This is my modern English translation of one of the oldest English poems and perhaps the first one written by a woman.
Wulf and Eadwacer
anonymous Anglo-Saxon poem, circa 960 AD
loose translation/interpretation by Michael R. Burch
My clan’s curs pursue him like crippled game.
They’ll rip him apart if he approaches their pack.
It is otherwise with us.
Wulf’s on one island; we’re on another.
His island’s a fortress fastened by fens.
Here, bloodthirsty curs howl for carnage.
They’ll rip him apart if he approaches their pack.
It is otherwise with us.My thoughts pursued Wulf like panting hounds.
Whenever it rained—how I wept!—
the boldest cur grasped me in his paws.
Good feelings for him, but for me, loathsome!
Wulf, O, my Wulf, my ache for you
has made me sick; your infrequent visits
have left me famished, deprived of real meat!
Do you hear, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.
Originally published by Measure
Keywords/Tags: Wulf, Eadwacer, Anglo-Saxon, Old English, translation, wolf, pack, island
"Wulf and Eadwacer" is one of the truly great poems of English antiquity. It has been classified as an elegy, a lament, a lover's lament, an early ballad or villanelle, a riddle, a charm, and as a frauenlieder or "woman's song." An ancient Anglo-Saxon work written in the West Saxon dialect, the poem dates back to a time when the English language still resembled German (the Angles, from whom England derives its name, were a Germanic tribe, as were the Saxons and Jutes). Around 75% of the poem's words have Germanic origins. Old English poetry is also called Anglo-Saxon poetry because it has linguistic roots that go back to the Angles and Saxons. And yet, while the poem was composed in Old English, it still "feels" quite modern. How is that so? For one thing, it's a dramatic monologue―quite possibly the first dramatic monologue in the English language, centuries before the works of poets and playwrights like Geoffrey Chaucer, Christopher Marlowe, William Shakespeare, John Milton, Alfred Tennyson and Robert Browning. It's also one of the first English poems with a refrain, along with "Deor's Lament." Furthermore, the speaker of "Wulf and Eadwacer" is a woman, at a time when we don't find other Englishwomen writing poetry or speaking so bitterly and defiantly (the "Wife's Lament" is the other dazzling exception to this general rule). Thus "Wulf and Eadwacer" may be the first feminist text in the English language. Is the speaker female? I think so. Henk Aertsen has argued that the feminine endings of reotugu and seoce are female. But grammar aside, it seems obvious that a woman is speaking. And technically the poem looks like free verse―nearly a thousand years before Walt Whitman and five hundred years before the King James Bible―because it "breaks the rules" of the poetry of its day. In my opinion, "Wulf and Eadwacer" is a groundbreaking poem because it has a female perspective, a feminist attitude, and a free verse approach in which traditional rules of versification are bent or broken. What matters, as with the great Romantic and Modernist poets to come many centuries later, is that the speaker gets her point across. And she does, in spades.
***
Deor's Lament (circa the 10th century AD)
loose translation/interpretation by Michael R. Burch
Weland endured the agony of exile:
an indomitable smith wracked by grief.
He suffered countless sorrows;
indeed, such sorrows were his bosom companions
in that frozen island dungeon
where Nithad fettered him:
so many strong-but-supple sinew-bands
binding the better man.
That passed away; this also may.
Beadohild mourned her brothers' deaths,
bemoaning also her own sad state
once she discovered herself with child.
She knew nothing good could ever come of it.
That passed away; this also may.
We have heard the Geat's moans for Matilda,
his lovely lady, waxed limitless,
that his sorrowful love for her
robbed him of regretless sleep.
That passed away; this also may.
For thirty winters Theodric ruled
the Mæring stronghold with an iron hand;
many acknowledged his mastery and moaned.
That passed away; this also may.
We have heard too of Ermanaric's wolfish ways,
of how he cruelly ruled the Goths' realms.
That was a grim king! Many a warrior sat,
full of cares and maladies of the mind,
wishing constantly that his crown might be overthrown.
That passed away; this also may.
If a man sits long enough, sorrowful and anxious,
bereft of joy, his mind constantly darkening,
soon it seems to him that his troubles are limitless.
