Sunday, November 15, 2015

Frensh Poetry / Poesía Francesa



Paul Éluard

 

Twenty-Four Poems


 

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Translated by A. S. Kline © 2001 All Rights Reserved
This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non-commercial purpose.


Contents




Absence


I speak to you over cities

I speak to you over plains

My mouth is against your ear

The two sides of the walls face
my voice which acknowledges you.

I speak to you of eternity.

O cities memories of cities
cities draped with our desires
cities early and late
cities strong cities intimate
stripped of all their makers
their thinkers their phantoms

Landscape ruled by emerald
live living ever-living
the wheat of the sky on our earth
nourishes my voice I dream and cry
I laugh and dream between the flames
between the clusters of sunlight

And over my body your body extends
the layer of its clear mirror.





Easy


Easy and beautiful under

your eyelids
As the meeting of pleasure
Dance and the rest

I spoke the fever

The best reason for fire
That you might be pale and luminous
A thousand fruitful poses
A thousand ravaged embraces
Repeated move to erase themselves
You grow dark you unveil yourself
A mask you
control it

It deeply resembles you
And you seem nothing but lovelier naked
Naked in shadow and dazzlingly naked
Like a sky shivering with flashes of lightning
You reveal yourself to you
To reveal yourself to others





Talking of Power and Love


Between all my torments between death and self

Between my despair and the reason for living
There is injustice and this evil of men
That I cannot accept there is my anger

There are the blood-coloured fighters of Spain
There are the sky-coloured fighters of Greece
The bread the blood the sky and the right to hope
For all the innocents who hate evil

The light is always close to dying
Life always ready to become earth
But spring is reborn that is never done with
A bud lifts from dark and the warmth settles

And the warmth will have the right of the selfish
Their atrophied senses will not resist
I hear the fire talk lightly of coolness
I hear a man speak what he has not known

You who were my flesh’s sensitive conscience
You I love forever you who made me
You will not tolerate oppression or injury
You’ll sing in dream of earthly happiness
You’ll dream of freedom and I’ll continue you




The Beloved


She is standing on my eyelids

And her hair is wound in mine,
She has the form of my hands,
She has the colour of my eyes,
She is swallowed by my shadow
Like a stone against the sky.

Her eyes are always open
And will not let me sleep.
Her dreams in broad daylight
Make the suns evaporate
Make me laugh, cry and laugh,
Speak with nothing to say.



Max Ernst


In one corner agile incest

Turns round the virginity of a little dress
In one corner sky released
leaves balls of white on the spines of storm.

In one corner bright with all the eyes
One awaits the fish of anguish.
In one corner the car of summer’s greenery
gloriously motionless forever.

In the glow of youth
lamps lit too late.
The first one shows her breasts that kill the insects that are red.




Series


For the splendour of the day of happinesses in the air

To live the taste of colours easily
To enjoy loves so as to laugh
To open eyes at the final moment

She has every willingness.




Obsession


After years of wisdom

During which the world was transparent as a needle
Was it cooing about something else?
After having vied with returned favours squandered treasure
More than a red lip with a red tip
And more than a white leg with a white foot
Where then do we think we are?



Nearer To Us


Run and run towards deliverance

And find and gather everything
Deliverance and riches
Run so quickly the thread breaks
With the sound a great bird makes
A flag always soared beyond



Open Door


Life is truly kind

Come to me, if I go to you it’s a game,
The angels of bouquets grant the flowers a change of hue.



The Immediate Life


What’s become of you why this white hair and pink

Why this forehead these eyes rent apart heart-rending
The great misunderstanding of the marriage of radium
Solitude chases me with its rancour.



Lovely And Lifelike


A face at the end of the day

A cradle in day’s dead leaves
A bouquet of naked rain
Every ray of sun hidden
Every fount of founts in the depths of the water
Every mirror of mirrors broken
A face in the scales of silence
A pebble among other pebbles
For the leaves last glimmers of day
A face like all the forgotten faces.



The Season of Loves


By the road of ways

In the three-part shadow of troubled sleep
I come to you the double the multiple
as like you as the era of deltas.

Your head is as tiny as mine
The nearby sea reigns with spring
Over the summers of your fragile form
And here one burns bundles of ermine.

In the wandering transparency
of your noble face
these floating animals are wonderful
I envy their candour their inexperience
Your inexperience on the bed of waters
Finds the road of love without bowing

By the road of ways
and without the talisman that reveals
your laughter at the crowd of women
and your tears no one wants.



As Far As My Eye Can See In My Body’s Senses


All the trees all their branches all of their leaves

The grass at the foot of the rocks and the houses en masse
Far off the sea that your eye bathes
These images of day after day
The vices the virtues so imperfect
The transparency of men passing among them by chance
And passing women breathed by your elegant obstinacies
Your obsessions in a heart of lead on virgin lips
The vices the virtues so imperfect
The likeness of looks of permission with eyes you conquer
The confusion of bodies wearinesses ardours
The imitation of words attitudes ideas
The vices the virtues so imperfect

Love is man incomplete



Barely Disfigured


Adieu Tristesse

Bonjour Tristesse
Farewell Sadness
Hello Sadness
You are inscribed in the lines on the ceiling
You are inscribed in the eyes that I love
You are not poverty absolutely
Since the poorest of lips denounce you
Ah with a smile
Bonjour Tristesse
Love of kind bodies
Power of love
From which kindness rises
Like a bodiless monster
Unattached head
Sadness beautiful face.

 

 


In A New Night


Woman I’ve lived with

Woman I live with
Woman I’ll live with
Always the same
You need a red cloak
Red gloves a red mask
And dark stockings
The reasons the proofs
Of seeing you quite naked
Nudity pure O ready finery

Breasts O my heart



Fertile Eyes


Fertile Eyes

No one can know me more
More than you know me

Your eyes in which we sleep
The two of them
Have cast a spell on my male orbs
Greater than worldly nights

Your eyes where I voyage
Have given the road-signs
Directions detached from the earth

In your eyes those that show us
Our infinite solitude
Is no more than they think exists

No one can know me more
More than you know me.

I Said It To You


I said it to you for the clouds

I said it to you for the tree of the sea
For each wave for the birds in the leaves
For the pebbles of sound
For familiar hands
For the eye that becomes landscape or face
And sleep returns it the heaven of its colour
For all that night drank
For the network of roads
For the open window for a bare forehead
I said it to you for your thoughts for your words
Every caress every trust survives.

It’s The Sweet Law Of Men


It’s the sweet law of men

They make wine from grapes
They make fire from coal
They make men from kisses

It’s the true law of men
Kept intact despite
the misery and war
despite danger of death

It’s the warm law of men
To change water to light
Dream to reality
Enemies to friends

A law old and new
That perfects itself
From the child’s heart’s depths
To reason’s heights.



The Curve Of Your Eyes


The curve of your eyes embraces my heart

A ring of sweetness and dance
halo of time, sure nocturnal cradle,
And if I no longer know all I have lived through
It’s that your eyes have not always been mine.

