Poems Found in Translation: Medieval
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"Summer's Gone" (From Old Irish)

"Summer's Gone"
Anonymous
Translated by A.Z. Foreman

Here's my song.   Sad stags moan.
Winter blows,   summer's gone.
High winds lash.    Low, the sun.
Short, its course.   Seas roar on.
Fall-red fern   loses form.
Wildgeese wail   as the norm.
Cold now holds   each bird's wing.
Icy times.   So I sing.

The Original:

Scél lemm dúib   dordaid dam
snigid gaim   ro·fáith sam
Gáeth ard úar   ísel grían
gair a r-rith   ruirthech rían
Rorúad rath   ro·cleth cruth 
ro·gab gnáth   giugrann guth
Ro·gab úacht   etti én
aigre ré   é mo scél

Al-Mutanabbi: On the Recapture of Al-Ḥadath (From Arabic)

The year is 954 A.D. Al-Ḥadath Al-Ḥamrā is a strategically important town on the Arab-Byzantine border, between Marˁaš and Malaṭiya, which depended for protection on a fortress built on nearby Mount Uḥaydib. After being captured and demilitarized in 950 by the Byzantines, it was retaken in October of 954 by Sayfu l-Dawla Abū Ḥasan Bin Ḥamdān, the Emir of Aleppo (whom I have seen fit to anglicize as Lord Ali the Realmsword) who set about refortifying it, only to be interrupted by the appearance of Byzantine forces under the command of Bardas Phocas. Before the end of the month, a decisive battle was fought around Mount Uhaydib. After a day of heavy fighting, Lord Realmsword with a small company of hardened men broke through the Byzantine line. Bardas' forces retreated, leaving members of his own family as prisoners. Lord Realmsword was then able to finish up the fortification of Al-Hadath, whereupon he had the pleasure of hearing his court poet Abū Ṭayyib Al-Mutanabbī recite the poem translated here in celebration of the occasion.

Oh and here's a recording of me reciting the Arabic text:

In Praise of Lord Realmsword on the Recapture of Al-Hadath
By Al-Mutanabbī
Translated by A.Z. Foreman
This translation is dedicated to Tahera Qutbuddin, in whose wonderful seminar I had the pleasure of reading this and other poems by Al-Mutanabbī and got some idea of how to translate him. 

Resolutions measure a man's resolve
 and noble deeds a noble name.
Small deeds loom large to little eyes
 and great deeds shrink in a great man's gaze.
Behold Lord Ali of the house of Hamdan,
 See how Realmsword is rightly his name.
He wills his forces
 to show the force of his will
 which hardened brigades can hardly attain
He expects of his men
 no more than himself
 but more than the lordliest of lions can claim.
Agelong vultures
 of the vast drylands
 would pledge their lives to protect his blades.
They'd meet no harm though made talonless
 since his sturdy arms of steel were made.
Does that Red City
 still realize her color,(2)
 whether cloudbursts brought the blood or the rain?
Where first she drank of flashing clouds
 she drank of skulls the day he came.
While blade beat blade he built and braced her
 where she shook from the force of the Fates' brute waves.
She lay mad in the hold
 of an unholy spell
 that dead bodies broke at break of day.

Displaced by Fate
 to a foreign creed,
 the strike of your swords restored her Faith.
What nights yield to you
 is yours forever.
 What they steal from you they soon must repay.
Plans you pass are verbs
 in the present now 
 having moved to past before men can negate.
No Roman or Viking
(3)  could raze that stronghold
 raised with pikethrusts  for pillars and base.
No wronged man died and no wrongdoer lived
 when they called her to justice. The Judge was Fate.

So clad in steel they came at you
 their coursers seemed legless crossing the plain.
When they flashed, their blades  all blended in
 with steel garments aglint with day,
An army on the crawl from east and west
 clamoring till the ears of Orion(4) ached,
A horde of tangled tongues and peoples
 with translators for each order relayed. 

Then that molten time melted fake mettle 
 till only war's metal and men remained
Every sword shattered that failed to shatter
 the bulwark of bloodwood and bucklers and mail
Every fool turned gutless in fear of gutting
 fled from the ranks of fighters that day. 
Where standing meant death you stood your ground
 as if on the sleeping eyelids of bane.
While wounded, fright-fouled fighters ran past you
 you fought with a smile and a shining face
and went beyond bounds of bravery and reason
 till they said you knew the Numen's ways.

I know how hawks  will hold birds down
 in a grip to gut  their grounded game.(5)
You squeezed the foe's wings on a squirming heart
 and dealt hard death to downstruck prey.
You skivered their skulls when you still hadn't won
 then their vitals and throats as victory came. 
You detested lances  and tossed them aside,
 your sword spitting on spears at close range. 

Let any who look for the light of conquest
 see it in the luster of lightweight blades.
You strewed them hard over Uháydib like coins
 strewn over a woman on her wedding day.  
Your horses trampled the hilltop nests
 where fodder galore before them lay.
Eaglets imagined  it was their mothers you brought,
 not the sturdy wingfoot  steeds that raced
till they slipped and you had them slide on their bellies 
 across the earth like crawling snakes. 

Will the Domesticus(6) dare every day against you
 with his neck fighting  his advancing face? 
Does he not sense lions'  scent till he tastes it?
 Even wildbeasts can sense a lion on the way. 
Our leader's sorties struck him hard 
 when his son, his wife's brother  and his son were slain.
Troops helped him scamp to escape the swords
 that were busy hacking  their heads away. 
He got the message  of Mashrafi(7) steel
 to his men, though told  in the tongue of strangers. 
He was glad to surrender not in stupidity,
 but after his loss even life was a gain. 
You are no mere king who conquers his peer(8)
     but the one God's triumph over triune pagans,
You have ennobled  all of Adnan(9),
  Pride of the Outlands(10) and all creation. 
The praise is yours for my pearls of verse:
 I just string them.  You set their shape.   
Your gifts(111) gallop with me through the grind of war
 so you bear no regrets and I no blame
On a steed whose feet  fly to battle
 as soon as it hears the howling fray.

Oh Realmsword unsheathed  and ready forever,
 held in no doubt nor held at bay.
Joy to skull-strikers, to stout men's deeds,
 to them that love you and Islam: you are safe. 
And why wouldn't God still guard your edge
 to behead his foes with you for a blade?

Notes:


2 — Hali l-ḥadaṯu l-ḥamrā'u taˁrifu lawnahā? (Literally: "Does Red Al-Hadath know her color?")

