Saturday, 20 July 2024

Dèr Mouw: ''k Sta naar 't schitt'rend oranje in 't west te kijken'



’k Sta naar ’t schitt’rend oranje in ’t west te kijken:
als fijne, zwarte tralies staan de abelen;
de blaadjes schijnen met het licht te spelen,
om ’t op te vangen, als ’t er door komt strijken.

 

’k Zie om: het amethyst in ’t oost verdelen
in trossen blauwe-regen diepgroene eiken;
aan de ogen, vol topazenglorie, lijken
de abelen trilgras van paarse juwelen.

 

Op Brahman, wereldgrond, schijnen de dingen
à jour gewerkte scherts: door de openingen
golft onbelemmerd stralende eeuwigheid.

 

Het denken, moe van God, keert van Zijn luister
zich gretig-aards vaak af naar kleurig duister
en weldadig koele verganklijkheid.

 

 

At West’s now glitt’ring orange I stand gazing:

where poplars rise like fine bars, black and slight;

it seems the smallish leaves play with the light,

to intercept it in its passing grazing.

 

I turn: in the East the deep-green oak trees sliver

its amethyst to blue-rain-clustered strands;

to topaz-splendoured eyes, the poplars stand

like mauve-jewel quaking grass that’s all a-quiver.

 

Against the world’s ground, Brahman, earthly things

seem jesting drawn-work, through whose openings

dazzling eternity unhampered wells.

 

Yet, tired of God, thought often turns away

from radiance to the dark where colours play

and where cool, salutory transience dwells.

 

 

 

 


Friday, 19 July 2024

Jeppe Aakjær: 'Aften'



Aften

 

     Stille, Hjerte, Sol gaar ned,

Sol gaar ned paa Heden,

     Dyr gaar hjem fra Dagens Béd,

Storken staar i Reden.

     Stille, Hjerte, Sol gaar ned.

 

     Tavshed over Hedesti

og langs Veje krumme.

     En forsinket Humlebi

ene høres brumme.

     Stille, Hjerte, Sol gaar ned.

 

     Viben slaar et enligt Slag

over Mosedammen,

     før den under Frytlens Tag

folder Vingen sammen.

     Stille, Hjerte, Sol gaar ned.

 

     Fjerne Ruder østerpaa

blusser op i Gløden,

     Hededamme bittesmaa

spejler Aftenrøden.

     Stille, Hjerte, Sol gaar ned!

 

 

Evening

 

     Still, my heart, now sets the sun,

While the moor is resting,

     Herds now homeward are begun,

And the stork is nesting.

     Still, my heart, now sets the sun.

 

     O’er the moor-path silence falls

As on roads so winding.

     A late bumblebee is all

Keenest ears are finding.

     Still, my heart, now sets the sun.

 

     Briefly now the lapwing flies

O’er the bog-pond’s blushes,

     Ere it folds its wings and lies

’Neath a roof of rushes.

     Still, my heart, now sets the sun.

 

     Eastern window-panes afar

Flare up in the gloaming,

     Moorland ponds like tiny stars

Catch the sunset’s homing.

     Still, my heart, now sets the sun!

 

Monday, 15 July 2024

Renée Marais: 'Op ’n Sondagmiddag ’n mazurka'

 

Mazurka on a Sunday afternoon

 

She takes the Chopin album down from the shelf

and in the quiet afternoon before the keys

memories merge with the sounds

of a half-forgotten mazurka, practised

hour after hour behind the podium on the small

grand piano with the sound of ripe apricots, long

ago. She recalls nights full of thousands of notes

and stars reflected in the varnish of the lid,

the mild air, the panoramic view of gleaming

flowers of town lights, red and yellow and white

and green, and time fades and the years blend

with the rhythm of the dance and the regular

flitting from perch to cage and back to perch of the

yellow canary (no: its colour like sweet apricots)

in its blue wire cage; she plays until dusk comes

and her left wrist hurts, the baby moves inside

her and leisurely stretches its arm. Vaguely

from the kitchen behind her she can hear eggs sizzling

in a pan. She plays the final chord (Da Capo

al Fine) and stands up so as to go downstairs

to the entrance, to sign the register and to walk

along the narrow path past the clusters

of daisies to where the light is on in her room

on the second floor of the hostel. I go to 

the kitchen and help my child peel carrots while

the canary in its light-blue cage dances a mazurka

in the rich echo of the strings, high in the sky.



To see the original poem in Afrikaans, go to here.

 

https://oulitnet.co.za/poesie/maraisrene01.asp

Sunday, 14 July 2024

Elisabeth Eybers: 'Poëtica'

  

POËTICA

 

Geslaagde spronge wat my pen soms maak

kan 'k slegs met moeite tuisbring of vermom

asof ek doelbewus die kluts bewaak;

nouliks van die geboorteskok bekom,

moet ek ontreddering blindelings vertrou

om hier en daar 'n oop seer aan te raak

per toeval iets herkenbaar te ontvou.

