s, go your way, full of joy, like a hero going to victory. .......... From the fiery mirror of truth it smiles at the investigator and it leads those who are patient to the steep hill of virtue. On the sunny mountain of faith its banners are seen billowing Through the cracks in broken coffins you see it standing in the choir of angels. Chorus Millions, suffer with courage! Suffer for the better world! Up there above the firmament a great God will reward you. .......... One cannot avenge oneself on gods. It's good to be like them. Sorrow and poverty shall come and rejoice together with gladness. Let's forget grudges and revenge, let's forgive our deadly enemies, so that they may not have to shed tears and be consumed by remorse. Chorus Let's wipe the slate clean! Let the world be at peace! Brothers, above the firmament God will judge the way we've judged. .......... Joy bubbles in goblets, in the grape's golden blood cannibals drink gentleness and despair - heroism. Brothers, fly from your seats, when the full glass is passed around let the foam spray sky-high: raise this glass to the good spirit. Chorus Raise this glass to the good spirit there above the firmament, who is praised by the swirling stars and by the hymns of the seraphs! .......... Let's have staunch courage in heavy suffering, help for innocence in tears. oaths kept forever, truth when dealing with friend or foe, manly pride when facing royal thrones, should it cost us our possessions and lives, may virtue be rewarded and evil perish! Chorus Gather closer in the circle, swear on this golden wine to keep the oath, swear it by the judge of the stars! /home/moshkow/bin/KOI: Can't reopen pipe to command substitution (fd 4): No child processes In st. 4, as in Die Gotter Griechenlands/The Gods of Greece (1788), we encounter Schiller's theme of imagination being threatened by rationality, an important notion recurring through Tyutchev's mature lyrics and given informal, if in places pedestrian treatment in Ne to, chto mnite vy, priroda/Nature is not what you think it is [121]. 20. Jul. 21st. 1823. The epigraph is from Thomas Gray's (1716-1771) Alcaic Fragment: O lachrymarum fons, tenero sacros/Oh fountain of tears which have their (1738): O lachrymarum fons, tenero sacros Ducentium ortus ex animo; quater Felix! in imo qui scatentem Pectore te, pia Nympha, sensit! *** Oh fountain of tears which have their sacred sources in the sensitive soul! Four times fortunate is he who has felt thee bubbling up, holy nymph, from the depths of his heart! the Pafian queen: Aphrodite, whose temple was in the town of Pafos, on Cyprus. 21. 1823-24. TR Heine [33] of the collection entitled Tragodien nebst einem lyrischen Intermedzzo/Tragedies with a Lyrical Intermezzo (Apr. 1823), one of several sections which make up the German poet's Buch der Lieder/Book of Songs (1827). Ein Fichtenbaum steht einsam Im Norden auf kahler Hoh'. Ihn schlafert; mit wei?er Decke Umhullen ihn Eis und Schnee. .......... Er traumt von einer Palme, Die, fern im Morgenland, Einsam und schweigend trauert Auf brennender Felsenwand. *** A spruce tree stands alone in the north, on a bare hill. It is sleepy. With a white blanket Ice and snow cover it. .......... It dreams of a palm which, far off in the east, grieves, lonely and silent on a burning cliff. Heinrich Heine (1797-1856) was a complex figure whose work abounds in images of love, nature and revolution. History is of the greatest importance in his work. Heine one claimed that everything he had ever written had taken its inspiration from one great gottfreudige Fruhlingsidee/Good-joyful spring-idea. He and Tyutchev were good friends, although there is little documented evidence. In a letter of 1828, Heine writes, "By the way, you know Count Bothmer's daughters in Stuttgart, where you have often been? One of the same, no longer exactly young, but infinitely charming and secretly wed to the best friend I have here, a young Russian diplomat called Tyutchev, and the still very young, wonderfully pretty sister are the two ladies with whom I have the most comfortable, easily relations. These two, my friend Tyutchev, and I often make up a foursome to eat together at lunchtime and in the evening, where I find a few more beauties, chatter to my heart's content, mostly ghost stories, and generally believe that I have discovered a beautiful oasis in life's desert". Tyanyanov (C:4iii/16) considers that the poems by Heine which Tyutchev translated were "not so much those close to Tyutchev in theme, as those that are characteristic of Heine's manner". This is partly true, but a close study of the translations invariably throws up favourite themes. All Tyutchev's extant translations from Heine are from the Book of Songs. 