"Red" was a term that could be used for non-Arabs, especially Persians, Greeks or "Franks" (Western Europeans) who were seen as being of lighter complexion. E.g. Atānī kullu aswada minhum wa'aḥmar "Every one of them, Arab and not, came to me". A saying attributed to Muhammad has it that buˁiṯtu ilā l-'aḥmari wa-l-aswad "I was sent to the red and the black" of which the most straightforward interpretation is "to all mankind, Arab and not." The term Al-Ḥamrā' as a collective adjective may also be used to refer generically to foreigners, or to emancipated slaves.

Al-Hadaṯ Al-Ḥamrā' "Red Hadath" is the traditional appellation of the city. The color is — I think — being played on at multiple levels. She (the city is morphosyntactically feminine) is in the most obvious sense "red" after being soaked with blood. But she was also a "red" (foreign, Greek) city when under Byzantine rule, which she no longer is. She is now "red" (emancipated from bondage) now that Lord Realmsword has relieved her of foreign control. Despite her traditional appellation, she may not even know that she is now red in one sense, and was red in the other, so completely has she now been redeemed to her proper place under Islamdom.

3 — "Vikings". The original text uses the word Rūs which in Modern Arabic simply means "Russians." Anglophone commenters on this poem have usually translated it thus, and Arabic commentaries often leave the word unglossed as though its meaning were transparent. But the Arabic word Rūs, at this time, actually referred to Norsemen (specifically the Byzantine Varangian guard is probably what is meant.) Since English "Rus" is far too scholarly, and "Norsemen" would be a bit too specific, I have used the most readily intelligible term Vikings. (I considered calquing off of Old Norse Garðmaðr and rendering the phrase as "Greeks and Garthmen" or the like. But somehow it felt a bit silly to go to such an extreme.)

4 — The original actually refers to Gemini, a different constellation. But makes for a more transparent image of an anthropomorphized stellar figure.

5 — This verse, like some others in my translation, does not have an exact counterpart in the original. But it served in English to make the image clearer. Al-Mutanabbī's description evokes the way a hawk pounces on larger types of prey. The predator holds its prey to the ground, delivering blows to the skull to dispatch it fully before slashing into the throat.

6 — Domesticus (or, rather δομέστικος) was Bardas' Byzantine military title, loaned into Arabic as dumustuq, which is the word Al-Mutanabbī uses.

7 — In poetry, good swords are often said to be "Mashrafi" after an obscure place called Mashraf. Nobody quite knows why, though everybody likes to guess.

8 — Literally "You are monotheism defeating polytheism (širk)". That Christians have in some sense diluted the principle of monotheism by worshipping a trinity was — as it still is — a commonplace of anti-Christian Muslim polemic.

9 — Adnan: the Northern Arabs are supposedly descendants of ˁAdnān.

10 — "Outlands" is my rendering of ˁawāṣim. The word has often been misread as meaning "capitals" which is its sense in Modern Arabic. The term ˁawāṣim here refers to a part of the frontier zone between the Byzantine Empire and the Empire of the Caliphs. The forward strongholds of this zone were called ṯuġūr "mouths", while those further rearward were called the ˁawāṣim "guardianesses". 

11 — Lord Realmsword had gifted the poet with some horses.

The Original:

