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Sebastian în vis / Sebastian in Traum
Am primit Sebastian in vis si am gasit multe in ea: adanc, emotionant, uimitor, rau-prevestitor, bulversant, de vreme ce cititorul intelege imediat conditiile acestui rasunet si ale acestei estompari ca fiind in mod iremediabil unice, asemenea circumstantelor din care doar un vis poate sa se nasca.
Rainer Maria Rilke
Rainer Maria Rilke
First published January 1, 1915
3 people are currently reading
200 people want to read
About the author
Georg Trakl
160 books205 followersGeorg Trakl was an Austrian poet. He is considered one of the most important Austrian Expressionists.
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Displaying 1 - 16 of 16 reviews
May 18, 2016
My head responded to the lone stretches of peace resulting in solitude, one hundred years later.
December 19, 2019
zila grāmata par purpura un sarkanām, un melnām dienām.
August 11, 2023
«y ángeles surgen suave del mirar azulado
de los ojos de amantes que sufren dulcemente»
de los ojos de amantes que sufren dulcemente»
December 4, 2015
“Snart formørkes det grublende menneskes pande.” Jeg ved ikke, hvad denne strofe fra Georg Trakls klassiske digtsamling Sebastian i drømme skal betyde. Men det lyder tungt og som noget, der kan overgå mig selv, hvis jeg skulle fortabe mig i forsøg på at forstå Trakl. Det tror jeg, at det gælder om at undgå.
Læs anmeldelsen af den danske oversættelse her: http://bognoter.dk/2015/12/04/georg-t...
Læs anmeldelsen af den danske oversættelse her: http://bognoter.dk/2015/12/04/georg-t...
July 6, 2020
Det ville være en suveræn overdrivelse at påstå, jeg forstod bare halvdelen, men hold kæft, hvor er det smukt og vidunderligt, mørkt og mystisk, bedrøvende og uendeligt. Uforståeligheden har aldrig føltes bedre.
February 17, 2022
în privința lui Georg Trakl (dar și în privința altor mari poeți) este cât se poate de valabilă afirmația lui Heidegger: “orice mare poet nu scrie decât pornind de la un unic Poem.”
un expresionist desăvârșit - totuși greu digerabil la primele lecturi (ar putea fi implicat în acest caz și păcatul traducerii) - care vomită culorile doar pentru a putea contura întunericul din fond, întuneric adăpostind spaimele, angoasele, sentimentul nebuniei inevitabile, chiar fatidice și al morții-mereu-imediate, singurătatea absolută - apăsarea cosmică pe coloana vertebrală, frecând oasele, măcinându-le, veșnica presiune epifanică ce strivește creierul și care, totuși, nu eliberează sufletul, nu oferă prilejul renașterii, ci dimpotrivă, încheagă tot mai mult otrava din adâncuri, transformând-o în scut, în hrană, în propria persoană, până la urmă.
singurul regret pe care-l port este că nu sunt germanofon și, deci, nu-mi pot permite o desfătare dusă, în taină, până la capăt.
un expresionist desăvârșit - totuși greu digerabil la primele lecturi (ar putea fi implicat în acest caz și păcatul traducerii) - care vomită culorile doar pentru a putea contura întunericul din fond, întuneric adăpostind spaimele, angoasele, sentimentul nebuniei inevitabile, chiar fatidice și al morții-mereu-imediate, singurătatea absolută - apăsarea cosmică pe coloana vertebrală, frecând oasele, măcinându-le, veșnica presiune epifanică ce strivește creierul și care, totuși, nu eliberează sufletul, nu oferă prilejul renașterii, ci dimpotrivă, încheagă tot mai mult otrava din adâncuri, transformând-o în scut, în hrană, în propria persoană, până la urmă.
singurul regret pe care-l port este că nu sunt germanofon și, deci, nu-mi pot permite o desfătare dusă, în taină, până la capăt.
November 29, 2024
I was impressed by this collection, but not as much as the first. I was glad I reread the first volume to reacquaint myself with the poetic vocabulary. I think Trakl is a little more accessible than some poets because he keeps his scope kind of limited. His work is also characterized by the influence of the German expressionist painters and that's all pretty obvious.
