Clicking the label Dafydd ap Gwilym soon you will agree with me: There's no bard like him. |
Dafydd ap Gwilym (c. 1315/1320 – c. 1350/1370)
Clicking the label Dafydd ap Gwilym soon you will agree with me: There's no bard like him. |
The most beautiful love poems |
"Crime, Wickedness, Villany, Vice, And Sin only misery bring; If you want to be Happy and Nice, Be good and all that sort of thing." |
Oliver Herford (2 December 1860 – 5 July 1935)
... of him who stubbed virgin soil and planted a blue flower.
Born May 2nd, 1772 as Georg Philipp Friedrich von Hardenberg in Oberwiederstedt Manor / Harz mountains, when choosing his pseudonym he probably bethought himself of the name his ancestors in Großenrode had kept until the sons of Bernhard de Novalis decided to take Hardenberg as their family name. And 'stubbing virgin soil' (which is the meaning of Novalis) he intended to do, this Novalis who when in May 1789 meeting Gottfried August Bürger, felt taken with this ardent advocate of a folksy poetry, but distanced himself, after he had met the Bürger-critical Friedrich von Schiller. 'Everything must be poetic', henceforth is his maxim. Less romantic contemporaries shrug off his work as fustian, others (glorifying him) explain his desire for death (Hymns to the Night) with his not getting over the death of his great love (Sophie von Kühn); but Novalis arguably did more than inventing the symbol of romanticism – the Blue Flower dreamt up by the protagonist in his fragmental novel Heinrich von Ofterdingen: Studies of law and mining, arts, science, love: the 'dreamer' , who in view of an accelerating celerity commended his contemporaries to exercise slowness, was eager for knowledge, was concerned about many things. Often disputed. Self-critical, too. And he is not given as much time as Goethe. Death comes quickly. March 25th, 1801 Novalis dies, not even 29 years old. Probably he got infected, while tending his from phtisis suffering friend Friedrich. What remains from Novalis? Much more than Pollen (Blüthenstaub)
On Shakespeare's 458th birthday and
the 406th anniversary of either his death
and the death of Cervantes
just to wish a very special literary evening.
CIII
Alack what poverty my muse brings forth,
That having such a scope to show her pride,
The argument all bare is of more worth
Than when it hath my added praise beside.
O blame me not if I no more can write!
Look in your glass and there appears a face,
That over-goes my blunt invention quite,
Dulling my lines, and doing me disgrace.
Were it not sinful then striving to mend,
To mar the subject that before was well?
For to no other my verses tend,
Than of your graces and your gifts to tell.
And more, much more than in my verse can sit,
Your own glass shows you, when you look in it.
1
Wirklich, ich lebe in finsteren Zeiten!
Das arglose Wort ist töricht. Eine glatte Stirn
Deutet auf Unempfindlichkeit hin. Der Lachende
Hat die furchtbare Nachricht
Nur noch nicht empfangen.
Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!
Der dort ruhig über die Straße geht
Ist wohl nicht mehr erreichbar für seine Freunde
Die in Not sind?
Es ist wahr: ich verdiene noch meinen Unterhalt
Aber glaubt mir: das ist nur ein Zufall. Nichts
Von dem, was ich tue, berechtigt mich dazu, mich satt zu essen.
Zufällig bin ich verschont. (Wenn mein Glück aussetzt
Bin ich verloren.)
Man sagt mir: iß und trink du! Sei froh, daß du hast!
Aber wie kann ich essen und trinken, wenn
Ich es dem Hungernden entreiße, was ich esse, und
Mein Glas Wasser einem Verdurstenden fehlt?
Und doch esse und trinke ich.
Ich wäre gerne auch weise
In den alten Büchern steht, was weise ist:
Sich aus dem Streit der Welt halten und die kurze Zeit
Ohne Furcht verbringen
Auch ohne Gewalt auskommen
Böses mit Gutem vergelten
Seine Wünsche nicht erfüllen, sondern vergessen
Gilt für weise.
Alles das kann ich nicht:
Wirklich, ich lebe in finsteren Zeiten!
2
In die Städte kam ich zu der Zeit der Unordnung
Als da Hunger herrschte.
Unter die Menschen kam ich zu der Zeit des Aufruhrs
Und ich empörte mich mit ihnen.
So verging meine Zeit
Die auf Erden mir gegeben war.
Mein Essen aß ich zwischen den Schlachten
Schlafen legt ich mich unter die Mörder
Der Liebe pflegte ich achtlos
Und die Natur sah ich ohne Geduld.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Straßen führten in den Sumpf zu meiner Zeit
Die Sprache verriet mich dem Schlächter
Ich vermochte nur wenig. Aber die Herrschenden
Saßen ohne mich sicherer, das hoffte ich.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Kräfte waren gering. Das Ziel
Lag in großer Ferne
Es war deutlich sichtbar, wenn auch für mich
Kaum zu erreichen.
So verging meine Zeit
Die auf Erden mir gegeben war.