عَلى قَدْرِ أهْلِ العَزْم تأتي العَزائِمُ   وَتأتي علَى قَدْرِ الكِرامِ المَكارمُ
وَتَعْظُمُ في عَينِ الصّغيرِ صغارُها وَتَصْغُرُ في عَين العَظيمِ العَظائِمُ
يُكَلّفُ سيفُ الدّوْلَةِ الجيشَ هَمّهُ وَقد عَجِزَتْ عنهُ الجيوشُ الخضارمُ
وَيَطلُبُ عندَ النّاسِ ما عندَ نفسِه وَذلكَ ما لا تَدّعيهِ الضّرَاغِمُ
يُفَدّي أتَمُّ الطّيرِ عُمْراً سِلاحَهُ نُسُورُ الفَلا أحداثُها وَالقَشاعِمُ
وَما ضَرّها خَلْقٌ بغَيرِ مَخالِبٍ وَقَدْ خُلِقَتْ أسيافُهُ وَالقَوائِمُ
هَلِ الحَدَثُ الحَمراءُ تَعرِفُ لوْنَها وَتَعْلَمُ أيُّ السّاقِيَيْنِ الغَمَائِمُ
سَقَتْها الغَمَامُ الغُرُّ قَبْلَ نُزُولِهِ فَلَمّا دَنَا مِنها سَقَتها الجَماجِمُ
بَنَاهَا فأعْلى وَالقَنَا يَقْرَعُ القَنَا وَمَوْجُ المَنَايَا حَوْلَها مُتَلاطِمُ
وَكانَ بهَا مثْلُ الجُنُونِ فأصْبَحَتْ وَمِنْ جُثَثِ القَتْلى عَلَيْها تَمائِمُ
طَريدَةُ دَهْرٍ ساقَها فَرَدَدْتَهَا على  الدّينِ بالخَطّيّ وَالدّهْرُ رَاغِمُ
تُفيتُ کللّيالي كُلَّ شيءٍ أخَذْتَهُ وَهُنّ لِمَا يأخُذْنَ منكَ غَوَارِمُ
إذا كانَ ما تَنْوِيهِ فِعْلاً مُضارِعاً مَضَى قبلَ أنْ تُلقى علَيهِ الجَوازِمُ
وكيفَ تُرَجّي الرّومُ والرّوسُ هدمَها وَذا الطّعْنُ آساسٌ لهَا وَدَعائِمُ
وَقَد حاكَمُوهَا وَالمَنَايَا حَوَاكِمٌ فَما ماتَ مَظلُومٌ وَلا عاشَ ظالِمُ
أتَوْكَ يَجُرّونَ الحَديدَ كَأنّمَا سَرَوْا إليك بِجِيَادٍ ما لَهُنّ قَوَائِمُ
إذا بَرَقُوا لم تُعْرَفِ البِيضُ منهُمُ ثِيابُهُمُ من مِثْلِها وَالعَمَائِمُ
خميسٌ بشرْقِ الأرْضِ وَالغرْبِ زَحْفُهُ وَفي أُذُنِ الجَوْزَاءِ منهُ زَمَازِمُ
تَجَمّعَ فيهِ كلُّ لِسْنٍ وَأُمّةٍ فَمَا يُفْهِمُ الحُدّاثَ إلاّ الترَاجِمُ
فَلِلّهِ وَقْتٌ ذَوّبَ الغِشَّ نَارُهُ فَلَمْ يَبْقَ إلاّ صَارِمٌ أوْ ضُبارِمُ
تَقَطّعَ ما لا يَقْطَعُ الدّرْعَ وَالقَنَا وَفَرّ منَ الفُرْسانِ مَنْ لا يُصادِمُ
وَقَفْتَ وَما في المَوْتِ شكٌّ لوَاقِفٍ كأنّكَ في جَفنِ الرّدَى وهْوَ نائِمُ
تَمُرّ بكَ الأبطالُ كَلْمَى هَزيمَةً وَوَجْهُكَ وَضّاحٌ وَثَغْرُكَ باسِمُ
تجاوَزْتَ مِقدارَ الشّجاعَةِ والنُّهَى إلى قَوْلِ قَوْمٍ أنتَ بالغَيْبِ عالِمُ
ضَمَمْتَ جَناحَيهِمْ على القلبِ ضَمّةً تَمُوتُ الخَوَافي تحتَها وَالقَوَادِمُ
بضَرْبٍ أتَى الهاماتِ وَالنّصرُ غَائِبٌ وَصَارَ إلى اللّبّاتِ وَالنّصرُ قَادِمُ
حَقَرْتَ الرُّدَيْنِيّاتِ حتى طَرَحتَها وَحتى كأنّ السّيفَ للرّمحِ شاتِمُ
وَمَنْ طَلَبَ الفَتْحَ الجَليلَ فإنّمَا مَفاتِيحُهُ البِيضُ الخِفافُ الصّوَارِمُ
نَثَرْتَهُمُ فَوْقَ الأُحَيْدِبِ كُلّهِ كمَا نُثِرَتْ فَوْقَ العَرُوسِ الدّراهمُ
تدوسُ بكَ الخيلُ الوكورَ على الذُّرَى وَقد كثرَتْ حَوْلَ الوُكورِ المَطاعِمُ
تَظُنّ فِراخُ الفُتْخِ أنّكَ زُرْتَهَا بأُمّاتِها وَهْيَ العِتاقُ الصّلادِمُ
إذا زَلِقَتْ مَشّيْتَها ببُطونِهَا كمَا تَتَمَشّى في الصّعيدِ الأراقِمُ
أفي كُلّ يَوْمٍ ذا الدُّمُسْتُقُ مُقدِمٌ قَفَاهُ على الإقْدامِ للوَجْهِ لائِمُ
أيُنكِرُ رِيحَ اللّيثِ حتى يَذُوقَهُ وَقد عَرَفتْ ريحَ اللّيوثِ البَهَائِمُ
وَقد فَجَعَتْهُ بابْنِهِ وَابنِ صِهْرِهِ وَبالصّهْرِ حَمْلاتُ الأميرِ الغَوَاشِمُ
مضَى يَشكُرُ الأصْحَابَ في فوْته الظُّبَى لِمَا شَغَلَتْهَا هامُهُمْ وَالمَعاصِمُ
وَيَفْهَمُ صَوْتَ المَشرَفِيّةِ فيهِمِ على أنّ أصْواتَ السّيوفِ أعَاجِمُ
يُسَرّ بمَا أعْطاكَ لا عَنْ جَهَالَةٍ وَلكِنّ مَغْنُوماً نَجَا منكَ غانِمُ
وَلَسْتَ مَليكاً هازِماً لِنَظِيرِهِ وَلَكِنّكَ التّوْحيدُ للشّرْكِ هَازِمُ
تَشَرّفُ عَدْنانٌ بهِ لا رَبيعَةٌ وَتَفْتَخِرُ الدّنْيا بهِ لا العَوَاصِمُ
لَكَ الحَمدُ في الدُّرّ الذي ليَ لَفظُهُ فإنّكَ مُعْطيهِ وَإنّيَ نَاظِمُ
وَإنّي لَتَعْدو بي عَطَايَاكَ في الوَغَى فَلا أنَا مَذْمُومٌ وَلا أنْتَ نَادِمُ
عَلى كُلّ طَيّارٍ إلَيْهَا برِجْلِهِ إذا وَقَعَتْ في مِسْمَعَيْهِ الغَمَاغِمُ
ألا أيّها السّيفُ الذي لَيسَ مُغمَداً وَلا فيهِ مُرْتابٌ وَلا منْهُ عَاصِمُ
هَنيئاً لضَرْبِ الهَامِ وَالمَجْدِ وَالعُلَى وَرَاجِيكَ وَالإسْلامِ أنّكَ سالِمُ
وَلِمْ لا يَقي الرّحم?نُ حدّيك ما وَقى وَتَفْليقُهُ هَامَ العِدَى بكَ دائِمُ

Anonymous: Deor (From Old English)

This poem refers to stock characters — real and fictional — from Germanic lore. Some of the figures are now obscure, and most are not known directly from Old English versions of the story. I have modernized many of the names in my translation, giving them forms that would be plausible as Modern English versions of the name. The biggest exception is Wayland, whose Old English name would actually have been Weeland or Weland had it survived into the modern period.

Wayland (Old English Wéland, Old Norse Vǫlundr, Old High German Wiolant) was a smith renowned for his metal working ability. He was forced to work for Nithad (OE Niþhad, ON Níðuðr) who hamstrung him to stop his escape. Wayland avenged himself by killing the king's sons, raping his daughter Beadild (OE Beadohilde, ON Bǫðvildr). Mathild and Geat are opaque. They appear to be famous lovers that met a tragic end, like Romeo and Juliet, or Layla and Majnun. The ablest guess is that they correspond to Magnhild and Gaute of a Scandinavian ballad tale recorded in the 19th century, but even if so the story as it was known to the poet's English audience may well have differed greatly from the version known from Scandinavia a thousand years later. Thedric is Theodoric, the Ostrogothic emperor who ruled in Italy from 493 to 526. Armenric is Ermanaric the Goth, another famous tyrant, known to us from Beowulf and Widsith. (I confected the form Armenric by positing that the vowel of Eormanric underwent pre-rhotic lowering to /a/ in Late Middle English and, as in most native words, failed to raise again in the Early Modern period. Eormanric becomes Armenric just like "feorr", "deorc" do "far", "dark".)

The phonology of my recording below is not based on the extant West Saxon text in the Exeter Book. That'd be too easy and I wanted to do something different. Trying to date a poem as short as this is difficult, but its subject matter and in particular its preservation of genuine Old English reflexes of mythical proper names suggests that it isn't much younger than the 9th century if that. I based my reading on the Mercian dialect recorded in the Vespasian Psalter. Thus vowel length has collapsed in inflectional endings, /ĕ̄o/ and /ĭ̄o/ have merged, and Mercian second fronting is in full effect. The text shown in the video is meant to give an idea of what the text in the Exeter Book might have looked like if it were copied out faithfully from a Mercian exemplar.