22. NE Apr. 1822 and NL Dec. 1830. TR Heine: [16] of Tragedies with a Lyrical Intermezzo. Liebste, sollst mir heute sagen: Bist du nicht ein Traumgebild, Wie's in schwulen Sommertagen Aus dem Hirn des Dichters quillt? .......... Aber nein, ein sollches Mundchen, Solcher Augen Zauberlicht, Solch ein liebes, su?es Kindchen, Das erschafft der Dichter nicht. .......... Basilisken und Vampire, Lindenwurm and Ungeheur, Solche schlimme Fabeltiere, Die erschafft des Dichters Feur. .......... Aber dich und deine Tucke, Und dein holdes Angesicht, und die falschen, frommen Blicke - Das erschafft der Dichter nicht. *** Darling, you must tell me today, are you not a dream-picture of the kind which on hot summer days springs from the brain of the poet? .......... But no, such a mouth, such magic light in the eyes, such a dear, sweet child, the poet will not create that. .......... Basilisks and vampires, green dragons and monsters, such dreadful creatures of fable are what the poet's fire produces. .......... But you and your spite and your sweet face, and your false sanctimonious look, the poet can't create that. Tyutchev's ending is less unkind than Heine's, probably evidence of different attachments. 23. 1823-4, probably shortly after he went abroad. The theme of separation is now making itself felt, Tyutchev returns to this idea of being away from friends and family throughout his work and in numerous letters. The first stanza does not, strictly speaking, make sense, but this is not an unusual thing in Tyutchev, who seemed impatient with grammar on more than one occasion. 24. Nov. 23rd. 1824, the poet's twenty-first birthday. Addressee unknown, though Nisa [25] is a possibility. Tyutchev cleverly mixes images of a young girl's "gaze" living within him, both physically and spiritually. It becomes as essential as the sky, always an important idea of freedom and security, and as breath itself. In a later superb poem, Ya znal eyo eshchyo togda/I knew her even then [257], a woman and the sky become indistinguishable images. 25. NL autumn 1825. Addressee unknown, but if it is the young woman of [24] it indicates a dramatic change of attitude. 26. NL autumn 1825. A variation on a theme of Herder based on the poem Morgengesang im Kriege/Morning Song in War Time, [17] of the Volkslieder/Folk Songs, subtitled Skaldisch/Norse (bk. 2, pt. 1). Tag bricht an! Es kraht der Hahn, Schwingt's gefieder; Auf, ihr Bruder! Ist Zeit zur Schlacht! Erwacht, erwacht! Unverdrossen Der unsern Fuhrer! Des hohen Adils Kampfgenossen, Erwacht, erwacht! .......... Har, mit der Faust hart, Rolf, der Schutze, Manner im Blitze, Die nimmer fliehn! Zum Weingelage, Zum Weibsgekose Weck' ich euch nicht; Zu harter Schlacht Erwacht, erwacht! *** Day breaks! The cock crows, shaking its feathers. Up, brothers! It's time for battle! Wake up, wake up! .......... Untiring Our leader! Comrades in battle of the great aedile, wake up, wake up! Har of the strong fist, Rolf the protector, men in lightning flashes who never flee! To the wine feast, to women's kisses I do not awake you: to hard battle awake, awake! The writer and philosopher Johann Gottfried Herder (1744-1803) was influential in the fields of folklore and philology. He knew Goethe and exerted a significant influence on his development. In essays forming part of Von deutscher Art und Kunst/On German Character and Art, he attempted to demonstrate that folk song was the source of all literature. He believed in the close relationship between nature, i.e. man's physical environment, and the cultural evolution of the human race. Herder was also convinced that nation states ought to be independent, equal and brotherly. This idea of self-determination went down well with those Slav states less powerful than their vast eastern neighbour, but this warm-hearted man's ideas evoked little sympathy in authoritarian states such as Russia. His Ideen zur Philosophie der Geschichte der Menschheit/Ideas on the Philosophy of the History of Mankind and Folk Songs served to convince many Slav patriots that they, indeed, carried the future in their hands. Karamzin introduced Herder into Russia, as he did so many writers. The source of the Herder poem is the Heimskringla/The Circle of the World, a cycle of sixteen medieval Icelandic sagas. This poem concerns the final battle of the great hero-king Hrolf kraki, told by his great champion, Biarki. Har: Har the hard-gripping, a warrior. aedile: a Roman officer. 