2020年2月28日 星期五

Rainer Maria Rilke - For Wolf Graf von Kalckreuth. Who talks of victory? To endure is all.




Rainer Maria Rilke - For Wolf Graf von Kalckreuth

Can I have never seen you? For my heart
feels you like some too-burdensome beginning
one still defers. Oh, could I but begin
to tell of you, dead that you are, you gladly,
you passionately dead. And was it so
alleviating as you supposed, or was
no-more-alive still far from being-dead?
You thought you could possess things better there
where none care for possessions. You supposed
that over there you'd be inside the landscape
that here closed up before you like a picture,
would enter the beloved from within
and penetrate through all things, strong and wheeling.
Oh, that you may not have too long had cause
to tax your boyish error with deception!
Loosened within that rush of melancholy,
ecstatically and only half-aware,
may you, in motion round the distant stars,
have found the happiness that you transposed
from here into that being-dead you dreamt of.
How near you were to it, dear friend, even here.
How much it was at home here, what you purposed,
the earnest joy of your so strenuous longing.
When, tired of being happy and unhappy,
you mined into yourself and painfully
climbed with an insight, almost breaking down
under the weight of dark discovery:
you carried what you never recognized,
you carried joy, you carried through your blood
your little saviour's burden to the shore.
  Why did you not wait till the difficult
gets quite unbearable: until it turns,
and is so difficult because so real?
That was perhaps your next allotted moment;
it may perhaps have been already trimming
its garland at the door you slammed for ever.
  Oh that percussion, how it penetrates,
when somewhere, through impatience's sharp draught,
something wide open shuts and locks itself!
Who can deny on oath that in the earth
a crack goes springing through the healthy seeds?
Who has investigated if tame beasts
are not convulsed with sudden lust for killing
when that jerk shoots like lightning through their brains?
Who can deduce the influence leaping out
from actions to some near-by terminal?
Who can conduct where everything's conductive?
  The fact that you destroyed. That this must be
related of you till the end of time.
Even if a hero's coming, who shall tear
meaning we take to be the face of things
off like a mask and in a restless rage
reveal us faces whose mute eyes have long
been gazing at us through dissembling holes:
this is sheer face and will not be transfigured:
that you destroyed. For blocks were lying there,
and in the air already was the rhythm
of some now scarce repressible construction.
You walked around and did not see their order,
one hid the other from you; each of them
seemed to be rooted, when in passing by
you tried at it, with no real confidence
that you could lift it. And in desperation
you lifted every one of them, but only
to sling them back into the gaping quarry
wherein, being so distended by your heart,
they would no longer fit. Had but a woman
laid her light hand on the still mild beginning
of this dark rage; had someone occupied,
occupied in the inmost of his being,
but quietly met you on your dumb departure
to do this deed; had even something led you
to take your journey past some wakeful workshop
where men were hammering and day achieving
simple reality; had there been room
enough in your full gaze to let the image
even of a toiling beetle find admittance:
then, in a sudden flash of intuition,
you would have read that script whose characters
you'd slowly graved into yourself since childhood,
trying from time to time whether a sentence
might not be formed: alas, it seemed unmeaning. 
I know; I know: you lay in front and thumbed
away the grooves, like someone feeling out
the insciption on a grave-stone. Anything
that seemed to give a light you held as lamp
before those letters; but the flame went out
before you'd understood - your breath, perhaps,
perhaps the trembling of your hand; perhaps 
just of its own accord, as flames will do.
You never read it. And we do not dare
to read through all the sorrow and the distance.

  We only watch the poems that still climb,
still cross, the inclination of your feeling, 
carrying the words that you had chosen. No,
you did not choose all; often a beginning
was given you in full, and you'd repeat it
like some commission. And you thought it sad.
Ah, would you had never heard it from yourself!
Your angel sounds on, uttering the same
text with a different accent, and rejoicing
breaks out in me to hear his recitation,
rejoicing over you: for this was yours:
that from you every proffered love fell back,
that you had recognized renunciation
as price of seeing and in death your progress.
This was what you possessed, you artist, these
three open moulds. Look, here is the casting
from the first: space for your feeling; and look, there,
from the second I'll strike out for you the gaze
that craves for nothing, the great artist's gaze;
and in the third, which you yourself broke up
too soon, and which as yet the first outrushing
of quivering feed from the white-heated heart
had scarce had time to reach, a death was moulded,
deepened by genuine labour, that own death
which has such need of us because we live it,
and which we're nowhere nearer to than here.
  All this was your possession and your friendship;
as you yourself often divined; but then
the hollowness of those moulds frightened you,
you groped within and drew up emptiness
and mourned your lot. - O ancient curse of poets!
Being sorry for themselves instead of saying,
for ever passing judgement on their feeling
instead of shaping it; for ever thinking
that what is sad or joyful in themselves
is what they know and what in poems may fitly
be mourned or celebrated. Invalids,
using a language full of woefulness
to tell us where it hurts, instead of sternly
transmuting into words those selves of theirs,
as imperturbable cathedral carvers
transposed themselves into the constant stone.
  That would have been salvation. Had you once
perceived how fate may pass into a verse
and not come back, how, once in, it turns image,
nothing but image, but an ancestor,
who sometimes, when you watch him in his frame,
seems to be like you and again not like you: -
you would have persevered.

