Friday, September 16, 2011

Tove Ditlevsen
















Barndommens Gade

Jeg er din barndoms gade
jeg er dit væsens rod
jeg er den bankende rytme
i alt hvad du længes mod.

Jeg er din mors grå hænder
og din fars bekymrede sind
jeg er de tidligste drømmes
lette, tågede spind.

Jeg gav dig min store alvor
en dag du var vildt forladt,
jeg dryssed' lidt vemod i sindet
en drivende regnvejrsnat.

Jeg slog dig engang til jorden
for at gøre dit hjerte hårdt,
men jeg rejste dig varligt op igen
og tørrede tårerne bort.

Det er mig der har lært dig at hade
jeg lærte dig hårdhed og spot.
Jeg gav dig de stærkeste våben
du skal vide at bruge dem godt

Jeg gav dig de vagtsomme øjne
på dem skal du kendes igen,
og møder du en med det samme blik
skal du vide han er din ven.

Fløj du så vidt over lande
voksede du fra din ven?
Jeg er din barndoms gade
jeg kender dig altid igen.

Fra digtsamlingen Lille Verden 1942.
Tove Ditlevsen (1917-1976)

foto: gb

Sunday, July 31, 2011

City That Does Not Sleep

Federico García Lorca is possibly the most important Spanish poet and dramatist of the twentieth century.

García Lorca's stay in America, particularly New York -- his first adult experience of a democratic society, albeit one he considered to be dominated by rampant commercialism and the casual social oppression of minority groups -- acted as a catalyst for some of his most daring work. His collection of poems, Poeta en Nueva York, explores his alienation and isolation through some graphically experimental poetic techniques, and the two plays Así que pasen cinco años and El público were far ahead of their time -- indeed, El público was not published until the late 1970s.

 
City That Does Not Sleep by Federico Garcia Lorca
In the sky there is nobody asleep. Nobody, nobody.
Nobody is asleep.
The creatures of the moon sniff and prowl about their cabins.
The living iguanas will come and bite the men who do not dream,
and the man who rushes out with his spirit broken will meet on the street corner
the unbelievable alligator quiet beneath the tender protest of the
stars.

Nobody is asleep on earth. Nobody, nobody.
Nobody is asleep.
In a graveyard far off there is a corpse
who has moaned for three years
because of a dry countryside on his knee;
and that boy they buried this morning cried so much
it was necessary to call out the dogs to keep him quiet.

Life is not a dream. Careful! Careful! Careful!
We fall down the stairs in order to eat the moist earth
or we climb to the knife edge of the snow with the voices of the dead
dahlias.
But forgetfulness does not exist, dreams do not exist;
flesh exists. Kisses tie our mouths
in a thicket of new veins,
and whoever his pain pains will feel that pain forever
and whoever is afraid of death will carry it on his shoulders.

One day
the horses will live in the saloons
and the enraged ants
will throw themselves on the yellow skies that take refuge in the
eyes of cows.

Another day
we will watch the preserved butterflies rise from the dead
and still walking through a country of gray sponges and silent boats
we will watch our ring flash and roses spring from our tongue.
Careful! Be careful! Be careful!
The men who still have marks of the claw and the thunderstorm,
and that boy who cries because he has never heard of the invention of the bridge,
or that dead man who possesses now only his head and a shoe,
we must carry them to the wall where the iguanas and the snakes are waiting,
where the bear's teeth are waiting,
where the mummified hand of the boy is waiting,
and the hair of the camel stands on end with a violent blue shudder.

Nobody is sleeping in the sky. Nobody, nobody.
Nobody is sleeping.
If someone does close his eyes,
a whip, boys, a whip!
Let there be a landscape of open eyes
and bitter wounds on fire.
No one is sleeping in this world. No one, no one.
I have said it before.

No one is sleeping.
But if someone grows too much moss on his temples during the night,
open the stage trapdoors so he can see in the moonlight
the lying goblets, and the poison, and the skull of the theaters.

Federico Garcia Lorca (1898-1936)

Wednesday, July 13, 2011

Cat's Dream















How neatly a cat sleeps,
Sleeps with its paws and its posture,
Sleeps with its wicked claws,
And with its unfeeling blood,
Sleeps with ALL the rings a series
Of burnt circles which have formed
The odd geology of its sand-colored tail.

I should like to sleep like a cat,
With all the fur of time,
With a tongue rough as flint,
With the dry sex of fire and
After speaking to no one,
Stretch myself over the world,
Over roofs and landscapes,
With a passionate desire
To hunt the rats in my dreams.

I have seen how the cat asleep
Would undulate, how the night flowed
Through it like dark water and at times,
It was going to fall or possibly
Plunge into the bare deserted snowdrifts.

Sometimes it grew so much in sleep
Like a tiger's great-grandfather,
And would leap in the darkness over
Rooftops, clouds and volcanoes.

Sleep, sleep cat of the night with
Episcopal ceremony and your stone-carved moustache.
Take care of all our dreams
Control the obscurity
Of our slumbering prowess
With your relentless HEART
And the great ruff of your tail.


Pablo Neruda (1904-1973)

photo: grethe bachmann

Friday, July 8, 2011

Song From Amphitryon


      FAIR Iris I love, and hourly I die,
      But not for a lip, nor a languishing eye:
      She's fickle and false, and there we agree,
      For I am as false and as fickle as she.
      We neither believe what either can say;
      And, neither believing, we neither betray.
      'Tis civil to swear, and say things of course;
      We mean not the taking for better or worse.
      When present, we love; when absent, agree:
      I think not of Iris, nor Iris of me.
      The legend of love no couple can find,
      So easy to part, or so equally join'd. 
       