27. NL autumn 1825. R. Brandt considers the possibility that Raich's Aeolian harp was the poem's inspiration, though Pigaryov points out that during Tyutchev's stay in Russia in 1825 Raich was not in Moscow. The presence or absence of such an instrument is probably unimportant, though Tyutchev did often write on the spur of the moment, so could well have heard such a harp or something which reminded him of it. The techniques of using a sound or object out of place is common in Tyutchev's work. As here, where the harp perturbs the listener, so a lark's voice at night [104] and the chirruping of swallows [368] when snow still lies are two examples of many which make him question the evidence of his senses. 28. NL mid-1826. TR Byron Lines Written in an Album at Malta. (Sept. 14th. 1809); one of his occasional pieces from 1807-24. As o'er the cold, sepulchral stone Some name arrests the passer-by; Thus, when thou views't this page alone, May mine attract thy pensive eye! .......... And when by thee that name is read, Perchance in some succeeding year, Reflect on me as on the dead, And think my heart is buried here. Byron addresses his poem to a woman, Tyutchev to his friends. Despite huge popularity in Europe, Byron (1788-1824) exercised little if any direct influence on Tyutchev, although his involvement in the Greek struggle for independence would certainly have interested Tyutchev, for whom the Eastern Question became an obsession. 29. NL mid-1826. A loose adaptation of Goethe's quatrain from Nachlese/Late Harvest (1791). Will ich die Blumen des fruhen, die Fruchte des spateren Jahres, Will ich, was reizt und entzuckt, will ich, was sattigt und nahrt, Will ich den Himmel, die Erde mit einem Namen begreifen; Nenn ich Sakontala dich und so ist alles gesagt. *** The early year's blossoms, the late year's fruits, that which stimulates and delights, which satiates and nurtures, Heaven and earth, all this I want to give a name to. I name you Sakontala, and that's enough said. Goethe (1749-1832) is arguably the greatest German writer. His works exhibit an incredible variety of form, theme and style. Throughout his life he wrote poetry, prose, drama, scientific essays and autobiography. Even the profundities of his conversations were recorded by his young secretary, Eckermann, among others. Popular in the eighteenth century, the original was written by the Indian poet Kalidasa (fl. 400 AD?) whose work is characterised by long, lyrical, descriptive passages inbued with delicate sentiment. The Sanskrit was translated by the Englishman William Jones in 1789 and into German by G. Forster in 1791. Karamzin translated sections into Russian for the Moskovskii zhurnal/The Moscow Journal. Tyutchev's poem contains echoes of Act II, in which the king, enamoured of the hermit's daughter,Shakuntala attempts to express his feelings to Vidusaka the clown, who suggests that he "has lost his relish for dates and longs for the (sour) tamarind". King You have not seen her; and, therefore, you speak thus. Vidusaka That indeed must be charming, which excites even your admiration. King Friend, what need is there of many words? .......... .......... This immaculate beauty is like a flower not yet smelt, a delicate shoot not torn by the nails; an unperforated diamond; or fresh honey whose sweetness is yet untasted; or the full reward of meritorious deeds. I know not whom Destiny will approach as the enjoyer here (of this form). Goethe's lyric is but one of many works of the time on a classical Sanskrit theme, and while similar to Tyutchev's poem in some ways, cannot be said to be the direct source of it. Referring to Goethe's poem, C.V. Devadhar was written that he "blends together the young year's blossoms and the fruits of its decline", combining "heaven and earth in one". According to Goethe, Devadhar continues, "Shakuntala contains the history of development - the development of flower into fruit, of earth into heaven, of matter into spirit". (B: 20/xxiv). 30. Second half of 1826. Written after sentence had been passed on the Decembrists. The latter were a group of disaffected young officers who attempted a coup in 1825, primarily in St. Petersburg, hoping to secure various reforms. Nicholas I was not a listening tsar. The ringleaders were hanged and others exiled for long periods. 