The first volume seemed a little more grounded. This second aimed aimed higher and succeeded. I could also definitely see his influence on Rilke, especially the Duino Elegies which is somehow less of an elegy than all of Trakl's work. Perhaps that's what I came to at the end, past the German expressionist color-wash, the immense elegiac nature of Trakl's poetry. And of course, one need look no further than his life to divine the impetus behind that. There's an interesting sort of depth to Trakl's poetry. I think most people want poetry to mean something but sometimes it just means feelings.
The first volume seemed a little more grounded. This second aimed aimed higher and succeeded. I could also definitely see his influence on Rilke, especially the Duino Elegies which is somehow less of an elegy than all of Trakl's work. Perhaps that's what I came to at the end, past the German expressionist color-wash, the immense elegiac nature of Trakl's poetry. And of course, one need look no further than his life to divine the impetus behind that. There's an interesting sort of depth to Trakl's poetry. I think most people want poetry to mean something but sometimes it just means feelings.
August 8, 2017
Oh, com'è vecchia la nostra generazione!
Questo lamento di Trakl nella poesia "Per Via" rappresenta molto bene lo spirito di questa raccolta del poeta di Salisburgo (scritta a 28 anni!): una giovane generazione già disgregata e schiantata, dilaniata tra un presente doloroso e disperato e un passato perduto e silenzioso. E come in tutte le opere di TRakl, immagini tardo-romantiche e bucoliche si alternano a visioni moderne ed inquietanti e funeree. Significativo che l'ultima poesia sia dedicata a Kaspar Hauser, simbolo dello "straniero", del "viandante", del "folle", del "dipartito", in una parola dell'uomo che tenta di trovare una strada nuova verso una condizione di pace nella natura...
Questo lamento di Trakl nella poesia "Per Via" rappresenta molto bene lo spirito di questa raccolta del poeta di Salisburgo (scritta a 28 anni!): una giovane generazione già disgregata e schiantata, dilaniata tra un presente doloroso e disperato e un passato perduto e silenzioso. E come in tutte le opere di TRakl, immagini tardo-romantiche e bucoliche si alternano a visioni moderne ed inquietanti e funeree. Significativo che l'ultima poesia sia dedicata a Kaspar Hauser, simbolo dello "straniero", del "viandante", del "folle", del "dipartito", in una parola dell'uomo che tenta di trovare una strada nuova verso una condizione di pace nella natura...
October 2, 2016
I received an ARC from Seagull Books.
Georg Trakl died from a cocaine overdose while recovering from a nervous breakdown in a military hospital during World War I. He was awaiting the proofs of Sebastian Dreaming which he had requested despite the fact that the publication of this collection was put off indefinitely because of The Great War. Sebastian Dreaming was the second, and final collection that was prepared for publication by the author himself and James Reidel’s translation of this collection is the first that has appeared in English in its entirety. Although some of the poems have appeared in other collections, the translator has argued that these poems ought to be read as part of this single collection, which is what Trakl himself intended.
In my review of Trakl’s first collection of poems that was also published by Seagull Books and translated by James Reidel, I argued that, although Trakl’s struggle against depression and despair is evident, an underlying sense of triumph against these demons lingers; Trakl does not let his feelings of dejection overwhelm or destroy him. Not yet, anyway. But Sebastian’s Dreaming, which contains more overwhelming images of decay and dying, foreshadows Trakl’s impending overdose which many speculate was a suicide; by the time this collection was composed he had finally been overwhelmed and defeated by his emotional disturbances, excessive indulgences in drugs and alcohol and the incestuous relationship he shared with his sister. In short, the tone of these poems is more deeply melancholic than those in the previous collection. In Dream and Benightment he writes:
O, cursed breed. When every fate is consummated in filthy
rooms, death enters the household with mouldering footsteps.
O, that spring was outside and a lovely bird might sing in
the blossoming tree. But the sparse green withers grey at
the window of those who come by night and the bleeding
hearts still think about evil.
