Зеркало (Mirror) by Boris Pasternak

In the mirror is steaming a cocoa cup,

A lace curtain sways, and along

The path to the chaos of garden and steppe

The mirror runs to the swing.

.

There swaying pines needle the air with resin;

There, fussily bending to look

For its glasses, the garden is combing the grass;

There Shade is reading a book.

.

And into the background, the darkness, beyond

The gate into grasslands sweet

With drugs, down the path, between snail-trails and twigs

The quartz shimmers white in the heat.

.

The soul can’t be mined, like a seam with saltpetre,

Or hacked out, like gems, with a pick.

The huge garden shakes in the hall, in the mirror –

But the glass does not break.

.

I cannot extinguish the light of my eyes

In this hypnotic domain,

As slugs in the garden will plug the eyes

Of statues after rain.

.

Water trickles the ear, and a siskin,

Chirping, hurdles the sticks.

You can stain their lips with bilberry juice,

You will not put an end to their tricks.

.

The garden raises its fist to the mirror;

The room and the garden shake.

It runs to the swing, and catches it, shakes it,

And still the glass does not break.

.

.

by Бори́с Леони́дович Пастерна́к

(Boris Leonidovich Pasternak)

from Сестра моя — жизнь (My Sister, Life)

(Summer 1917)

translated by Jon Stallworthy and Peter France

The poem recited, in it’s original Russian form, by E. Pasternak.

Beneath is the original Russian version of the poem in Cyrillic.

Зеркало

В трюмо испаряется чашка какао,
Качается тюль, и — прямой
Дорожкою в сад, в бурелом и хаос
К качелям бежит трюмо.

Там сосны враскачку воздух саднят
Смолой; там по маете
Очки по траве растерял палисадник,
Там книгу читает Тень.

И к заднему плану, во мрак, за калитку
В степь, в запах сонных лекарств
Струится дорожкой, в сучках и в улитках
Мерцающий жаркий кварц.

Огромный сад тормошится в зале
В трюмо — и не бьет стекла!
Казалось бы, всё коллодий залил,
С комода до шума в стволах.

Зеркальная всё б, казалось, нахлынь
Непотным льдом облила,
Чтоб сук не горчил и сирень не пахла, –
Гипноза залить не могла.

Несметный мир семенит в месмеризме,
И только ветру связать,
Что ломится в жизнь и ломается в призме,
И радо играть в слезах.

Души не взорвать, как селитрой залежь,
Не вырыть, как заступом клад.
Огромный сад тормошится в зале
В трюмо — и не бьет стекла.

И вот, в гипнотической этой отчизне
Ничем мне очей не задуть.
Так после дождя проползают слизни
Глазами статуй в саду.

Шуршит вода по ушам, и, чирикнув,
На цыпочках скачет чиж.
Ты можешь им выпачкать губы черникой,
Их шалостью не опоишь.

Огромный сад тормошится в зале,
Подносит к трюмо кулак,
Бежит на качели, ловит, салит,
Трясет — и не бьет стекла!

‘Как бронзовой золой жаровень’ (‘The sleepy garden scatters beetles’) by Boris Pasternak

The sleepy garden scatters beetles
Like bronze cinders from braziers.
Level with me and with my candle
There hangs a flowering universe.

As if into a new religion
I cross the threshold of this night,
Where the grey decaying poplar
Has veiled the moon's bright edge from sight,

Where the orchard surf whispers of apples,
Where the pond is an opened secret,
Where the garden hangs, as if on piles,
And holds the sky in front of it.


by Бори́с Леони́дович Пастерна́к
(Boris Leonidovich Pasternak)
(1912 or 1913 depending on which source is cited)
translated by Jon Stallworthy and Peter France

Below is a recital of the poem in it’s original Russian:

Recital of the poem in Russian

Below is the poem in it’s original Russian cyrillic form:

Как бронзовой золой жаровень,
Жуками сыплет сонный сад.
Со мной, с моей свечою вровень
Миры расцветшие висят.

И, как в неслыханную веру,
Я в эту ночь перехожу,
Где тополь обветшало-серый
Завесил лунную межу.

Где пруд - как явленная тайна,
Где шепчет яблони прибой,
Где сад висит постройкой свайной
И держит небо пред собой.