31. NE May 1826 - NL 1830. TR Heine from Die Heimkehr/The Homecoming Das Herz ist mir bedruckt, und sehnlich Gedenke ich der alten Zeit; Die Welt war damals noch so wohnlich, Und ruhig lebten hin die Leut'. .......... Doch jetzt ist alles wie verschoben, Das ist ein Drangen! eine Not! Gestorben ist der Herrgott oben, Und unten ist der Teufel tot. .......... Und alles schaut so gramlich trube, So krausverwirrt und morsch und kalt, Und ware nicht das bischen Liebe, So gab' es nirgends einen Halt. *** My heart is oppressed and longingly I think about the old days; then the world was still so pleasant to live in and people lived their lives peacefully. .......... Now, it's as if everything is dislocated. There's such hurrying, such distress! Up there the Lord God has died, and down below the devil is dead. .......... And everything looks so sullenly dreary, so tangled, confused, rotten and cold, and were it not for a little bit of love, there would be nothing to hold on to. 32. NE April 1827, NL December 1830. TR Heine: Fragen/Questions, [71] of the second cycle of Nordsee/The North Sea. Am Meer, am wusten, nachtlichten Meer, Steht ein Jungling-Mann, Die Brust voll Wehmut, das Haupt voll Zweifel, Und mit dustern Lippen fragt er die Wogen: .......... "O lost mir das Ratsel des Lebens, Das qualvoll uralte Ratsel, Woruber schon manche Haupter gegrubelt, Haupter in Hieroglypohenmutzen, Haupter in Turban und schwarzem Barett, Peruckenhaupter und tausend andre Arme, schwitzende Menschenhaupter - Sagt mir, was bedeutet der Mensch? Woher ist er kommen? Wo geht er hin? Wer wohnt dort oben auf goldenen Sternen?" .......... Es murmeln die Wogen ihr ew'ges Gemurmel, Es wehet der Wind, es fliehen die Wolken, Es blinken die Sterne, gleichgultig und kalt, Und ein Narr wartet auf Antwort. *** By the sea, by the bleak night sea there stands a young man, his breast full of melancholy, of great doubts, and with thirsty lips he asks the waves: .......... "Oh, solve for me the riddle of life, the painful, ancient riddle over which so many heads have brooded, heads in caps which hieroglyphs, heads in turbans, heads in berets, bewigged heads and a thousand other poor, sweating human heads, tell me, what is the meaning of man? Where is he from? Where is he going? Who lives up there beyond the stars? The waves murmur their eternal murmuring, the wind blows, the clouds flee, the stars win, indifferent and cold, and a fool awaits his answer. A current of scepticism permeates the atmospheric North Sea cycle. In Abenddammerung/Dusk [2], the principal theme is that of nature's power "to liberate the poetic imagination from convention". (B:15ii/118) 33. NE April 1827, NL 1830. TR Heine Der Schiffbruchige/The Shipwrecked Man, [3,pt.2] of North Sea. Hoffnung und Liebe! Alles zertrummert! Und ich selber, gleich einer Leiche, Die grollend ausgeworfen das Meer, Leig ich am Strande, Am oden, kahlen Strande. Vor mir woget die Wasserwuste, Hinter mir liegt nur Kummer und Elend, Und uber mich hin ziehen die Wolken, Die formlos grauen Tochter der Luft, Die aus dem Meer, in Nebeleimern, Das Wasser schopfen, Und es muhsam schleppen und schleppen, Und es wieder verschutten ins Meer, Ein trubes, langweil'ges Geschaft, Und nutzlos, wie mein eignes Leben. .......... Die Wogen murmeln, die Mowen schrillen, Alte Erinnrungen wehen mich an, Vergessene Traume, erloschene Bilder, Qualvoll su?e, tauchen hervor! Es lebt ein Weib im Norden, Ein schones Weib, koniglich schon. Die schlanke Zypressengestalt Umschlie?t ein lustern wei?es Gewand; Die dunkle Lockenfulle, Wie eine selige Nacht, Von dem flechtengekronten Haupt sich ergie?end, Ringelt sich traumerisch su? Um das su?e, blasse Antlitz; Und aus dem su?en, blassen Antlitz, Gro? und gewaltig, strahlt ein Auge, Wie eine schwarze Sonne. .......... Oh, du schwarze Sonne, wie oft Entzuckend oft, trank ich aus dir Die wilden Begeistrungsflammen, Und stand und taumelte, feuerberauscht - Dann schwebte ein taubenmildes Lacheln Um die hochgeschurzten, stolzen Lippen, Und die hochgeschurzten, stolzen Lippen Hauchten Worte, su? wie Mondlicht, Und zart wie der Duft der Rose - Und meine Seele erhob sich Und flog, wie ein Aar, hinauf in dem Himmel! ........... Schweigt, ihr Wogen und Mowen! Voruber is alles, Gluck und Hoffnung, Hoffnung und Liebe! Ich liege am Boden, Ein oder, schiffbruchiger Mann, Und drucke mein gluhendes Antlitz In den feuchtend Sand. *** Hope and Love! Everything's smashed! And I am alone, like a corpse, thrown up by the rumbling sea, lying on the beach, on the god-forsaken, barren beach. Before me the watery wastes surge, behind me there is misery and grief and above me flee the clouds, the shapeless, gruesome daughters of the air, which from the sea in water-buckets scoop the sea, and