As a person educated in the mid-20th century this is what I knew about Fredrich Nietzsche: he was a philosopher who was all the rage in the late 19th and first half of the 20th century and he had this thing about achieving a more perfected human condition. Oh, I knew one more thing about him, something that discouraged all other curiosity: the Nazis liked him, saw him as an intellectual forerunner of their decidedly non-intellectual movement.
I know only a little more than that now. In the past few years it’s become accepted knowledge that the Nazi connection was to a large degree accidental. Nietzsche’s sister was his literary executor,* and she was a Nazi fan-girl who did a great deal to forge that linkage; and since the Nazis were nationalists, the available idea that there was a notable German cultural figure whose contradictory writings could dab some intellectual cologne onto their bully-boy stink was useful.
But this fall, while reading a blog I follow,** I learned another thing: that Nietzsche was also a poet. Which shouldn’t be news to me I guess, but it had never occurred to me, even though as a philosopher Nietzsche seemed to be something of a human quote machine who could turn out memorable phrases. And today’s text, “In German November,” was the example that introduced me to that fact.
Ah sunflower! Weary of cold and $%*@! snow.
I know only a little about German literary Romanticism, but what I know makes Nietzsche’s poem part of that tradition: worship of nature, doomed love—Damn! There’s even a prominent talking flower for Odin’s-sake! This can seem very twee in summary, but Nietzsche redeems it with his gift for language and characterization. Unlike other translations I’ve done here, this one’s poetic images and plot moved rather easily into English.
This is autumn: it — it just breaks your heart.”
After the poem establishes its “This is Autumn…” refrain by opening with it, the first full stanza has a graceful post-equinox image of a now lower sun against a mountain that would please Wang Wei. The poem’s second scene, set in a orchard with post-frost fruit starting to rot mixes sex and death tropes effectively. And then there’s that talking flower.
It takes some nerve to carry that scene off both as a writer and as a performer. I felt I had to push myself as a singer to portray the sunflower, and part of the reason I’ve started to put chord sheets up for some of my compositions here is to encourage better singers to improve on my attempts.
Simple chords, but this one has opportunities for a singer.
Because Nietzsche’s German moves fairly easily to English my translation doesn’t differ that much from the one in this link, which also provides you with the original German. One choice/change I made: I wanted to emphasize the existential angst of the sunflower and to strengthen an image—and so the original German: “in ihrem Auge glänzet dann/Erinnerung auf” gains a repeated word “memorial” reflected in the dying flower/eye. I also thought the implied pause in Nietzsche’s refrain: “This is autumn: it—just breaks your heart.” could be emphasized further by repeating the “it” for a stutter effect.
As I mentioned above, I went for it in this performance, and given my limits as a singer it may not be to everyone’s taste, but it was the best I could do given the more limited recording opportunities I have these days. The player gadget to hear it is below. Thanks for reading and listening in whatever November wherever you are.
*Nietzsche died in 1900, late enough to give his ideas access to the early 20th century’s cultural ferment, but with the benefit that the proponent of those ideas wasn’t around to contradict the uses interpreters put them to.
**Byron’s Muse. I like to think I’ve outgrown youthful goth romanticism, which fits badly with my aged frame and less virginal connections to death, but Byron’s Muse sometimes reminds me that artistically there is still some attraction there.
It’s time to look back over the summer and see which pieces you liked and listened to the most during this season. As always, I’m going to count up to the most popular in a series of posts here over the next few days. Each bold-face listing is a link to the original post, in case you’d like to read what I said when I first presented it.
10. Before Summer Rain by Rainer Maria Rilke. Long time readers here will know that I like to take a crack at original translations, and I even wrote a post this summer about how I, a person with only a little French in high school over 50 years ago, goes about this—and why you might want to try this too. Regardless of your level of language mastery and your obligations to the original writer, a public translator must also take up an obligation to produce an impactful, living poem. It may be unavoidable that you bring your own gifts as a poet to this task—or even up your game to be able to do that while using another poet’s inspiration as your matter.
Rilke currently has a reputation as a poet of spiritual uplift, a man whose lines get Pinterested over photos, quoted in journal entries, and immortalized on refrigerator magnets. In short: the self-help poet of spiritual self-improvement. I’m not going to knock that. There’s a hell of a lot of lesser things that a work of art can do than to make someone feel better, less lonely in their thoughts, or to help them think that they can better themselves. Sure aesthetes, that’s not all poetry can do, and while I’m no Rilke scholar, I think that isn’t all Rilke can do either.
My translation focused on Rilke’s images in his poem, trying my best to make them understandable or at least striking, and to give the poem a working English word-music.
9. Huazi Ridge after a poem by Wang Wei. More translation. The cultural and linguistic audacity to translate classical Chinese poetry has to be a few orders of magnitude greater than translating 20th century German (a language I don’t speak, but I had grandparents who did).
I decided to term what I derived from the sparse literal translation I had of this poem “after Wang Wei,” which is likely more accurate than calling it a translation. But if you are going to use what is more frankly your impression of a poem, the charge remains the same: give us something vivid and give it some word-music that works in English.
The music music here includes my simple approach to the Chinese lute, the pipa. While guitarists might think they have some grounding with this not unrelated string instrument, the pipa, like the western lute, has almost no sustain compared to the modern guitar. Great players can wring a wide range of sophisticated effects from the pipa, but a naïve player like myself just hopes to add a little bit of a different timbre that reflects the culture that produced such distinctive and highly compressed lyric poetry.
If you like to hear what the pipa is capable of, Gao Hong demonstrates it’s range while performing her composition “Flying Dragon” in this video.
8. Government by Carl Sandburg. Carl, whose parents spoke Swedish, makes things easy for me by already writing his poem in informal modern English. Sandburg worked for the Socialist* mayor of Milwaukee before he started his career as a poet in Chicago and published his first collection, Chicago Poems, where this one appears. His day job in Chicago was working as a newspaper journalist in the era made famous by the play and movie The Front Page. These things mean that when Sandburg writes this poem and says repeatedly “I saw…” it’s not just some poetic trope.
His final stanza is a fairly sophisticated analysis of politics. Interestingly it’s not—in this poem—a ringing call for change. The statement here that government is made up of humans, and that it therefore inherits human characteristics, is on the face of it an explanation of the political failures this poem testifies to. But nested in this also is the idea the government can change as people change (and change it). No, it won’t be perfect, but it can be better.
*Midwestern Socialists of Sandburg’s time reached the highest level of Government administrative responsibility in US history.