Плачущий Сад (Weeping Garden) by Boris Pasternak

 Dreadful! It drips and it listens -
whether it's all alone in the world
crushing a twig like lace at the window,
or is someone watching?

Palpable, though, is the pressure
of porous earth's taut swellings,
and far off, audible as in August,
midnight ripens in fields.

No, no sound, no witness,
Convincing there's no one there,
back it goes to its game of rolling
down roofs and across gutters.

I'll lift it up to my lips and listen -
whether I'm all alone in the world,
ready to burst out in sobs if I need to,
or is someone watching?

Silence. Not a leaf moving.
No dot of light, just weird
gulps and splashings about in slippers,
the lulls full of sighs and tears.


By Бори́с Леони́дович Пастерна́к (Boris Leonidovich Pasternak)
(1917)
translated by Angela Livingstone

A recital of the poem in Russian:

Below is the poem in it’s original Russian cyrillic form:

 
Ужасный! — Капнет и вслушается,
Все он ли один на свете
Мнет ветку в окне, как кружевце,
Или есть свидетель.

Но давится внятно от тягости
Отеков — земля ноздревая,
И слышно: далеко, как в августе,
Полуночь в полях назревает.

Ни звука. И нет соглядатаев.
В пустынности удостоверясь,
Берется за старое — скатывается
По кровле, за желоб и через.

К губам поднесу и прислушаюсь,
Все я ли один на свете, —
Готовый навзрыд при случае, —
Или есть свидетель.

Но тишь. И листок не шелохнется.
Ни признака зги, кроме жутких
Глотков и плескания в шлепанцах
И вздохов и слез в промежутке.

The Tears of Lilith by Clark Ashton Smith

O lovely demon, half-divine!

Hemlock and hydromel and gall,

Honey and aconite and wine

Mingle to make thatmouth of thine-

 

Thy mouth I love: but most of all

It is thy tears that I desire-

Thy tears, like fountain-drops that fall

In garden red,Satanical;

 

Or like the tears of mist and fire,

Wept by the moon, that wizards use

to secret runes when they require

Some silver philtre,sweet and dire.

 

By Clark Ashton Smith

Reservoirs by R.S. Thomas

There are places in Wales I don’t go:

Reservoirs that are the subconscious

Of a people, troubled far down

With gravestones, chapels, villages even;

The serenity of their expression

Revolts me, it is a pose

For strangers, a watercolour’s appeal

To the mass, instead of the poem’s

Harsher conditions. There are the hills,

Too; gardens gone under the scum

Of the forests; and the smashed faces

Of the farms with the stone trickle

Of their tears down the hills’ side.

 

Where can I go, then, from the smell

Of decay, from the putrefying of a dead

Nation? I have walked the shore

For an hour and seen the English

Scavenging among the remains

Of our culture, covering the sand

Like the tide and, with the roughness

Of the tide, elbowing our language

Into the grave that we have dug for it.

 

by R. S. Thomas

from Not That He Brought Flowers (1968)


Ronald Stuart Thomas (29 March 1913 – 25 September 2000), published as R. S. Thomas, was a Welsh poet and Anglican priest who was noted for his nationalism, spirituality and deep dislike of the anglicisation of Wales. M. Wynn Thomas said: “He was the Aleksandr Solzhenitsyn of Wales because he was such a troubler of the Welsh conscience.”

R. S. Thomas believed in what he called “the true Wales of my imagination”, a Welsh-speaking aboriginal community that was in tune with the natural world. He viewed western (specifically English) materialism and greed, represented in the poetry by his mythical “Machine”, as the destroyers of community. He could tolerate neither the English who bought up Wales, and in his view stripped it of its wild and essential nature, nor the Welsh whom he saw as all too eager to kowtow to English money and influence.

As Capel Celyn was flooded in 1965 it’s almost certain one of the resevoirs referred to in this poem is this lost community. Capel Celyn was a rural community to the north west of Bala in Gwynedd, north Wales, in the Afon Tryweryn valley. The village and other parts of the valley were flooded to create a reservoir, Llyn Celyn, in order to supply Liverpool and Wirral with water for industry. The village contained, among other things, a chapel, as the name suggests, capel being Welsh for chapel, while celyn is Welsh for holly.