arduously drag and drag and once again spill it into the sea, a gloomy, boring business, and as useless as my own life. .......... The waves rumble, the gulls shriek, past memories waft back to me, forgotten dreams, lost images, painfully sweet, dragged out. .......... There lives in the north a woman, a beautiful woman, regally beautiful, her cypresslike form covered all around by a sensual, white garment her dark locks, like a sacred night, poured from her plait-crowned head, sweet as a dream, framing her sweet, pale face and from her sweet, pale face, and amazing, open look beamed like a black sun. .......... Oh, you black sun, how often, excitingly often, have I drunk from you the wild flame of inspiration and stood, giddily, intoxicated while a dovelike, gentle smile played on your haughty, deeply loving lips, and your haughty, deeply loving lips, breathed words as sweet as moonlight, and as tender as the scent of roses - and my soul rose up and flew like an eagle far up into the heavens. .......... Be silent, you waves and gulls! Everything is over, happiness and hope, hope and love! I lie on the ground, a wasted, shipwrecked man, rubbing my glowing face into the damp sand. The sea was an endless source of inspiration for the Romantics. On a sea journey to Nantes from Riga in 1769, Herder was shipwrecked. He wrote the following about his impressions, which haunted him for some time after: "Have you ever, my friend, on cold, dark nights, after a dangerous, grey, awe-filled midnight ... hoped for the first red ray of morning, sensed the living spirit of the early day, a breath of God! A spirit of Heaven sinks down and moves across the waters! ... And behold! This rapture, this nameless feeling of morning, how it seems to thrill all things! To lie across all of nature!... Woe to that feelingless person who has not seen these pictures and not sensed God! (B:16, VI; 136; 259). 34. NE 1827, NL 1829. TR Heine: [40] of The Homecoming. Wie der Mond sich leuchtend dranget, Durch den dunkeln Wolkenflor, Also taucht aus dunkeln Zeiten Mir ein lichtes Bild hervor. ......... Sa?en all auf dem Verdecke, Fuhren stolz hinab den Rhein, Und die Sommergrunen Ufer gluhn im Abendsonnenschein. .......... Sinnend sa? ich zu den Fu?en Einer Dame, schon und hold; In ihr liebes, bleiches Antlitz Spielt' das rote Sonnengold. .......... Lauten klangen, Bubeb sangen, Wunderbare Frohlichkeit! Und der Himmel wurde blauer, Und die Seele wurde weit .......... Mahrchenhaft voruberzogen Berg' und Burgen,Wald und Au'; Und das Alles sah ich glanzen In dem Aug' der schonen Frau. *** We were all sitting on the deck, sailing proudly down the Rhine, and the summer-green banks glowed in the evening sun. .......... Pensively I sat at the feet of a beautiful, charming lady. The red gold of the sun played on her dear, pale face. .......... Lutes were strumming, boys were singing - wonderful joyfulness! And the sky became bluer and the soul opened out. .......... Passing by as if in a fairytale were hills and castles, forests and meadows, and I saw it all shining in the beautiful women's eyes. 35. 1827-29. TR Goethe: Geistesgruss/The Spirit's Greeting (1774), a ballad from Vermischte Gedichte/Miscellaneous Poems from the Sturm und Drang/Storm and Stress movement. Hoch auf dem alten Turme steht Des Helden edler Geist, Der, wie das Schiff vorubergeht, Es wohl zu fahren hei?t. .......... "Sieh, diese Senne war so stark, Dies Herz so fest und wild, Die Knochen vol von Rittermark, Der Becher angefullt; .......... Mein halbes Leben sturmt ich fort, Verdehnt' die Halft' in Ruh. Und du, du Menschen-Schifflein dort, Fahr immer, immer zu!" *** High on the old tower stands the ghost of a noble warrior who, as a ship passes by, wishes it well. .......... "See, these sinews were so strong, This heart so solid and wild, these bones so full of knightly marrow, the goblet often filled. .......... I stormed through half my life, (spent) the other half in peace. And you, little ship of humans, down there, go ever, ever on!" The Storm and Stress movement took shape in 1770 and lasted about eight years. It was characterised by a new way of looking at history and society, new attitudes towards thinking, religion and nature. What was also closely questioned by young writers was despotism, political and religious. Poetry was of the first importance during these years. 36. 1827-9. TR Goethe: Wilhelm Meisters Lehrjahre/Wilhelm Meister's Apprenticeship (bk.2, ch.13). The first and second songs of the harpist. 