Then he must consider that the wise Lord
often moves through the earth
granting some men honor, glory and fame,
but others only shame and hardship.
This I can say for myself:
that for awhile I was the Heodeninga's scop,
dear to my lord. My name was Deor.
For many winters I held a fine office,
faithfully serving a just king. But now Heorrenda
a man skilful in songs, has received the estate
the protector of warriors had promised me.
That passed away; this also may.
***
Hadrian’s Elegy
by Michael R. Burch
1.
Little soul,
little tramp,
little vagabond ...
where are we fluttering off to,
so bedraggled, pale and woebegone,
who used to be so full of mirth?
Where are we going—from bad to worse?
Who’ll laugh last? Was the joke on us?
2.
My delicate soul,
now aimlessly fluttering ... drifting ... unwhole,
former consort of my failing corpse ...
Where are we going—from bad to worse?
From jail to hearse?
Where do we wander now—fraught, pale and frail?
To hell?
To some place devoid of jests, mirth, happiness?
Is the joke on us?
***
HOMER TRANSLATIONS
Surrender to sleep at last! What an ordeal, keeping watch all night, wide awake. Soon you’ll succumb to sleep and escape all your troubles. Sleep. — Homer, loose translation/interpretation by Michael R. Burch
Any moment might be our last. Earth’s magnificence? Magnified because we’re doomed. You will never be lovelier than at this moment. We will never pass this way again. — Homer, loose translation/interpretation by Michael R. Burch
Let’s hope the gods are willing. They rule the vaulting skies. They’re stronger than men to plan, execute and realize their ambitions.—Homer, loose translation/interpretation by Michael R. Burch
Passage home? Impossible! Surely you have something else in mind, Goddess, urging me to cross the ocean’s endless expanse in a raft. So vast, so full of danger! Hell, sometimes not even the sea-worthiest ships can prevail, aided as they are by Zeus’s mighty breath! I’ll never set foot on a raft, Goddess, until you swear by all that’s holy you’re not plotting some new intrigue! — Homer, loose translation/interpretation by Michael R. Burch
Few sons surpass their fathers; most fall short, all too few overachieve. — Homer, loose translation/interpretation by Michael R. Burch
Beauty! Ah, Terrible Beauty! A deathless Goddess, she startles our eyes! — Homer, loose translation/interpretation by Michael R. Burch
Many dread seas and many dark mountain ranges lie between us. — Homer, loose translation/interpretation by Michael R. Burch
The lives of mortal men? Like the leaves’ generations. Now the old leaves fall, blown and scattered by the wind. Soon the living timber bursts forth green buds as spring returns. Even so with men: as one generation is born, another expires. — Homer, loose translation/interpretation by Michael R. Burch
Since I’m attempting to temper my anger, it does not behoove me to rage unrelentingly on. — Homer, loose translation/interpretation by Michael R. Burch
Overpowering memories subsided to grief. Priam wept freely for Hector, who had died crouching at Achilles’ feet, while Achilles wept himself, first for his father, then for Patroclus, as their mutual sobbing filled the house. — Homer, loose translation/interpretation by Michael R. Burch
“Genius is discovered in adversity, not prosperity.” — Homer, loose translation/interpretation by Michael R. Burch
Ruin, the eldest daughter of Zeus, blinds us all with her fatal madness. With those delicate feet of hers, never touching the earth, she glides over our heads, trapping us all. First she entangles you, then me, in her lethal net. — Homer, loose translation/interpretation by Michael R. Burch
Death and Fate await us all. Soon comes a dawn or noon or sunset when someone takes my life in battle, with a well-flung spear or by whipping a deadly arrow from his bow. — Homer, loose translation/interpretation by Michael R. Burch
Death is the Great Leveler, not even the immortal gods can defend the man they love most when the dread day dawns for him to take his place in the dust.—Homer, loose translation/interpretation by Michael R. Burch
***
Disconcerted
by Michael R. Burch
Meg, my sweet,
fresh as a daisy,
when I’m with you
my heart beats like crazy
& my future gets hazy ...