Leaves of day and moss of dew,
Reeds of breeze, smiles perfumed,
Wings covering the world of light,
Boats charged with sky and sea,
Hunters of sound and sources of colour

Perfume enclosed by a covey of dawns
that beds forever on the straw of stars,
As the day depends on innocence
The whole world depends on your pure eyes
And all my blood flows under their sight.




Liberty


On my notebooks from school

On my desk and the trees
On the sand on the snow
I write your name

On every page read
On all the white sheets
Stone blood paper or ash
I write your name

On the golden images
On the soldier’s weapons
On the crowns of kings
I write your name

On the jungle the desert
The nests and the bushes
On the echo of childhood
I write your name

On the wonder of nights
On the white bread of days
On the seasons engaged
I write your name

On all my blue rags
On the pond mildewed sun
On the lake living moon
I write your name

On the fields the horizon
The wings of the birds
On the windmill of shadows
I write your name

On each breath of the dawn
On the ships on the sea
On the mountain demented
I write your name

On the foam of the clouds
On the sweat of the storm
On dark insipid rain
I write your name

On the glittering forms
On the bells of colour
On physical truth
I write your name

On the wakened paths
On the opened ways
On the scattered places
I write your name

On the lamp that gives light
On the lamp that is drowned
On my house reunited
I write your name

On the bisected fruit
Of my mirror and room
On my bed’s empty shell
I write your name

On my dog greedy tender
On his listening ears
On his awkward paws
I write your name

On the sill of my door
On familiar things
On the fire’s sacred stream
I write your name

On all flesh that’s in tune
On the brows of my friends
On each hand that extends
I write your name

On the glass of surprises
On lips that attend
High over the silence
I write your name

On my ravaged refuges
On my fallen lighthouses
On the walls of my boredom
I write your name

On passionless absence
On naked solitude
On the marches of death
I write your name

On health that’s regained
On danger that’s past
On hope without memories
I write your name

By the power of the word
I regain my life
I was born to know you
And to name you

LIBERTY

Ring Of Peace


I have passed the doors of coldness

The doors of my bitterness
To come and kiss your lips

City reduced to a room
Where the absurd tide of evil
leaves a reassuring foam

Ring of peace I have only you
You teach me again what it is
To be human when I renounce

Knowing whether I have fellow creatures





Ecstasy


I am in front of this feminine land

Like a child in front of the fire
Smiling vaguely with tears in my eyes
In front of this land where all moves in me
Where mirrors mist where mirrors clear
Reflecting two nude bodies season on season

I’ve so many reasons to lose myself
On this road-less earth under horizon-less skies
Good reasons I ignored yesterday
And I’ll never ever forget
Good keys of gazes keys their own daughters
in front of this land where nature is mine

In front of the fire the first fire
Good mistress reason
Identified star
On earth under sky in and out of my heart
Second bud first green leaf
That the sea covers with sails
And the sun finally coming to us

I am in front of this feminine land
Like a branch in the fire.



Our Life


We’ll not reach the goal one by one but in pairs

We know in pairs we will know all about us
We’ll love everything our children will smile
At the dark history or mourn alone



Uninterrupted Poetry


From the sea to the source

From mountain to plain
Runs the phantom of life
The foul shadow of death
But between us
A dawn of ardent flesh is born
And exact good
that sets the earth in order
We advance with calm step
And nature salutes us
The day embodies our colours
Fire our eyes the sea our union
And all living resemble us
All the living we love
Imaginary the others
Wrong and defined by their birth
But we must struggle against them
They live by dagger blows
They speak like a broken chair
Their lips tremble with joy
At the echo of leaden bells
At the muteness of dark gold
A lone heart not a heart
A lone heart all the hearts
And the bodies every star
In a sky filled with stars
In a career in movement
Of light and of glances
Our weight shines on the earth
Glaze of desire
To sing of human shores
For you the living I love
And for all those that we love
That have no desire but to love
I’ll end truly by barring the road
Afloat with enforced dreams
I’ll end truly by finding myself
We’ll take possession of earth


Index of First Lines



Sunday, October 18, 2015

Richard Dawkins: The God of the Old Testament

Richard Dawkins: The God of the Old Testament

(Repost with Bible verses that support Richard Dawkins' description of the Old Testament God. Let me know if I've left out some good verses -- I started to poop out toward the end.)




The God of the Old Testament is arguably the most unpleasant character in all fiction: jealous and proud of it; a petty, unjust, unforgiving control-freak; a vindictive, bloodthirsty ethnic cleanser; a misogynistic, homophobic, racist, infanticidal, genocidal, filicidal, pestilential, megalomaniacal, sadomasochistic, capriciously malevolent bully.  

Richard Dawkins: The God of the Old Testament

Saturday, October 3, 2015

El hombre que predijo la caída de la industria musical

  • 3 octubre 2015
Image copyright Getty
Image caption Éste es el hombre: Jacques Attali.
A diferencia de sus predecesores del siglo XX, es improbable que los músicos de hoy en día se vuelvan ricos vendiendo discos... y hubo un hombre que predijo que así sería cuando era impensable que eso pasara.
En 1976, la industria musical parecía indestructible.
ABBA, los Beach Boys y Rod Stewart vendían montañas de discos y las cosas sólo podían mejorar.
Image copyright AFP
Image caption Con "Ruido", Attali alertó sobre el fin de la era de oro de la industria musical. ¿Qué piensa ahora?
Las ventas crecieron casi sin control hasta 1999, el año más rentable de la historia de la industria.
Pero con el cambio de siglo llegó la web y MP3, y los ingresos colapsaron: un cambio sísmico que nadie había anticipado.
¿Nadie? Bueno, no exactamente.
También en 1976, un erudito francés llamado Jacques Attali escribió un libro que predijo esa crisis con una precisión asombrosa.
Se llamaba "Ruido: la economía política de la música", y en él llamó a la turbulencia que se avecinaba "la crisis de proliferación".
Image copyright THINKSTOCK
Pronto, dijo, vamos a tener tal cantidad de música grabada que cesará de tener valor... y, ponte a pensar, ¿cuándo fue la última vez que pagaste US$15 por un álbum?

Música, poder y dinero

Como soy cantante y compositor, me intrigó que Attali hubiera acertado en todo lo que escribió años antes de que ocurriera, por lo que decidí ir a verlo.
Image copyright THINKSTOCK
Image caption Carlomagno hizo cantar a las masas para unir a su reino.
"Fue un libro extraño, sobre un tema extraño", me dijo en su hogar en París. A sus 70 años sigue siendo un pensador y escritor prolífico.
Para entender cómo logró predecir la "crisis de proliferación", uno tiene que entender la teoría que presentó en su libro.
La música, el dinero y el poder están todos estrechamente entrelazados, escribió, e históricamente han tenido una relación díscola.
Los poderosos a menudo han utilizado la música para tratar de controlar a la gente.
En el siglo IX, por ejemplo, el emperador Carlomagno impuso a la fuerza la práctica de cantos gregorianos para "forjar la unión cultural y política de su reino".
Mucho después, el capitalismo y las carteleras de música pop le abrieron a los magnates de la industria la posibilidad de usar la música para extraer grandes cantidades de dinero de la gente.

