On the Banks of the Marne by Anna de Noailles

Painting: Bords de la Marne by Camille Pissarro, 1866

The slow and yielding River Marne
slips past an open, spacious and exhausted land
where sleeping villages hatch from the grass
like stars appearing in the sky.

Here, nature has resumed her careless dreaming,
a white workhorse labours at the plough
while old folk wander through a mottled view of vines,
roses still bloom on an autumnal bush,
a greedy goat is tangled in a bramble patch,
the grapes have been gathered in, the hillside sleeps.

Nothing now bears witness to that inhuman business
except a mound that may hide the shape of a body.
This silent soil embraces all the heroes, broken
by fatigue and hunger, who, knowing they would never
see its end, gave their all in the Battle of the Marne.

The land has covered them. We do not know their names.
They have only the grass and the wind to talk to.
They have entered our dreams.

Beyond these hills and hollows, the muffled,
swooning sound of cannon-fire sinks into the ether.
Night begins to fall. The now infamous river,
forever heedless of what happened here,
soaks up the languor of twilight and falls asleep.

Dazed by the shock of fate, my eyes absorb
the indelible glory and calm possessed by things,
even when men are dead.

October 1916

 

Les bords de la Marne

La Marne, lente et molle, en glissant accompagne
Un paysage ouvert, éventé, spacieux.
On voit dans l’herbe éclore, ainsi qu’un astre aux cieux,
Les villages légers et dormants de Champagne.

La Nature a repris son rêve négligent,
Attaché à la herse un blanc cheval travaille.
Les vignobles jaspés ont des teintes d’écaille
A travers quo l’on voit rôder de vieilles gens.

Un automnal buisson porte encore quelques roses.
Une chèvre s’enlace au roncier qu’elle mord.
Les raisins sont cueillis, le coteau se repose,
Rien ne témoigne plus d’un surhumain effort
Qu’un tertre soulevé par la forme d’un corps.

– Dans ce sol, sans éclat et sans écho, s’incarnent
Les héros qui, rompus de fatigue et de faim,
Connaissant que jamais ils ne sauront la fin
De l’épique bataille à laquelle ils s’acharnent,
Ont livré hardiment les combats de la Marne.

La terre les recouvre. On ne sait pas leur nom.
Ils ont l’herbe et le vent avec lesquels ils causent.
Nous songeons.

Par delà les vallons et les monts
On entend le bruit sourd et pâmé du canon
S’écrouler dans l’éther entre deux longues pauses.
Et puis le soir descend. Le fleuve au grand renom,
A jamais ignorant de son apothéose,
S’emplit de la langueur du crépuscule, et dort.
Je regarde, les yeux hébétés par le sort,
La gloire indélébile et calme qu’ont les choses
         Alors que les hommes sont morts.

Octobre 1916

 

Painting: Bords de la Marne by Camille Pissarro, 1866

El hombre imaginario / The Imaginary Man by Nicanor Parra

This entry is part 38 of 38 in the series Poetry from the Other Americas

 

Nicanor Parra in 2014 (photo by Chilean president Michelle Bachelet, visiting the poet for the celebration of his 100th birthday)

Nicanor Parra, far from imaginary, was all too real, according to David Unger in the Paris Review blog — though Alejandro Zambra, writing in the New Yorker, did call the Chilean poet, who died on January 23 at the age of 103, “almost immortal.” The English-language Wikipedia refers to him as

a Chilean poet, mathematician, and physicist. He was considered an influential poet in Chile and throughout Latin America. Parra described himself as an “anti-poet,” due to his distaste for standard poetic pomp and function; after recitations he would exclaim “Me retracto de todo lo dicho” (“I take back everything I said”).

I’ve always admired his work as a useful corrective for extreme lyricism and romanticism, but as the following demonstrates, his poems could still pack quite a punch. This appears in a 1985 collection with a punning title, Hojas de Parra (Grape Leaves or Pages from Parra).