      John Dryden
      1631-1700

      photo Sculpture by the Sea June 2011: grethe bachmann

Tuesday, June 28, 2011

The Lady of Shalott



On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And through the field the road run by
To many-tower'd Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.



Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.



By the margin, willow veil'd,
Slide the heavy barges trail'd
By slow horses; and unhail'd
The shallop flitteth silken-sail'd
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?



Only reapers, reaping early,
In among the bearded barley
Hear a song that echoes cheerly
From the river winding clearly;
Down to tower'd Camelot;
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers, " 'Tis the fairy
The Lady of Shalott."



There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.



And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot;
There the river eddy whirls,
And there the surly village churls,
And the red cloaks of market girls
Pass onward from Shalott.



Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or long-hair'd page in crimson clad
Goes by to tower'd Camelot;
And sometimes through the mirror blue
The knights come riding two and two.
She hath no loyal Knight and true,
The Lady of Shalott.



But in her web she still delights
To weave the mirror's magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot;
Or when the Moon was overhead,
Came two young lovers lately wed.
"I am half sick of shadows," said
The Lady of Shalott.



A bow-shot from her bower-eaves,
He rode between the barley sheaves,
The sun came dazzling thro' the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneel'd
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.



The gemmy bridle glitter'd free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazon'd baldric slung
A mighty silver bugle hung,
And as he rode his armor rung
Beside remote Shalott.



All in the blue unclouded weather
Thick-jewell'd shone the saddle-leather,
The helmet and the helmet-feather
Burn'd like one burning flame together,
As he rode down to Camelot.
As often thro' the purple night,
Below the starry clusters bright,
Some bearded meteor, burning bright,
Moves over still Shalott.



His broad clear brow in sunlight glow'd;
On burnish'd hooves his war-horse trode;
From underneath his helmet flow'd
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
"Tirra lirra," by the river
Sang Sir Lancelot.



She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look'd down to Camelot.
Out flew the web and floated wide;
The mirror crack'd from side to side;
"The curse is come upon me," cried
The Lady of Shalott.



In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining.
Heavily the low sky raining
Over tower'd Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And around about the prow she wrote
The Lady of Shalott.



And down the river's dim expanse
Like some bold seer in a trance,
Seeing all his own mischance --
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.



Lying, robed in snowy white
That loosely flew to left and right --
The leaves upon her falling light --
Thro' the noises of the night,
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.



Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turn'd to tower'd Camelot.
For ere she reach'd upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.



Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and Burgher, Lord and Dame,
And around the prow they read her name,
The Lady of Shalott.



Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the Knights at Camelot;
But Lancelot mused a little space
He said, "She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott."


Alfred, Lord Tennyson




Loreena McKennitt:
http://www.youtube.com/watch?v=80-kp6RDl94


photo meadow Vilhelmsborg: gb

Saturday, June 18, 2011

Charlotte Brontë: LIFE

Ebeltoft Glasmuseum, Glass Art, Japan
















      IFE, believe, is not a dream
      So dark as sages say;
      Oft a little morning rain
      Foretells a pleasant day.
      Sometimes there are clouds of gloom,
      But these are transient all;
      If the shower will make the roses bloom,
      O why lament its fall?
      Rapidly, merrily,
      Life's sunny hours flit by,
      Gratefully, cheerily
      Enjoy them as they fly!
      What though Death at times steps in,
      And calls our Best away?
      What though sorrow seems to win,
      O'er hope, a heavy sway?
      Yet Hope again elastic springs,
      Unconquered, though she fell;
      Still buoyant are her golden wings,
      Still strong to bear us well.
      Manfully, fearlessly,
      The day of trial bear,
      For gloriously, victoriously,
      Can courage quell despair! 
       
      Charlotte Brontë (1816-1855)

      photo Ebeltoft Glasmuseum 2009: grethe bachmann

Thursday, June 2, 2011

Henry Wadsworth Longfellow




















The Secret of the Sea

Ah, what pleasant visions haunt me,
As I gaze upon the sea!
All the old romantic legends,
All my dreams, come back to me.

Sails of silk and ropes of sandal,
Such as gleam in ancient lore;
And the singing of the sailors,
And the answer from the shore!

Most of all the Spanish ballad
Haunts me oft, and tarries long
Of the noble Count Arnaldos
And the sailor's mystic song.

Like the long waves on a sea-beach,
Where  the sand as silver shines,
With a soft, monotonous cadence
Flow its unrhymed lyric lines: --

Telling how the Count Arnaldos
With his hawk upon his hand,
Saw a fair and stately galley
Steering onward to the land; --

How he heard the ancient helmsman
Chant a song so wild and clear,
That the sailing sea-bird slowly
Poised upon the mast to hear,

Till his soul was full of longing,
And he cried, with impulse strong, --
"Helmsman! for the love of heaven,
Teach me, too, that wondrous song!"

"Wouldst thou," -- so the helmsman answered,
"Learn the secret of the sea?
Only those who brave its dangers
Comprehend its mystery!"

In each sail that skims the horizon,
In each landward-blowing breeze,
I behold that stately galley,
Hear those mournful melodies;

Till my soul is full of longing
For the secret of the sea,
And the heart of the great ocean
Sends a thrilling pulse through me.

Henry Wadsworth Longfellow (1807-1882)
The Seaside and the Fireside

photo: grethe bachmann