Deor
By Anonymnous
Translated by A.Z. Foreman

Wayland in Wormland went through harrows,
The strongminded smith suffered in exile.
Worry and longing  walked beside him,
winter-raw anguish. He ached for escape
after King Nithad cramped his sinews 
and bound a slave of the better man.

That passed in time. So too can this. 

To Beadild's mind her brothers' deaths
weren't as wounding as what she faced
herself when she came to clearly see
that she was pregnant. That princess unwed
could not handle what would become of her.

That passed in time. So too can this.

We know the tale   of tragic Mathild.
the Geat bore her a bottomless passion,
all sleep banished  by a baneful love

That passed in time. So too can this.

Tyrant Thedrick for thirty winters
ruled the Mearings, as many know.

That passed in time. So too can this.

We have all heard tell of Armenrick
and his wolfsick mind. He was one cruel king,
That overlord of the outland Goths
whose state was set in strung-up hearts 
as strong men sat in sorrow-chains
awaiting the worst, and wishing so much
for a foe to liberate the land of their king.

That passed in time. So too can this.

A man sits mournful, mind ripped from joy.
His spirit in dark, he deems himself
foredoomed to endure ordeals forever.
Then he may think how throughout the world
the Wise God goes and works around:
meting out grace, mercy and certain
success to some, suffering to many.

Of myself I want to say just this:
I was high poet  to the Hedenings once,
Dear to my master. "Deer" was my name.
For many winters  I was a man in that hall
And the heart of my lord. But Herrend came
And reaped the riches and rights of land
That guardian of men  once granted me,
And stole my place  with a poet's skill. 

That passed in time. So too can this.

The Original:

Wélond him be wurman  wreces cunnade
ánhýdiġ eorl  earfoða drég
hefde him tó ġesíþþe  sorġe end longoþ
wintercalde wræce  wéan oft onfond
seoþþan hine níþhád on  néde leġde
swoncre seonobende  on sellan mon

þes oferéode  þisses swé meġ

Beadohilde ne wes  hire bróðra déaþ
on seofan swé sár  swé hire seolfre þing,
þet híe ġearolíċe  onġeten hefde
þet híe écen wes;  ǽfre ne mehte
þríste ġeþencan,  hú ymb þet ṡċolde.

þes oferéode þisses swé meġ

Wé þet Mǽþhilde  monġe ġefrugnon
wurdon grundléase  Ġéates fríge,
þet him séo sorglufu  slép alle binom.

þes oferéode þisses swé meġ

Þéodríċ áhte  þrítiġ wintra
Méringa burg;  þet wes moneġum cúþ.

þes oferéode þisses swé meġ

Wé ġeáscadun  Éormonríċes
wylfenne ġeþóht;  áhte wíde folc
Gotena ríċes.  Þet wes grim cyning.
Set seċġ moniġ  sorgum ġebunden,
wéan on wénan,  wyṡċte ġenehhe
þet þes cyneríċes  ofercumen wére.

þes oferéode þisses swé meġ

Siteþ sorgċeriġ,  sélum bidǽled,
on seofan swerċeþ,  seolfum þinceþ
þet síe endeléas  earfoða dæl.
Meġ þonne ġeþencan,  þet ġeond þás weoruld
wítiġ dryhten  wendeþ genehhe,
eorle monegum  áre geṡċéawaþ,
wíslícne bléd,  sumum wéana dǽl.

Þet iċ bi mé seolfum  seċġan wille,
þet iċ hwíle wes Heodeninga sċop,
dryhtne déore.  Mé wes Déor noma.
Áhte iċ feola wintra  folgaþ tilne,
holdne hláford,  oþþet Heorrenda nú,
léoþcreftiġ monn  londreht ġeþáh,
þet mé eorla hléow  ǽr ġesalde.

þes oferéode þisses swé meġ






Beowulf 2231-2270: Lament of the Last Survivor (From Old English)

Lament of the Last Survivor 
(Beowulf 2231-2270)
Translated by A.Z. Foreman

  There was such ancient wealth in that earthen vault.
In an age long past, with an end in his mind,
someone now nameless had known to hide
his dear treasure in the darkness here,
the heaped legacy of a highborn race
at dynasty's end.  Death already
had taken them all in times gone by,
and left just this one: the last warrior
of a fallen line whose fate he mourned,
expecting the same. This sad watchman
knew that ageless hoard would be only his
to enjoy briefly. The barrow stood
built and waiting  by the breaking waves
crafted for safety, set on the headland.
That keeper of rings  then carried in
all the gold-plated  goods he had there
worth protecting.  His words were these few:
    "Hold now, O earth, what heroes cannot:
Wealth of warriors. It was worthy men
who delved it from you. Death in battle
has mowed them down. Mortal horror
has made away with the mortal souls
of each of my clan who have quit this life,
the hall-mirth of knights. Nobody's here
to bear me a blade or bring my cup's
burnished meadgold. My band moved on.
The hard helmet hasped in goldwork
must lose its hoop. Helm-shiners sleep
that once burnished my battle-mask. 
War-coats that braved the biting steel
when shields burst wide will be worn to bits
with their brave wearers. The whorled hauberk
will wander no more on the warchief's back
in a battle band.  No more brilliant harp
with timbered tune, no trained falcon
swooping the songhall, no swift-hoof horse 
prancing the courtgrounds. Plundering carnage
ousts whole peoples out of existence."
   So he mourned who survived, remembering hurts,
alone after them all, aching and maundering
for days and nights  till death seethed up
and beat his heart.