El lado B de este disco

No obstante, la música también puede usarse para subvertir el poder y socavar el status quo.
El rock'n'roll de los años 50, por ejemplo, ayudó a subvertir un montón de convenciones sociales.
Esa tensión fue lo que llevó a Attali a concluir que los ejecutivos de la industria no podrían controlar la manera en la que adquiríamos la música para siempre.
Cuando nos inundaran con más música de la que podríamos escuchar en la vida, argumentó, el modelo eventualmente colapsaría.
Image copyright THINKSTOCK
Image caption Es cuestión de oferta y demanda... escasez y abundancia.
Esa "crisis de proliferación", como sabemos, efectivamente se dio.
Fantástico para los oyentes, algunos dirán, pero difícil para los músicos que solían depender de la venta de la música grabada para vivir.
"Nos estamos ahogando en música", dice George Ergatoudis, director de música de BBC Radio 1. Y ganar lo suficiente en "época de abundancia" es problemático.

El futuro al ritmo de la música

Attali también tuvo otra gran idea.
En su opinión, la música -o la industria musical- forjan un sendero por el que el resto de la economía caminará.
Image copyright THINKSTOCK
Image caption La música es un indicador de tendencias.
Lo que le ha pasado y le está pasando a la música ayuda a predecir el futuro.
Cuando los músicos del siglo XVIII -como el compositor Handel- empezaron a vender boletos para sus conciertos, en vez de competir por el patronato real, estaban pisando un terreno económico nuevo, escribió Attali.
Estaban marcando el fin del feudalismo y el principio de un nuevo sistema de capitalismo.
En todos los períodos de la historia, señala Attali, los músicos han estado en la vanguardia del desarrollo económico.
Debido a que la música es muy importante para nosotros pero también muy adaptable, es uno de los primeros lugares en los que podemos ver la aparición de nuevas tendencias.

¿Qué va a pasar entonces?

Si la música realmente predice el futuro del resto de la economía, ¿qué piensa Attali que nos está anticipando?
En opinión del erudito, la manufactura sufrirá una crisis idéntica a la de la industria musical, en este caso causada por la impresión 3D.
"Con la impresión en 3D, la gente podrá imprimir sus propias tazas, muebles...", indica.
"Todos harán sus propios objetos, de la misma manera en la que están haciendo su propia música".
Los prototipos de los objetos pueden ser copiados y compartidos en línea -igual que los archivos de música digital- y luego ser impresos en casa, por un precio módico.
De hecho, eso ya está ocurriendo, y algunos de ellos están en Pirate Bay, el sitio web que se convirtió en el destino favorito de la gente que quería copiar enormes cantidades de música -gran parte ilegal- hace más o menos una década.
"Apenas hay unos pocos cientos de prototipos en Pirate Bay en este momento, desde repuestos para autos hasta pistolas y juguetes", dice el cofundador del sitio Tobias Andersson.
Image copyright Getty
Image caption Desde armas hasta juguetes se pueden imprimir ya usando prototipos que se consiguen en la red... pero eso es sólo el principio.
"Pero en unos años imprimir y escanear algo será un proceso rápido. Para entonces habrá prototipos de casi todo lo que uno puede visualizar en internet".
"Todas las industrias que distribuyen objetos estará en la misma situación en la que la industria de la música ha estado en los últimos 10 años. No creo que la mayoría de ellas comprende la inmensidad de lo que está por venir... y está viniendo rápido".

¿Alguna tabla de salvación?

Le pregunté a Attali si artistas como yo, tenemos alguna esperanza.
"Lo único escaso es el tiempo", respondió el profeta.
Así me recordó que como el tiempo no se puede copiar, vender experiencias en vivo -como conciertos- deben mantener su valor.
De manera que no tengo que irme a buscar trabajo en un banco... aún quedan esperanzas.
O quizás el amable visionario es demasiado cortés como para decirme otra cosa.
******************************************************

El profeta y el cantante pop

Jacques Attali es un renombrado economista, filósofo y asesor político, autor de más de 60 libros. Fue el arquitecto del ascenso al poder del presidente Francois Mitterrand, organizador de la cumbre del G7 de 1987 y el primer presidente del Banco Europeo para la Reconstrucción y el Desarrollo.
Sam York ha cantado con artistas como Tom Jones, Ed Sheeran, Jessie J, Dave Gilmour, Ronan Keating y Jack Bruce, y ha sido artista residente en el famoso club de jazz Ronnie Scott como guitarrista, pianista y vocalista. Ahora está lanzando su carrera como cantante y compositor.

habla la Dra. Francesca Stavrakopoulou

¿Estamos programados para creer en un Dios?

  • 3 abril 2015



La religión -la creencia en seres sobrenaturales, incluidos dioses y fantasmas, ángeles y demonios, almas y espíritus- se encuentra a lo largo de la historia y en todas las culturas.
La evidencia de la suposición de la existencia de una vida de ultratumba data de hace al menos 50.000 a 100.000 años atrás.
Cada cultura humana conocida tiene su mito de la creación, con la posible excepción del pueblo amazónico Pirahã, que tampoco cuenta con palabras para los números, colores y jerarquía social.
Es difícil conseguir datos exactos sobre el número de creyentes hoy en día, pero algunas encuestas sugieren que hasta el 84% de la población mundial es miembro de grupos religiosos o dice que la religión es importante en su vida.
Vivimos en una época de acceso sin precedentes al conocimiento científico, que algunos consideran que no concuerda con la fe religiosa. Entonces, ¿por qué la religión es tan omnipresente y persistente?
Psicólogos, filósofos, antropólogos y hasta neurocientíficos han sugerido posibles explicaciones de nuestra predisposición natural a creer, y para el poderoso papel que la religión parece jugar en nuestras vidas emocionales y sociales.

Muerte, cultura y poder

Las actividades religiosas más tempranas aparecieron como respuesta a cambios corporales, físicos o materiales en el ciclo de la vida humana, principalmente la muerte.

