“Song of More Sugar” by Liu Guo [w/ Audio]

Reeds cover the tiny island.
Shallow streams cut through the cold sand.

I see the Southern Tower for
The first time in two decades.

How many days since I moored
Under this willow tree?
Mid-Autumn Festival is almost here.

On the rocks of Yellow Crane,
Do my friends still reside?

This old place has many new sorrows.

If I bought wine and we cast off together,
Could we be young again?

“Remember” by Christina Rossetti [w/ Audio]

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann'd:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do no grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

“Death, Be Not Proud” by John Donne [w/ Audio]

Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think'st thou dost overthrow
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou art slave to fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy or charms can make us sleep as well
And better than thy stroke; why swell'st thou then?
One short sleep past, we wake eternally
And death shall be no more; Death, thou shalt die.

“Written While Moored on the Qinhuai River” by Du Mu [w/ Audio]

Mist touches cold water and moon embraces the sand.

I’m moored for the night near a tavern on the Qinhuai.

The singing girl doesn’t know the empire is in bitter ruin.

Across the river I hear her singing “Blossom of the Inner Court.”

Translation: Barnstone, Tony and Ping, Chou. 2005. The Anchor Book of Chinese Poetry: From Ancient to Contemporary. New York: Anchor Books.

Four Seasonal Haiku of Ryōkan [w/ Audio]

Spring

rainy days
make the monk Ryōkan
feel sad.

Summer

the moon in my window
is all the thief left behind.

Autumn

an autumn wind
chills the dangling persimmons,
and my testicles.

Winter

little birds have
gathered in the brushwood
on a snowy morn.

Hanshan 131 [w/ Audio]

During thirty years since my birth
I've hiked thousands of miles,
seen green grass converging with a river
and red dust rising at the frontiers,
searched in vain for immortals and elixirs,
studying books and histories.
Today I've returned to Cold Mountain.
I lie back in a stream, washing out my ears.

Translation: Barnstone, Tony and Ping, Chou. 2005. The Anchor Book of Chinese Poetry: From Ancient to Contemporary. New York: Anchor Books.

“A London Thoroughfare. 2 A.M.” by Amy Lowell [w/ Audio]

They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another.
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.

Opposite my window,
The moon cuts,
Clear and round,
Through the plum-colored night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.

I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.

“The Builders” by Henry Wadsworth Longfellow [w/ Audio]

All are architects of Fate,
Working in these walls of Time,
Some with massive deeds and great,
Some with ornaments of rhyme.

Nothing useless is, or low;
Each thing in its place is best;
And what seems but idle show
Strengthens and supports the rest.

For the structure that we raise,
Time is with materials filled;
Our to-days and yesterdays
Are the blocks with which we build.

Truly shape and fashion these;
Leave no yawning gaps between;
Think not, because no man sees,
Such things will remain unseen.

In the elder days of Art,
Builders wrought with greatest care
Each minute and unseen part;
For the Gods see everywhere.

Let us do our work as well,
Both the unseen and the seen;
Make the house, where Gods may dwell,
Beautiful, entire, and clean.

Else our lives are incomplete,
Standing in these walls of Time,
Broken stairways, where the feet
Stumble as they seek to climb.

Build to-day, then, strong and sure,
With a firm and ample base;
And ascending and secure
Shall tomorrow find its place.

Thus alone can we attain
To those turrets where the eye
Sees the world as one vast plain,
And one boundless reach of sky.

“The Fly” by William Blake [w/ Audio]

Source: USGS Bee Inventory and Monitoring Lab
Little fly,
Thy summer's play
My thoughtless hand
Has brushed away.

Am not I
A fly like thee?
Or art not thou
A man like me?

For I dance
And drink and sing,
Till some blind hand
Shall brush my wing.

If thought is life
And strength and breath,
And the want
Of thought is death,

Then am I
A happy fly,
If I live,
Or if I die.

BOOKS: “The Flowers of Evil” by Charles Baudelaire

Les Fleurs du MalLes Fleurs du Mal by Charles Baudelaire
My rating: 5 of 5 stars

Amazon.in Page

I read the 1909 Cyril Scott translation of Baudelaire’s poetry collection. It consists of 54 poems, including “Condemned Women” but not including others of the six poems that were banned in early editions and which only came to be included in later editions. (I did look up and read a couple translations each for the six poems — because censorship can’t be allowed to prevail. Not surprisingly, they are calm by today’s standards. It should be noted that Baudelaire played in symbolism, and so his poems – while ahead of their time in subject matter – didn’t tend toward explicit vulgarity in the first place.)

The Scott translation is all in rhymed verse, the largest share of it presented as sonnets — though there are some longer pieces (longer, but not long. It’s a quick read.) “The Broken Bell” and “Spleen” were highlights for me, but the whole collection is intriguing, evocative, and readable.

I enjoyed this collection tremendously, even with such an old translation. The hedonism, eroticism, and macabre of Baudelaire’s work creates an intense tone.

I’d highly recommend this collection for all poetry readers.



View all my reviews