The Original:


      þér wæs swelcrá feolá
in þǽm eorðselí  ǽrġistréoná,
swé híæ on ġárdagum  gumæná náthwelċ,
iorminláƀǽ  æðilan cynnæs,
þanchycgændí  þér gihýddǽ,
díorǽ máðmas.  Allǽ híæ déaþ fornam
ǽrran mélum,  ænd se án þá ġén
líodá duguðǽ  se þér længist hwearƀ,
weard winiġómor,  wéndǽ þæs ylcan,
þæt hé lýtil fæc  langġistréoná
brúcan móstí.  Berg allġearu 
wunudǽ on wangǽ,  wæterýðum néh
níowi bi næssǽ  nearucræftum fæst.
þér on innan bær  eorlġistréoná
hringá hirdí,  hordwiorðnǽ dǽl,
fǽttan goldæs,  féa wordá cwæþ:

Hald þú nú, hrúsǽ, nú hæliþ ni móstun,
eorlá ǽhti. Hwæt hit ǽr on þé
gódǽ biġétun; gúþdéaþ fornam,
ferhbealu frœ́cni firhá ġihwelċnǽ,
líodá mínrá,  þonǽ þe þis líƀ ofġæƀ,
secgá selidréamas. Náh hwá sweord weġǽ
oþþǽ forþ berǽ fǽtid wéġí,
drynċfæt díorí: duguþ ellor sċóc.
Sċæl se heardá helm hyrstidgoldǽ
fǽtum bifallæn: feormiænd swefaþ,
þá þe beadugríman bíowan sċoldun,
ġé swelċǽ sío heripád, sío æt hildí ġibád
oƀær bordá ġibræc bití íserná,
brosnaþ æftær beornǽ. Ni mæġ byrnan hring
æftær wíġfruman wídǽ fœ́ran,
hæliðum bi halƀǽ; nis hearpan wyn,
gomæn glíwbéamæs, ni gód heaƀuc
ġeond sæl swingiþ, ni se swiftá mærh
burhstedi béatiþ. Bealucwalm haƀaþ
feolá ferhcynná forþ onsændid!
Swé ġómormód ġehþu mǽndǽ
án æftær allum, unblíþí hwearƀ
dæġæs ænd næhtæs, oþþæt déaðæs wælm
hrán æt heortan 


Abū Salīk Gurgānī: Life Advice (From Persian)

Life Advice
Abū Salīk Gurgānī
Translated by A.Z. Foreman

Better to shed your own blood on the ground
Than shed your self-respect on a court's floor. 
Better to worship idols than a man.
That is my teaching. Heed it and endure. 

The Original:

خونِ خْوَد‌را گَر بِریٰزی بر زَمین بِهْ کِه آبِ روٰیْ ریٰزی دَر کَنار

بُت‌پَرَسْتَنْدَه بِه اَز مَردُم‌پَرَست پَنْد گِیر و کار بَنْد و گوٰش دار

xūn-i xwadrā gar birēzī bar zamīn
bih ki āb-i rōy rēzī dar kanār
butparastanda bih az mardumparast
pand gīr u kār band u gōš dār

Rudaki: "Everything's Right" (From Persian)

"Everything's Right"
By Rōdakī
Translated by A.Z. Foreman
 
Everything's right as it should be. It is
A festive time. So yes: feast with them too.
Why drag out your anxieties and fears?
Destiny's state will do what it must do.
Scheming like some Vizier won't turn out well.
The hands of fate will not be turned askew.
Life's wheel cannot create your substitute.
Your mother will not bear another you.
God will not shut a door on you without
Another hundred opening. Go through.

The Original:

كار همه راست، آنچُنان كه بِبايد        حالتِ شاديست، شاد باشى، شايد

اندُه و انديشه را دراز چه دارى؟        دولتِ تو خود همان كند كه بپايد

راىِ وزيران ترا به كار نَيايد،           هرچه صوابست، بخت خود فرمايد

چرخ نَيار بديلِ تو زِ خلايق         وان كه ترا زاد نيز چون تو نَزايد

ايزد هرگز درى نبندد بر تو          تا صد ديگر به بهترى نگشايد

Omar Khayyam: The Skull of Kay Kawos (From Persian)

The Skull of King Kawos
Omar Khayyam
Translated by A.Z. Foreman

I saw a bird perched on the walls of Tōs
Before it lay the skull of King Kāwōs,
And to that skull it cried "Poor king! Poor thing!
Your rolling drums and bells, where now are those?"

The Original:

مرغى ديدم نشسته بر بارهٔ طوس 

در پيش نهاده كلهٔ كى كاووس

با كله همى‌گفت كه افسوس افسوس

كو بانگ جرس‌ها و چه شد نالهٔ كوس

Murɣē dīdam nišasta bar bāra-i tōs
dar pēš nihāda kalla-i kay kāwōs
bā kalla hamē guft ki afsōs afsōs 
kō bāng-i jarashā u či šud nāla-i kōs 

Rudaki: Ode to Nasr bin Ahmad (From Persian)

Ode to Nasr bin Ahmad
By Rudaki
Translated from Persian by A.Z. Foreman

....They knew that the king intended to stay there for that summer also. Then the army's captains and royal nobles went to Abu Abdillah Rudaki, the most honored man in the king's inner circle, who had his ear more than anyone else. They said to him "we will give you five thousand dinars if you can find a way to get the king to move on from here. We are really missing our wives and children, and we're so homesick for Bukhara, it's well-nigh killing us." Rudaki agreed. Since he'd taken the Amir's pulse and understood his state of mind, he realized that prose would not move him, so he opted for verse and composed an ode. When the Amir had taken his morning drink, Rudaki came in and sat down in his place. When the musicians were done, he took up the harp. Playing in Amorosi Minor, he began this poem...
      (From Nizāmī Arūzī's "Four Discourses")

Rolling Moliyan's aromas blow our way
       Memories of friends that love us flow our way.
Where the grit and gravel of the Oxus runs
       Silken soft beneath our feet, we'll go our way.
Thrilled to greet a friend, Jayhun's waves jump their banks
       Half-way up our horses' flanks to show our way.
Here's to you Bukhara and your king. Cheer up!
       He'll return in cheer again. We know our way.
Bright Bukhara is the sky. Our king its moon.
       Soon the moon will move back home to glow our way.
Green Bukhara is a garden. He, its tree,
       He's a cypress bound for home to grow our way.


The Original:


دانستند که سر آن دارد که این تابستان نیز آنجا باشد. پس سران لشکر و مهتران ملک به نزدیک استاد ابو عبدالله الرودکی رفتند و از ندماء پادشاه هیچ کس محتشم‌تر و مقبول القول‌تر از او نبود. گفتند:پنج هزار دینار تو را خدمت کنیم اگر صنعتی بکنی که پادشاه از این خاک حرکت کند که دلهای ما آرزوی ديدن زن و فرزند همی‌برد و جان ما از اشتیاق بخارا همی برآید. رودگی قبول کرد که نبض امیر بگرفته بود و مزاج او بشناخته. دانست که به نثر با او در نگیرد روی به نظم آورد و قصیده‌ای بگفت و به وقتی که امیر صبوح کرده بود درآمد و به جای خویش بنشست و چون مطربان فرو داشتند او چنگ برگرفت و پردهٔ عشاق بنواخت و این قصیده آغاز کرد:

بوى جوى موليان آيذ همى      ياذ يار مهربان آيذ همى
ريگِ آموى و درشتيهاى او        زيرِ پايم پرنيان آيذ همى
آبِ جيحون از نشاطِ روىِ دوست      خنگ مارا تا ميان آيذ همى
اى بخارا شاذ باش و دير زى       ميز زى تو شاذمان آيذ همى
مير ماه است و بخارا آسمان       ماه سوىِ آسمان آيذ همى
مير سرو است و بخارا بوستان       سرو سوىِ بوستان آيذ همى 

Saadi: Golestan 8.12 (From Persian)

From the Golestan: Chapter 8, Section 12
By Saadi of Shiraz
Translated by A.Z. Foreman

Have no mercy an enemy for his powerlessness. If he were powerful, he would have none on you.

