poetry translation

Sonnet: In Orkney

english translation

Sonnet: In Orkney

original Scots poem

Sonet. In Orknay

Upon the utmost corners of the warld,
and on the borders of this massive round,
quhaire fates and fortoune hither hes me harld,
I doe deplore my greiffs upon this ground;
and seing roring seis from roks rebound
by ebbs and streames of contrair routing tyds,
and phebus chariot in there wawes ly dround,
quha equallye now night and day devyds,
I cal to mynde the storms my thoughts abyds,
which euer wax and never dois decress,
for nights of dole dayes Ioys ay ever hyds,
and in there vayle doith al my weill suppress:
so this I see, quhaire ever I remove,
I chainge bot sees, but can not chainge my love.

 

from Book 7 of Eneados

english translation

from Book 7 of Eneados

original Scots poem

from Book 7 of Eneados

Unsterit lang tyme and unmovit, Itale
Now birnis into fury bellicall.
Sum grathis thame on fute to gae in feild,
Sum hie montit on hors bak under scheild
The dusty pouder updrivand with ane stoure,
And every man socht wappinnis and armoure:
Thare schynand scheildis sum did burnis wele,
And sum polist scharp spere hedis of stele,
To mak thame bricht with fat creische or same,
And on quhitstanis thare axis scharpis at hame:
To bere pyncellis it gladis thame up and doun,
And are rejocit to here the trumpettis soun.
Five of the gretest and maist cheif cieteis,
Thare wappinnis to renew in all degreis,
Set up forgis and stele styddyis fyne,
Riche Atina, and the proude Tiburine,
Ardea the ciete, and Crustumerie
And eik Antemne with strang towris hie,
And werelie wallis battellit all about:
The sikkir helmes penys and forgis out,
Thare targis bow thay of the licht sauch-tre,
And bos bukleris coverit with corbulye:
Sum stele hawbrekis forgis furth of plate,
Birnyst flawkertis and leg harnes fut hate,
With latit sowpyl silver weil ammelyt:
Al instrumentis of pleuch graith irnit or stelit,
As culturis, sokkys, and the sowmes grete,
With sythis and all hukis that scheris quhete,
War thidder brocht, and tholis tempyr new,
The lust of all sic werklomes wer adew:
Thay dyd thame forge in swerdis of mettal brycht,
For to defend thare cuntre and thare richt.
Be this thare armour grathyt and thare gere,
The draucht trumpet blawis the brag of were:
The slughorn, ensenye, or the wache cry
Went for the battall all suld be reddy:
He pullis doun his sellat quhare it hang,
Sum dele affrait of the noyis and thrang:
He drivis furth the stampand hors on raw
Unto the yoik, the chariotis to draw:
He clethis him with his scheild and semys bald,
He claspis his gilt habirihone and thrinfald:
He in his breistplait strang and his birnye,
Ane sovir swerd beltis law doun by his the.
Ze Musis now, sueit Godessis ichone . . .

 

William Dunbar

William Dunbar (c. 1456 – 1520) trained as a Franciscan novice in addition to studying at the University of St Andrews, Oxford, and Paris. He served as an ambassador and court poet of King James IV, for whom his work epitomized the ideals of the “Northern Renaissance.” His most famous work, “Lament for the Makaris” eulogizes twenty-four early Scots/English poets including Geoffrey Chaucer, John Barbour, Blind Harry, and Robert Henryson.

 

William Fowler

William Fowler (1560 – 1612) was a Protestant spy in Paris before returning to Scotland to become a minister and, later, moving to London to serve as secretary to Queen Anne. Besides composing original work, he also translated widely from the Italian masters such as Petrarch and Castiglione. His “Sonet: In Orknay” utilizes the rhyme scheme popularized by Fowler’s English contemporary, Edmund Spenser (1552 – 1599), thus representing Fowler’s quick talent for absorbing both classical and current trends in literature.

 

 

Gavin Douglas

Gavin Douglas (c. 1474 – 1522) represented, along with William Dunbar and Robert Henryson, the flowering of the golden age of the Northern Renaissance in Scotland. Douglas studied for the priesthood and traveled widely, absorbing both contemporary and classical virtues and resources. Completed in 1513, his monumental translation of Virgil’s Aeneid was the first complete verse rendition of a classical text to be produced in Scotland.