Image caption Antiguos círculos de piedra, como éste, eran espacioes en los que los vivos y los muertos se reunían.
Los rituales de duelo son una de las formas más antiguas de experiencia religiosa. Muchos de nuestros ancestros no creían que la muerte era necesariamente el final de la vida. Era una transición. Algunos creían que los difuntos y otros espíritus podían ver lo que pasaba en este mundo y hasta tenían cierta influencia en los eventos que ocurrían.
Esa es una noción verdaderamente poderosa. La idea de que los muertos o hasta los dioses están con nosotros y pueden intervenir en nuestras vidas es reconfortante, pero también nos lleva a ser muy cuidadosos con lo que hacemos.
Los humanos somos esencialmente seres sociales y por ello vivimos en grupos; como grupos sociales tendemos a la jerarquía, y la religión no es una excepción. Cuando hay un sistema jerárquico, hay un sistema de poder, y en un grupo social religioso, esa jerarquía localiza a su miembro más poderoso en la cima: la deidad - Dios.
Es frente a Dios que tenemos que rendir cuentas.
Hoy en día, la religión y el poder siguen conectados.
Estudios recientes muestran que recordar a Dios nos hace más obedientes.
Hasta en sociedades que han tratado de reprimir la fe, surgieron cosas que tomaron su lugar, como el culto a un líder o al Estado. Entre menos estable política y económicamente sea un país, más probable es que la gente busque refugio en la religión. Los grupos religiosos a menudo pueden ofrecer el apoyo que los Estados no proveen a quienes se siente marginalizados.
Así que factores sociales ayudan a desarrollar y reforzar la fe religiosa, así como lo hace la manera en la que nos relacionamos con el mundo y con los demás.

Dioses como otras mentes


Image caption Neptuno era el dios romano del mar. Cuando había una tormenta, se creía que estaba furioso. Era un dios con temperamento humano.
En todas las culturas, los dioses son esencialmente personas, hasta cuando tienen otras formas o carecen de forma física.
En la actualidad, muchos psicólogos piensan que creer en dioses es una extensión de nuestro reconocimiento, como animales sociales, de la existencia de otros, y de nuestra tendencia a ver el mundo en términos humanos.
Proyectamos pensamientos y sentimientos humanos en otros animales y en objetos, e incluso en fuerzas naturales, y esta tendencia es una piedra fundamental de la religión.
Es una idea antigua, que se remonta al filósofo griego Jenófanes, a quien se le cita argumentando que si los animales pudieran pintar, representarían a los dioses con formas animales.
De manera que la creencia religiosa puede estar fundada en nuestros patrones de pensamiento y cultura humana. Algunos científicos, sin embargo, han ido un paso más allá y han escaneado nuestros cerebros en busca del legendario "punto Dios".

Dios en el cerebro

Los neurocientíficos han tratado de comparar los cerebros de creyentes y escépticos, y de observar qué pasa en nuestros cerebros cuando rezamos o meditamos. Se sabe muy poco en este campo pero hay algunas pistas. Haz clic en cada área del cerebro para enterarte.






Nuestros cerebros cambian a lo largo de la vida, a medida que nos desarrollamos y experimentamos cosas nuevas. Virtualmente todas las partes de nuestro cerebro están involucradas en todo lo que hacemos y experimentamos, así que no sólo no existe un "punto Dios", sino que no hay un punto específico del cerebro dedicado a sólo una cosa.
Hay algo que sí sabemos: el cerebro humano es el más avanzado del mundo animal, y el único con una maravillosa capacidad: la de darle sentido a la realidad.

Poniéndole puntuación a la vida

A menudo se habla del cerebro como una máquina de significado. En la medida en la que estamos constantemente buscando patrones, estructuras y relaciones de causa-efecto, la religión puede proveer una variedad de estrategias para dar significado.
Las creencias religiosas le ayudan a los humanos a ordenar y encontrarle el sentido a sus vidas. Y los rituales en particular pueden "darle puntuación" a nuestras vidas, marcando los eventos más cruciales.
Y los rituales son comunes en todos los grupos sociales humanos, incluidos los de ateos.

Image caption Cuando nace un bebé, generalmente hay ya sea un bautizo o una ceremonia para nombrarlo: eso marca la nueva identidad del chico y le da la bienvenida al grupo social.
Aunque ni la neurociencia, ni la antropología y ni siquiera la filosofía tienen la respuesta definitiva a la pregunta "¿Existe Dios?", todas esas disciplinas dan pistas sobre cómo respondemos a nuestras más profundas necesidades humanas.
Quizás no estemos programados para creer en Dios o en un poder sobrenatural, pero somos animales sociales con la necesidad evolutiva de estar conectados con el mundo y con otros.
De pronto las religiones son sencillamente canales para posibilitar tan significativas conexiones.

Tuesday, September 29, 2015

Poets

More Heym

Weirdfictionreview.com’s 101 Weird Writers: #7 – Georg Heym

The Expressionistic Power of Heym and "The Dissection"

This post is part of an ongoing series on 101 weird writers featured in The Weird compendium, the anthology that serves as the inspiration for this site. There is no ranking system; the order is determined by the schedule of posts.
Georg Heym (1887– 1912) was a German poet and playwright who also wrote one novel. Heym believed in the idea of the “demon city,” which symbolized his repudiation of romanticism in the midst of the rise of industrialism and repressive systems. Still, he lived a wild and passionate life, accompanied by depression and restlessness. In 1910 he dreamed of a death by drowning and two years later fell through the ice while skating.
Gio Clairval, the translator of the version of “The Dissection” featured in The Weird (and also recently featured on this site), has written an appreciation of both Heym and his story, by itself and in relation to the rest of his creative work. Despite his brief life, there is much to learn about Heym and his writing, with both full of the kinds of ideas that can invigorate artistic movements and individual authors, even now, 100 years since Heym’s death.
- Adam Mills, editor of “101 Weird Writers”
***
The Poet Who Dreamed in Light Blue
PART ONE — The Author
Juggler (The Surface and Beneath) by Heather Wilcoxon, Boulder Museum of Contemporary Art
In cities strange and yet weirdly familiar, women watched by monstrous demons give birth to headless infants, vast gods straddle apartment blocks and gaze balefully out on an urban hell, and the savage giant War dances wildly on the mountains while a mighty city sinks into an abyss. (in Georg Heym’s Poems,bilingual edition, translated from the German by Anthony Hasler, 2006, Northwestern University Press.)
Georg Heym’s works are an enthralling mixture of classical German lyricism and arresting visions of urban dysplastic images à la Metropolis. The city of Berlin, under the domination of the City God (Der Gott der Stadt), is the theater of Gothic horrors — visions of war and death where the romantic macabre walks hand in hand with images taken from Greek myths.  Heym is also known for the formal beauty of his sonnets, which place him amongst the greatest poets of the German tradition. Heym was saluted as the first expressionistic poet, a decade before Expressionism became the dominant artistic trend in post-WWI Germany.