      Faced with a helpless enemy,
      Don't brag that you're a gentleman.
      In every body's bone, there's marrow.
      In every shirt, there is a man.

The Original:

بر عجز دشمن رحمت مکن که اگر قادر شود بر تو نبخشاید.

دشمن چو بینی ناتوان
لاف از بروت خود مزن
مغزیست در هر استخوان
مردیست در هر پیرهن

Hafiz: Ghazal 220 "Aspirations" (From Persian)

Ghazal 220 "Aspirations" 
By Hafiz
Translated by A.Z. Foreman

Although our city preacher won't 
like hearing it from me, 
  He'll never be a Muslim with 
  this much hypocrisy. 
Learn to get drunk, be a gentleman 
not a dumb animal 
  That cannot drink a drop of wine  
  or be a man at all.  
The essence must be unalloyed 
to make His grace our own, 
  Or from our clay no pearls will come
  nor coral come from stone.  
The Almighty shall fulfill His will. 
Rejoice, my heart! No con 
  Or devilry can turn a demon 
  into a Solomon.  
Mine is the noble art of love.  
I hope against belief  
  This craft won't bring, as others brought,  
  despondency and grief.  
Last night he said "Tomorrow I  
will grant your heart's desire"  
  God let him have no change of heart
  nor let him be a liar.
May God add a good heart to all  
your physical attraction  
  So you'll no longer torment me 
  with harrowing distraction.
Hafiz! Unless a mote of dust  
aspires to mighty height,  
  It is not drawn to the true fount
  from which the sun draws light.


Prose paraphrase:

(1) Though the city preacher won't find it easy to hear these words, as long as he practices sophistry and hypocrisy, he'll never be a real Muslim. (2) Train yourself in dissolute drunkenness, and be a gentleman to others. For not so artful is the beast that does not drink wine, or become human. (3) There must be a pure-gemmed essence in order to be a vessel for holy grace, for without it stone and clay will not become pearl and coral. (4) He of the Greatest Name does his work - be glad O heart, for by no trick or fraud can a devil ever become Solomon. (5) I practice love, and hope that this noble art will not, as other arts have done, cause me chagrin. (6)  Last night he was saying "Tomorrow I will give you your heart's desire." Oh God, contrive to keep him from having compunction about doing so! (7) For my own sake I pray God include in your beauty a good disposition, so that my mind is no longer distraught and discombobulated. (8) So long as the dustmote lacks lofty aspiration and drive, Hafiz, it is not in quest for the source that is the resplendent sun's own dayspring.   

Notes:

Verse 1: The word for hypocrisy, sālūs is identical to one of the words for the Christian trinity (though they are spelled differently in Perso-Arabic script.) Hypocrisy, for Hafiz, is a cardinal sin against the divine, and this may be a punny way of equating it with the dilution of monotheism, as the triune God of Christianity was, and indeed still is, generally seen by Muslims as a sketchy traducement of God's essential oneness. I myself get the sense that such punctilios as the dubious nature of the trinity (as well as all the things that you have to do or think to be a "true" Muslim) might have been precisely the sort of thing a pietistic preacher would rant about from the pulpit. The real sin isn't the Christian's sālūs (trinity) that would offend the preacher, but rather the preacher's own sālūs (hypocrisy) that offends Hafiz. Thus the preacher who might rant about what makes a proper Muslim is himself failing to measure up.          

Verse 3: See Qur'an [55:19-22]

Verse 7:  Many recensions of this poem have husn-i xulqē zi Xudā mētalabam xōy-i turā "I seek of God a fine disposition for your character", which does not make overmuch sense as xulq and xōy are more or less synonyms. Khanlārī prefers the variant ending in husn-i turā "to your beauty" which seems much more compelling to me. This version makes it clear that the speaker is asking for the beloved to be as good in heart as he is good to look at, for if so he will satisfy the lover's desire rather than making him yearn tormentedly. It also adds a nice bit of wordplay. For ḥusn-i xulq is also a technical term for "virtue of character" in a religious and ethical sense. Hafiz, though, is enjoining the beloved to keep his word and do something which, however pleasurable, is rather at odds with what the jurist would deem virtuous.       


The Original:


گر چه بر واعظ شهر این سخن آسان نشود تا ریا ورزد و سالوس مسلمان نشود
رندی آموز و کرم کن که نه چندان هنر است حیوانی که ننوشد می و انسان نشود
گوهر پاک بباید که شود قابل فیض ور نه هر سنگ و گلی لوءلوء و مرجان نشود
اسم اعظم بکند کار خود ای دل خوش باش که به تلبیس و حیل دیو سليمان نشود
عشق می‌ورزم و امید که این فن شریف چون هنرهای دگر موجب حرمان نشود
دوش می‌گفت که فردا بدهم کام دلت سببی ساز خدایا که پشیمان نشود
حسن خلقی ز خدا می‌طلبم حسن ترا تا دگر خاطر ما از تو پریشان نشود
ذره را تا نبود همت عالی حافظ
طالب چشمه خورشید درخشان نشود

Romanization:

Gar či bar wā'iz-i šahr īn suxan āsān našawad
Tā riā warzad u sālūs musalmān našawad
Rindī āmōz u karam kun ki na čandān hunarast
Hayawānē ki nanōšad may u insān našawad
Gawhar-i pāk bibāyad, ki šawad qābil-i fayz,
War na har sang u gilē lu'lu' u marjān našawad.
Ism-i a'zam bukunad kār-i xwad ay dil, xwaš bāš
Ki ba talbīs u hayal dēw Sulaymān našawad
'Išq mēwarzam u ummēd ki īn fann-i šarīf
Čūn hunarhā-i digar mawjib-i hirmān našawad
Dōš mēguft ki fardā bidiham kām-i dilat
Sababē sāz Xudāyā ki pašēmān našawad
Husn-i xulqē zi Xudā mētalabam husn-i turā
Tā digar xātar-i mā az tu parēšān našawad
Zurrarā tā nabuwad himmat-i 'ālī hāfiz
Tālib-i čašma-i xwaršēd-i duruxšān našawad

