I Asked You

Ich fragte dich

Hermann Hesse (1877-1962)

Für Maria
Ich fragte dich
Ich fragte dich, warum dein Auge gern in meinem Auge ruht, so wie ein reiner Himmelsstern in einer dunklen Flut. Du sahest lang mich an, wie man ein Kind mit Blicken misst, und sagtest freundlich dann: Ich bin dir gut, weil du so traurig bist.
I Asked You
Your eye on mine rests easy: I asked you why it would, like a pure star celestial on a benighted flood. You looked at me and pondered, as one weighs up a child. ‘Because your gaze droops downward, I’m good to you,’ you smiled.

Translation: Copyright © Timothy Adès

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Come with me to the picture-house

Komm mit mir in das Cinema

Else Lasker-Schüler (1876-1945)

Komm mit mir in das Cinema
Komm mit mir in das Cinema Dort findet man, was einmal war: Die Liebe! Liegt meine Hand in deiner Hand Ganz übermannt im Dunkel, Trompetet wo ein Elefant Urplötzlich aus dem Dschungel – Und schnappt nach uns aus heißem Sand Auf seiner Filmenseide Ein Krokodilweib, hirnverbrannt, Dann – küssen wir uns beide.
Come with me to the picture-house
Come with me to the picture-house, Where we can find what once was ours – Yes: Love! Your hand shall nestle in my hand, By darkness overcome, when Quite suddenly, an elephant Trots out its jungle trombone, Or when onscreen we apprehend A croc’s brain-roasted Mrs Snapping at us from burning sand – Then we shall have our kisses!
Last Page of the ‘111 Love-Poems’

Translation: Copyright © Timothy Adès

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An Old Tibetan Carpet

Ein alter Tibetteppich

Else Lasker-Schüler (1876-1945)

Ein alter Tibetteppich
Deine Seele, die die meine liebet Ist verwirkt mit ihr im Teppichtibet Strahl in Strahl, verliebte Farben, Sterne, die sich himmellang umwarben. Unsere Füsse ruhen auf der Kostbarkeit Maschentausendabertausendweit. Süsser Lamasohn auf Moschuspflanzentron Wie lange küsst dein Mund den meinen wohl Und Wang die Wange buntgeknüpfte Zeiten schon.
An Old Tibetan Carpet
Your soul, and mine, its lover: Weft of our carpet of Tibet, Love’s radiant hues, traced over, Two heart-struck stars in heaven’s net. Luxuriously our feet repose On love-knots meshed in myriad rows. Sweet Lama son’s musk-mallow throne! Long, long your lips have kissed my own, Cheek to bright cheek still cleaving, woven close.

Translation: Copyright © Timothy Adès

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I love forgotten Hallway Madonnas

Ich liebe vergessene Flurmadonnen

Rainer Maria Rilke (1875-1926)

Ich liebe vergessene Flurmadonnen
Ich liebe vergessene Flurmadonnen, die ratlos warten auf irgendwen, und Mädchen, die an einsame Bronnen, Blumen im Blondhaar, träumen gehn. Und Kinder, die in die Sonne singen und staunend groß zu den Sternen sehn, und die Tage, wenn sie mir Lieder bringen, und die Nächte, wenn sie in Blüten stehn.
I love forgotten Hallway Madonnas
I love forgotten Hallway Madonnas, cluelessly waiting for who-knows-whom, and girls with blooms in their blond coronas, going to lonely brooks to dream. And children, into the sunshine singing, and gazing on stars and marvelling, and days, with songs they are kindly bringing, and nights, when flowers are clustering.

Translation: Copyright © Timothy Adès

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White Chrysanthemums

Weiße Chrysanthemen

Rainer Maria Rilke (1875-1926)

Weiße Chrysanthemen
Das war der Tag der weißen Chrysanthemen, mir bangte fast vor seiner schweren Pracht. Und dann, dann kamst du mir die Seele nehmen, tief in der Nacht. Mir war so bang, und du kamst lieb und leise, - ich hatte grad im Traum an dich gedacht. Du kamst, und leis wie eine Märchenweise erklang die Nacht.
White Chrysanthemums
All those chrysanthemums that day were white: their heavy splendour brought me close to grief. And then you came and took my soul, a thief at dead of night. So close… Softly you came then, my delight: My thoughts had dwelt upon you, as I dreamed. Softly you came, and fairy music seemed to fill the night.
Music: Alban Berg / Jessye Norman and Hans von Bülow / Petra Lang