I translated the short-short story “Die Dissektion” — in fact a poem of six hundred words packed with images so strong they hurt — for The Weird, and I fell in love with the author.
Two (very different) innovative authors and their similar upbringing
I recently translated one of Gustave Flaubert’s juvenile short stories, “Quidquid volueris“[1]. As I was trying to establish the first publication date, I found an uncanny resemblance between Flaubert and Heym’s formative years. There is no similarity between the two authors’ works in terms of the aesthetic of their writing, but both Flaubert and Heym tackled themes ahead of their times.
Flaubert unleashed a storm of criticism after the publication of his scandalous (for the time) novel Madame Bovary. The public outrage dragged him to court, and the author was condemned for describing the antics of a young housewife in search of evasion. A long, suggestive scene was censored (a case of too much showing instead of telling). As for Heym, his works were less known outside the literary circles, but had the larger public read about his headless infants and monstrous demons, he would have surely been branded unhinged and dangerous.
Heym was born in 1887, a year before Flaubert died; nevertheless, his family context – upper middle class – resembles Flaubert’s, and both authors received a classical education (high school classical teaching remained consistently the same across Europe until the late twentieth century). I wondered whether these ingredients were needed to obtain an individual who would later bring new themes to literature, breaking with the past.
Ernst-Ludwig Kirchner
Recipe for a Modern Poet (or “Bake Your Own Georg Heym”)
Take a well-to-do but sine nobilitate family and mix with lackluster results in school. Add an authoritarian and irascible father and a loving, sentimental mother. Sprinkle with blank, monochord verses later labeled as “juvenilia.” Encourage the subject to marinate in passionless high-education studies, preferably Law.
Your Heym-dough will seek solace in epic deeds (drinking, dueling, whoring and getting kicked out of several schools), and he will chant the fearless protagonists of past revolutions, thus cutting his poetic teeth on grand plays imbued with classical German lyricism.
Despite the stiff theatrical production produced in this early period, it is crucial that you do not skip this step: later on your poet will have to express his internal turmoil in perfectly formed verses.
At some point, your poet-dough may be exposed to the influence of the Nietzsche yeast. He may write in his diary that he longs to realize the Übermensch ideal in his own person (1906). Do not panic and do not take the dough out of the oven; a story will spurt from this idea: “The Madman,” in which madness is depicted as a form of ultimate salvation. Because madmen are above ordinary laws, insanity entails the most perfect form of freedom, as illustrated by the final image: the madman soaring like a bird high above reality.
If the previous procedure is correctly applied, the blooming author, disappointed with his contemporaries, will join a club of think-alike youths (it will be Der Neue Club, The New Club, in Berlin, 1910). Inspiring meetings will simmer in a café that should preferably sport an ironic name (the Neopathetische Cabaret or Neo-Pathetic Music-Hall). If you keep the fire going, the group leader, Kurt Hiller, will salute your artist as an expressionistic poet, which will brand him a true precursor; Expressionism — a creative movement in pre-WWI Germany fostering the idea that art’s purpose is to express the subjective feelings of artists — will be at its zenith during the 20s.
The baking is going well. You should now be satisfied to see the subject’s first poems appear (the same year, 1910) in the radical magazine Der Demokrat, and the first collection, Der ewige Tag (The Eternal Day), will be published in 1911, to be favorably reviewed by the famous poet Ernst Stadler. Given the positive critiques, your lyrical dough will decide to abandon his career in Law.
Meanwhile, let a resonant, clichéd tragedy, Atalanta, find its way into print (1911) and do not despair but look at your creation through the oven glass: the dough is now golden.
Take your poet out of the oven, for he is baked.
Portrait of Georg Heym
And from now on things become very, very serious, albeit for a very short time.
The new poet displays both an exquisite sensibility and a tormented spirit. A few poems, like his tragedies, are inspired by the French Revolution and its Napoleonic aftermath, but with more elegant results; others are haunted by classical myths and Gothic tropes; others still, from his later years, are widely considered some of the finest love poems ever written in the German language.
You have in fact created one of the most characteristic voices of German literature.
Too soon did he go
In contrast with his morbid visions, Georg Heym is known for his exuberant good health and stocky appearance. A friend says Georg makes him think of a butcher boy, and everyone thinks our romantic author a force of nature. But Heym dies young, at twenty-four years of age. In 1910, he had noted down a dream in which he advanced hesitantly across a kind of thin “stone slab,” which turned out to be a sheet of ice  (Hasler, op. cit.). Uncannily, Heym drowns during a skating expedition on the ice of the Havel River, in 1912. At his funeral, friends dance around his casket, declaiming Hölderlin (a major German poet, 1770 – 1843).
I do not know which verses were chosen to bid the young poet adieu, but here is a poem Georg wrote in 1905, in memory of Hölderlin:
To Hölderlin
And you, too, you are dead, son of the springtime
You, whose life only resembled
blazes shining in the night’s basements
where men forever look for
conclusion and liberty.
You are dead. For they have foolishly reached
for your pure flame
to put it out. For these beasts have always
hated the sublime.
And, as the Moirai
plunged into infinite pain
your spirit which faintly trembled,
God wrapped into a cloth of darkness
his virtuous son’s tortured head.
One of Hölderin’s poems that influenced Heym:
From “In Lovely Blue” (In lieblicher Blaue)
Translated by by George Kalogeris
Like the stamen inside a flower
The steeple stands in lovely blue
And the day unfolds around its needle;
The flock of swallows that circles the steeple
Flies there each day through the same blue air
That carries their cries from me to you;
We know how high the sun is now
As long as the roof of the steeple glows,
The roof that’s covered with sheets of tin;
Up there in the wind, where the wind is not
Turning the vane of the weathercock,
The weathercock silently crows in the wind.
Hölderlin’s style is more descriptive, more classical, compared with Heym’s verses, but we can recognize the theme that will find an echo in Heym’s formal sonnet “Reverie in Light Blue,” which you will find below, with the original text and my translation.
A collection of poems, Umbra Vitae, is published posthumously (1912), followed by a collection of short stories, Der Dieb (The Thief, 1913, English translation by Susan Bennet: The Thief and Other Stories, 1994, Libris, first published April 1985), and a collection of sonnets, Marathon (1914).

In 1924, Kurt Wolff publishes the collection of poems compiled by Heym’s literary group Der Neue Club: Umbra Vitae, including forty-seven xylographs by Ernst-Ludwig Kirchner.
After the poet’s untimely death, enthusiastic readers will find echoes of cataclysmic prophecies in his work, as in “Mit weissem Haar in den verrufnen Orten” (With White Hair, on Barren Plains), which foreshadows 1917. The poem describes the suffering of the enslaved working class in the mines of cold Russia. When night comes, the slaves dream of a head perched on top of a pole, riding the agitated waters of a “rebellious sea,” and it is the Czar’s head…