***
The Less-Than-Divine Results of My Prayers to be Saved from Televangelists
by Michael R. Burch
I’m old,
no longer bold,
just cold,
and (truth be told),
been bought and sold,
rolled
by the wolves and the lambs in the fold.
Who’s to be told
by this worn-out scold?
The complaint department is always on hold.
***
Only Let Me Love You
by Michael R. Burch
after Rabindranath Tagore
Only let me love you, and the pain
of living will be easier to bear.
Only let me love you. Nay, refrain
from pinning up your hair!
Only let me love you. Stay, remain.
A face so lovely never needs repair!
Only let me love you to the strains
of Rabindranath on a soft sitar.
Only let me love you, while the rain
makes music: gentle, eloquent, sincere.
Only let me love you. Don’t complain
you need more time to make yourself more fair!
Only let me love you. Stay, remain.
No need for rouge or lipstick! Only share
your tender body swiftly ...
***
Come Spring
by Michael R. Burch
for the Religious Right
Come spring we return, innocent and hopeful, to the Virgin,
beseeching Her to bestow
Her blessings upon us.
Pitiable sinners, we bow before Her,
nay, grovel,
as She looms above us, aglow
in Her Purity.
We know
all will change in an instant; therefore
in the morning we will call her,
an untouched maiden no more,
“whore.”
The so-called Religious Right prizes virginity in women and damns them for doing what men do. I have long been a fan of women like Tallulah Bankhead, Marilyn Monroe and Mae West, who decided what’s good for the gander is equally good for the goose.
***
HOMELESS POETRY
These are poem about the homeless and poems for the homeless.
Epitaph for a Homeless Child
by Michael R. Burch
I lived as best I could, and then I died.
Be careful where you step: the grave is wide.
Homeless Us
by Michael R. Burch
The coldest night I ever knew
the wind out of the arctic blew
long frigid blasts; and I was you.
We huddled close then: yes, we two.
For I had lost your house, to rue
such bitter weather, being you.
Our empty tin cup sang the Blues,
clanged—hollow, empty. Carols (few)
were sung to me, for being you.
For homeless us, all men eschew.
They beat us, roust us, jail us too.
It isn’t easy, being you.
Published by Street Smart, First Universalist Church of Denver, Mind Freedom Switzerland and on 20+ web pages supporting the UN Convention on the Rights of Persons with Disabilities
Frail Envelope of Flesh
by Michael R. Burch
for homeless mothers and their children
Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...
Frail crucible of dust,
brief flower come to this—
your tiny hand
in your mother’s hand
for a last bewildered kiss ...
Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...
For a Homeless Child, with Butterflies
by Michael R. Burch
Where does the butterfly go ...
when lightning rails ...
when thunder howls ...
when hailstones scream ...
when winter scowls ...
when nights compound dark frosts with snow ...
where does the butterfly go?
Where does the rose hide its bloom
when night descends oblique and chill,
beyond the capacity of moonlight to fill?
When the only relief’s a banked fire’s glow,
where does the butterfly go?
And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?
Neglect
by Michael R. Burch
What good are tears?
Will they spare the dying their anguish?
What use, our concern
to a child sick of living, waiting to perish?
What good, the warm benevolence of tears
without action?
What help, the eloquence of prayers,
or a pleasant benediction?
Before this day is over,
how many more will die
with bellies swollen, emaciate limbs,
and eyes too parched to cry?
I fear for our souls
as I hear the faint lament
of theirs departing ...
mournful, and distant.
How pitiful our “effort,”
yet how fatal its effect.
If they died, then surely we killed them,
if only with neglect.
The childless woman,
how tenderly she caresses
homeless dolls ...
—Hattori Ransetsu, loose translation by Michael R. Burch
Clinging
to the plum tree:
one blossom's worth of warmth
—Hattori Ransetsu, loose translation by Michael R. Burch
Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
—Takaha Shugyo, loose translation by Michael R. Burch
What would Mother Teresa do?
Do it too!
—Michael R. Burch
Keywords/Tags: homeless poetry, homeless poems, homelessness, street life, child, children, mom, mother, mothers, America, neglect, starving, dying, perishing, famine, illness, disease, tears, anguish, concern, prayers, inaction, death, charity, love, compassion, kindness, altruism
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