The collection is divided into five sections, the titles of which suggest something of a final scene, before the curtain of his life has fallen: “Sebastian Dreaming”, “The Autumn of One Alone”, “Song Septet of Death”, “Song of the Solitary,” and “Dream of Benightment.” In the poem Passion there exists a struggle against nature and our natural surroundings which bring about our inevitable demise. Orpheus, who was torn apart by wild beasts as he sings a lament for his lost wife, is an apt figure for the destruction that passion can wreak on a human soul:
When Orpheus strums the lyre silver,
Lamenting one dead in the evening garden,
Who are you, one reposed, under towering trees?
The autumn reeds rustle with the lament,
The blue pond,
Dying away under greening trees
And following the shadow of the sister;
Dark love
of a wild kind,
For whom the day rushes by on golden spokes.
Silent night.
Anyone familiar with Trakl’s complicated relationship with his sister Grete can’t help but notice the proximity of the word sister to those of Dark love/of a wild kind.
I found it interesting to learn from reading an introduction to Reidel’s manuscript, Some Uncommon Poems and Versions, that the Austrian pediatrician who lends his name to the disorder believed that Trakl displayed the symptoms of Asperger’s Syndrome. Trakl’s poetry demonstrates two of the hallmark symptoms of this syndrome: a gift with language and an emotional remoteness. As an expressionist poet it is natural that his poetic landscape is full of this movement’s angst, interactions with nature and vivid colors. But after reading Reindel’s comment about Asperger’s Syndrome I viewed his poems with a different eye, one towards someone who has difficulty with intimate connections and certain emotional cues. Trakl never tells us he is melancholy or sad or overcome with despair. But instead he describes Love as a pink angel appearing quietly to a boy or Joy as an evening sonata playing in cool rooms.
Finally, I would like to mention the pervasive use of colors in this collection. The pages are consumed with the various shades that Trakl sees in nature. Colors play an interesting role in expressing our emotions; we wear black at a funeral and a red dress to a festive party. Different colors are associated with different holidays and seasons. Trakl’s uses of color in his poetry brought to mind the vivid and bright pieces of the Expressionist painters. Perhaps color was the best way that Trakl knew how to deal with and process his complicated emotional struggles. He writes about a “blue soul” and a “black silence” in Autumn Soul. The poem By Night contains a different color in each line that captures the mood of what could be the beginning of a passionate night:
The blue of my eyes is put out in this night.
The red gold of my heart. O! How still burns the candle.
Your blue mantel enfolds the one falling;
Your red mouth seals the friend’s benightment.
Seagull Books will publish one final collection of poetry in the Trakl series. I look forward to reading that collection and comparing it with the previous two volumes.
Georg Trakl died from a cocaine overdose while recovering from a nervous breakdown in a military hospital during World War I. He was awaiting the proofs of Sebastian Dreaming which he had requested despite the fact that the publication of this collection was put off indefinitely because of The Great War. Sebastian Dreaming was the second, and final collection that was prepared for publication by the author himself and James Reidel’s translation of this collection is the first that has appeared in English in its entirety. Although some of the poems have appeared in other collections, the translator has argued that these poems ought to be read as part of this single collection, which is what Trakl himself intended.
In my review of Trakl’s first collection of poems that was also published by Seagull Books and translated by James Reidel, I argued that, although Trakl’s struggle against depression and despair is evident, an underlying sense of triumph against these demons lingers; Trakl does not let his feelings of dejection overwhelm or destroy him. Not yet, anyway. But Sebastian’s Dreaming, which contains more overwhelming images of decay and dying, foreshadows Trakl’s impending overdose which many speculate was a suicide; by the time this collection was composed he had finally been overwhelmed and defeated by his emotional disturbances, excessive indulgences in drugs and alcohol and the incestuous relationship he shared with his sister. In short, the tone of these poems is more deeply melancholic than those in the previous collection. In Dream and Benightment he writes:
O, cursed breed. When every fate is consummated in filthy
rooms, death enters the household with mouldering footsteps.
O, that spring was outside and a lovely bird might sing in
the blossoming tree. But the sparse green withers grey at
the window of those who come by night and the bleeding
hearts still think about evil.