 

 

POETICS

 

Successful leaps my pen may sometimes make

are tricky to locate or to disguise

as if I’d rigged things for the actual take;

scarcely recovered from the birth-caused daze,

I have to place all trust in disarray

so here and there from some still stinging graze

a chance for recognition comes your way.

 

 

And now comes the dénouement: I have found this poem on the internet here.


It reveals that the poet herself made an English translation of it. Here is a translation of the remarks made by Hendrik-Jan de Wit:

“The English equivalent ‘Poetics’ has the same narrative in a different language, without being a literal or slavish translation of it. For a translator this must be a highly achievable ideal, but this would detract too much from the originality of the poem. The remarkable combination of the two elements results in two unique poems that evoke the same emotion.”

 

The difference between the two English versions is a striking example of how differently a poet-translator and a poetry translator operate. I always avoid looking at any existing translations of a poem before attempting my own – I find they distract me. Here the distraction is even worse – for if I happen to use a same word in my translation, I will probably be accused of having ‘stolen’ it from Eybers, so I almost have to study her translation in order to avoid words. If I had used phrases like ‘glinting in my eyes’ and ‘lingering hurt of sting’, I would have been accused of adding new elements not in the original poem.

This is untenable. I have therefore kept the original text right up close to my eyes and followed it, without, I hope, doing so slavishly.

 

Here is Eyber’s own translation:


 

POETICS

 

The hit my pen occasionally scores

is difficult to pin down or disguise

as if I'd neatly plotted it before;

the shock of birth still glinting in my eyes,

I have to trust what feels like floundering:

each time I touch a lingering hurt of sting

something might light up that you recognize.

 

 

Thursday, 11 July 2024

Piet Gerbrandy: Unpublished poem ('De eerste keer...')

 

The first time you put on that dress of liquid honey

       sweet-scented transparent tight-fitting I thought

              of linden lavender and fields of heather so purple

 

I started to knead two loaves of spelt and wheat

       springy presently enclosed in rough crusts

              the one reminiscent of earth

              the other merrily risen.

 

Lined with mud and down your nest was perched high

       in the crown of a tree whose name now eludes me

              my attention held by the song of maddened

 

wasps crickets untamed bees your heavenly thighs

       oh the bulging flower of your navel

       oh the dough of your toiling gable

              with windows facing a sun in the languid west.

 

What matters now is the dark water my rain barrel

       has retained with an eye to the bone-dry months

              when my herb garden longs for murmured humming.

 


To see the original text, go to here.

 

 

Dan Andersson: 'Barndom'

 


Barndom

 

O, barndom, o gyllene drömmaretider,

Då världen var solljus och hoppfull och god!

Hur ofta när ensam och tröstlös jag lider

Jag dricker mig glömska ur minnenas flod.

Då lever jag saligt i drömmarnas rike,

Med borgar och slott och all världenens glans,

Där varje kamrat är min bror och min like

Och nymferna tråda sin ystraste dans.

 

Där finns för min lycka ej stängande hinder,

Ej bommar som spärra för frihetens färd. -

Vad mera om nuet med villkor mig binder?

Jag lever som fordom i barndomens värld. -

Och trött vill jag stanna i hembygdens dalar,

Och sött vill jag sova på blommande ljung,

Och säll vill jag drömma om himmelens salar,

Där döden är dräpt och man evigt är ung.

 

O, låt mig när solen mot nedgången hastar

Få slumra en gång som i barndomens dar!

Så sjungen då, granar, så jublen då, trastar,

Ty nu är jag liten som fordom jag var. -

Jag lutar mitt pinade huvud mot stammen,

Och drömmer mig bort ifrån tvivel och strid.

Så susen då, björkar, ett viskande amen -

Så somnar jag in i evinnerlig frid.

 

 

Childhood

 

Oh childhood, for dreamers a golden time only,

A world that was sunlight and hopeful and good!

How often, in desolate anguish and lonely,

I drink deep from memories’ pain-lulling flood.

Then blissfully live in dreams’ realm without sequel

Where strongholds and castles and splendour entrance,

Where each single comrade’s my brother and equal

And slender nymphs weave their most spirited dance.

 

No obstacles hinder my joy from unwinding

No barriers see freedom’s path not unfold. –

Who cares if the present’s conditions seem binding

I’m living in childhood’s vast world as of old. –

And weary I’ll stay in my home valleys’ haven,

And sweetly I’ll sleep on the heather in flower,

In bliss I will dream of the great halls of heaven,

Where death has been slain and one’s youth knows no hour.