Translation: Copyright © Timothy Adès

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Deep Song

Cante Hondo

Antonio Machado (1875-1939)

Cante Hondo
Yo meditaba absorto, devanando los hilos del hastío y la tristeza, cuando llegó a mi oído, por la ventana de mi estancia, abierta a una caliente noche de verano, el plañir de una copla soñolienta, quebrada por los trémolos sombríos de las músicas magas de mi tierra. ... Y era el Amor, como una roja llama... ?Nerviosa mano en la vibrante cuerda ponía un largo suspirar de oro que se trocaba en surtidor de estrellas?. ... Y era la Muerte, al hombro la cuchilla, el paso largo, torva y esquelética. ?Tal cuando yo era niño la soñaba?. Y en la guitarra, resonante y trémula, la brusca mano, al golpear, fingía el reposar de un ataúd en tierra. Y era un plañido solitario el soplo que el polvo barre y la ceniza avienta.
Deep Song
I was sunk in thought,unwinding The threads of disgust and sorrow, When something came to my ears Through my room’s open window, On that hot night of summer: The moan of a drowsy song. Dark tremolos, witching music Of my southland: a hint of wrong. …It was Love, like a red red flame… Did a nervous hand put a sigh Ample and gold on the live string, To nourish the stars in the sky? …It was Death, his scythe on his shoulder, Skeletal, grim, broad pacing. Did I dream it, before I grew older? The guitar was tremulous, vibrant, Strokes of a rough hand tracing A shroud’s committal to clay. The lonely lament was a night-wind, Sweeps the dust, blows the ashes away.

Translation: Copyright © Timothy Adès

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Lovesong

Liebeslied

Ricarda Huch (1864-1947)

Liebeslied
Wie fern der Welt Getümmel! Der Wildbach rauscht vorbei; Bedrohlich tönt vom Himmel Des Falken stolzer Schrei. Der Sturm braust wilde Weise, Wie er vorüberzieht -- Ich singe scheu und leise Mein kleines Liebeslied.
Lovesong
Remote from worldly ferment, The beck runs rippling by; In heaven, a sound ill-omened: Proud is the falcon’s cry. The tempest’s fierce and tumid, Goes roaring, up above – I warble, soft and timid, My little song of love.

Translation: Copyright © Timothy Adès

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The Old Violin

Το Παλιό Βιολί

John Polémis (1862-1925)

Το Παλιό Βιολί
Άκουσε τ’ απόκοσμο, το παλιό βιολί μέσα στή νυχτερινή σιγαλιά τού Απρίλη· στό παλιό κουφάρι του μιά ψυχή λαλεί μέ τ’ αχνά κι απάρθενα τής αγάπης χείλη. Καί τ’ αηδόνι τ’ άγρυπνο καί το ζηλευτό ζήλεψε κι εσώπασε κι έσκυψε κι εστάθη, γιά νά δή περήφανο τί πουλί είν’ αυτό πού τά λέει γλυκύτερα τής καρδιάς τά πάθη. Ως κι ο γκιώνης τ’ άχαρο, τό δειλό πουλί, μέ λαχταρ´’ απόκρυφη τά φτερά τινάζει καί σωπαίνει ακούοντας τό παλιό βιολί, γιά να μάθη ο δύστυχος, πώς ν’ αναστενάζη. Τί κι άν τρώη τό ξύλο του τό σαράκι; τί κι άν περνούν αγύριστοι χρόνοι κι άλλοι χρόνοι; Πιό γλυκιά καί πιό όμορφη καί πιό δυνατή η φωνή του γίνεται, όσο αυτό παλιώνει. Είμ’ εγώ τ’ απόκοσμο, τό παλιό βιολί μέσα στή νυχτερινή σιγαλιά τού Απρίλη· στό παλιό κουφάρι μου μιά ψυχή λαλεί μέ τής πρώτης νιότης μου τά δροσάτα χείλη. Τί κι άν τρώη τά σπλάχνα μου τό σαράκι; τί κι άν βαδίζω αγύριστα χρόνο μέ τό χρόνο; Πιό γλυκιά καί πιό όμορφη καί πιό δυνατή γίνεται η αγάπη μου, όσο εγώ παλιώνω.
The Old Violin
Hark to the lonely, the old violin, deep in the April night, silent, unmoving: hark to the soul in its old body, speaking with the pale lips and the pure lips of loving. Even the nightingale, wakeful, acclaimed, stopped and fell silent and looked down with wonder, stooping to see which the songbird might be that sang the heart’s sorrows more sweetly than she. Even the screech-owl, the base bird, the graceless, flutters her wings with a deep-hidden yearning, harks to the old violin, mutely learning how to cry woe, so distressful is she. What if its wood be the food of the worm? Still growing older, as years are departing, year after year that shall never return, sweeter, more beautiful, stronger its singing. I am the lonely, the old violin, deep in the April night, silent, unmoving: hark to the soul in my old body, speaking with the fresh lips of my springtime of living. What if my flesh be the food of the worm? year after year on my course I shall move, still growing older, and never return; sweeter, more beautiful, stronger my love.
Published in ‘In Other Words’ magazine and in Morning Star