The collection is divided into five sections, the titles of which suggest something of a final scene, before the curtain of his life has fallen: “Sebastian Dreaming”, “The Autumn of One Alone”, “Song Septet of Death”, “Song of the Solitary,” and “Dream of Benightment.” In the poem Passion there exists a struggle against nature and our natural surroundings which bring about our inevitable demise. Orpheus, who was torn apart by wild beasts as he sings a lament for his lost wife, is an apt figure for the destruction that passion can wreak on a human soul:
When Orpheus strums the lyre silver,
Lamenting one dead in the evening garden,
Who are you, one reposed, under towering trees?
The autumn reeds rustle with the lament,
The blue pond,
Dying away under greening trees
And following the shadow of the sister;
Dark love
of a wild kind,
For whom the day rushes by on golden spokes.
Silent night.
Anyone familiar with Trakl’s complicated relationship with his sister Grete can’t help but notice the proximity of the word sister to those of Dark love/of a wild kind.
I found it interesting to learn from reading an introduction to Reidel’s manuscript, Some Uncommon Poems and Versions, that the Austrian pediatrician who lends his name to the disorder believed that Trakl displayed the symptoms of Asperger’s Syndrome. Trakl’s poetry demonstrates two of the hallmark symptoms of this syndrome: a gift with language and an emotional remoteness. As an expressionist poet it is natural that his poetic landscape is full of this movement’s angst, interactions with nature and vivid colors. But after reading Reindel’s comment about Asperger’s Syndrome I viewed his poems with a different eye, one towards someone who has difficulty with intimate connections and certain emotional cues. Trakl never tells us he is melancholy or sad or overcome with despair. But instead he describes Love as a pink angel appearing quietly to a boy or Joy as an evening sonata playing in cool rooms.
Finally, I would like to mention the pervasive use of colors in this collection. The pages are consumed with the various shades that Trakl sees in nature. Colors play an interesting role in expressing our emotions; we wear black at a funeral and a red dress to a festive party. Different colors are associated with different holidays and seasons. Trakl’s uses of color in his poetry brought to mind the vivid and bright pieces of the Expressionist painters. Perhaps color was the best way that Trakl knew how to deal with and process his complicated emotional struggles. He writes about a “blue soul” and a “black silence” in Autumn Soul. The poem By Night contains a different color in each line that captures the mood of what could be the beginning of a passionate night:
The blue of my eyes is put out in this night.
The red gold of my heart. O! How still burns the candle.
Your blue mantel enfolds the one falling;
Your red mouth seals the friend’s benightment.
Seagull Books will publish one final collection of poetry in the Trakl series. I look forward to reading that collection and comparing it with the previous two volumes.
July 17, 2020
"En el oscuro espejo de mi alma
hay visiones de mares nunca vistos."
hay visiones de mares nunca vistos."
January 30, 2022
Poezii bucolice și gotice, doldora de imagini când duioase, când macabre, generatoare de emoții puternice.
May 7, 2023
Som wittgenstein forstår jeg ikke alltid budskapet, eller bildet Trakl skaper, men jeg forstår tonen, musikaliteten og jeg forstår at det jeg ikke forstår er vakkert.
February 3, 2021
Dette er en gjendikning av Trakl fra Fosse. En helt ok diktsamling, men må si jeg liker Fosse svært mye bedre.
Omtale på bloggen min:
https://ebokhyllami.blogspot.com/2021...
Omtale på bloggen min:
https://ebokhyllami.blogspot.com/2021...
July 15, 2022
Breve volumetto di poesie oscure, anonime, travagliate.
April 21, 2016
The second volume in Seagull's three part series Our Trakl. This is the last collection prepared for publication before Trakl's overdose death in 1914 at age 27. For a more detailed review including a link to an essay by the translator about this project, please see my review at: http://wp.me/p4GDHM-ns
February 17, 2021
Dzeja nevis par Esamību, bet par Neko, par Laiku. Laiku, kad viss jau ir beidzies. Tā vietā nekā jauna nav un turpinām mīņāties nobeigtā trūdos.
Displaying 1 - 16 of 16 reviews