The Imaginary Man

The imaginary man
lives in an imaginary mansion
surrounded by imaginary trees
on the banks of an imaginary river

On the imaginary walls
imaginary old paintings hang
imaginary irreparable cracks
that represent imaginary events
occuring in imaginary worlds
in imaginary times and places

Every afternoon an imaginary afternoon
he climbs the imaginary stairs
and leans out the imaginary balcony
to gaze at the imaginary view
which consists of an imaginary valley
encircled by imaginary hills

Imaginary shadows
advance down the imaginary road
singing imaginary songs
for the death of the imaginary sun

And on imaginary moonlit nights
he dreams of the imaginary woman
who gave him his imaginary love
once again feeling that same pain
that same imaginary pleasure
and that imaginary man’s heart
once again throbs

El hombre imaginario

El hombre imaginario
vive en una mansión imaginaria
rodeada de árboles imaginarios
a la orilla de un río imaginario

De los muros que son imaginarios
penden antiguos cuadros imaginarios
irreparables grietas imaginarias
que representan hechos imaginarios
ocurridos en mundos imaginarios
en lugares y tiempos imaginarios

Todas las tardes tardes imaginarias
sube las escaleras imaginarias
y se asoma al balcón imaginario
a mirar el paisaje imaginario
que consiste en un valle imaginario
circundado de cerros imaginarios

Sombras imaginarias
vienen por el camino imaginario
entonando canciones imaginarias
a la muerte del sol imaginario

Y en las noches de luna imaginaria
sueña con la mujer imaginaria
que le brindó su amor imaginario
vuelve a sentir ese mismo dolor
ese mismo placer imaginario
y vuelve a palpitar
el corazón del hombre imaginario

I made a video for the poem; see Moving Poems for the process notes.

She’s the one

etching by Paula Modersohn-Becker
This entry is part 6 of 7 in the series Louise Labé

 

After Louise Labé, Sonnet XVII

etching by Paula Modersohn-Becker

So I’ve not been going into town or to church
or anywhere,
she says, where I might
run into him and let him soft-soap me
into giving it another go.

I’ve not been dancing, or to watch the game –
it’s no fun without him anyway. I’ve tried
everything to cool things down, stay away,
find new interests, even…

find myself a new man! I’ve been taking
long walks in the woods on my own, the lot,

she says, but now it dawns on her

he won’t be leaving their town any time soon –
she’s the one who’s got to get out of there,
out of her own head, start over.


Je fuis la vile, & temples, & tous lieus,
Esquels prenant plaisir à t’ouir pleindre,
Tu peus, & non sans force, me contreindre
De te donner ce qu’estimois le mieux.

Masques, tournois, jeus me sont ennuieus,
Et rien sans toy de beau ne me puis peindre:
Tant que tachant à ce desir esteindre,
Et un nouvel obget faire à mes yeus,

Et des pensers amoureus me distraire,
Des bois espais sui le plus solitaire:
Mais j’aperçoy, ayant erré maint tour,

Que si je veus de toy estre delivre,
Il me convient hors de moymesme vivre,
Ou fais encor que loin sois en sejour.

 

Image: etching by Paula Modersohn-Becker, c. 1900.

My other translations and versions of sonnets by Louise Labé are here.

It will stay light late tonight: Anna de Noailles

black-and-white photo of clouds and trees reflected in a basin of water

black-and-white photo of clouds and trees reflected in a basin of water

 

It will stay light late tonight, the days lengthen…
Today’s living soundtrack fades and retreats,
and the trees, surprised not to see the night,
are still awake in the pale evening, dreaming.

The chestnut trees spread their fragrance
far and wide on this heavy air replete with gold
– we dare not move or toy with this tender air
for fear of stirring up more sleeping scents.

Distant rumblings reach us from the town…
The cloak of dust on a scarcely quivering tree
flies up, disturbed by every little breeze, only
to fall back gently on the peaceful paths below.

This is the same familiar road, the one
we’ve seen and walked so often, every day,
and yet something in this life has changed –
never again will our souls be as they are tonight.

