul Gerhardt: 'Nun danket all und bringet Ehr' (vv. 1-2)


I have been leafing through my father's heavily annotated Methodist hymn book again, as it is time to get my stiff fingers agile on the piano once more. No. 813 is a tune written by Crüger and published in 1653. In the Methodist book, it is used for 'The Lord will come, and not be slow', but in the Lutheran hymnary (Songs of Devout Practice) referred to, the text by Paul Gerhardt starts with the following two verses (quite a way to start your day!):


Nun danket all und bringet Ehr

 

Nun danket all und bringet Ehr,

ihr Menschen in der Welt,

dem, dessen Lob der Engel Heer

im Himmel stets vermeldt.

 

Er gebe uns ein fröhlich Herz,

erfrische Geist und Sinn.

Und werf’ all Angst, Furcht, Sorg und Schmerz

in Meeres Tiefe hin.

 

 

Now all your thanks and honour bring

 

Now all your thanks and honour bring,

ye mortals here on Earth,

to Him whose praise the angels sing,

in Heaven’s universe.

 

He grant us joyfulness of heart,

our mind and soul refresh,

All fear, dread, pain and sorrow cast

into the ocean’s depths.

 

 

  

Gerrit Komrij: 'Arlequino's Ei'

 


HARLEQUIN’S EGG

 

1

 

Verse can be pulled on like a pair of pants:

Tight, loose, to size, to suit your mood the while.

There are for each imaginable stance

Yet other pants. (Priest’s garb is unistyle.)

 

When reckless – jazzy coloureds are your pick.

A thin stripe – when capricious - lends you flair.

Though white for whims or daring’s also slick.

A poet cuts a figure everywhere.

 

He can, if death his poet’s heart sore squeezes,

Compose a solemn hymn on Edam cheeses,

Though also wildly weep in his distress.

 

Or he forgets the pain. The cheese, no less.

Makes fun of it, as through the nets he eases.

He shrugs it off, is free once more from stress.

 

 

2

 

Let’s say you want to write a poem about an

Egg, you would let that egg, with quite astounding,

Sounding magic, float through woods to outer

Reaches, where you’d let it – like a confounding,

 

Egg-shaped pumping-engine – dip and soar!

You’d alternate egg-colour in confusion –

Now blue, now yellow. Or: on its shell-floor

You’d paint great marguerites in wild profusion.

 

The egg would wax and wane, the poet can

Do all – for him it’s just a piece of cake

To make uneggy what as egg began.

 

A sickly man, a fan-shaped host of spikes.

And then a cookie, or a lady’s bike.

No real verse, though – unless the egg should break.

 

 

3

 

It breaks. The yolk’s no joke – what does the poet?

He festoons frills and garlands round his person,

Like some decked maypole. Lovelier still – to show it

He sarabandes and does his samba version.

 

He plays for monarch and he plays for beggar.

The flowers sway with him, birds explode in flashes

Above his head, the reddish sun glows redder.

He finds a way to flaunt a feast of fashions.

 

At night he plays for bailiff and for debtor.

He plays for this and that – the ranting male.

His eyes turn red as cherry-stones – uncanny –

 

And he’s now warbling like a nightingale.

He thinks of everything, the yolk excepted,

And, tired from dancing, parks on it his fanny.

 

 

4

 

What do you do, with egg-stain on your bum?

You feel so sticky, look a little glum.

And mum’s the word. For if no stain had come

To grace your arse, it would have been such fun.

 

Why did the egg not vanish in a trice?

Why such a cinch to make a lady’s bike?

Wasn’t it too a fan-shaped host of spikes?

And now there’s this adornment on your bike.

 

You still feel, in your pants with yellow pickings,

Now only fancied by some rangy chickens,

Just what a silly idiot you have been.

 

You’d best give up your antics – what a curse!

You’d better take your pants off, Harlequin,

And in the buff in future write your verse.


To see the original, go to here