 

Kent Leatham

Kent Leatham holds an MFA in poetry from Emerson College and a BA in poetry from Pacific Lutheran University. His translations of medieval/Renaissance Scots-language poetry have appeared or are forthcoming from InTranslation, Rowboat, Anomalous Press, and Ezra. His original poetry has appeared in dozens of journals nationwide, such as Ploughshares, Fence, Zoland, and Poetry Quarterly. Previously a poetry editor for Black Lawrence Press, Kent currently teaches at California State University Monterey Bay.

 

 

Man at Sunset

english translation

Man at Sunset

original Romanian poem

Om În Amurg

Acum sunt un om în amurg,
Fugi în munþii tãi, cãprioarã,
Nu mai râvnesc sã-þi sãrut buzele
A doua oarã, a treia oarã.

Acum sunt un om în amurg.
Pieri din juru-mi, viclean bancher,
N-am ce sa mai fac cu aurul tãu,
Aurul n-are trecere în cer.

Fiece zi are amurg,
Fiece zi are ºi zori.
Toamna via e plinã de struguri,
Primavara numai de flori.

Acum sunt un om în amurg,
Ora amiezii a fost dulce, dulce.
În cuibul ei din fulgi de zãpadã,
Luna s-a dus sã se culce.

 

The Fourth Horse

english translation

The Fourth Horse

original Romanian poem

Al Patrulea Cal

Băieţandru fiind călare umblam,
Pe un cal alb, ca al Sfântului Gheorghe.
Calul n-avea aripi, eu n-aveam suliţă,
Dar ucideam balauri verzi ca Sfântul Gheorghe.
Întocmai ca Sfântul Gheorghe ucideam balauri.

Când mi-a mijit mustaţa, călare prin lume
Pe un cal porumbac mă plimbam.
Calul n-avea aripi, eu n-aveam aripi,
Dar săream amândoi peste munţi,
Peste ape . . . Tineri! . . . Tineri eram! . . .

Mai târziu am umblat pe-un cal murg.
Cum îi mai scăpărau potcoavele!...
Vino, fată ochioasă, spuneam
Femeilor oacheşe ce le’ntâlneam,
Calul meu are şeaua de aur.

Acum stau lângă drum, aştept lângă drum
Să-mi vină al patrulea cal.
Cum va fi al patrulea cal?
Aripi va avea al patrulea cal,
Negru va fi al patrulea cal . . .
Negru . . . Negru ca smoala . . .

 

The Days, The Days

english translation

The Days, The Days

original Romanian poem

Zilele, Zilele

Nu ştiu cum au fost zilele mele,
Dar până la una au ars, au ars.
Cenuşa lor mi-a rămas în palmă
A venit vântul şi-a risipit-o —
Peste grădini înflorite a risipit-o.

Nu ştiu cum au fost nopţile mele,
Dar până la una s-au topit,
Ca zăpezile iernii s-au topit.
A deschis gura pământul, gura,
Şi până la una le-a înghitit.

Nu ştiu cum a fost dragostea mea,
Poate dulce a fost, poate amară.
Poate-a durat o viaţă, poate numai o seară.
Timpul viclean a adus-o pe aripi,
Timpul viclean a venit şi-a luat-o.

Nu ştiu cum va fi moartea mea,
Dar n-o să vrea să fie blajină.
Prea am dorit-o, prea am urât-o,
Prea am chemat-o ca s-o alung,
Prea am chemat-o . . .

 

Zaharia Stancu

Zaharia Stancu (1902 – 1974) is a celebrated Romanian writer. His novels—Barefoot, The Gypsy Tribe, Crazy Forest, and The Gamble with Death—have been translated into many languages. His poetry, which he wrote all his literary life, gained its greatest acclaim in his later years, and is distinguished by the simple beauty of its diction and its focus on human mortality and aspirations. Stancu’s novels and poems, like those of Thomas Hardy, are complementary parts of an arresting literary vision.

 

 

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