                           But this is petty,
thinking of what was not. And some appearance
of undeserved reproach in these comparings.
Whatever happens has had such a start
of our supposing that we never catch it,
never experience what it really looked like.
  Don't be ashamed, when the dead brush against you,
those other dead, who held out to the end.
(What, after all, does end mean?) Exchange glances
peacefully with them, as is customary,
and have no fear of being conspicuous
through carrying the burden of our grief.
The big words from those ages when as yet
happening was visible are not for us.
Who talks of victory? To endure is all.

何言胜利✌️?挺住便意味着一切!

2020年2月23日 星期日

"Life is but a day; A fragile dew-drop on its perilous way From a tree’s summit." —John Keats


"Life is but a day;
A fragile dew-drop on its perilous way
From a tree’s summit."
—John Keats
WORD-WATCHER.BLOGSPOT.COM
"Life is but a day; A fragile dew-drop on its perilous way From a tree’s summit." —John Keats, 2020年元月底,因中國疫情,寫過約10篇 "華麗與脆弱的中國"。 ...

2020年2月18日 星期二

Michelangelo

Michelangelo died #onthisday in 1564.
The artist was often referred to as ‘Il Divino’, meaning the divine one.



"Dear to me is sleep; still more to sleep
in stone while harm and shame persist;
not to see, not to feel, is bliss;
speak softly, do not wake me, do not weep." - 'Caro m'è 'l sonno'
Michelangelo died #OTD 1564.

The Bridge: To Brooklyn Bridge by Hart Crane

The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge BY David McCullough’s History Lessons《杜魯門》(Truman ,1992).The Bridge: To Brooklyn Bridge by Hart Crane.


From The Bridge: To Brooklyn Bridge by Hart Crane | Poetry ...
www.poetryfoundation.org › Poems


As though the sun took step of thee yet left. Some motion ever unspent in thy stride,—. Implicitly thy freedom staying thee! Out of some subway scuttle, cell or loft. A bedlamite speeds to thy parapets,. Tilting there momently, shrill shirt ballooning ...


The Bridge (long poem) - Wikipedia
en.wikipedia.org › wiki › The_Bridge_(long_poem)


The Bridge, first published in 1930 by the Black Sun Press, is Hart Crane's first, and only, attempt at a long poem. (Its primary status as either an epic or a series of lyrical poems remains contested; recent criticism tends to read it as a hybrid, ...
Contents · ‎Critical reception · ‎Composition




2020年2月16日 星期日

The Story of Sigurd the Volsung and the Fall of the Niblungs (1876)






其中的〈西格德〉(Sigurd) 這個故事則是由威廉・莫里斯 (William Morris) 的某篇散文編輯而成。......劉夏泱
補充"Sigurd, the Volsung is the second great English epic of our generation...and it ranks after Tennyson's "Arthuriad" in order of time only. It fully equals that monumental work in the force and pathos of the story told, while it surpasses it in unity and continuity of interest." https://en.wikipedia.org/....../The_Story_of_Sigurd......
The Story of Sigurd the Volsung and the Fall of the Niblungs - Wikipedia
EN.WIKIPEDIA.ORG
The Story of Sigurd the Volsung and the Fall of the Niblungs - Wikipedia

2020年2月15日 星期六

« Macbeth » Act I. Scene VII

Source: William Shakespeare: « Macbeth » Act I. Scene VII
這"馬克白"中文近十本 現在抄錄呂健忠先生以詩體翻譯的 (台北:書林 1999 pp.124-25)

MACBETH. If it were done when 'tis done, then 'twere well
It were done quickly. If the assassination
Could trammel up the consequence, and catch,
With his surcease, success; that but this blow
Might be the be-all and the end-all -here,
But here, upon this bank and shoal of time,
We'ld jump the life to come....

如果幹了就了結 那就該
快點幹才好:如果這一殺
可以一網打盡後患 伸手
捕勝數為他送終:只這麼一下
就大功告成一了百了--這裡
在這片時光之海的沙洲
不妨跳過來生.....