The City’s God
Georg Heym expressed the despair and solitude of urban life.
Fascinated by death, he was obsessed with the modern phenomenon of the metropolis: in his view the triumph of technology was destined to explode and unravel into apocalyptic involution. Nothing will change the city’s fate. Living in the city is unnatural.
In “Der Gott der Stadt” (The God of the City), sprawling cities kneel to Baal, who straddles blocks of buildings, his belly glowing red in the setting sun, and millions cower in the streets, booming their music made of praises and terror, while factory fumes and grime of smokestacks rise in the air towards the giant’s feet. And the elements themselves, perverted by the god, stare at the crushed humanity, sending tempests and seas of fire cracking on the asphalt.
We can read here the influence of a Belgian poet, Emile Verhaeren (1855 – 1916), one of the founders of Symbolism. In “L’âme des Ville” (The City’s Soul, in Les villes tentaculaires, Tentacular Cities, 1895), Verhaeren writes:
Un air de soufre et de naphte s’ exhale,
un soleil trouble et monstrueux s’ étale;
l’ esprit soudainement s’ effare
vers l’ impossible et le bizarre;
crime ou vertu, voit-il encor
ce qui se meut en ces décors,
où, devant lui, sur les places, s’ élève
le dressement tout en brouillards
d’ un pilier d’ or ou d’ un fronton blafard
pour il ne sait quel géant rêve?
An air of sulfur and naphtha exhales,
a hazy and monstrous sun expands;
the mind suddenly staggers
towards the impossible and the weird;
crime or virtue, can one still glimpse
something that moves in this decor,
where, right ahead, in each plaza, soars
the blurred height
of a golden pillar or a bleary pediment
for who knows what gigantic dream.
Fritz Lang’s 1927 German expressionist film Metropolis
Verhaeren’s verses — rhymed in the original French — strike me as overwrought and melodramatic. Still, these images inflamed the imaginations and influenced many artists of the time.
In Heym’s poems, however (and it is the difference between mere imagination and genius), the chill, perfectly stylized form frames and contains the vivid images, distancing the reader. The distance and “monumentality”, in John Holfson’s words, quoted by Hasler (ib.) make, by contrast, the excesses of Heym’s apocalyptic visions even more horrific.
Heym was a unique figure in the pre-war poetic landscape. His aggressive images set him apart as more than a mere harbinger of Expressionism. Georg Heym was the first poet to use the stylistic epitomes that would later become the movement’s most characteristic tropes.
Blood Red and Powdery Blue
On one side, the bleeding images of apocalyptic cities, on the other, soft landscapes of waters blending with the sky. Nature, when left to her own devices, embroiders the world with harmony.
Träumerei in Hellblau (Reverie in Light Blue)
Alle Landschaften haben
Sich mit Blau gefüllt.
Alle Büsche und Bäume des Stromes,
Der weit in den Norden schwillt.
Blaue Länder der Wolken,
Weiße Segel dicht,
Die Gestade des Himmels in Fernen
Zergehen in Wind und Licht.
Wenn die Abende sinken
Und wir schlafen ein,
Gehen die Träume, die schönen,
Mit leichten Füßen herein.
Zymbeln lassen sie klingen
In den Händen licht.
Manche flüstern, und halten
Kerzen vor ihr Gesicht.
Here is my take (as usual, not so literal):
All the expanses of land
Are filled with blue as are
All the bushes and trees of the river
That swells in the north afar.
Blue countries of clouds,
Sails scattered white,
The shore of the sky in the distance
Sprinkled in wind and light.
When the evening falls
And we close our eyes,
Lovely dreams tiptoe
With winged feet inside.
The cymbals they let clink
In their hands that glimmer.
Many whispers, and then shadows
Before your face they flicker.
PART II: Translating the Untranslatable
The hardest part of doing this translation
German is such a romantic language. Reading German authors like Heym or Rainer Maria Rilke (although the latter was Bohemian-Austrian), I often wonder if Romanticism, and particularly expressionism as a literary style, could only be invented by author who wrote in that particular language of Gothic ascent. In English, at least contemporary English, an ornate style can easily teeter on the banks of the purple sea, but the best romantic style flows so beautifully in German. As I translated “The Dissection,” I faced the difficulty of dealing with a prose that was so formally perfect in the original that the mere idea of “transporting” it into another system of references seemed iconoclastic to me.
Translating is making decisions, and sometimes the text lures the translator into the easy path, which is the most obvious translation of a word with multiple meanings. It is particularly difficult with German, which is a highly polysemous language. Still, the translator should resist the sirens of “first-level” or “most-common” meaning.
The strongest example of the above, and the most difficult translation decision in this text was the passage:
Die Ärzte traten ein. Ein paar freundliche Männer in weißen Kitteln mit Schmissen und goldenen Zwickern.
The most obvious translation is:
The doctors entered. Several amicable men in white gowns with duelling-scars and gold-rimmed pince-nez.[2]
But I wondered, why the duelling-scars ?
The translator explains in the footnote #5: ’”Schmiss”: “duelling-scar”. Traditionally, many male university students belonged to fraternities known as “Studentenverbin– dungen”. The members of a fraternity usually drink together
and engage in duelling. The scars resulting from the wounds received were considered a sign of bravery and boldness.’
This translation is plausible, given that Heym himself engaged in duels during his university years. Moreover, in one of his diary entries, he used “Schmissen” in a figurative way, referring to his heart with dueling scars.
On the other hand, the structure of the phrase in weißen Kitteln mit Schmissen indicates that “Schmissen” may refer back to “Kitteln” (gown, which I rendered with the more modern “coat”). How did the doctors’ white coats sport dueling scars? Did the frat boys carry out their dueling deeds in their surgeons’ gowns? It seemed more logical, and simpler, to me, to use the other meaning of “Schmiss”: rent, a hole in fabric.
I translated the sentence:
The doctors entered. A few friendly men in white coats with rents and gold-rimmed pince-nez.
Suddenly, the passage made more sense, even though the explanation based on duels was more romantic.
And the final version became:
The doctors entered. A few friendly men in frayed white coats and gold-rimmed pince-nez.
Those who have haunted hospitals wearing white, like I have, will recognize the much-washed coats that fray at the cuffs and hems…
But then again, the author may have wanted to imply both meanings: the down-to-earth frayed coats, and the remainders of ancient duels on the faces of the doctors, now older and wiser (because they wear glasses for near vision).
A short-short, a poem in prose
Translating a very short story is more difficult, given the relative weight of the words. Georg Heym was a poet above everything else, and the first expressionistic poet, at that: the use of images, and particularly colors, as vehicles of emotions is the foundation of the story itself. Colors serve to create similitudes and transitions from the gritty reality of the dissection table to the dream that forms in the dead man’s head, as a resonance of the doctors’ hammering on his skull.
Splendid reds and blues” sprout on the dead man’s body. Why “splendid”?  The colors of decomposing flesh announce new life more than decay, and the wonderful colors foreshadow the explosion of reds in the second part of the story, the memory of a past love in summer: poppy fields; the man’s lover “a flower of flames;” and a billowing dress as a “wave of fire in the setting sun.”
The contrast between the doctors, who were “friendly” a minute before, but now resemble “hideous torturers, blood flowing on their hands as they” dig “ever more deeply into the frigid corpse and” pull “out its innards, like white cooks gutting a goose.”
It is a poem, and every word carries a strong meaning.
Repetition as a style
To get across the author’s intent, I had to keep certain repetitions: in a six-hundred-fifty-seven-word story (a little more than two standard-manuscript pages), there are ten occurrences of the word “white.” It is typical of Heym’s style, as you can see in the poem “Reverie in Pale Blue.” In my translation of the poem I did not keep the repeated words as they did not have the same effect in English, the words being in too close proximity. In “The Dissection,” though, repetition could and was used to render as much as possible of the original style.
In Heym’s work, repetition serves two purposes: first, it creates a contrast, as the same word is used in a gruesome and then a lyrical context; second, repeating a word accentuates the rhythm of a sentence with an obsessive insistence.
In other places, in a variation around the sentence structure, the same word is found in a different position. A paragraph begins with Die Ärzte traten ein. And, in the next paragraph, the beginning is Sie traten an den Toten.
The word “traten” is a counter-example, as I made the decision of using two different translations because the repetition added little in English:
Die Ärzte traten ein. (“Traten” means, generically, “to join,” but the meaning changes in different contexts. The most logical translation was “The doctors entered.”)
Sie traten an den Toten (They stepped up to the dead man.)
How this story influenced me personally
The Dissection” influenced my writing directly. It was one of those famous multiple repetitions that inspired me:
In front of the large window, opened a wide sky filled with small white clouds that swam in the light, in the silent afternoon, like small white gods.
I liked the sound of this sentence so much I used a similar repetition as I was largely rewriting a story that was published in the magazine of my high school when I was fourteen (my first published story ever).  And the restyled story, “The Hand,” appeared in the #358 issue of Weird Tales (August 2011), edited by Ann VanderMeer.