1. Wer nie sein Brot mit Tranen a?, Wer nie die kummervollen Nachte Auf seinem Bette weinend sa?, Der kennt euch nicht, ihr himmlischen Machte. .......... Ihr fuhrt ins Leben uns hinein, Ihr la?t den Armen schuldig werden, Dann uberla?t ihr ihn der Pein: Danna alle Schuld racht sich auf Erden. *** He who has never eaten tears with his bread, who has never through grief-filled nights sat crying on his bed, he does not know you, heavenly powers .......... They drag us into life, they leave the poor feeling guilty, then they leave us only pain; all evil deeds are avenged on earth. 2. Wer sich der Einsamkeit ergiebt, Ach! der ist bald allein, Ein jeder lebt, ein jeder liebt, Und la?t ihn seiner Pein. Ja! la?t mich meiner Qual! Und kann ich nur einmal Recht einsam sein, Dann bin ich nicht allein. .......... Es schleicht ein Liebender lauschend sacht, Ob seine Freundin allein? So uberschleicht bei Tag and Nacht Mich Einsamen die Pein, Mich Einsamen die Qual. Ach, werd' ich erst einmal Einsam in Grabe sein, Da la?t sie mich allein! *** Whoever yields to loneliness, ah, he will soon be on his own; one lives, one loves, and leaves him to his pain. Yes! Leave me to my misery! And can I just once really be on my own, then I'm really not alone. .......... A lover creeps softly, eavesdropping: wanting to know if his loved one is alone, so by day and night there creeps over me when I'm alone, pain, when I'm alone, misery. Ah, if I could just be in my grave, then I'd be truly alone! Wilhelm Meister's Apprenticeship is in the form of the picaresque novel and was published in instalments during the last decade of the eighteenth century. Many great German novels of later years model their depiction of the intellectual and spiritual development of the hero's life (the Bildungsroman) on this important work. 37. 1827-30. TR Goethe: Hegire/Hegira (1819), with which his West-Ostlicher Divan/West-East Divan opens. Nord und West und Sud zersplittern, Throne bersten, Reiche zittern, Fluchte du, im reinen Osten Patriarchenluft zu kosten, Unter Lieben, Trinken, Singen, Soll ich Chisers Quell verjungen. .......... Dort, im Reinen und im Rechten, Will ich menschlichen Geschlechten In des Ursprungs Tiefe dringen, Wo sie noch von Gott empfingen Himmelslehr' in Erdesprachen, Und sich nicht den Kopf zerbrachen. .......... Wo sie Vater hoch verehrten, Jeden fremden Dienst verwehrten; Will mich freun der Jugendschranke: Glaube weit, eng der Gedanke, Wie das Wort so wichtig dort war, Weil es ein gesprochen Wort war. .......... Will mich unter Hirten mischen, An Oasen mich erfrischen, Wenn mit Caravanen wandle, Schwal, Caffee und Mochus handle. Jeden Pfad will ich betreten Von der Wuste zu den Stadten. .......... Bosen Felsweg auf und nieder Trosten Hafis deine Lieder, Wenn der Fuhrer mit Entzucken, Von des Maulthiers hohem Rucken, Singt, die Sterne zu erwecken, Und die Rauber zu erschrecken. .......... Will in Badern und in Schenken, Heil'ger Hafis dein gedenken, Wenn den Schleyer Liebchen luftet Schuttlend Ambralocken duftet. Ja des Dichters Lieberflustern Mache selbst die Huris lustern. .......... Wolltet ihr ihm dies beneiden, Oder etwa gar verleiden; Wisset nur, da? Dichterworte Um des Paradieses Pforte Immer leise klopfend schweben, Sich erbittend ew'ges Leben. *** North, South and East shattered, thrones cracking, empires trembling escape to the pure east to taste the air of the patriarchs, in love, drinking, singing shall I return your youth at Chizr's spring. .......... There, where it is pure and right, I want to penetrate to the source of the human race. where from God they still received heavenly teaching in the languages of earth, their brains not racked by the labour. .......... Where they deeply admire the fathers, denying foreign beliefs any say, I want to be happy within the limits of youth: faith is spacious, thought is narrow, the word was so important there because it was a spoken word. .......... I want to mix with the herdsmen, refresh myself at oases, stroll with caravans trade in shawls, coffee and musk, I'll tread every path from the deserts to the towns. .......... Up and down steep rocks your songs, Hafiz, comfort me, when the leader with delight from the mules' high backs, sings, the stars awake, brigands are terrified. .......... I want in baths and in inns, sacred Hafiz, your thought, when the veils of pretty women are lifted, and ambergris wafts from their hair. Yes, the loving whispers of the poet make the huris desire. .......... If you were to begrudge him this or even try to spoil his whim, know only that the poet's word knocks at Paradise's door, softly hovering, beseeching eternal life for itself. The Persian poet Hafiz (c.1320-1390) produced brilliant ghazels and divans, the former a series of couplets linked symbolically rather than by any strict logic of ideas. The divan is often characterised by a special rhyme scheme running through the alphabet. "Hegira" means "flight", originally the flight of Mohammed from Mecca in 622 A.D., from which is dated the Mohammedan era. Goethe was approaching seventy when he wrote these exuberant poems, many in the Persian style. Khizr: an Islamic deity associated with water. 