How do we determine what a poem is on about? That this should be a question is a reason many flee poetry. Plainspoken poems still exist, and some poets manage to pull off the technique where there’s an easily accessible layer, and then on further consideration, deeper ones beckoning beneath. But the plainspoken poems are not always honored in the school anthologies that introduce growing minds to the art; and too many when introduced to deeper readings fall away from poetry thinking that either they “just don’t get it” or that those pointing out these subtleties are hallucinating angels and cows in cloud forms.
Even a poet like Robert Frost who was able to pull off that trick of relatable surface and deeper, more complicated undercurrents, must suffer from party boors like myself reminding trapped conversation subjects that “The Road Not Taken” is about the over-consideration of choice not the necessity of stalwart individualism. Damn, the listener thinks, looking for an out, “I thought I had a poem, my poem, and now this fellow is saying one or the other of us is an idiot or a fool.”
There’s another route, another signpost that may help, one couched in the informal phrase “Where are you coming from?” Given that literature in our age has been to a large degree taken over by memoir,* we may employ this tactic as readers or listeners. In this frame, poets are about their lives, and in an even more contained sense, about the important facts of their lives: a trauma, a struggle, a novel life story.
So, I promised I’d get to Rainer Maria Rilke. Last month I started to translate his poem “Before Summer Rain” from the original German. I sometimes do my translations before reading existing English ones. I’m not sure if that is a good idea, but I like the surprise of a poem coming into view for the first time as I work out the language. I finished a draft of it, and then found two or three other English translations in short order.
My “Before Summer Rain” that I could view when this draft was done was a fairly light, fairly clever nature poem about the onset of a thunderstorm. Summer, leaves are all green—then sunlight, perhaps even the chromatic range of the light’s color, takes on a new cast. A bird calls, but we sense it more as a warning omen or a call for others of its species as the storm brews. Inside the house, sunlight no longer illuminates things. Will it storm or will it not quite reach ignition and fade off? A few drops or a deluge? The poem ends.
Right away I doubted my translation in light of the others. I didn’t get the picture entirely wrong, but a couple of significant details diverged, ones that seemed to take the poem elsewhere. Here’s a link to the most common English translation I found. The translation is by Edward Snow, though almost none of the Internet sites that use his work credit him. Snow published his translation in 1991. He’s an award-winning translator who concentrates on Rilke’s poetry—plenty of reasons to respect Snow’s authority on the accuracy of his Rilke. Other than our differing attempts to make compelling English poetry from Rilke’s German, here are the two things that stuck out.
The end of Rilke’s German line “man denkt an einen Hieronymus” (literal: “one thinks of a Hieronymus”) is in Snow’s, and I think every other English translation I found, translated as “St. Jerome.” This indicates strongly that is how the word would be understood in German, and Hieronymus is the Greek version of the name Jerome. This may be problematic for the poem, however. Assuming that the more knowledgeable translators are correct, this leaves many readers in the dark. What the hell does St. Jerome have to do with this reasonably vivid and non-allusive description of an oncoming storm?** In my first complete draft I thought it better to leave it Greek, which would be mysterious in a more mysterious as opposed to a “what the…” way. My second choice, the one I used by the time of my performance, was to use the literal translation of the name from Greek: “sacred name.” This increases an immediate sense of the moment being described by Rilke. The bird’s call is so urgent, so important, that the sacred is invoked.
OK, if I’m going to worry about a single word, what next? The concluding two lines of Rilke’s poem in German are: “das ungewisse Licht von Nachmittagen, / in denen man sich fürchtete als Kind.” (literal: “the uncertain light of afternoons, / in which one was afraid as a child.” Snow renders these as “the chill, uncertain sunlight of those long / childhood hours when you were so afraid.” I had a completely different sense in my draft, that it was still the external object, the changing light of the summer afternoon threatening to storm, that was being depicted. In poetry the observer, the poem’s speaker, and the object may often be merged, but Snow says this is not just an oncoming storm, this is a trigger of something darker than even that. Snow seems to add “chill,” which I can’t find in Rilke’s German, to intensify that sense.
I had read the poems mood as mostly light, mostly clever. Snow had read it, I think, as darker, more chilling. A day or so later I started to think. Did Rilke suffer some kind of childhood abuse?
And so, just in trying to do a translation, trying to figure out what a poem was on about—so that I could bring you an audio performance of a piece that otherwise wouldn’t exist, I found myself thinking I had two roads: throw out my attempt at translation as a misleading embarrassment, or dig more into Rilke’s life.
Turns out I knew even less than I thought. I had this sense of a lean, sickly, aesthete melding art and spirituality, a purist willing to risk lyrical excess. In looking at the highlights of Rilke’s life, it’s stranger than that. I began to think Midwesterner Don Marquis would have made of Rilke something of his poet character Fothergil Finch in his Hermoine and Her Little Group of Serious Thinkers satire. But Rilke’s childhood did have elements that we, and he, might view as abusive.
Rilke age 4 dressed by a mom who missed a dead daughter, and Rilke age 11 sent off to military school to butch-up by his dad. Yes, 19th century children’s clothes are a different sensibility, and some kids respond to a disciplined and regimented life. Rilke didn’t seem to, and his teen years in the school were not good, clashing with the other students who were more into it.
And so I concluded, I needed to revise my translation or abandon it.
Then yesterday I had a chance to record with acoustic guitar, and I grabbed a few things that might work presented that way. I thought, “Before Summer Rain” needs revised words, but maybe I can compose the music while I’m at it, and I could record the revised words later.
The tune came fast. The chord progression has similarities to a strain used in Ray Davies Kinks’ song “Rainy Day in June” (another song about sudden summer rain), but given that I had access to a quiet room where I could record acoustically, I decided I’d go all the way and use an even quieter nylon-string guitar available there.
Nylon-string guitar might bring various things to mind: “classical guitar,” Willie Nelson, Latin American music. I’ll often associate it with two things: learning to play guitar on a J C Penny’s nylon string guitar in my youth, and the early albums of Leonard Cohen where Cohen would play his “one lick” effectively on nylon string guitar. Testing the melody against the existing words, I recorded a couple of takes, while trying to reacquaint myself with the different sound of nylon strings.
There, with live mics and the recorder running, I realized I had already written the translation that could bring out the personal darkness, the undercurrents of childhood abuse, with my version of Rilke’s words. It was simply a matter of performance.
You can hear the performance below with the player gadget.
