Night Sky by R.S. Thomas

What they are saying is
that there is life there, too;
that the universe is the size it is
to enable us to catch up.

They have gone on from the human;
that shining is a reflection
of their intelligence. Godhead
is the colonisation by mind

of untenanted space. It is its own
light, a statement beyond language
of conceptual truth. Every night
is a rinsing myself of the darkness

that is in my veins. I let the stars inject me
with fire, silent as it is far,
but certain in its cauterising
of my despair. I am a slow

traveller. But there is more than time
to arrive. Resting in the intervals
of my breathing, I pick up the signals
relayed to me from a periphery I comprehend.

by R. S. Thomas
from Frequencies (1978)
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Стрижи (Swifts) by Boris Pasternak

 At twilight the swifts have no way
Of stemming the cool blue cascade.
It bursts from clamouring throats,
A torrent that cannot be stayed.

At twilight the swifts have no way
Of holding back, high overhead,
Their clarion shouting: Oh, triumph,
Look, look, how the earth has fled!

As steam billows up from a kettle,
The furious stream hisses by -
Look, look – there's no room for the earth
Between the ravine and the sky.

By Бори́с Леони́дович Пастерна́к
(Boris Leonidovich Pasternak)
from Поверх барьеров (Over the Barriers)
(1916)
translated by Jon Stallworthy and Peter France

The poem, in Russian, set to music by La Luna with some elements of repition from the album ‘Серебряный Сад’ (Silver Garden).

The original Russian Cyrillic version of the poem.

 Стрижи

Нет сил никаких у вечерних стрижей
Сдержать голубую прохладу.
Она прорвалась из горластых грудей
И льется, и нет с нею сладу.
И нет у вечерних стрижей ничего,
Что б там, наверху, задержало
Витийственный возглас их: о, торжество,
Смотрите, земля убежала!
Как белым ключом закипая в котле,
Уходит бранчливая влага, -
Смотрите, смотрите — нет места земле
От края небес до оврага.

Пауль Клее (Paul Klee) by Arseny Tarkovsky

Over the meadows, beyond the mountains,
there once lived a painter called Klee,
and he sat on his own on a path
with various bright-coloured crayons.

He drew rectangles and he drew hooks,
an imp in a light-blue shirt,
Africa, stars, a child on a platform,
wild beasts where Sky meets Earth.

He never intended his sketches
to be like passport photos,
with people, horses, cities and lakes
standing up straight like robots.

He wanted these lines and these spots
to converse with one another
as clearly as cicadas in summer,
but then one morning a feather

materialized as he sketched.
A wing, the crown of ahead -
the Angel of Death. It was time
for Klee to part from his friends

and his Muse. He did.He died.
Can anything be more cruel?
Though had Paul Klee been any less wise,
his angel might have touched us all

and we too, along with the artist,
might have left the world behind
while that angel shook up our bones,
but – what help would that have been?

Me, I'd much rather walk through a gallery
than lie in some sad cemetery.
I like to loiter with friends by paintings -
yellow-blue wildlings, follies most serious.


by Арсений Александрович Тарковский
(Arseny Alexandrovich Tarkovsky)
(1957)
translated by Robert Chandler

Arseny was the father of the famous and highly influential film director Andrei Tarkovsky. His poetry was often quoted in his son’s films.

Paul Klee (18 December 1879 – 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci’s A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.

Here is a reading of the poem in Russian set to music featuring one of Klee’s artworks.

Beneath is the original Russian version of the poem.

Пауль Клее

Жил да был художник Пауль Клее
Где-то за горами, над лугами.
Он сидел себе один в аллее
С разноцветными карандашами,

Рисовал квадраты и крючочки,
Африку, ребенка на перроне,
Дьяволенка в голубой сорочке,
Звезды и зверей на небосклоне.

Не хотел он, чтоб его рисунки
Были честным паспортом природы,
Где послушно строятся по струнке
Люди, кони, города и воды.

Он хотел, чтоб линии и пятна,
Как кузнечики в июльском звоне,
Говорили слитно и понятно.
И однажды утром на картоне

Проступили крылышко и темя:
Ангел смерти стал обозначаться.
Понял Клее, что настало время
С Музой и знакомыми прощаться.

Попрощался и скончался Клее.
Ничего не может быть печальней.
Если б Клее был немного злее,
Ангел смерти был бы натуральней.

И тогда с художником все вместе
Мы бы тоже сгинули со света,
Порастряс бы ангел наши кости.
Но скажите мне: на что нам это?

На погосте хуже, чем в музее,
Где порой слоняются живые,
И висят рядком картины Клее -
Голубые, желтые, блажные…

‘I’ll say this in a whisper, in draft’ by Osip Mandelstam

I'll say this in a whisper, in draft,
because it's early yet:
we have to pay
with experience and sweat
to learn the sky's free play.

And under purgatory's temporal sky
we easily forget:
the dome of heaven
is a home
to praise forever, wherever.


by Осип Эмильевич Мандельштам (Osip Emilyevich Mandelshtam.
His surname is commonly latinised as Mandelstam)
(1937)
translated by Robert Chandler

Granite [Excerpt] by Anna Prismanova

One might suppose that I shall not forget you,

but that won't be because I loved you so,

rather because you chanced to be the fire

which I myself employed to hew my soul.



by Анна Семёновна Присманова (Anna Semyonovna Prismanova)
a.k.a. Анна Симоновна Присман (Anna Simonovna Prisman)
(late 1930s or early 1940s?)
translated by Robert Chandler

Interesting info: She is considered comparable to her contemporary, the American poet, Louise Bogan and challenged traditional ideas of femiinity in her poetry as seen in this closing stanza of the poem Granite

‘Gotta keep living, though I’ve died twice’ Osip Mandelstam

Gotta keep living, though I’ve died twice,

and water’s driving the city crazy:

how beautiful, what high cheekbones, how happy,

how sweet the fat earth to the plough,

how the steppe extends in an April upheaval,

and the sky, the sky – pure Michelangelo…

 

by Осип Эмильевич Мандельштам (Osip Emilyevich Mandelshtam. His surname is commonly latinised as Mandelstam)

(1935)

translated by Andrew Davis

Neighbours by Mike Jenkins

Yesterday, the children made the street

into a stadium; their cat

a docile audience. As they cheered

a score it seemed there was a camera

in the sky to record their elation.

Men polished cars, like soldiers

getting ready for an inspection.

Women, of course, were banished

from daylight: the smells of roasts merging

like the car-wash channels joining.

Today, two horses trespass over boundaries

of content; barebacked, as if they’d just

thrown off the saddle of some film.

They hoof up lawns – brown patches like tea-stains.

A woman in an apron tries to sweep away

the stallion, his penis wagging back at her broom.

I swop smiles with an Indian woman, door to door.

These neighbours bring us out from our burrows –

the stampede of light watering our eyes.

 

By Mike Jenkins

from Empire of Smoke