Тоҷикӣ:

Гарчи бар воизи шаҳр ин сухан осон нашавад, 
То риё варзаду солус, мусулмон нашавад. 
Риндӣ омӯзу карам кун, ки на чандон ҳунар аст, 
Ҳаявоне, ки нанӯшад маю инсон нашавад. 
Гавҳари пок бибояд, ки шавад қобили файз, 
Варна ҳар сангу гиле лӯълӯву марҷон нашавад. 
Исми аъзам бикунад кори худ, эй дил, хуш бош 
Ки ба талбису ҳиял дев Сулаймон нашавад. 
Ишқ меварзаму уммед, ки ин фанни шариф, 
Чун ҳунарҳои дигар мӯҷиби хирмон нашавад. 
Дӯш мегуфт, ки фардо бидиҳам коми дилат, 
Сабабе соз, Худоё, ки пашемон нашавад. 
Ҳусни хулқе зи Худо металабам ҳусни туро, 
То дигар хотири мо аз ту парешон нашавад. 
Зарраро то набувад ҳиммати олӣ, Ҳофиз, 
Толиби чашмаи хуршеди дурахшон нашавад. 

Pangur Bán (from Old Irish)

The poem translated here is of anonymous authorship, in that the author's name is unknown. But he was an Irish monk operating at or near Reichenau Abbey in what is today Germany in the 9th century. The poem is found in his notebook. The meter of the original is a loose seven-syllable deibide with the featural rhymes typical of Old Irish, in the alternating rinn/ardrinn style in which a stressed syllable is rhymed with an unstressed one. I have rendered it in English with seven-syllable trochaic tetrameter and mostly using full rhymes, which may be a bit sing-songy or clip-cloppy, but seems to fit the tone of the poem rather well. Compare this with my translation of Creide's lament where I used a syllabic approach to vary the rhythm a great deal more, and also used rhymes that — in English — would be judged imperfect but fit the featural criteria for what counts as a rhyme in Irish. 

Pangur Bán 
Translated by A.Z. Foreman

Me and Pangur Bán at work:
He the cat, and I the clerk.
He is hunting mice to nip,
I am at my scholarship.

Fame's for fools. I'd rather rest
Studying my book with zest.
Happy for me, Pangur Bán
Plies his child-play all he can.

It's our never-boring tale.
We two, home alone, can't fail
To find everlasting sport
On which to fixate our art.

After berserk battle he
Nets a mouse in victory.
Me, I net a hard, dark line
Till I make its meaning shine.

His bright penetrating eye
Points toward the wall. While I 
Set my far less piercing sight
On a point more recondite.

He exults, getting a raw
Mouse impaled upon his claw.
When a dear yet difficult
Problem yields, I too exult.

That's us, ever at our art.
None bugging his counterpart, 
Each making a craft his own
To rejoice in it alone. 

Crafty Pangur, cat of prey,
Plies his trade by night and day.
I do monk's work, day and night,
Solving, bringing dark to light.


The Original:

Messe ocus Pangur Bán,
cechtar nathar fria saindán;
bíth a menma-sam fri seilgg,
mu menma céin im saincheirdd

Caraim-se fos, ferr cach clú,
oc mu lebrán léir ingnu;
ní foirmtech frimm Pangur bán,
caraid cesin a maccdán.

Ó ru·biam — scél cen scís —
innar tegdais ar n-óendís,
táithiunn — díchríchide clius —
ní fris tarddam ar n-áthius.

Gnáth-húaraib ar gressaib gal
glenaid luch inna lín-sam;
os mé, du·fuit im lín chéin
dliged n-doraid cu n-dronchéill.

Fúachid-sem fri frega fál
a rosc anglése comlán;
fúachimm chéin fri fégi fis
mu rosc réil, cesu imdis,

Fáelid-sem cu n-déne dul
hi·n-glen luch inna gérchrub;
hi·tucu cheist n-doraid n-dil,
os mé chene am fáelid.

Cía beimmi amin nach ré,
ní·derban cách ar chéle.
Maith la cechtar nár a dán,
subaigthius a óenurán.

Hé fesin as choimsid dáu
in muid du·n-gní cach óenláu;
du thabairt doraid du glé
for mu mud céin am messe.

Lament of Créide for Dínertach (From Old Irish)

This poem preserved in the West Munster cycle. According to the prose preface there, Dínertach had come to fi ght for Guaire of Gort in 649 and was killed in battle, and the poem was made by Guaire's daughter Créd who had fallen for him. This does not make overmuch sense, as the poem is more intelligible if it is Guaire's wife who is speaking. The language of the poem, as reconstructed from a later copy, puts it in the late 9th century, hundreds of years after the events that supposedly occasioned it. It gives me the impression of having been originally an independent work that was eventually sutured into a prose narrative.

Créide's Lament for Dínertach (ca. 9th century)
Translated by A.Z. Foreman

These sleep-slaughtering arrows strike
Every hour in cold of night:
Pangs for time spent after dark
With the man from Roigne's march.

Mad love for an outlander
Who outstripped his every peer
Has stripped my bloom, bleached my cheek,
And will now not let me sleep.

He spoke sweeter than men sing
Save those hymning heaven's king:
My great flame who spoke no bluff,
My sleek, tender-sided love.

As a girl I was modest,
Had no truck with lust or tryst.
Now in my uncertain age
Wantonness plays its charades.

Here I've got every good thing
With Gúaire, cold Aidne's king.
But the mind will out afar
From my folk to Irluachar.

Here they sing round Cell Colmán
In grand Aidne of that man
From past Limerick's grave-track,
The great flame named Dínertach.

Christ! It mutilates my heart
How they killed him in the dark.
These sleep-slaughtering arrows strike
Every hour in cold of night.

The Original:

It é saigte gona súain,
cech thrátha i n-aidchi adúair,
serccoí, lia gnása, íar n-dé,
fir a tóeb thíre Roigne.

Rográd fir ala thíre
ro-síacht sech a chomdíne
ruc mo lí (ní lór do dath);
ním-léci do thindabrad.

Binniu laídib a labrad
acht Ríg nime nóebadrad:
án bréo cen bréthir m-braise,
céle tana tóebthaise.

Imsa naídiu robsa náir:
ní bínn fri dúla dodáil;
ó do-lod i n-inderb n-aís
rom-gab mo théte togaís.