*I don’t object to this except to the degree that as a contrarian by sensibility, I don’t want any mode or approach to become so predominant without at least asking what else could be done. This is part of the reason that this project has been focused on “Other People’s Stories” and isn’t as much about a personal journey (though those elements can’t be avoided).
**Wikipedia’s entry for St. Jerome, who I only knew as the man credited for translating the Bible into Latin (then the common language of educated Europeans) includes an anecdote about the guilt-ridden Jerry after a night of too much party trying to atone by visiting Rome’s dark catacombs to commune with the decaying bodies of apostles and martyrs. Major goth points, and possibly even a reason why he might be mentioned in Rilke’s poem. But how well is this known? I also find it odd that the German to English literal has it “a St. Jerome” if we remove the Greek. Was St. Jerome enough of a big deal meme-wise that you could refer to him as a type, like calling someone “a Judas?”
Before I present today’s audio piece, once more a story, one that has kept me up reading and thinking about it for the past week. Like many of the stories I’ll tell here, the events may seem at first to be far off and unrelated to you, as much a “who cares” as poetry is to many people. But the story behind the poem affected me, now, in our current age, just as poetry written long before I was born might.
In 1878, a man was born in Germany named Erich Mühsam. When he reached the proper age he was sent off to a fine boarding school where young Mühsam recognized two things: he didn’t much care for the school’s rigorous discipline (“corporal punishment,” the polite word for instructional beatings, was the order of the day) and that he wanted to become a writer, a poet. So, the teenaged Erich wrote an article for the local Socialist newspaper about the school’s abuses. For good or bad, that was his ticket out of there. He was expelled.
As the new 20th century began he returned to his home city of Berlin and fell in with some young folks who were running what in my day would have been called a commune: “Neue Gemeinschaft” (New Society). It’s there that Mühsam met Gustav Landauer, who though only eight years older, became a sort of guru to the young Mühsam. Landauer was a theorist, a charismatic one at that, for a type of Anarchism that believed that the most effective direct action was to begin living the theory rather than seeking (and likely waiting) for some revolution to give Anarchists that opportunity. He encouraged Mühsam to develop as a poet, and poetry was part of Landauer’s world-view. Landauer’s wife was also a poet and a German translator of works of Wilde, Poe, Rabindranath Tagore, and Walt Whitman.
Mühsam absorbed much from Landauer, and you can see that in the text for today’s piece, a poem Mühsam wrote in 1909—but Mühsam was a more active revolutionary, though much of it was through literary efforts: poetry, plays, cabaret works, essays, and editorship of his own anarcho-communist journal Kain. The Left in this period was (as it often is) splintered—sometimes most sure that those with beliefs most adjacent to a segment’s own were as dangerous to the cause as overt opponents. Mühsam was non-violent but open to alliances with those that weren’t. Landauer and Mühsam sometimes found themselves on opposing sides, but their relationship was never severed. Landauer was accused of being to professorial and uninvolved in active struggle. Mühsam was thought by some as too provocative. *
Mühsam, Gustav Landauer, Martin Buber. How does that last guy fit in? Read on. Is it just me or does Mühsam have a little Marc Maron thing going on?
How many of you find this Anarchist theology boring? Well, here comes WWI. Boring also to some, but also deadly and existential.
The war stifled critics of the Imperial German government, at least at first. Even the activist Mühsam had a hot take where defending his country and citizens seemed an imperative.** Write anything critical of the government and you might be arrested and jailed. Support strikes by war-workers? Go directly to jail. So, eventually Mühsam was jailed.
By late 1918 the dam broke. Beside the mountains of deaths on all sides, unimaginable before this first full-scale mass-production European war, Germany was losing, and no amount of government propaganda could convince many that this was not so. Sacrifice for winning can be cast as heroic. Sacrifice for losing is a harder sell.
And if you were waiting for it, here it comes: revolution!
In November 1918 the Kaiser abdicates as WWI ends. In the Bavarian regional capitol, Munich, the Independent Socialist Party declared the “People’s State of Bavaria.” A guy named Kurt Eisner was named its President. Seeking alliances with others on the left, Mühsam and Landauer are offered positions in the new government. They don’t take them up on this, but during this time the two old friends are now in Munich.
Eisner’s Socialists were democratic, republican (small case, they believed in elections). In the midst of this chaos, with even basic social functions in turmoil and the new Socialist alliance unable to prove any of its theories, they held elections in January 1919. They lost. Eisner went to parliament to present his resignation, true to his beliefs. An assassin shot and killed him on the street before he arrived. Now a new government is proclaimed “The Bavarian Soviet Republic.”*** And now Mühsam and Landauer join up.
Ah, so now the story of sleek agitators and thoroughbred theorists pressed into harness as government draft-horse functionaries? If only my story could stay so boring. This government lasted six days. I’ve had left-over pizza that lasted longer than that! And Wikipedia says that during this less than a week time a “mentally ill Foreign Affairs deputy” declared war on Switzerland. How could they go up against all those multifunction knives and prevail? Oh! Such comedy, dark as it is!
Trust that dark. That’s where we’re going.
Now yet another government is declared in Munich, this time led by Communists and a guy that his contemporaries said “Wanted to be Lenin. He thought he was Lenin!” Mühsam is arrested by this new government and thrown back in jail. Given that he was so provocative, one doesn’t have to imagine him stretching his talents far to piss them off. Lucky him. The more mild-mannered Landauer has suffered in this winter the death of his talented literary wife (a victim of the 1918-19 flu pandemic) and the dashing of his hopes for wider realization of his theories. He sticks around, out of power. Is he frozen by grief that winter? Spring comes. There’s a revolution one can count on…
…but not just flowers are coming. The Freikorps, a right-wing militia, goes into Munich to put down the revolution. This they do, hundreds die. Who can tell Landauer’s mind, but Landauer had refused advice to leave in that spring. He’s rounded up, imprisoned. The day after May Day, the guards take him to a room. They beat and abuse him. They shoot him. They beat him some more. They shoot him again, finally killing him, and toss him into a common grave.
Mühsam escaped this because he had been imprisoned by the last revolutionary government. But in the aftermath, he’s still a notorious revolutionary, so he’s put in a new prison as an enemy of the new central German Republic government.
While he’s imprisoned, in 1920, a collection of his poems titled Brennende Erde(Burning Earth) is published, and this month I got a pdf scan copy and did a rough machine translation in order to peruse it. Why did I go looking for this obscure collection? I’d read a passing reference to him as a poet and activist, and something drew me to look, in this time when I’m questioning the arts and poetry and the seeming necessity of activism that I feel unequipped to take on.
