Georges Rodenbach

SUNDAYS | ALONE
November 29, 2015 Rodenbach Georges

SUNDAYS

 

Mournful Sunday afternoons in winter,
in the drowsiness of provincial towns,
where some inconsolable weather cock
like a bird of iron, creaks alone on a roof-top!

And drifting on the wind who knows what anguish.
Rare passers-by travel the pavements:
priests, working women in great black hooded cloaks,
beguines returning from the parish service.

The faces of listless women are pressed
to the pane, gazing on the void and silence,
and a few meagre flowers, settled in somnolence,
achieve their death in the veiled frames.

And in the space between the curtains
in drawing rooms of large patrician mansions
one might see, on backgrounds of old gobelin tapestry
in ancient frames of gold, ancestral portraits,

in velvet doublet and ruffs of lace,
with their coats of arms in a corner of the canvas,
watch as a star is lit up in the distance
and the town sleeps on in heavy silences.

And all those old mansions are empty, lifeless,
within them seeking refuge, the dead middle ages;
and so it is, at evening, the luminous sun
seeks refuge too in their melancholy lanterns.

Oh lanterns, guarding the memory of fire,
the memories of light long disappeared,
so dejected in the affliction and emptiness of the street
they seem to burn for the cortege of some deity!

And now of a sudden the restless bells
disturb the belfry planted in its pride,
and their sound, heavily bronzed, gradually falls
on the coffin of the town as if in spadefuls.

 

 

ALONE

 

To live as in exile, to live seeing no-one
in the vast desolation of a town that is dying,
where one hears nothing but the vague murmur
of an organ sobbing, or the belfry tolling.

To feel oneself remote from souls, from minds,
from all that bears a diadem on its brow;
and without shedding light consume oneself
like a futile lamp in the depths
of dark burial vaults.

To be like a vessel that dreamed of voyage,
triumphal, cheerful, off the red equator
which runs into ice flows of coldness
and feels itself wrecked without leaving a wake.

Oh to live thus! All alone…all alone to witness
the wilting of this divine soul’s white flowering,
in contempt of all and without prediction,
alone, alone, always alone, observing
one’s own extinction.

 

 

DIMANCHES

 

Morne l’après-midi des dimanches, l’hiver,
Dans l’assoupissement des villes de province,
Où quelque girouette inconsolable grince
Seule, au sommet des toits, comme un oiseau de fer !

Il flotte dans le vent on ne sait quelle angoisse !
De très rares passants s’en vont sur les trottoirs :
Prêtres, femmes du peuple en grands capuchons noirs,
Béguines revenant des saluts de paroisse.

Des visages de femme ennuyés sont collés
Aux carreaux, contemplant le vide et le silence,
Et quelques maigres fleurs, dans une somnolence,
Achèvent de mourir sur les châssis voilés.

Et par l’écartement des rideaux des fenêtres,
Dans les salons des grands hôtels patriciens
On peut voir, sur des fonds de gobelins anciens,
Dans de vieux cadres d’or, les portraits des ancêtres,

En fraise de dentelle, en pourpoint de velours,
Avec leur blason peint dans un coin de la toile,
Qui regardent au loin s’allumer une étoile
Et la ville dormir dans des silences lourds.

Et tous ces vieux hôtels sont vides et sont ternes ;
Le moyen âge mort se réfugie en eux ;
C’est ainsi que, le soir, le soleil lumineux
Se réfugie aussi dans les tristes lanternes.
Ô lanternes, gardant le souvenir du feu,
Le souvenir de la lumière disparue,
Si tristes dans le vide et le deuil de la rue
Qu’elles semblent brûler pour le convoi d’un Dieu !

Et voici que soudain les cloches agitées
Ébranlent le Beffroi debout dans son orgueil,
Et leurs sons, lourds d’airain, sur la ville au cercueil
Descendent lentement comme des pelletées !

 

 

Seul

 

Vivre comme en exil, vivre sans voir personne
Dans l’immense abandon d’une ville qui meurt,
Où jamais l’on n’entend que la vague rumeur
D’un orgue qui sanglote ou du Beffroi qui sonne.

Se sentir éloigné des âmes, des cerveaux
Et de tout ce qui porte au front un diadème ;
Et, sans rien éclairer, se consumer soi-même
Tel qu’une lampe vaine au fond de noirs caveaux.

Être comme un vaisseau qui rêvait d’un voyage
Triomphal et joyeux vers le rouge équateur
Et qui se heurte à des banquises de froideur
Et se sent naufrager sans laisser un sillage.

Oh ! vivre ainsi ! tout seul, tout seul ! voir se flétrir
La blanche floraison de son Âme divine,
Dans le dédain de tous et sans qu’aucun devine,
Et seul, seul, toujours seul, se regarder mourir !

 

 

 

Georges Rodenbach was born in Tournai, Belgium but spent his early years in the Flemish city of Ghent and later Paris, where, like his childhood friend and compatriot Emile Verhaeren, he rubbed shoulders with all the main players of the French symbolist movement. Rodenbach’s name is forever associated with Bruges, the location for his most celebrated and enduring work, the poetic novel ‘Bruges-la-Morte’ (1892). He also wrote a number of collections of poetry of which ‘Le Règne du silence’ from 1891 in many ways prefigures Bruges-La-Morte. A further novel ‘Le Carilloneur’ (1897) is also set in Bruges. Several books of short stories, prose poems, and a range of essays on such diverse figures as Rodin, Monet, Huysmans, Verlaine and Mallarmé attest to a prodigious literary talent. Rodenbach was a typical artist of the decadent period, unfailingly anti-bourgeois, solitary, an aesthete suffering some undisclosed malady of the spirit, the victim of a palpable sense of ennui or ‘spleen’. But Rodenbach was very much a modern, tenacious poet too and was not merely concerned with the decadent indulgences and literary frivolities of many of his peers. His precise, poignant, delicate, yet deceptively existentially muscular poems still promise much to the modern reader, despite the fact that they have suffered woeful neglect in English translation.