 

Il fera longtemps clair ce soir

Il fera longtemps clair ce soir, les jours allongent,
La rumeur du jour vif se disperse et s’enfuit,
Et les arbres, surpris de ne pas voir la nuit,
Demeurent éveillés dans le soir blanc, et songent…

Les marronniers, sur l’air plein d’or et de lourdeur,
Répandent leurs parfums et semblent les étendre ;
On n’ose pas marcher ni remuer l’air tendre
De peur de déranger le sommeil des odeurs.

De lointains roulements arrivent de la ville…
La poussière, qu’un peu de brise soulevait,
Quittant l’arbre mouvant et las qu’elle revêt,
Redescend doucement sur les chemins tranquilles.

Nous avons tous les jours l’habitude de voir
Cette route si simple et si souvent suivie,
Et pourtant quelque chose est changé dans la vie,
Nous n’aurons plus jamais notre âme de ce soir…

 

Again from her first collection, Le Coeur innombrable / The Uncountable Heart (1901). More translations of Anna de Noailles on Via Negativa are here, here, and here.

Deep in life: Anna de Noailles

black-and-white photos of tree foliage seen from below

black-and-white photos of tree foliage seen from below

To be in nature like a human tree, your desires
spread out like deep, luxuriant foliage, and feel,
on peaceful and on stormy nights alike, the universal
sap flow through your hands. To live with the sun’s rays
warm on your face, drink the scorching salt of sea-spray
and of tears, and hotly taste the joy and then the grief
that fashion foggy human forms in space. To feel
in your own beating heart the turbulence of air and fire
and blood like wind upon the earth, reach for reality
and stoop to mystery, embrace the rising daylight
and the falling dark. Like evening’s purple and cerise,
to let the flame and flood flow from the crimson
of your heart while your soul, like pale dawn resting
on a hillside, sits beside this world and dreams…

 

La vie profonde

Être dans la nature ainsi qu’un arbre humain,
Étendre ses désirs comme un profond feuillage,
Et sentir, par la nuit paisible et par l’orage,
La sève universelle affluer dans ses mains !

Vivre, avoir les rayons du soleil sur la face,
Boire le sel ardent des embruns et des pleurs,
Et goûter chaudement la joie et la douleur
Qui font une buée humaine dans l’espace !

Sentir, dans son coeur vif, l’air, le feu et le sang
Tourbillonner ainsi que le vent sur la terre.
– S’élever au réel et pencher au mystère,
Être le jour qui monte et l’ombre qui descend !

Comme du pourpre soir aux couleurs de cerise,
Laisser du coeur vermeil couler la flamme et l’eau,
Et comme l’aube claire appuyée au coteau
Avoir l’âme qui rêve, au bord du monde assise…

 

From Anna de Noailles’ first collection, Le Coeur innombrable / The Uncountable Heart (1901). A fairly close translation, but lately I’ve been writing dense 14-line poems and this seemed to pour itself so naturally into that shape… More of my translations of Anna de Noailles on Via Negativa are here and here.

Melody

Black and white portrait of Noailles.

Anna de Noailles, 1920

Black and white portrait of Noailles.

 

As a knife entering a fruit
slides into it, ravaging,
the soft sound of a melody
cleaves the heart in two
and tenderly destroys it
— and the iridescent languor
of chords and arpeggios
descends, cunning and cutting,
through the body’s weakness
and the divided soul…

 

Comme un couteau dans un fruit
Amène un glissant ravage,
La mélodie au doux bruit
Fend le coeur et le partage
Et tendrement le détruit.
— Et la langueur irisée
Des arpèges, des accords,
Descend, tranchante et rusée,
Dans la faiblesse du corps
Et dans l’âme divisée…

 

Portrait of the poet by Paul Thévenaz
More on Anna de Noailles in a previous post

Unsettling evenings: Anna de Noailles

bust of Anna de Noailles by Rodin

bust of Anna de Noailles by Rodin

I thought I was

So calm and sad I thought I was,
resigned to noble silence,
as befits a weary heart,
but evening, with its slipping,
sliding wind, its cooling,
vegetable smells,
this peaceful landscape
where desire lies dreaming,
seems determined to undo
my safe but joyless rest,
compelling me to face
these artful, airy games
that overwhelm and plunder
warming earth and fading skies
– ah, gentle, porous evening,
perfumed with vanilla,
why would you want to hurt
the ever hopeful girl
within my tense, half-open,
hesitating heart?