[1] For the anthology edited by Rick Claw, The Apes of Wrath, forthcoming in March 2013 from Tachyon Publications.
[2] Arlene Elizabeth Sture, Georg Heym’s Der Dieh: Ein Novellenbuch. Five Short Stories in English Translation with an Introduction and Commentary, 1-1-1979, McMasters University

Saturday, September 19, 2015

Poemas alemanes para escuchar en alemán aunque no se entiendan!

Hölderlin

Gedichte:


Heym

Gedichte:



Gedichte:


 

Needs translation but sounds pretty good!

Träumt er zur Erde, wen
Sagt mir, wen meint er?
Schwillt ihm die Träne, was,
Götter, was weint er?
Bebt er, ihr Schwestern, was,
Redet, erschrickt ihn?
Jauchzt er, o Himmel, was
Ists, was beglückt ihn?


Heinrich von Kleist

Saturday, September 12, 2015

Schiller – Freedom’s Hymn

Schiller – Freedom’s Hymn By

blake-job
Freude, schöner Götterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligthum.
Deine Zauber binden wieder,
Was die Mode streng getheilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.


Chor
 

Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder — überm Sternenzelt
Muß ein lieber Vater wohnen.
Wem der große Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja — wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle
Weinend sich aus diesem Bund.


Chor
 

Was den großen Ring bewohnet,
Huldige der Sympathie!
Zu den Sternen leitet sie,
Wo der Unbekannte thronet.
Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.


Chor
 

Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such’ ihn überm Sternenzelt!
Über Sternen muß er wohnen
Freude heißt die starke Feder
In der ewigen Natur.
Freude, Freude treibt die Räder
In der großen Weltenuhr.
Blumen lockt sie aus den Keimen,
Sonnen aus dem Firmament,
Sphären rollt sie in den Räumen,
Die des Sehers Rohr nicht kennt.


Chor
 

Froh, wie seine Sonnen fliegen
Durch des Himmel prächt’gen Plan,
Wandelt, Brüder, eure Bahn,
Freudig, wie ein Held zu Siegen.
Aus der Wahrheit Feuerspiegel
Lächelt sie den Forscher an.
Zu der Tugend steilem Hügel
Leitet sie des Dulders Bahn.
Auf des Glaubens Sonnenberge
Sieht man ihre Fahnen wehn,
Durch den Riss gesprengter Särge
Sie im Chor der Engel stehn.


Chor
 

Duldet muthig, Millionen!
Duldet für die bessre Welt!
Droben überm Sternenzelt
Wird ein großer Gott belohnen.
Göttern kann man nicht vergelten;
Schön ist’s, ihnen gleich zu sein.
Gram und Armuth soll sich melden,
Mit den Frohen sich erfreun.
Groll und Rache sei vergessen,
Unserm Todfeind sei verziehn.
Keine Thräne soll ihn pressen,
Keine Reue nage ihn.


Chor
 

Unser Schuldbuch sei vernichtet!
Ausgesöhnt die ganze Welt!
Brüder — überm Sternenzelt
Richtet Gott, wie wir gerichtet.
Freude sprudelt in Pokalen,
In der Traube goldnem Blut
Trinken Sanftmuth Kannibalen,
Die Verzweiflung Heldenmuth –
Brüder, fliegt von euren Sitzen,
Wenn der volle Römer kreist,
Laßt den Schaum zum Himmel spritzen:
Dieses Glas dem guten Geist!


Chor
 

Den der Sterne Wirbel loben,
Den des Seraphs Hymne preist,
Dieses Glas dem guten Geist
Überm Sternenzelt dort oben!
Festen Muth in schwerem Leiden,
Hilfe, wo die Unschuld weint,
Ewigkeit geschwornen Eiden,
Wahrheit gegen Freund und Feind,
Männerstolz vor Königsthronen, –
Brüder, gält’ es Gut und Blut –
Dem Verdienste seine Kronen,
Untergang der Lügenbrut!


Chor
 

Schließt den heil’gen Zirkel dichter,
Schwört bei diesem goldnen Wein,
Dem Gelübde treu zu sein,
Schwört es bei dem Sternenrichter!
Rettung von Tyrannenketten,
Großmut auch dem Bösewicht,
Hoffnung auf den Sterbebetten,
Gnade auf dem Hochgericht!
Auch die Toten sollen leben!
Brüder trinkt und stimmet ein,
Allen Sündern soll vergeben,
Und die Hölle nicht mehr sein.


Chor
 

Eine heitere Abscheidsstunde!
Süßen Schlaf im Leichenruch!
Brüder – einen sanften Spruch
Aus des Totenrichters Munde!




Joy, beautiful spark of Gods,
Daughter of Elysium,
We approach, fueled by fire,
Heavenly, your sanctuary,
Your magical powers unify
What custom harshly parts
All men are made brothers
Where your gentle wing spreads.

Chorus

Be embraced, millions!
This kiss to the entire world!
Brothers – over a canopy of stars
Our loving father must dwell.
Whoever has had the great luck,
To know true friendship,
Whoever has found the love of a devoted wife,
Add this to our greater joy!
Indeed, whoever can call even one soul
His own on this earth!
Yet those who fail must pull
Tearfully away from this circle.

Chorus

Those who dwell in the great circle,
Render homage unto compassion!
It guides us to the stars,
Where the Unknown reigns.
The joy which all creatures drink
From nature’s bosom;
All, Just and Unjust,
Follow her rose-strewn path.
Kisses she gave us, and wine,
A friend, proven in death,
Even the worm was given pleasure,
And the Cherub stands before God.