I did a more careful, human, translation of the first poem in that collection, “Zum Beginn “ (“At the Beginning.”) It carries a subheading there telling that “At the Beginning” was first published in Gustav Landauer’s magazine, and given the importance of Landauer to Mühsam and the short interval between the publication date for the collection and Landauer’s death, it’s easy to read it as a comment on what Mühsam learned from his teacher. Here’s my English translation, the one I perform today:
Can one read things in it that seem to speak to today? I believe one can. I wonder if whoever was putting together the collection before publication thought it spoke to 1919 too. That line written in 1909: “Plague air hangs over the world” could be read in 1919 as a comment on the great influenza pandemic, not as a mere metaphor, just as you might read it now in Covid-19 times. The closing litany of people awakening to the power of realization, that too could be more than a dusty relic as folks marched this summer under a growing common understanding of oppression and “nets tightly wrapped around the forehead…until it can’t breathe.”
So, what happened to this young poet who turned activist/poet? In 1924 there was an amnesty declared for political prisoners and he was released. Lucky him! Another lucky man released by that amnesty had tried to declare a new government from Munich too, this time in 1923: a painter turned activist named Adolph Hitler. You probably haven’t heard much of his paintings.
Just as his 1909 poem foretold, Mühsam arrived by train in Berlin after release from prison and was met by a crowd of admirers, cheering and lifting him onto their shoulders. Someone thought things got out of hand, and soon the edges of the crowd were being attacked and beaten, though Mühsam was carried to safety that day. More than a decade after he wrote his poem, those with the fists still had the power—or some of it.
Mühsam took part in the artistic and political ferment in Berlin for almost ten years. Shortly after that pardoned painter/activist succeeded in getting power in Germany, someone burnt down the Reichstag, and it was time to round up those that had ticked off Hitler and his supporters. Mühsam was one of the first taken in. You know the quote attributed to the conservative German Lutheran pastor Martin Niemöller? The one that starts “First they came for…?” Jews, Gays, Leftists, avant garde artists? Was there any group Mühsam didn’t qualify for? Lucky man, head of the line.
He was sent to a concentration camp. There he was beaten and abused. In short order he was taken into a room and abused and beaten until he was dead. The guards hung his body and said he committed suicide.
There are martyrs we remember and martyrs we forget. Phil Ochs wrote a song “Too Many Martyrs” and we might slag him off for stating the obvious rather than the artful—but the obvious is likely the truth here. At least in the United States we have next to no remembrance of Mühsam or Landauer. As far as I can tell from a brief search, Mühsam’s poetry has not attracted interest from English translators, with one site that did feature some English translations (and tantalizingly, some set to music) now defunct—and the domain name takes you to a place with bogus antivirus pop-ups flashing all over your screen. Both do have some interest to Anarchists as political figures. That’s a bit odd. Isn’t one of the romantic knocks against artists turning activists: ars longa, (and their political concerns), vita brevis? Countering that is what I call Donald Hall’s Law: that poet’s statement that almost all poets, even prize-winning poets, are largely unread 20 years after their death. I fight that here, but Hall may be right.
History had a few more things to offer me as I read this sad and affecting tale of these two men.
Mühsam wasn’t the only one who had their life impacted by Landauer and his idea of practicing egalitarian Anarchism right now in a communal and immediate relationship. His most famous pupil was probably Martin Buber, whose influence on humanism in the mid-20th century was considerable.
Remember Landauer and his wife, and his belief in the monad of domestic life as a model for change? Well that talented writer and translator and that theorist of humanist Anarchism had a child. And that child, Brigitte, survived her parents and married a doctor in Berlin. In 1931 they had a child, Mikhail—and later that decade they got out of Dodge before the painter/activist/ Führer got around to those not first on every part of his list.
They settled in America and adopted an easier to spell-and-say name, so their grade-school-aged son Mikhail Igor Peschkowsky became Mike Nichols. He became a radio folk-music DJ, an influential pioneer in popularizing improv comedy with Elaine May, and then on to a significant career as a stage and movie director.
Strange, the undernotes of history. I’ll likely never listen to a Nichols and May routine or watch a Nichols-directed movie like The Graduate again without thinking of that grandfather, that heartbroken, widowed man being abused to death after watching the revolution, one he didn’t want to wait for, fail. I’ll still laugh. The laughs are just darker.
Today’s music is more in the “bash it out fast” manner, no pretty string quartets, no subtle sound design, just two electric guitars, bass, drums and my effort to speak the words. The player gadget is below if you read this in a browser. Apple WordPress Reader users, use the Reader’s gadget to open this in Safari to see the player.
*Among Mühsam’s early 20th century beliefs were “free love” and gay rights/acceptance. The communard Landauer believed that a loving and equalitarian family unit was a small-scale model for society.
**He took that back, and wrote anti-violence and war poetry during the war. Can one imagine Twitter in 1914? The telegraph lines would have melted.
***OK, if you stayed with me so far, with “Socialist” and “Communist” being thrown around in addition to the “aren’t they the guys who throw little black round bombs” “Anarchists,” “Soviet” might be the final straw that chokes your metaphoric dolphin or turtle or other benevolent creature. “Soviet” means in this context, a worker’s council as a source of authority. As far as Anarchists were concerned, that’s a good thing. Anarchists are often against violence, and particularly state violence, torture, and oppression—but they are very much for long boring meetings, which have a special dispensation from being defined as torture or oppression.
For those that have been following our look at English poet Frances Cornford, we’ll have at least one more example coming of her stuff soon. But now is the time when we count-down the ten most liked and listened to pieces from this past winter.
It’s been a slightly difficult season for this project for me personally. It’s frankly been hard to keep up the level of posting, research, composition, recording, and playing that goes into it. What has been encouraging is the increase in listenership for the audio pieces and your continued readership here on the blog. December set a new record for monthly listens with increases coming significantly from those who hear only the audio pieces from the places where you might get podcasts (Apple Podcasts, Spotify, Stitcher, PlayerFM etc.)* During February the number of listens passed the milepost of 50,000 all-time downloads. This is small by the scale of Internet sensations (typically measured in millions) but to me that’s satisfying in the larger, but sparser crowd of those interested in poetic expression.
Readers here on the Parlando Project blog know that besides the same audio pieces the podcast listeners get, you get more information here about the writers and my reaction to what they’re doing. You might think of the blog as a kind of an “insiders ring” in that way. Blog traffic took off last fall, which made my heart leap up, and it’s continued at a similar level over the winter.
