SIGN IN to access Harper’s Magazine
Need to create a login? Want to change your email address or password? Forgot your password?
1. Sign in to Customer Care using your account number or postal address.
2. Select Email/Password Information.
3. Enter your new information and click on Save My Changes.
Subscribers can find additional help here. Not a subscriber? Subscribe today!
Stille in nächtigem Zimmer.
Silbern flackert der Leuchter
Vor dem singenden Odem
Verdunkelt den steinernen Raum
Und es starrt von der Qual
Des goldenen Tags das Haupt
Reglos nachtet das Meer.
Stern und schwärzliche Fahrt
Entschwand am Kanal.
Kind, dein kränkliches Lächeln
Folgte mir leise im Schlaf.
Silent in the nocturnal room
The candlestick flickers silver
Before the singing breath
Of the loner;
Magical cloud of roses.
A swarm of black flies
Darkens the stony space,
The head of a homeless person
Stares from the torment of
The golden day.
The sea slumbers motionless.
A star and a dark trip
Vanish on the canal.
Child, your sickly smile
Follows me quietly in sleep.
–Georg Trakl, In Venedig (1913) first published in Sebastian im Traum (1915) in Georg Trakl Dichtungen und Briefe: historisch-kritische Ausgabe, vol. 1, p. 131 (S.H. transl.)
Venice is the subject of a great deal of poetry, much of it celebrating the joy of the city’s famous carnival, its love of music, architecture and art, its triumph over the sea. But in the world of German letters in the late nineteenth and early twentieth centuries, Venice is associated with a sense of beauty out of decline–a perspective that probably found its most famous expression in Thomas Mann’s Der Tod in Venedig. Georg Trakl’s beautiful little poem In Venedig captures a good deal of this, and it also challenges us with the idea of death. Typically Trakl approaches his poem the way a painter might approach a canvas–with his brushes primed–silver and gold, rose hints, a dark sky, and a matrix of all embracing black. This is not Canaletto’s Venice; it a city beset by decay, decline and approaching nightfall.
Listen to the aria “Poles, I should think” from Benjamin Britten’s opera Death in Venice (1973):
<object width=”480″ height=”385″><param name=”movie” value=”http://www.youtube.com/v/ojq_AlmEIrA?fs=1&hl=en_US”> <embed src=”http://www.youtube.com/v/ojq_AlmEIrA?fs=1&hl=en_US” type=”application/x-shockwave-flash” allowscriptaccess=”always” allowfullscreen=”true” width=”480″ height=”385″></embed></object></p>
More from Scott Horton:
No Comment — March 28, 2014, 12:32 pm
On CIA secrecy, torture, and war-making powers
No Comment — November 4, 2013, 5:17 pm
An expert panel concludes that the Pentagon and the CIA ordered physicians to violate the Hippocratic Oath
No Comment — August 12, 2013, 7:55 am
How will the Obama Administration handle Edward Snowden’s case in the long term?
Percentage of Americans who believe that there is baseball in heaven:
The Vatican said that fewer people were confessing their sins.
After being convicted of tax fraud in Italy, 77-year-old former prime minister Silvio Berlusconi was sentenced to a year of community service at a home for the elderly in Lombardy.
Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!
The retail giant’s unlikely romance with small farmers