Chorus

You bow down, millions?
World, can you sense your Creator?
Seek him above the stared canopy.
Above the stars He must dwell.
Joy is called the strong motivation
In eternal nature.
Joy, joy turns the wheels
Of the great celestial mechanics
Flowers are summoned forth from their buds,
Suns from the Firmament,
Spheres it moves far out in Space,
Beyond the grasp of our glass.

Chorus

Joyfully, as His suns spin,
Across the Universe’s grand design,
Run, brothers, run your race,
Joyfully, as a hero going to conquest.
As truth’s fiery reflection
It smiles at the seeker of truth
At virtue’s steep hill
It leads the seeker on.
Atop faith’s lofty summit
Its flags whipped in the wind,
Through the cracks of burst-open coffins,
It stand in the angels’ chorus.

Chorus

Persist with courage, millions!
Stand firm for a better world!
Over the stars
A great God will reward you.
 Gods one can never requite,
Save in the striving to be like them.
Sorrow and Poverty, come forth
And rejoice with the Joyful ones.
Anger and revenge be dispelled,
Our bitterest enemy be forgiven,
Not one tear shall he shed anymore,
No feeling of loss shall pain him.

Chorus

The account of our misdeeds be destroyed!
Reconciled the entire world!
Brothers, above the starry canopy
God judges as we judge.
Joy is bubbling in the glasses,
Through the grapes’ golden blood
Let Cannibals drink gentleness,
And despair drinks courage–
Brothers, be lifted from your seats,
As the fully charged chalice is passed around,
Let the foam rise up to heaven:
Let this glass charge our spirits.

Chorus

He whom stars above select,
He whom the Seraphs’ hymn praises,
This glass we raise to Him, the good spirit,
Over the field of stars!
Be resolute and courageous in the face of our plight,
Where the innocent weap, render aid,
Eternally are reckoned all oaths we swear
Truth towards friend and enemy,
Human pride before the thrones of kings–
Brothers, though it cost us life and blood,
Give the crowns to those who earn them,
Defeat to the pack of liars!

Chorus

Close the holy circle tighter,
Swear by this golden wine:
To remain true to the Oath,
Swear it to He who judge above the stars!
Deliver us from tyrants’ chains,
But show generosity also towards the blaggard,
Hope on the deathbeds,
Mercy from the final judge!
Also the dead shall live!
Brothers, drink and join in,
All sinners shall be forgiven,
And hell shall be no more.

Chorus

Our serene hour of farewell!
Sweet rest in the shroud!
Brothers–a mild sentence
From the mouth of the judge of the dead!

Friedrich Schiller, Ode an die Freude (1785) in Sämtliche Werke, vol. 1, pp. 133-36 (H. Göpfert ed. 1980)(S.H. transl.)
Listen to a recitation of Schiller’s poem by Anna Thalbach
Listen to Ludwig van Beethoven’s immortal realization of the poem in the concluding choral movement of his Ninth Symphony in D Minor, here in a performance with Herbert von Karajan and the Berlin Philharmonic

In 1753, Gotthold Ephraim Lessing wrote in the Königlich Privilegierte Berlinische Zeitung a brief announcement of the publication of one of the signal works of the Enlightenment and in the process paused to offer one of his more astonishing observations on the study of man. “We can engage the human at the level of the specific or the general,” he wrote. “But what, pray tell, will we learn from the specific? They are such a gallery of rogues and scoundrels… Yet when we turn to the species as a whole, a different story begins to emerge. Does he not slowly reveal greatness and divine origin? Does he not daily extend the limits of his knowledge, does wisdom not slowly come to prevail in his rulemaking, does his ambition not leave behind towering monuments?” This same quiet confidence in humanity, coupled with a burning desire to overcome the obstacles that human superstitution and suspicion place in the way of the unity of the species, is the touchstone of this, the most famous poem of Friedrich Schiller. It is known as the “Ode to Joy” and it is familiar to all peoples of the world through the music of Ludwig van Beethoven.
Curiously, Schiller was a bit slow to claim his work. He hesitated over its incorporation into his collected works and suggested at points that it was rash, juvenile–not to the standards of his more ponderous philosophical poetry. Surely it is not. But the “Ode to Joy” captured the imagination of Schiller’s contemporaries like no other poetical work, and they associated it with him. News of his fatal illness provoked spontaneous recitations of the poem from Switzerland to Denmark, and in France the great Danton pressed to acclaim Schiller an honorary citizen of the new republic on the strength of this extraordinary poem. But this work is marked by evanescence, by a sort of giddiness–does this suggest lack of seriousness? Could it be simply an occasional piece, an entry in an album for a life-long friend, Christian Gottfried Körner? At one level this certainly was Schiller’s intention. He wrote Körner on August 8, 1787 alluding to the ode and saying “I know no more certain and higher fortune in the world today that the complete enjoyment of our friendship, the wholly indivisible consolidation of our being, our joys and sufferings.”
But this does Schiller no justice. Let us abjure the specific and hold to the general. Schiller’s ode is a salute to humanity’s possibilities, it is giddy, unabashedly so. For Schiller, this euphoria, this insatiable drive for friendship is a saving grace for the species. Reason alone cannot explain it. It is essential if humankind is to overcome its darker moments, including the perilous path that leads to cynicism and nihilism. Friendship is thus an exilir. “For certain humans the power of nature strips away the stupefying limitations of convention,” he tells some friends in Leipzig as he is scribbling on this poem, signaling the refrain that Beethoven will make famous.
But the work is radical and blatantly political in its orientation–it envisions a world without monarchs at a time when the distant colonies of North America alone offered the alternative. It imagines a world whose nations live in peace with one another, embracing the dignity of their species as a fundamental principle, and democracy as the central chord of their organization. Its long appeal to Beethoven lay in just this intensely subversive, revolutionary core. To start with, as Leonard Bernstein reminded his audiences, the poem was originally an “Ode to Freedom” and the word “Joy” (Freude instead of Freiheit, added to the third pillar, Freundschaft) came as a substitute for the more overtly political theme. The transposition is very successful, and it reflects the esthetic theories of Schiller in which humankind’s political aspirations are shown as something ecstatic. The deeper, more political charge of Schiller’s writings appears in the final stanzas, which are not included in the lyrics set by Beethoven–he was at length a court composer, and he lived, wrote and published in a city which, for all its culture and pretension, was a citadel of political repression. Beethoven reckoned, of course, that his audience knew the whole text, just as he knew it, by heart. He was by then a crotchety old man, Beethoven, but he knew the power of a dream, and he inspired millions with it, to the chagrin of his Hapsburg sponsors.
Schiller’s words are perfectly fused with Beethoven’s music. It may indeed be the most successful marriage in the whole shared space of poetry and music. It is a message of striking universality which transcends the boundaries of time and culture. It is well measured in fact to certain turningpoints in the human experience. And one of them occurred in America this week.

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