Given that I mostly keep with the older pre-1924 Public Domain stuff that is unrestricted in reuse, and because I wander about various musical genres in a way that’d tempt many old car radio listeners to “push the button” and current playlist streamers to tap play next, I especially appreciate those who stick with this project and it’s eclectic tastes!
Let’s go to the countdown. Today we’ll cover numbers 10 through 8 as calculated from listens on all platforms and likes here on the blog. The title of each piece will be hyperlinked to the original post, so you can click and check on what I said about it then.
10. Rimbaud’s “Eternity.” This winter I decided to make things more difficult for me by doing more translations of non-English poetry, adding translation to the whole compose/record the music, play most of the musical parts, research the context of the text, and then write about those tasks. And Rimbaud may have caused me more trouble in translation that anyone other than maybe Mallarmé. I labored to some kind of reasonable draft on two or three Rimbaud poems, but the results just didn’t grab me in English. Knowing that some other poets who I admire think highly of his work, I couldn’t figure out if I was picking the wrong poems, or what.
“Go Rimbaud, Go Rimbaud….” The most famous photo of the teenaged poet.
Then with his “Eternity” I realized—this poem’s impact in French comes from its invocatory power. This is why someone as unafraid of going over the top as the young Patti Smith could be drawn to his writing. Free verse can reach that level, but loosening my translation so that I could (uncharacteristically) render it as a rhyming verse made this one more compelling.
9. “The Labors of Hercules” by Marianne Moore. Marianne Moore writes in English, but her expression is so unusual that I feel like I need to translate her to get to the heart of her poems. Unlike Moore’s contemporary Gertrude Stein, whose verse is even harder to draw denotative meaning from, the task of performing Moore to music is challenged by her conversational rhythms which sound like someone talking.** Not only does this make it harder to fit in regularized music (I didn’t) it tends to lure the listener into thinking that they should be able to comprehend what Moore is getting at. With Stein you’re quickly aware that words are being used in a musical way, so you can just enjoy them for sound value. With Moore you sometimes think that the speaker herself or you the listener are in early days as English as a second language.
A lesser-known photo of Marianne Moore. Like Frost and William Carlos Williams, I always visualize her as if she was born at that advanced age that she was at when I started to encounter poetry, not as this young woman
I’m doing the back-patting here, but I think I helped Moore’s gist come across a bit better by my performance than the poem left sitting mute on the page.
8. “Ghost Blues” by Hugo Ball. Another case where I decided to go with a looser translation in order to vivify the original work for the modern English language user. The original post shows some of the intermediate steps I went through in translating this Dadaist poem from German. One thing that I think I’ve figured out after the original post is that a word that I couldn’t find in any of my accessible German dictionaries, “Gängelschwemme,” is probably a place name. My performance uses “spillway” for it, and still I have no way to know for sure (if it is a place name) if it references something along those lines.
I decided to make this a Dada Blues as it might be loosely rendered by electric players in the blues revival of the Sixties. Unlike a lot of pieces here, this one isn’t really composed. I had setup a loop to see if my translated text might fit to a groove like that. As I sung, I felt moved to plug in an electric guitar as I tried the lyrics.
“Hey, this works pretty good” I thought. I hit record. And one take later this is what you get.
If you’re new here you may notice that all of these are electric guitar pieces in a rock’n’roll context (though “The Labors of Hercules” is more irregular and somewhere in-between post-rock and free-jazz in my mind). Long time listeners here know that’s not what we consistently do. Stick around, the next three of the Winter 2020 Top Ten is coming up soon.
*Just to clarify expectations: the Parlando – Where Music and Words Meet podcast is only the audio pieces themselves, unadorned. While I suppose I could chat about the poems and my music in the discursive and wandering way most audio podcasts do, I don’t do that.
**Back in the 1960s when I first got a little plastic cassette recorder, I took to recording people having casual conversations and then transcribing the words literally. Here’s what shocked me in this practice: the words on the page made little grammatical or syntactical sense. The transcriptions didn’t even match “natural, realistic” dialog in fiction. Our daily conversation is often more avant-garde than we realize; and we are comprehensible to each other orally in ways that we would not be if our speech was turned into page text, through things like timbre, expression, non-regularized conjunctions and connections.
I suspect Stein and Moore were both more exacting mental transcribers of what we actually say aloud than conventional literature expected, and as two women aware of the modernist movement in general (not just literature, but music and visual art) they combined this objective phenomenon with their own aesthetic techniques.
The story this time is failure, diversion, randomness, and Dada. Some of it’s mine.
After the largely pleasant interruptions of the holidays, I’ve been finding it hard to concentrate extensively on new pieces. This hurts the more intricate musical compositions, research on the context of their original creation and reception, and my fresh translations of poetry not originally in English.
I’m fairly good at limiting one scourge of the modern artist: social media. I get behind on responding to comments here (bad form!), I usually put off reading the blogs I follow to once every week or so. I’ve never dived into Twitter much and have entirely avoided Facebook and the rest. Other artists have other types of engagement with these things, I wouldn’t call myself a model in that regard. Indeed, I’m sure I’ve done this project no favors with my avoidance of these things. I ascribe a great deal of the growth of this audience to random searches and the intentional work some of you have done spreading the word about the Parlando Project. Thank you. Thank you. Thank you.
So, I’ve carved out the precious time for this. And then, I get to work, a blessing many never get. And sometimes, it just doesn’t happen.
I’ve started and broken off three or four translations this month. I’m often drawn to the more hermetic poets with translation: the ones with wilder syntax, unusual metaphor, elusive meanings. I think what draws me is the same that causes one to open the most mysterious wrapped gift first. What could it be? Sure, it could turn out to be the wrong size or color, or a complete misreading of your interests, but that desire to jump into mysteries is undeniable.
But this predilection does lead to issues with my translations. My goal as a translator is to make vivid to a contemporary audience the images in the original poem. I will not usually make any attempt at carrying over the sound-music to English, but I do like to honor the thinking-music of it, the order and cadence of the original poet experiencing the matter of the poem. This intellectual melody is a great deal of the pleasure I get out of a poem that works for me: that the poet would think and express this first, then this, and finish with that. If each of those is a surprise that I can share, art has happened.
But when taking on a Surrealist or Dada poem, or a poem that claims to be based on disordered sensations,* how can I be sure enough that I grasp the metaphor, divided as always by time, language, culture, but in addition with an aesthetic that seeks to confuse or confound the reader, at least at first.