Je croyais être

Je croyais être calme et triste,
Simplement, sans demander mieux
Que ce noble état sérieux
D’un coeur lassé. Le soir insiste:
Avec les glissements du vent
Et la froide odeur des herbages,
Et cette paix des paysages
Sur qui le désir est rêvant,
Il défait mon repos sans joie,
Ce repos qui protégeait bien,
Il exige, hélas, que je voie
Ces rusés jeux aériens
Où tout s’enveloppe et se pille,
Du sol tiède aux clartés des cieux…
– Pourquoi, soir mol et spongieux
D’où coule un parfum de vanille,
Blessez-vous, dans mon coeur serré
Qui soudain s’entr’ouvre et vacille,
Cette éternelle jeune fille
Qui ne peut cesse d’espérer?

 

Tranquillity

Here in the wake of dazzling day
comes fine, devoted night.
It feels as if the sky is bowed
beneath a tranquil weight of stars.
The juddering breath of a train
sets even this calm hillside
beating to its hearty rhythm.
Here in the darkness every
shimmering sound – a voice,
a footfall or a shutter slammed –
gleams like a marble or a rosary bead.
Can this airy, empathetic
but mysterious night, so gentle
and attuned to all our thoughts,
really be built upon graves?
This evening, dear, your love,
your tenderness, is all I need,
my soul’s contented only
when I have no hopes or plans.
We talk so much of souls,
but sated with pleasures
all we need is languorous rest.
Our hearts cry out for nothing more
– content to live or die,
we’ve found this calm and ease.
Dearest companion, is it just
desire we suffer from?

Tranquillité

Après le jour luisant d’entrain
Voici la nuit, dévote et fine,
Il semble que le ciel s’incline
Par le poids des astres sereins.
Le soufflé saccadé d’un train
Transmet à la calme colline
Sa palpitation d’airain.
Dans l’ombre, les bruits qui scintillent,
– Bruits de pas, de voix, de volets –
Semblent polis comme des billes,
Comme les grains d’un chapelet.
– Ȏ Nuit, compatissant mystère!
Se peut-il, quand l’air est si doux
Et semble penser avec nous,
Qu’il y ait des morts dans la terre!
– Je n’ai besoin de rien ce soir
Grâce à ta tendresse amoureuse,
Une âme n’est vraiment heureuse
Que sans projets et sans espoirs.
Nous parlons sans cesse de l’âme,
Pourtant, après ce long plaisir,
Tout nous est paresse et loisir,
Plus rien en nos coeurs ne réclame;
Nous pourrions vivre ou bien mourir
Contents ainsi, calmes, à l’aise,
– Ȏ mon cher compagnon, serait-ce
Qu’on souffre que de désir?

 

Photo: Unfinished bust of Anna de Noailles – Rodin, 1906, now in the Metropolitan Museum of Art, New York.

Anna de Noailles (1876-1933) was highly praised and acknowledged as a philosophical and aesthetic influence by Rilke, Proust and Colette. Prolific and beloved poet, novelist, patron, muse, she was heaped with honours and thousands lined the streets for her state funeral. Then she disappeared from the canon – surely mostly for the usual reason that she was a woman, but perhaps also because, written in iconoclastic times for European poetry, all of her poems rhyme.

I can’t help finding even the most sensitive and skilful rhymed translations of her poems rather wordy and distant from the originals – French rhymes so much more easily and lightly. But it’s also true that de Noailles consistently defended form and rhyme at a time when many poets were abandoning them, so these attempts to better capture her emotional intensity in unrhymed translations are very tentative.