Translation: Copyright © Timothy Adès

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For a Menu

Para un menú

Manuel Gutiérrez Nájera (1859-95)

Para un menú
Las novias pasadas son copas vacías; en ellas pusimos un poco de amor; el néctar tomamos... huyeron los días... ¡Traed otras copas con nuevo licor! Champán son las rubias de cutis de azalia; Borgoña los labios de vivo carmín; los ojos obscuros son vino de Italia, los verdes y claros son vino del Rhin. Las bocas de grana son húmedas fresas; las negras pupilas escancian café; son ojos azules las llamas traviesas, que trémulas corren como almas del té. La copa se apura, la dicha se agota; de un sorbo tomamos mujer y licor... Dejemos las copas... ¡Si queda una gota, que beba el lacayo las heces de amor!
For a Menu
Each lass in our past is one more empty glass: We poured in a measure of love; We drain down the nectar, we let the days pass... Bring on others! New savours we’ll prove. Champagne are the blondes of azalea sheen, Crimson lips are a Burgundy wine; Dark eyes are Italian, grand Hippocrene, Pale green are the taste of the Rhine. Red mouths are fresh strawberries; coffee conspires From eyes black as night to flow free; Blue eyes are the wayward, the frolicsome fires, The shimmering spirit of tea. The goblet runs dry and good fortune runs down. Wine and women! One draught is enough. Farewell to our cups! Should a droplet remain, Leave to lackeys the leavings of love!
https://www.youtube.com/watch?v=B0n0jEhp4JI https://www.youtube.com/watch?v=EIW_2Oe6m0Y

Translation: Copyright © Timothy Adès

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The Bean

La fève

Maurice Donnay (1859-1945)

On Twelfth Night, the French enjoy 'la galette des Rois', a flat cake of almond paste (frangipane) containing a 'bean'. The person who gets the bean wears the crown.
La fève
Tu nous dindonneras encor plus d'une fois, Chère âme, et près des tiens nos moyens sont infimes. Je me souviens toujours d'un dîner que nous fîmes, Un beau soir, dans Auteuil, à la porte du Bois Et tu faisais de l'œil à ton voisin de face, Et tu faisais du pied à tes deux amoureux A gauche, à droite, et ton amant était heureux, Car tu lui souriais tout de même avec grâce. Ah ! tu n'es pas la femme aux sentiments étroits Qu'une fidélité trop exclusive gêne. Entre tous, Pierre, Jean, Jacques, Alphonse, Eugène, Tu partages ton cœur comme un gâteau des Rois. Et, si grand est ton art, aimable fille d’Ève, Que chacun se croit seul à posséder la fève.
The Bean
You’ll stitch us up again, and more than once, Dear soul: compared to you, we haven’t got the means. I can’t forget that dinner one fine night: we were Out in Auteuil, just where you get into the Bois. To the sitting-opposite guy, you gave the eye, Played footy-foot with the two who fancied you, To left and right; your lover was in clover, As you anyway gave him a smile with lovely style. You’re not a woman prone to narrow sentiments, Whom high fidelity might inconvenience. Between all these, John, Peter, James, Eugene, Alphonse, You share your heart out like a Twelfth Night frangipane. And so great is your art, delightful feminine, That each one thinks himself sole owner of the bean.

Translation: Copyright © Timothy Adès

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