That sort of thing takes a lot of attention, more than most close readings, even before the task of finding the new English words comes in. And this month, I get only partway in and then feel lost or discouraged—and something interrupts, or my energy flags, and the house of cards doesn’t necessarily fall down, it just remains a bunch of playing cards with no architectural reason to exist.
The closest I got to completing a new translation was this poem by Hugo Ball, one of the original Dadaists. It was the fifth in his series 7 Schizophrene Sonette.
Here’s the original:
Gewöhnlich kommt es, wenn die Lichter brennen.
Es poltert mit den Tellern und den Tassen.
Auf roten Schuhen schlurrt es in den nassen
Geschwenkten Nächten und man hört sein Flennen.
Von Zeit zu Zeit scheint es umherzurennen
Mit Trumpf, Atout und ausgespielten Assen.
Auf Seil und Räder scheint es aufzupassen
Und ist an seinem Lärmen zu erkennen.
Es ist beschäftigt in der Gängelschwemme
Und hochweis weht dann seine erzene Haube,
Auf seinen Fingern zittern Hahnenkämme,
Mit schrillen Glocken kugelt es im Staube.
Dann reißen plötzlich alle wehen Dämme
Und aus der Kuckucksuhr tritt eine Taube.
At the point I set aside the translation, here’s what I had tentatively and incompletely rendered in English:
It usually happens when the lights are on.
It rattles the plates and the cups.
On red shoes it slides in the damp
Swaying nights, and you hear its flames.
It seems to run around from time to time
With trumps, likely to play the ace.
It’s careful with the ropes and pulleys
And is recognizable by its noise.
It is busy in the Gängelschwemme
And then its white crown wavers in the wind,
Its tines tremble like cockscombs
With shrill bells it spins in the dust.
Sudden exploding dams are torn apart
And a dove emerges from the cuckoo clock.
Almost done, but I couldn’t figure out that word “Gängelschwemme.” Any reader here have a good solution for that?** It seems a compound word, the start having some sense of walk or lane I’m thinking and the last part may have some water connection, but as it became hard to continue my focus, the meaning seemed to tumble further away.
The image of that exploding dam. I thought of Kansas Joe McCoy and Memphis Minnie’s “When the Levee Breaks,” a song about impending disaster. The Blues have their own Dadaist streak,*** but this song is one of those that has a fairly easy to follow plot: a singer who tells us that no matter what he (and others do) to hold back an impending flood, when it comes he will be driven from his home, child, and spouse. There’s an undercurrent to that story if you look at it a second time. He says he has a “happy home.” And surely this great flood (the song is likely a reference to a significant and damaging 1927 American flood) will be destructive. But why is he not taking his spouse and child and fleeing with them at the point when there is nothing else that can be done to stop the flood? Because he can’t? Is he an imprisoned worker forced to work on the last defenses against the flood, or is he racially or economically constrained to leave the area? Is it because even if he knows there’s little chance that his labor on the levees will keep the flood in check, he must try to his upmost anyway? Could it even be possible that he has absorbed the impending disaster in his soul and he’s ready to leave that all behind as the flood has “intended.” Maybe his happiness isn’t as certain as the awesome disaster is.
One could write a novel or short story from that song. In one’s imagination one might link that specific situation to other things. But let’s stay with the lyric impulse, the exultation of the moment.
My new diversion was to turn Ball’s sonnet into a blues. This freed me up to make some more audacious adaptations as I merged the feeling of the lyric of “When the Levee Breaks” into another re-visioning of Ball’s poem. Doing this in a week of loud yet underexplained**** international explosions creeped into the resulting lyric too. Ball was writing his poem in 1924, but this week it seemed that a “a dove emerged from the cuckoo clock.”
Here’s the blues interpretation inspired by Ball’s sonnet:
The lights is on people, but it happens just the same.
The lights is on, happens just the same.
In the swaying nights, you can hear the flames.
Seems to run around, sometimes you see its face.
You see it time to time, see it face to face.
But when it’s got its trumps, likely to play the ace.
It’s careful with the ropes and pulleys, I can tell you boys.
It’s careful with those ropes and pulleys, I can tell you boys.
But no matter how careful, you can recognize it by its noise.
It’s busy at the spillway, white crown wavers in the wind.
It’s busy at the spillway, white crown wavers in the wind.
Peaks are trembling like a rooster’s comb when it begins.
I heard those shrill bells, there was spinning in the dust.
When I heard those shrill bells, there was spinning in the dust.
When the levee breaks, the dams is torn apart.
When the levee breaks, the ghosts begin to walk.
When the levee breaks, and the ghosts begin to walk,
I dreamed a dove emerged from the cuckoo clock.
You can hear me take it on with a quick musical interpretation using the player gadget below. In another week, it might be better performed, but it felt good to get it out during this one.
*Yes, some of my translation failures this month have been with Rimbaud.
**Even though my draft had a tentative idea for “erzene Haube,” I really couldn’t figure that one out either, even if I had put something down in English that I could develop as a comprehensible image. But what comprehensibility did Dadaist Ball intend?
***Part of Bob Dylan’s genius was to not only borrow from Modernist page-poetry but from the Modernist Afro-Americans and some strange folk-songs to create his revolution in song lyrics. Don Van Vliet (Captain Beefheart) also did this extensively.
If one wonders where are the Afro-Americans doing what Pound, Eliot, W. C. Williams, Sandburg, H. D. etc. were doing in the first part of the 20th century—well, the bards of Blues and the creators of Jazz were making their own revolution we are still incorporating and absorbing.
In terms of page-poetry, much of the Harlem Renaissance is still to come into public domain availability, but this insight was one I share and partially derive from them. Also, see literary figures like Fenton Johnson.
****Could it have been a poltergeist that Ball’s poem seems to be referencing?
It’s time to look back on the past season and to look once more at the most listened to and liked pieces over that time. We do this in the classic count-down method, moving from the 10th most popular to the most popular piece.
This time I’m going to link to the original post each time so that you can read the longer discussion of my encounter with the text, but if you’d just like to hear the recordings of the performance of the poems, the player gadget following each listing will do that.
10. October by Paul Laurence Dunbar. When something makes these count-down lists it’s often hard to know if it’s the inherent interest in the author, the things I wrote in the post introducing the poem, or the qualities of the musical piece and its performance that account for that. In this case I think it could be a bit of all three. I wrote in my post about what I thought was an undertone in this seemingly happy autumn poem. Was that a misreading? I’m not sure, but it informed my solemn musical performance which may work even if you don’t share my sense of this supple poem.