3
Ihr, die ihr auftauchen werdet aus der Flut
In der wir untergegangen sind
Gedenkt
Wenn ihr von unseren Schwächen sprecht
Auch der finsteren Zeit
Der ihr entronnen seid.
Gingen wir doch, öfter als die Schuhe die Länder wechselnd
Durch die Kriege der Klassen, verzweifelt
Wenn da nur Unrecht war und keine Empörung.
Dabei wissen wir ja:
Auch der Haß gegen die Niedrigkeit
Verzerrt die Züge.
Auch der Zorn über das Unrecht
Macht die Stimme heiser. Ach, wir
Die wir den Boden bereiten wollten für Freundlichkeit
Konnten selber nicht freundlich sein.
Ihr aber, wenn es soweit sein wird
Daß der Mensch dem Menschen ein Helfer ist
Gedenkt unsrer
Mit Nachsicht.
Bertold Brecht (10 February 1898 – 14 August 1956)
... and so am I, almost, on the first anniversary of Claude's death, which is why I let her speak.
She sent me this poem in December 2018.
THE MOONLIGHT IS SPEECHLESS...
She worked hard at being able
to think THINK instead of PENSER
to write a flawless letter to England as well
as to France
to add Shelley to Lamartine
to exude Gallic charm mixed with British
romanticism
she studied books and dictionaries
she travelled far and she lived everywhere
she met dignitaries and the people next door
she reached French and English fluency
in her dreams, tears and laughter
and when she wore this two-colour dress with
elegance
she discovered
that the heart has no language, no culture of
its own
The moonlight is speechless...
stars in one's eyes mean more than "Je
t'aime, beloved"
and two clasped hands across a table
across a warm sea of silence
can tear down
better than a thousand well-chosen words
the tower of babel
one erects every day in one's soul.
CPG (1970)
Thank you for everyting, Claude. De tout coeur.
However and wherever we are, we must live as if we will never die. |
Strange, to wander in the fog! Alone each bush and stone, No tree does see the other, Each is alone. [...] Strange, to wander in the fog! Life is loneliness. No man knows the other, Each is alone. |
"Join the army and see the next world." |
Dylan Thomas (27 October 1914 – 9 November 1953)
Encase your
legs in nylons,
Bestride your hills with pylons
O age without a soul;
Away with gentle willows
And all the elmy billows
That through your valleys roll.
Let's say goodbye to hedges
And roads with grassy edges
And winding country lanes;
Let all things travel faster
Where motor-car is master
Till only Speed remains.
Destroy the ancient inn-signs
But strew the roads with tin signs
'Keep Left,' 'M4,' 'Keep Out!'
Command, instruction, warning,
Repetitive adorning
The rockeried roundabout;
For every raw obscenity
Must have its small 'amenity,'
Its patch of shaven green,
And hoardings look a wonder
In banks of floribunda
With floodlights in between.
Leave no old village standing
Which could provide a landing
For aeroplanes to roar,
But spare such cheap defacements
As huts with shattered casements
Unlived-in since the war.
Let no provincial High Street
Which might be your or my street
Look as it used to do,
But let the chain stores place here
Their miles of black glass facia
And traffic thunder through.
And if there is some scenery,
Some unpretentious greenery,
Surviving anywhere,
It does not need protecting
For soon we'll be erecting
A Power Station there.
When all our roads are lighted
By concrete monsters sited
Like gallows overhead,
Bathed in the yellow vomit
Each monster belches from it,
We'll know that we are dead.
John Betjeman (28 August 1906 – 19 May 1984)
The day we stop resisting our instincts, we'll have learned how to live. |
At the mid hour of night, when stars are weeping, I fly
To the lone valley we loved, when life shone warm in thine eye;
And I think oft, if spirits can steal from the regions of air
To revisit past scenes of delight, thou wilt come to me there
And tell me our love is remember'd even in the sky!
Then I sing the wild song it was once rapture to hear
When our voices, commingly, breathed like one on the ear;
And as Echo far off through the vale my sad orison rolls, I think,
O my Love! 'tis thy voice, from the Kingdom of Souls
Faintly answering still the notes that once were so dear.
Thomas Moore (28 May 1779 – 25 February 1852)
At the mid hour of night, when stars are weeping, I fly
To the lone valley we loved, when life shone warm in thine eye;
And I think oft, if spirits can steal from the regions of air
To revisit past scenes of delight, thou wilt come to me there
And tell me our love is remember'd even in the sky!
Then I sing the wild song 'twas once such pleasure to hear
When our voices, commingly, breathed like one on the ear;
And as Echo far off through the vale my said orison rolls,
I think, O my Love! 'tis thy voice, from the Kingdom of Souls
Faintly answering still the notes that once were so dear.
Thomas Moore (28 May 1779 – 25 February 1852)
"I've always associated the moment of writing
with a moment of lift, of joy,
of unexpected reward."
North (1975), Station Island (1984), The Government of the Tongue (1986), The Redress of Poetry (1995), The Spirit Level (1996), The Blackbird of Glanmore (Poems 1965 – 2006) |
Seamus Heaney (13 April 1939 – 30 August 2013)