Táthum cech maith la Gúaire,
la ríg n-Aidni adúaire;
tocair mo menma óm thúathaib
isin íath i n-Irlúachair.

Canair a i n-íath Aidni áin,
im thóebu Cille Colmáin,
án bréo des Luimnech lechtach
díanid comainm Dínertach. 

Cráidid mo chride cainech,
a Chríst cáid, a ̇foraided:
it é saigte gona súain
cech thrátha i n-aidchi adúair.

Anonymous: Opening of "Charlemagne and Elfguest" (From Middle Dutch)

"Karel ende Elegast", a medieval Romance about Charlemagne going out stealing in the middle of night on God’s orders, and in the process discovering a conspiracy on his life, is among the most famous pieces of Middle Dutch literature. Surprisingly I can't find anyone who has done a verse-translation into English. I guess if you want a thing done right, you gotta do it your own self. I here translate the first 82 lines of it. 

Opening of Charlemagne and Elfguest
Anonymous
Translated by A.Z. Foreman

There is a real true history
I can tell you. Listen to me:
It happened just as evening fell
While Charlemagne was sleeping well
Along the Rhine at Ingelheim.
The land was all his. At the time 
He was both emperor and king.
Hear what a true yet wondrous thing
Happened Charlemagne back then
(Remembered still by many men)
One night at Palace Ingelheim 
Where he had planned in one day's time
To hold court and wear his crown
So to magnify his renown. 
Now as the king in slumber lay
A holy angel called his way. 
So the king suddenly woke
At these words that angel spoke.
He said "Get up now, noble man.
Get dressed quickly as you can,
Arm yourself. Go out and steal.
God himself bid me reveal
This task to you. He is Lord on high.
Do it, or in dishonor die. 
Unless you ride tonight and thieve,
Evil will befall you. Believe:  
It will be the end of you.
You will die, your life be through
Before this next court finishes.
So now, take good heed of this
And go out stealing. Take your chance. 
Take your shield and take your lance.
Arm yourself. Go, mount your steed
And do not dally. Ride with speed."

This the king heard, open-eared.
It struck him as rather weird. 
There was no one to be seen,
He wondered what that voice might mean.
He assumed he'd dreamt it, and then
Paid it no mind. But once again 
Spoke the heavens' messenger
Angrily to the emperor:
"Get UP Charles. Go out and steal.
 God hath sent me to reveal
This His will. Go out. Ride on.
Do it, or your life is done."

This and nothing more said he.
And the king cried "Mercy me!"
Upset as he had ever been
"What does this freakish happening mean?
Are elf-delusions making me blunder
With figments of this monstrous wonder?
Oh God in heaven, honestly
What need even is there for me
To go out stealing? I am so rich,
There is no man with whom I'd switch,
No man on earth, not king or count,
Whose wealth amounts to my amount,
Unless he is my vassal too
And gives me service as my due.
My land is so massive, there
Is nothing like it anywhere. 
The land is entirely mine
From Cologne upon the Rhine
To as far as Rome which none
Own but the emperor alone.
I am king and my wife queen
From the eastern Danube's stream
To the wild and western sea.
And there's still more that belongs to me:
There's Galicia and Spain
Which I won by battle's reign
When I chased the heathen out
So now it's mine without a doubt. 
Why would I need to thieve at all
Like some pathetic criminal?
Why does God bid this of me?
I would hate to break his decree.
But did he really bid me thieve?
It's a struggle to believe
That the Mighty King of Kings
Wills me the shame of stealing things." 

Audio of me reading the first 76 lines of the original in Middle Dutch:

The Original:

Vraeye historie ende al waer 
mach ic u tellen, hoorter naer. 
Het was op enen avontstonde 
dat Karel slapen begonde 
tEngelem op den Rijn.
Dlant was alle gader sijn.
Hi was keyser ende coninc mede. 
Hoort hier wonder ende waerhede! 
Wat den coninc daer ghevel,
dat weten noch die menige wel. 
tEnghelem al daer hi lach
ende waende op den anderen dach 
crone draghen ende houden hof 

omme te meerner sinen lof.
Daer die coninc lach ende sliep, 
een heilich engel aen hem riep, 
so dat die coninc ontbrac
biden woerden die dengel sprac 
hij seyde: “Staet op, edel man. 
Doet haestelic u cleeder an, 
wapent u ende vaert stelen, 
God die hiet mi u bevelen,
die in hemelrike is here,
of ghi verliest lijf ende eere.
En steeldi in deser nacht niet, 
so is u evel gheschiet.
Ghi sulter omme sterven 
ende uwes levens derven
eer emmermeer scheit dit hof.
Nu verwacht u daer of,
vaert stelen of ghi wilt.
Neemt uwen speere ende uwen schilt, 
wapent u, sit op u paert
haestelic ende niet en spaert.
Dit verhoorde die coninc.
Het docht hem een vreemde dinc, 
want hi daer niemant en sach, 
wat dat roepen bedieden mach.
Hi waendet slapende hebben gehoort 
ende hilt hem niet an dat woert. 
Dengel die van Gode quam,
sprac ten coninc als die was gram: 
“Staet op, Karel, ende vaert stelen, 
God die hiet my u bevelen
ende ontbiedet u te voren,
anders hebdi u lijf verloren.”
Met dien woerde sweech hi.
Ende die coninc riep “Ay mi,” 
als die seere was vereent.
“Wat ist dat dit wonder meent? 
Ist alfs ghedroch dat mi quelt 
endit grote wonder telt?
Ay, hemelsche drochtijn, 
wat node soude mij sijn 
te stelene? Ic ben so rike.
En is man in aertrijcke,
weder coninc noch graven,
die so rijc sijn van haven,
sine moeten mi sijn onderdaen 
ende te minen diensten staen.
Mijn lant is so groot,
men vint nyewers sijns ghenoot.
Dlant is algader mijn
tote Colene opten Rijn 
ende tote Romen voort,
alst den keyser toe behoort.
 Ic ben here, mijn wijf is vrouwe,
oest totter wilder Denouwe
ende west totter wilder see.
Nochtans heb ic goets veel meer:
Galissien en Spandien lant,
dat ic selve wan mitter hant,
ende ic die heydene verdreef,
dat mi dlant alleene bleef.
Wat node soude mi sijn dan 
te stelene ellendich man?
Waer om ontbiedet mi dit God? 
Node brekic sijn ghebot - 
wistic dat hijt mi ontbode.
En mochs niet gheloven node 
dat mi God die lachter onste 
dat ic te stelen begonste.”