 

Oh, let me when sun to its setting soon rushes

Just slumber awhile as in childhood’s past days!

So loudly sing, pines, and rejoice, all you thrushes,

For once more I’m small, as a child again gaze. –

Against the tree’s trunk my distressed head inclining,

I drift off in dreams until doubt and strife cease.

So murmur amen, all you birches entwining –

Then I’ll fall asleep in an infinite peace.

 

 

Tuesday, 9 July 2024

Elisabeth Eybers: 'Sonnet' (My hande was van altyd af onpaar)


 

Sonnet

 

My hande was van altyd af onpaar:

skraal, vroulik en beskeie is die linker,

haar maat is ferm, grofgekneukeld, flinker,

maar net so links met greep, groet of gebaar.

 

Verwonderdheid, besinning, wanhoop, angs,

die dinge wat die bloedstroom plotseling strem,

dryf hul soms saam in asemlose klem,

maar dan los elk, verleë, gou sy vangs.

 

Selfs in die voorgeboortelike vog

het hulle onafhanklik rondgeroei

en was nooit waarlik aan mekaar verknog.

 

Ek twyfel of hul ooit behoorlik tuis

kan raak of tot eenparigheid sal groei

vóór iemand hulle oor my borskas kruis.

 

 

Sonnet

 

My hands have been an odd pair first to last:

the left is ladylike, slim, unassuming

her mate is nimble, firm, with knuckles looming,

cack-handed though in gesture, greeting, grasp.

 

Amazement, contemplation, fear, despair,

such things as can make pulses quickly soar,

will sometimes make them tightly clasp or more,

but, much embarrassed, let go then and there.

 

Even in amniotic fluid they

would flail around not getting anywhere,

with no coordination in their play.

 

I doubt if they will ever come to rest

or grow into a true and single pair

till someone folds them both across my chest.

 

Elisabeth Eybers: 'Musiek'


 

Musiek

 

Musiek, subtiele, liggaamlose taal,

ontsmet ons van die aardse onheil, haal

ons heelhuids op uit die geslote kring

van tyd en ruimte. Engele het gesing

lank voor die vroegste woordewisseling,

die skraal veewagtertjie moes telkens weer

met siterspel die bose gees besweer

en bo die dampe van die laaste puin

sal slegs 'n enkele jubelende basuin

die magte van die duisternis ontwrig,

die chaos suiwer soos deur vuur en vloed.

 

Dan skrompel die deursigtigste gedig

tot perkament bevuil met mensebloed.

 

 

Music


Music, you subtle unsubstantial tongue,

cleanse us from earthly evil, have us flung

unscathed out from the closed, constricting ring

of time and space. The angels used to sing

before words first were used for parleying,

the slender shepherdess would have to play

her sitar to keep spirits’ harm at bay,

above the fumes of ruins in a trice

would one triumphant trumpet’s sound suffice

to wrest all power from darkness on the brink,

to purge the chaos as by fire and flood.

 

Then will the most transparent poem shrink

to parchment that’s defiled with human blood.

 

Monday, 8 July 2024

Elisabeth Eybers: 'Brief'


 

Brief

 

Moenie die dood verdink, moenie hom vrees:

sy medelye trek ’n vlammekring

om alles wat ooit skoon of teer mog wees

dat geen bederf nog daar kan binnedring.

 

Maar vrees die lewe met sy donker lis,

sy breeksug en sy onverskilligheid:

jou stil geluk, jou stil vertroue is

vir hom in die verbygaan ’n klein buit

 

om vir die aardigheid en met een hou

half ingedagte neer te kap om jou

te herinner dat jy klein is en hy groot.

 

As daar iets is, volkome en onbesmet,

wat kan gered word sal die dood dit red:

daar is geen deernis soos dié van die dood.

 

 

Letter

 

Do not suspect death, do not show him fear.

his pity draws a ring of fire round all

that might be delicate or lovely here

and holds decay off as a shielding wall.

 

Fear life instead with his dark artifice,

indifference and his destructive quest:

your quiet trust, your quiet happiness

for him in passing are as though in jest

 

at one swift blow to hew down some small prey

half absent-mindedly as if to say

remember you are small and he is great.

 

If anything, unsullied, undepraved,

is savable, then death will see it saved:

and death’s compassion none can emulate.

 

zkg 26: 'hard as nails'


 

hard as nails

 

this spring

my fingernails started to erupt

their growth rate doubled

 

they also grew hard

brittle

shearing off at mad angles

developing ridges

faults

 

i kept on walking into things

with my nails

leaving shards everywhere

they seemed to grow lower

wider

and striate

 

i look at them

and see my mother’s nails

on what are becoming

my mother’s hands

but with my father’s veins

 

then look at the portrait

just right of me

with my son

and grandchildren

 

but cannot see their nails