French literature -- 19th century -- History and criticism; Symbolism in literature
Seated gigantically on the side of the night
(Tr. 6)
* * * * *
--O these crowds, these crowds, and the misery and distress that
whips them like billows.
Monstrances, decorated with silk, towards the heaped up towns, in roofs
of glass and crystal, from the height of the sacerdotal choir, stretch
the cross of gothic ideas.
They obtrude themselves in the gold of clear Sundays--All Saints' day,
Christmas, Easter, and white Pentecosts. They obtrude themselves in the
gold and in the incense and in the fête of the great organ beating with
the flight of its storms.
The red capitals and vermillion vaults are a soul, in sunlight, living
in the old background and antique authoritarian mystery.
Yet, when the song and the naive, prismatic anthem ceases, a grief
of incense evaporated stamps itself on the golden tripods and brazen
altars.
And the stained glass windows, lofty with ages kneeling before Christ,
with their immobile popes and martyrs and heroes, seem to tremble at
the sound of a proud train passing through the town.
(Tr. 7)
Formerly--there was the errant, somnambulous life, across the mornings
and fabulous evening, when the right hand of God towards the blue
Canaans traced the golden road in the depth of the shadows.
Formerly--there was the enormous, exasperated life, fiercely hung on
the manes of stallions, suddenly, with great sparks from their hoofs,
and towards immense space immensely provoked.
Formerly--there was the ardent, evocative life; the white Cross of
heaven, the red Cross of hell advanced, to the splendor of iron armors,
each across blood, towards his victorious heaven.
Formerly--there was the foaming livid life, alive and dead, with
strokes of crime and tocsins, battle between them, of proscribers and
assassins, with splendid and mad death above them.
(Tr. 8)
The melancholy time has ornamented its hours like dead flowers; the
passing year has yellowed its days like dry leaves. The pale dawn is
seen by gloomy waters and the faces of evening have bled under the
arrows of the laughing, bleeding, mysterious wind.
(Tr. 9)
I know sad waters in which die the evenings; flowers which nobody
gathers fall there one by one.
(Tr. 10)
Yesterday the dawn was so pale over the peaceful meadows and
shavegrass; in the clear morning came a child to gather plants, leaning
on them his pure hands that gathered the asphodels.
Noon was heavy with storm and dismal with sunlight in the garden dead
of pride in its lethargic sleep of flowers and trees; the water was
hard to the eye like marble, the marble warm and clear like water, and
the child that came was comely, clad in purple and golden-hair, and
long one saw the peonies, one by one, draw their blood from the petals
at the passage of the fair child.
The child that came that evening was naked. He gathered roses in the
dusk, he sobbed at having come, he retreated before his shadow. It is
like him, naked, that my destiny has recognized itself.
(Tr. 11)
Public-domain text, read in full here on John Shaqi.
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