I highly recommend translation as an exercise for poets. Not only do you need to achieve a Vulcan “mind meld” with another artist when translating them, but the mental muscles activated to find the best English word in sense and sound are great ones to develop for one’s own writing.
Three poets awaiting the invention of the MacBook and the modern coffee shop with WiFi: Rilke, Mallarmé., and Dunbar.
8. Autumn Day by Rainer Maria Rilke. Another translation that received good response this fall. Here I ascribe a substantial portion of that response to those looking for and appreciating Rilke poems, and finding some here. Of course, there may be many reasons for that desire to seek out Rilke, but I’m under the casual impression that he’s treasured for what seem to be life lessons to his readers. I noted in my post on this poem that it’s been a particularly popular target for translators, but you still may want to look at mine, or hear the way I performed it.
This poem of his is also an example of a theme: gardens and small agriculture, that I returned to again and again this fall. Perhaps it’s my own position in life’s passage that caused that, but there are a good number of autumn poems that are both about the experience of “cultivating one’s garden” and the valence of the ending of a growing season. Such is Rilke’s.
I was at the Midstream poetry reading series last night, and by choices, I therefore had to miss out on the wisdom that would be passed on by the elder chieftain of my nation who was speaking in the same town that night.
It’s often thought that age heightens certain perceptions, certain outlooks. In age one has a feeling for repetitions, the way that ox-turning time keeps bending back on itself so that the place one is plowing is beside the past and the future is just one row next over. There’s also a lessening of thought of one’s own self, which after all is a diminishing asset, one’s storehouse filled only with memories that the rats nibble at all night long.
So I missed what our aged chieftain said. From these considerations of age I’m sure he could hardly find time to speak of himself, which matters less and little; and instead he likely spoke from his heart, wise from his own failures far exceeding those of the younger ones, of how we can forgive and remember, and how our nation can continue to be born, cared for, urged on.
Instead I heard fellow poets read. Oh, we fail—as all artists do. We talk of ourselves, even us older ones. And when we take a break from that we talk of others imperfectly. We speak too softly, too loudly. We forget to reach for the music, or we do stretch for it and then fail to hold onto it. We search for beauty and come up with the same things over and over again, and how can we make that interesting? We are gloomy, forget to laugh, and hold our work back for funerals.
A graphic representation of the wisdom of poets such as myself
It was an older crowd last night, almost enough to make me feel younger for the couple of hours we were together. Today’s piece, Rainer Maria Rilke’s “Autumn Day,” as much as Shakespeare’s piece from last time, seems to speak of the experience of age, but Rilke is much more directive. One doesn’t often see a poem so full of “You” statements as the final stanza of this poem is. I’m not sure of the idiomatic nature of “you” in German, the language Rilke wrote this in. There’s some sense that the rhetorical you in the poem may be directed at oneself: so Rilke speaking to Rilke; but as I read this poem, I can’t escape the sense of Rilke speaking to me, and as I perform Rilke’s words in my translation, I expect that you, particularly if you are an older person, will hear it as speaking to you, so concisely do those last five lines seem to outline this stage in a lifetime.
If you’re curious to see a number of other translations and the original German, see this link.
But here’s why you come here and have read this far into this post: Rilke wrote this in his 20s. These are not the biographical autumnal musings of an older man, and I’m not sure it’s even a poem adopting that persona. I almost translated the title here as Harvest Time but chose to stay with “Autumn Day” because the copious other English-language translations used that for the title and using a different title would not allow searchers to find my fresh attempt to carry Rilke’s work into English.
Those who’ve followed my previous translations from other languages will know that I stress trying to express the imagery the author uses in a way that communicates to the modern English reader. Since that is my prime concern, I don’t make much of an effort to try to reproduce any of the word-music from the other language, but this time I did keep to a feeling of iambic pentameter for word-music’s sake. Much of my difference from other translations* was trying to sharpen the harvest imagery Rilke uses in the opening seven lines. The overall effect I aimed for was to clearly convey the weight and fullness of harvest bounty.
The final five lines converge more into a consensus with the other translations. One divergence: I read in one German speaker’s comment on their translation that “Alleen” (translated by many as alleys or avenues) was what they would call the tree-lined boulevards predominate in Rilke’s time. Not only did this strike home with me, who bicycles each day on tree-lined streets in my own town and time, but it seemed to be the linkage called for with the poems final image of following the restless wind-blown leaves on the pavements.
So back to this poem that may be read as a meditation on later life written by a 20-something. I think Rilke was trying to convey the harvest feeling, the fall into wintertime and that cyclical fallow season. Even as a young man he was able to convey this feeling an old man might appreciate. He didn’t need to be an old man to know this, he just had to read the book of nature which is older than all of us.
I often laugh as I think I’ve come across some wisdom from old age. “Aha! I’m just a slow learner” I exclaim.
To hear my performance of my fresh translation of Rilke’s “Autumn Day” use the player below.
New Year’s is a time to look at where one’s been and to look anew, to make resolutions and changes. So, let’s look anew at a 110-year-old work by Rainer Maria Rilke.
That’s appropriate, because Rilke’s “Archaic Torso of Apollo” is about looking at something old, something that many others have looked at. And Rilke’s poem too has been read and listened to by many, both in it’s original German and in several translations into English. Each translation differs from the others as there are several problems of understanding and reconstruction into a new language that each translator had to solve. So I started by doing my own English translation, working with Rilke’s German words and trying to understand what he’s getting at.
What’s the over-riding observation about the statue that is Rilke’s subject? That it’s broken and incomplete. This is past obvious, but because Rilke spends some time in this brief poem talking about how drawn he is to it, I think it’s possible to misunderstand this point. He says wonder-filled things about it, and this leads many translators and readers to believe that he’s making a case that it’s artistically perfect in some talismanic way.
Worst New Year’s party ever. Woke up without head, arms, legs…
My reading is that he’s making a contrasting case. This is a legless and headless statue. Rilke makes us see right off that the head is missing. Describing that missing head Rilke uses the German word “unerhörtes,” unheard—which we take in the sense of “unheard of.” Translators have translated it into “fabulous”, “legendary”, and so on. There are certainly good German words for those things, but Rilke chose otherwise. Does he want the double meaning that this statue of the Greek god of poetry and music is missing its ability to hear?