38. NL spring 1828. Hebe, goddess of eternal youth, appears throughout nineteenth-century art and literature. Tyutchev replaces her cup of nectar, with which she is often seen feeding Zeus's eagle, with one overflowing with thunder, as if "she had transferred to herself the functions of the eagle, often represented with lightening grasped on its talons". (A:33/ii,vol.1/338). Tyutchev's poem is fresh and joyful, along the same lines as Vesennie vody/Vernal Waters [82], one of his favourite techniques, that of an up-down movement between nature and the observer, finding its first expression. 39. NL 1828 and reworked in the 1850s. In 1840 Napoleon's remains were transferred to Paris from their original resting place, the island of St. Helena, where he died on May 5th. 1821. 40. NL 1828. Possibly written in 1826 in Munich and addressed to Eleonore during the first year of their marriage in Munich. Nahe/Nearness (1809), by the Romantic poet and philologist Ludwig Uhland (1787-1862), is a clear source of this poem (A:15vi/48): Ich tret' in deinen Garten; Wo, su?e, weilst du heut'? Nur Schmetterlinge flattern Durch diese Einsamkeit. .......... Doch wie in bunter Fulle Hier deine Beete stehn! Und mit denn Blumenduften Die Weste mich umwehn! .......... Ich fuhle dich mich nahe, Die Einsamkeit belebt; Wie uber seinen Welten Der unsichbare schwebt. *** I step into your garden. Where are you today, sweetheart? Only butterflies flutter through this solitude. .......... How colourfully full are your flowerbeds. How the zephyrs waft colourful aromas around me! .......... I feel you near to me, feel the solitude come to life. It's like the Invisible One hovers over his worlds. Sylph: a being made of air, the creation of the eccentric Swiss alchemist-physician Paracelsus (1493-1541) who exercised some influence on Bohme. (See [247].) 41. NL 1828. The image of the setting sun swallowed by the ocean or rolling from the earth is one of the commonplaces of Romantic poetry. In Heine's Sonnenuntergang/Sunset, [3] of North Sea, we read: Die gluhend rote Sonne steigt Hinab ins weitaufschauernde, Silbergraue Weltmeer. *** The glowing, red sun sets into the far-heaving, silver-grey ocean. Without detracting from Heine's lyric. Tyutchev's shorter, more intense poem makes the reader actually sense the natural repleteness of the moment. Tyutchev's work is a marvel of sensation and physical wellbeing. 42. NL first half of 1829 in connection with the Russo-Turkish war of 1828-9. In support of the Greek struggle for independence, Russia declared war on the Ottoman Empire in April of this year. In June the Russian army crossed the Danube, in October it took Varna and in June the following year opened a route to the Balkan mountains after the victory at Kulevcha. The Treaty of Adrianople (Sept. 14th. 1829) assured Russian domination over the entire Black Sea coast, a situation making the western powers uneasy and reversed by the Paris Peace Accord after Russia's defeat in the Crimean War. The legendary shield of the title is described in the chronicles as having been posted by Prince Oleg of Kiev at the gates of Constantinople after his successful campaign against the Byzantine city in 907. 43. NL first half of 1829. One of the first overt "chaos"/"night" poems, it nonetheless contains little more than a hint of that frisson of excitement which characterises such lyrics as Bessonnitsa/Insomnia [47], and Kak okean ob"emlet shar zemnoi/Just as the ocean curls around earth's shores [64]. 44. 