30 MAI 1932 by Rene-Guy Cadou

30 MAI 1932 (text on image))

Just you and I in the attic,
My father.
The walls have collapsed.
Flesh has given way.
The debris of the blue sky tumbles all around.
I see your face more clearly.
You’re weeping.
Tonight we share the same age
Before these her remembered hands

10 o’ clock.
The wall clock striking
And blood recoiling.
Everyone’s gone.
House closed.
Far away the wind pushes at an early star.

No-one remains.
But you are there,
My father,
And like bindweed,
My arm tugging at yours,
You wipe away my tears,
hot across your fingers.


Il n’y a plus que toi et moi dans la mansarde

Mon père
Les murs sont écroulés
La chair s’est écroulée
Des gravats de ciel bleu tombent de tous côtés
Je vois mieux ton visage
Tu pleures
Et cette nuit nous avons le même âge
Au bord des mains qu’elle a laissées

Dix heures
La pendule qui sonne
Et le sang qui recule
Il n’y a plus personne
Maison fermée
Le vent qui pousse au loin une étoile avancée

Il n’y a plus personne
Et tu es là
Mon père
Et comme un liseron
Mon bras grimpe à ton bras
Tu effaces mes larmes
En te brûlant les doigts.

(René-Guy CADOU, Amis les Anges, 1943)

Lute

painting of a woman playing a lute by Matisse
This entry is part 5 of 7 in the series Louise Labé

 

After Louise Labé, Sonnet XII

painting of a woman playing a lute by Matisse

Lute, you’ve always been there for me –
true friend in the worst of times,
companion of all my sorrows,
you’re my comforter when I weep.

I know my tears really get to you
because every tune becomes a lament,
every rising note plunges
to a melancholy key.

If I try to play something uplifting
you go silent on me –
sad songs are all you let me sing
and they give me such sweet closure.


Lut, compagnon de ma calamité,

De mes soupirs témoin irreprochable,
De mes ennuis controlleur veritable,
Tu as souvent avec moy lamenté:

Et tant le pleur piteus t’a molesté,
Que commençant quelque son delectable,
Tu le rendois tout soudein lamentable,
Feignant le ton que plein avoit chanté.

Et si te veus efforcer au contraire,
Tu te destens & si me contreins taire:
Mais me voyant tendrement soupirer,

Donnant faveur à ma tant triste pleinte:
En mes ennuis me plaire suis contrainte,
Et d’un dous mal douce fin esperer.

 

Picture: Le luth, Henri Matisse (1943), which I didn’t know till last week – trying for a sort of poignant flatness in the poem, inspired by the vibrating flatness of the painting.
Louise Labé in Wikipedia.
More posts on Louise Labé here, here, here and here.

Soulmate

Detail from a lithograph by André Minaux
This entry is part 4 of 7 in the series Louise Labé

 

After Louise Labé, Sonnet VII

Detail from a lithograph by André Minaux

We’ve all seen death –
the soul, the subtler part, depart the body
and if I’m the body you’re the soul, my better half.
Where are you now, beloved?
How could you leave me for so long?
I know you, you’ll be thinking
just to stretch your legs and you’ll be back –
it doesn’t work like that! You left my soulless body
swinging in the wind, unloved, unanchored.
I’m at risk, I’m nothing, you are all my worth.
So come to me, my love, but never undermine
my sanity again – no more demands,
mixed messages. Show me your softer face.
You’ve been so cruel. Time now to make amends.


On voit mourir toute chose animée,
Lors que du corps l’ame sutile part:
Je suis le corps, toy la meilleure part:
Ou es tu donq, o ame bien aymee?

Ne me laissez par si long temps pamee,
Pour me sauver apres viendrois trop tard.
Las ne mets point ton corps en ce hazart:
Rens lui sa part & moitié estimee.

Mais fais, Ami, que ne soit dangereuse
Cette rencontre & revue amoureuse,
L’accompagnant, non de severité,

Non de rigueur: mais de grace amiable,
Qui doucement me rende la beauté,
Jadis cruelle, à present favourable.

 

Louise Labé in Wikipedia.

Picture: detail from another lithograph by André Minaux.