What do I make of the remarkable, surrealist-sounding image near the start of the poem that the missing head is surmised to have eyes ripened like apples? Everyone is struck by the audacity of it, but what does it mean? I don’t think Rilke means this in a René Magritte way, as even a small apple is too large for an eye socket. My wife had a suggestion: ripened apples eventually fall and rot, just as the head has been harvested or fallen from neglect.
Eyes ripened like apples, René Magritte’s way.
Another hard to translate line is the poems eighth, which dips down to the naked statue’s beltline and makes reference to genitals that should be there if we were to continue in the path of the gaze. I suspect the statue has been fractured above them. My translation breaks with most others on the following “beast’s pelt” reference. Some translate that fur as a wonderous quality of the entire remaining stone torso, which seems to make no sense imaginative or otherwise when referring to Greek statues of Apollo*. My translation reads the German as saying that the wild beast’s pelt is missing, that is to say that the statue ends above the pubic hair. So blind, deaf, headless, and also without his sex organs.**
What’s left after these amputations, this incompleteness? First, Rilke is drawn to this torso. He is a poet, and Apollo’s the god of poetry. He’s also spent a couple years working as a young assistant to the great French sculptor Rodin, so statuary is an interest. I think what he sees as still there is the soul, the heart, the essence, which he portrays as that mysterious flame-like glow in the marble and the remaining curves that smile at the damage.
Which brings us to the poem’s notable surprise ending, which I won’t spoil in my explanatory text if you don’t know it already. I think Rilke is drawn to this torso because he senses this soul, that which eternally remains, that which is without borders and broken places, can heal or transcend this: the lack of fulfilled desire, vision, mind, and music. Perhaps he is drawn to this broken statue so intensely because he feels he and his art are broken and incomplete too.
To hear my performance of a new translation of Rilke’s “Archaic Torso of Apollo,” with its conclusion that many readers/listeners find unexpected, use the player gadget below. And to all the brave readers and flexible listeners here: an exploring and improving New Year!
*Rilke may not have known it, but something else was missing on that statue. We have become accustomed to viewing classical Greek statues as glowing white marble, aesthetically we may have even absorbed the idea that this monochromatic paleness is the timeless ideal. However, the Greeks painted their statues, even the nudes got skin tones and hair color. Oh, and they were Southeast Mediterranean people with interchange with Africa and the Middle East, those skin tones weren’t pasty white, as examination of pigment remnants on classical Greek statues reveal.
**Of course, I must be modest. My knowledge of German (like my knowledge of French and classical Chinese which I’ve also translated here) is lacking, which can lead to translation errors. The only skill I can bring to this is that I read, perform and write poetry.
The last post used my best effort at a faithful translation of Rainer Maria Rilke’s “The Dark Interval.” Now, as promised, my alternative translation.
As I discussed, I first heard Rilke’s “The Dark Interval” by hearing it. In the immediacy of that encounter, I heard it as a meditation on how our lives pass by while we do not speak up to them and use their singular moment, however imperfectly. Upon reflection, I now understand the poem was likely speaking of Rilke’s more impending death. The more literal translation I used for yesterday’s piece retains more of that focus.
Rainer Maria Rilke. “A tree before my background”
Today’s version uses a freer translation, reflecting my original understanding of the piece. The original poem includes three or four images, which I sought to vivify in modern English. The first image, that of the “steep hour” (diese steile stunde) we know is a downhill slope, not a slow, steep incline one is ascending, because the next line includes a sense of rushing or hurrying (eilen). I have no idea if Rilke ever skied or otherwise could be thinking of skiing or sledding down a hill, but that was the concrete image that presented itself to me, and this choice helped me deal with most enigmatic image in the piece, the “I am a tree before my background” (Ich bin ein Baum vor meinem Hintergrunde). My choice in this translation is a risky one. I made the vaguest image in the German into the most immediate image in English, that not only am I sliding rapidly, but there is dangerous obstacle, a tree, to deal with. I now think my translation of “hintergrunde” to “my past” may be inaccurate. Given the poems concluding images, I think Rilke may been thinking of background more in the sense of “musical background”—but it was the choice I made then, and it works well in my first understanding of the poem’s intent.
Like the skier with the light jacket, I may be puzzled.
The next image is also a bit obscure. “I am only one of many mouths, and the one that closes the soonest.” (Ich bin nur einer meiner vielen Munde/und jener, welcher sich am frühesten schliesst.”) I’m still unsure of which meanings Rilke meant to convey there. Is he saying, “I am only one of the multitude, and I’ll be dead (and silent) sooner than most?” Or is he saying “I could speak up in many ways (I can’t quite decide what is the right way to speak up), so instead I clam-up and never express myself?” In this translation, I chose the latter. I now think Rilke likely meant the former.
The last image is the most developed one, and the most attractive to a poet and musician like myself, because it’s an image out of music itself. I read “the dark interval,” that I use as the title for this piece, as a reference to the tritone, a dissonant interval that was being exploited widely in musical works contemporary with Rilke. And of course, music based on blues and jazz forms makes use of the dissonant intervals too, so I chose to use the more modern “funky.” And in developing this musical image I chose to use another informal term to vivify the “death tone” (Ton Tod), translating it to “wolf-tone,” which is the howling feedback sound a string instrument makes when the sounded note is the same as the strongest natural resonant frequency of the instrument’s body.
Keeping with my initial understanding of “The Dark Interval” I was trying to say that we keep silent, and do not act, out of fear of “dissonance,” of fear of not fitting in with the expectations; or because we fear a “wolf-tone,” an unwanted, strong response; but that when we do, if we do, as can be done within music, the dissonance can be resolved, that musical consonance sounds even sweeter when dissonance shows it in contrast.
So, there you go, that was once my understanding of Rilke’s “The Dark Interval” that I used in this second translation. As a piece, in English, it stands up, it has coherence, and I think it’s livelier than yesterday’s more literal translation—but I also think I got Rilke’s meaning wrong. How much does this matter?
I often consider translations of poetry like a musician doing a cover song
To the listener, it may not matter. If they don’t know the original in German or from another translation, they experience this work as it is. To art also, it may not matter. A misunderstood work is still a work of art, another one of many mouths that isn’t shut. I often consider translations of poetry like a musician doing a cover song, where there is value in recreating the song differently, just as The New Standards did with their Clash cover that I linked to yesterday. Still, I can’t shake off the thought that I was unfair to Rilke.
So here’s the second version of Rilke’s “The Dark Interval.” It’s a different performance, with acoustic and electric guitar and bass, but it uses the same music as yesterday’s. Use the player below to hear it.