1828-9. T.R. Zedlitz (1790-1862): Totenkranze/Garlands for the Dead. So wie die grausen Lieder der Damonen Zum Wahnsinn trieben, durch die wilden Klange, So fuhlen wir das tiefste Mark erbeben, Vernimmt das Ohr die furchtbaren Gesange; Und wie in den verdunnten Regionen Des hochsten Luftraum's, denen, die d'rin schweben, Oft Athem stockt und Leben, Und Blut entquillet den gepre?ten Lungen: So strebt die Seele, angstvoll, zu entrinnen Dem Zauberliede, mit betaubten Sinnen; Bis da? der Magus, der den Kries geschlungen, Wenn's ihm genehm ist Eure Angst zu enden, Hohnlachend hebt den Stab, den Bahn zu wenden! .......... Wohl loft der Schmerz sich in gerechte Klagen, Wenn uns're Seele weilt vor solchem Bilde! Nicht ein sangreicher Schwann, der uber Auen Hinschwebt, und grune, lachende Gesilde, Seh'n wir durch heit're Lufte dich getragen; Gleich dem einsamen Aar bist due zu schauen In oder Wuste Grauen, Der sich vom Fels, auf dem er horstet, schwinget, Und hoch und hoher steigt, bis unser'n Blicken Die weitgedehnten Flugel ihn entrucken, Hin, wo das Auge, das ihm folgt, nicht dringet! Doch nicht die Sonne strebt er zu erreichen, Er spaht' mit scharfem Blick umher - nach Leichen! .......... Ungluckliches Gemut, dess' truber Spiegel So gra? entstrellt die Bilder wiederstrahlet, Die Leben und Natur, mit holden Zeichen, In hellen Farben lieblich hat gemalet! - Wohl auf der Stirne glanzt das Meistersiegel, Dem Macht gegeben in den Geisterreichen; Doch freut es dich, im bleichen, Unsichern Schein die Seele zu beirren! - Nicht mehr dich selbst vermag ich zu erkennen! Prometheus Bild scheint vor dem Bild zu brennen, Doch seltsam wechselnd, seh' ich's sich verwirren! Bist du Prometheus, der die Wunden fuhlet? - Bist du der Geier, der sein Herz durchwuhlet? - .......... Aus Newstead Abbey war Er ausgezogen, Aus seiner Ahnen altem stillen, Hause, Wo teure Pfander ihm zuruckgeblieben; Der Mowe gleich, die unstat im Gebrause Das Sturm's den Schaum abstreifet von den Wogen! Wie Ahasverus ward er fortgetrieben Vom Dache seiner Lieben! Wie diesem, war ihm nicht vergonnt zu rasten! - Vergebens irrt er durch die weite Erde, Das Gluck im Kampf zu suchen und Gefahrde; Der dunkle Bann bleibt auf der Seele lasten, Mag dicht am Abgrund er den Fels erklimmen, Die kalte Flut des Hellesponts durchschwimmen! .......... Und bald am goldbespulten Tajostrande, Bald an der felsumragten Uferspitz, Wo das Atlantenmeer, als Landerscheide, Europa trennend von der Mauren Si?e, Dem Mittelmeer sich eint mit schmalen Bande; Wo dann, vermischt, hinrauschen stolz, voll Freude, Die Nachbarfluten beide; Bald auf den Phrena'n, den sonnenhellen, Zu deren Hohen aus dem Baskentale Der Felsensteg, der unwegsame, schmale, Hinauf sich schlingt, dort, wo die jungen Wellen Ausstromet der Adour - sieht man ihn ziehen, Und vor sich selbst, so scheint's, voll Unruh' fliehen! - .......... Bald mit den Toten, die im Kugelregen, Auf jenem blutgetrankten Feld in Flandern, Fur goldne Meining, und fur Ehr' und Treue Berhaucht die Seelen, sehen wir ihn wandern! - Ein Weh'n der Geister sauselt mir entgegen! O teure Erde, Platz der Todesweihe, Mit frommer, heil'ger Scheue Tritt dich der Fu?! Dich, mit dem edlen Staube Gemischt, von jenen tausend, tausend Herzen, Die hier verblutet in dem Brand der Schmerzen, Dem Schwert der Schlachten, dem Gescho? zum Raube! Von Gluten wurdiger Begeist'rung trunken, Sind sie in freud'gem Glauben hingesunken! .......... Bald auf der Gletscher Scheitel steht er sinnend, Wo Wasserfalle tobend niedersausen, Zum Abgrund, den der Blick nur kann erreichen, Inde? das Ohr kaum mehr das ferne Brausen Des Strom's vernimmt, dem engen Tahl entrinnend! - So seh'n von Land zu Land wir ihn entweichen, Bis wo das bleiche Zeichen Des Halbmond's schimmert von den Minaretten; Jetzt in des Bosphorus treulose Wellen Sturzt er, durchschwimmt den Pa? der Dardanellen Zu Asiens Kuste - sucht die alten Statten Verschwund'ner Gro?' - und sieht aus edlen Trummern Athen, Akrokorint, Mycena schimmern .......... Bis er erreicht die Burg, die wallumturmte, Fern an der Schwelle vom Helenenlande, Aus jenes Inselmeer's Lagunen steigend. Ach! wuster Schutt, zerstort von Mord und Brande, ist nun die hohe, hundert Mal Versturmte, Ihr edles Haupt gesenkt zur Erde neigend! - Es schweben, ernst und schweigend, In dustern Nachtgrau'n bleiche Geisterscharen Gefall'ner Helden, Kummer in den Mienen, Un die geweihten, heiligen Ruinen, Den ew'gen Lorber in den blut'gen Haaren! - Hier fand sein Ziel des edlen Sangers Leben; Kein wurd'ger Grab konnt' ihm das Schicksal geben! - .......... Und uberall, im gleichen wusten Tone, Ergie?t die sinst're Brust sich wohl in Lieder; Der Zauberstab haucht Leben in Gestalten, Doch nur Damonen steigen furchtbar nieder In trotz'ger Bildheit, die mit kaltem hohne Ruchlos die Herzen qualen und zerspalten! Die seligen Gewalten, Die durch die Schmerzen reinen und belohnen, Sind fremd dem Manne, dessen Zauberworte Den Vorhang heben von dem grausen Orte, Wo die Verdammni? und das Laster wohnen! Und nirgends blinkt ein Strahl von Friedenslichte,