梁實秋

如果這事做成了就算完事 那麼這事是愈 快做成愈妙:如其此番暗殺能把後患一網打盡 於暗殺完成之時便算穩獲勝利: 如其只此一擊便可實現一生懷抱 我僅僅說這一生 在這時間之海的淺瀨上 --那麼我們寧可冒了死後的危險而不惜一試了 (註)

2020年2月14日 星期五

‘Come back and lay your hands on me, / the sensuous feelings that I love’ – C. P. Cavafy

‘Come Back’

Valentine’s Day: ‘Come back and lay your hands on me, / the sensuous feelings that I love’ – C. P. Cavafy

“Idid a little to spread his fame. It was about the best thing I ever did”, wrote E. M. Forster about the Greek poet C. P. Cavafy (1863–1933) whom he met in Alexandria in 1915 when he was working for the Red Cross and whose refreshing rejection of the tyranny of Hellenic classicism helped liberate Forster from the idealized Greece he had been fed at Victorian public school. Cavafy showed him it was possible to integrate sexual drives into a larger world-view and, after the war, Forster embarked on an energetic campaign to secure his friend a readership beyond Greece. In 1923 he included Cavafy’s poem “The God Abandons Antony” in his book Pharos and Pharillon (in his TLS review, John Middleton Murry notes that Forster “first gained the courage of his own vision” in Cavafy’s Alexandria), and he worked hard both to persuade Cavafy to allow his poems to be translated and to place them in British journals: “Come Back” – a poem from 1912 – was one of four that appeared in Oxford Outlook in February 1924. But a combination of Cavafy’s own ambivalence about publication (he circulated his poems in pamphlet form privately among friends) and the difficulty of getting Cavafy’s favoured translator, George Valassopoulo, to produce English versions quickly enough meant that no collection in English appeared in the poet’s lifetime. Not until 1935, after the entire Cavafy canon had been posthumously published in Greek, did John Mavrogordato translate it into English, and even this did not appear until 1951.
Forster was understandably reticent about both his own and Cavafy’s homosexuality (it would be another decade after Mavrogordato’s edition before W. H. Auden could say, in his introduction to Rae Dalven’s translation of The Complete Poems, “the erotic world he depicts is one of casual pickups and short-lived affairs”). But it is a reticence perhaps matched by the poet’s language. For Cavafy, an immediate impression is not enough for a poem: it “must age, must fade itself, with time”. In this poem, for example, it seems that the speaker, beyond the specific sexual experience that “lips and flesh remember”, is creating a memorial to the shaping power of love.
Come Back
Come back and lay your hands on me,the sensuous feelings that I love. Come backwhen the body is receptive and on edge –
when yearning travels through the bloodas lips and flesh remember,when hands reach out to touch.
Come soon and often, the feeling that I love.Come back and hold me through the nightwhen lips and flesh remember.  
C. P. CAVAFY
Translated by Ian Parks (2015)

John Donne: Now this bell tolling softly for another,


Previous
For Whom the Bell Tolls
by
John Donne

Next
No man is an island,
Entire of itself.
Each is a piece of the continent,
A part of the main.
If a clod be washed away by the sea,
Europe is the less.
As well as if a promontory were.
As well as if a manor of thine own
Or of thine friend's were.
Each man's death diminishes me,
For I am involved in mankind.
Therefore, send not to know
For whom the bell tolls,
It tolls for thee.


This poem is in the public domain.


John Donne (1572 - 1631) was an English writer and poet. As a Catholic in a time when that denomination was illegal in England, he endured constant prejudice and harassment and was ultimately forced into joining the Anglican church by King James I. Early in his life, John earned a reputation as a playboy and spendthrift, but at 25, he fell in love with Anne More. Despite her father's scorn, the couple married, had a dozen children, and John became a devoted—if not financially successful—family man. His career forays included law, diplomatic service, and church leadership, but he is best remembered as the founder of a group called the "metaphysical” poets. Popular during his lifetime, then dismissed for many years as inferior because it was so different from other poetry of that time, John's work is today considered brilliant and his influence on literature legendary.



from

Devotions Upon Emergent Occasions


MEDITATION XVII.

N
UNC LENTO SONITU DICUNT, MORIERIS.

Now this bell tolling softly for another,
says to me, Thou must die.

PERCHANCE he for whom this bell tolls may be so ill as that he knows not it tolls for him.  And perchance I may think myself so much better than I am, as that they who are about me, and see my state, may have caused it to toll for me, and I know not that.  The church is catholic, universal, so are all her actions; all that she does, belongs to all.  When she baptizes a child, that action concerns me; for that child is thereby connected to that head which is my head too, and ingraffed into that body, whereof I am a member.  And when she buries a man, that action concerns me; all mankind is of one author, and is one volume; when one man dies, one chapter is not torn out of the book, but translated into a better language; and every chapter must be so translated; God employs several translators; some pieces are translated by age, some by sickness, some by war, some by justice; but God's hand is in every translation, and his hand shall bind up all our scattered leaves again, for that library where every book shall lie open to one another; as therefore the bell that rings to a sermon, calls not upon the preacher only, but upon the congregation to come; so this bell calls us all: but how much more me, who am brought so near the door by this sickness.

There was a contention as far as a suit (in which, piety and dignity, religion and estimation, were mingled) which of the religious orders should ring to prayers first in the morning; and it was determined, that they should ring first that rose earliest.  If we understand aright the dignity of this bell, that tolls for our evening prayer, we would be glad to make it ours, by rising early, in that application, that it might be ours as well as his, whose indeed it is.  The bell doth toll for him, that thinks it doth; and though it intermit again, yet from that minute, that that occasion wrought upon him, he is united to God.  Who casts not up his eye to the sun when it rises?  But who takes off his eye from a comet, when that breaks out? who bends not his ear to any bell, which upon any occasion rings?  But who can remove it from that bell, which is passing a piece of himself out of this world?

No man is an island,  entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were;  any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee.

Neither can we call this a begging of misery, or a borrowing of misery, as though we were not miserable enough of ourselves, but must fetch in more from the next house, in taking upon us the misery of our neighbors.  Truly it were an excusable covetousness if we did; for affliction is a treasure, and scarce any man hath enough of it.  No man hath afflicion enough, that is not matured and ripened by it, and made fit for God by that affliction.  If a man carry treasure in bullion or in a wedge of gold, and have none coined into current moneys, his treasure will not defray him as he travels.  Tribulation is treasure in the nature of it, but it is not current money in the use of it, except we get nearer and nearer our home, heaven, by it.  Another may be sick too, and sick to death, and this affliction may lie in his bowels, as gold in a mine, and be of no use to him; but this bell that tells me of his affliction, digs out, and applies that gold to me: if by this consideration of another's danger, I take mine own into contemplation, and so secure myself, by making my recourse to my God, who is our only security.



Source:
Donne, John. The Works of John Donne. vol III.
Henry Alford, ed.
London: John W. Parker, 1839. 574-5.





本港不少信徒存有美麗的迷思,就是安定繁榮、遠離災難;如同畢德生(Eugene Peterson) 所言 :「我們渴想的生命是安全與舒適的,我們渴想事物受到控制,我們極想排除邪惡、危險及災難。」(Where Your Treasure Is)。現今無情的「武漢肺炎」肆虐,我們發現原來的信念難以對應世事的荒謬 !
面對「武漢肺炎」,我們對「 無能、無信、無德的林鄭政府」(周永新語) 感到忿怒、無奈與失望,又對隨時入侵的病毒心存疑慮與恐懼。筆者不期然想起約翰鄧恩 (或譯約翰多恩、唐約翰,John Donne,1572-1631),這位英國著名詩人兼牧師,乃是疫境中與我們同行的良朋益友。

2020年2月3日 星期一

Milton Sonnet 16, When I consider how my light is spent,

Milton Sonnet 16


羅杰罹病後,歷經所有免疫系統崩潰的折騰,白老鼠似的嚐百草試新藥,「用手邊任何東西拼製了一件武器,就像牢獄裡的犯人把一隻湯匙柄磨成一把小匕首。你勇猛地奮戰,你狠毒地奮戰…」

器官逐樣失能和衰竭。失明前,羅杰用破碎的聲音,朗誦密爾頓寫失明的十四行詩:「當我思量我的光是如何消逝時/在我半生之前,在這黑暗的世界而遼闊……」他知道自己掌上的生命線中止於何處。

Sonnet 16


When I consider how my light is spent,
E're half my days, in this dark world and wide,
And that one Talent which is death to hide,
Lodg'd with me useless, though my Soul more bent
To serve therewith my Maker, and present
My true account, least he returning chide,
Doth God exact day-labour, light deny'd,
I fondly ask; But patience to prevent
That murmur, soon replies, God doth not need
Either man's work or his own gifts, who best
Bear his milde yoak, they serve him best, his State
Is Kingly. Thousands at his bidding speed
And post o're Land and Ocean without rest:
They also serve who only stand and waite.

2020年2月2日 星期日

“The earth has music for those who listen”

“The Earth has Music for Those Who Listen”
by Dulac (1882-1953). Probably from his illustrations for the 1909 Rubaiyat of Omar Khayyam.
“Ah Love! could you and I with Fate conspire
To grasp this sorry Scheme of Things entire,
Would not we shatter it to bits–and then
Re-mold it nearer to the Heart’s Desire!”
~from “The Rubaiyat”

The earth has music for those who listen - National Geographic

Top Image: The skeleton of Liaoconodon, from Meng et al., 2011.
A note about the title: The line “The earth has music for those who listen” has often been attributed William Shakespeare, but this appears to be a mistake. How this line turned into a meme credited to him is unclear. Still, I thought it fitting for a post about fossils and the evolution of hearing.