Poems by Pablo Neruda
 
 

Ode to My Socks
 

Maru Mori brought me
a pair
of socks
which she knitted herself
with her sheepherder's hands,
two socks as soft as rabbits.
I slipped my feet
into them
as though into
two
cases
knitted
with threads of
twilight
and goatskin.
Violent socks,
my feet were
two fish made
of wool,
two long sharks
sea-blue, shot
through
by one golden thread,
two immense blackbirds,
two cannons:
my feet
were honored
in this way
by
these
heavenly
socks.
They were
so handsome
for the first time
my feet seemed to me
unacceptable
like two decrepit
firemen, firemen
unworthy
of that woven
fire,
of those glowing
socks.

Nevertheless
I resisted
the sharp temptation
to save them somewhere
as schoolboys
keep
fireflies,
as learned men
collect
sacred texts,
I resisted
the mad impulse
to put them
into a golden
cage
and each day give them
birdseed
and pieces of pink melon.
Like exploreres
in the jungle who hand
over the very rare
green deer
to the spit
and eat it
with remorse,
I stretched out
my feet
and pulled on
the magnificent
socks
and then my shoes.

The moral
of my ode is this:
beauty is twice
beauty
and what is good is doubly
good
when it is a matter of two socks
made of wool
in winter.

trans. Robert Bly
 
 

Ode to Salt

This salt
in the saltcellar
I once saw in the salt mines.
I know
you won't
believe me,
but
it sings,
salt sings, the skin
of the salt mines,
sings
with a mouth smothered
by the earth.
I shivered in those
solitudes
when I heard
the voice
of
the salt
in the desert.
Near Antofagasta
the nitrous
pampa
resounds:
a
broken
voice,
a mournful
song.

In its caves
the salt moans, mountain
of buried light,
translucent cathedral,
crystal of the sea, oblivion
of the waves.

And then on every table
in the world,
salt,
we see your piquant
powder
sprinkling
vital light
upon
our food.
Preserver
of the ancient
holds of ships,
discoverer
on
the high seas,
earliest
sailor
of the unknown, shifting
byways of the foam.
Dust of the sea, in you
the tongue receives a kiss
from ocean night:
taste imparts to every seasoned
dish your ocean essence;
the smallest
miniature
wave from the saltcellar
reveals to us
more than domestic whitenesss;
in it, we taste infinitude.

--trans. Margaret Sayers Peden
 

Ode to the Watermelon

The tree of intense
summer,
hard,
is all blue sky,
yellow sun, fatigue in drops,
a sword
above the highways,
a scorched shoe
in the cities:
the brightness and the world
weigh us down,
hit us
in the eyes
with clouds of dust,
with sudden golden blows,
they torture
our feet
with tiny thorns,
with hot stones,
and the mouth
suffers
more than all the toes:
the throat
becomes thirsty,
the teeth,
the lips, the tongue:
we want to drink
waterfalls,
the dark blue night,
the South Pole,
and then
the coolest of all
the planets crosses
the sky,
the round, magnificent,
star-filled watermelon.

It's a fruit from the thirst-tree.
It's the green whale of the summer.

The dry universe
all at once
given dark stars
by this firmament of coolness
lets the swelling
fruit
come down:
its hemispheres open
showing a flag
green, white, red,
that dissolves into
wild rivers, sugar,
delight!

Jewel box of water, phlegmatic
queen
of the fruitshops,
warehouse
of profundity, moon
on earth!
You are pure,
rubies fall apart
in your abundance,
and we
want
to bite into you,
to bury our
face
in you, and
our hair, and
the soul!
When we're thirsty
we glimpse you
like
a mine or a mountain
of fantastic food,
but
among our longings and our teeth
you change
simply
into cool light
that slips in turn into
spring water
that touched us once
singing.
And that is why
you don't weigh us down
in the siesta hour
that's like an oven,
you don't weigh us down,
you just
go by
and your heart, some cold ember,
turned itself into a single
drop of water.

--trans. Robert Bly
 

Body of a Woman

Body of a woman, white hills, white thighs,
you like a world, lying in surrentder.
My rough peasant's body digs in you
and makes the son leap from the depth of the earth.

I was alone like a tunnel.  The birds fled from me,
and night swamped me with its crushing invasion.
To survive myself I forged you like a weapon,
like an arrow in my bow, a stone in my sling.

But the hour of vengeance falls, and I love you.
Body of skin, of moss, of eager and firm milk.
Oh the goblets of the breast!  Oh the eyes of absence!
Oh the roses of the publis!  Oh your voice, slow and sad!

Body of my woman, I will persist in your grace.
My thirst, my boundless desire, my shifting road!
Dark river-beds where the eternal thirst flows
and weariness follows, and the infinite ache.

trans. W.S. Merwin
 

Walking Around

It so happens I'm tired of just being a man.
I go to a movie, drop in at the tailor's--it so happens--
feeling wizened and numbed, like a big, wooly swan,
awash on an ocean of clinkers and causes.

A whiff from a barbershop does it; I yell bloody murder.
All I ask is a little vacation from things:  from boulders and woolens,
from gardens, institutional projects, merchandise,
eyeglasses, elevators--I'd rather not look at them.

It so happens I'm fed up--with my feet and my fingernails
and my hair and my shadow.
Being a man leaves me cold:  that's how it is.

Still—it would be lovely
to wave a cut lily and panic a notary,
or finish a nun with a left to the ear.
It would be nice
just to walk down the street with a green switchblade handy,
whooping it up till I die of the shivers.

I won't live like this—like a root in a shadow,
wide-open and wondering, teeth chattering sleepily,
going down to the dripping entrails of the universe
absorbing things, talking things in, eating three squares a day.

I've had all I'll take from catastrophe.
I won't have it this way, muddling through like a root or a grave,
all alone underground, in a morgue of cadavers,
cold as a stiff, dying of misery.

That's why Monday flares up like an oil-slick,
when it sees me up close, with the face of a jailbird,
or squeaks like a broken-down wheel as it goes,
stepping hot-blooded into the night.

Something shoves me toward certain damp houses, into certain dark corners,
into hospitals, with bones flying out of the windows;
into shoe stores and shoemakers smelling of vinegar,
streets frightful as fissures laid open.

There, trussed to the doors of the houses I loathe
are the sulphurous birds, in a horror of tripes,
dental plates lost in a coffeepot, mirrors
that must surely have wept with the nightmare and shame of it all;
and everywhere, poisons, umbrellas, and belly buttons.

I stroll unabashed, in my eyes and my shoes
and my rage and oblivion.
I go on, crossing offices, retail orthopedics,
courtyards with laundry hung out on a wire;
the blouses and towels and the drawers newly washed,
slowly dribbling a slovenly tear.

trans. Ben Belitt
 

Walking Around (alternate translation)

It so happens I am sick of being a man.
And it happens that I walk into tailorshops and movie houses
dried up, waterproof, like a swan made of felt
steering my way in a water of wombs and ashes.

The smell of barbershops makes me break into hoarse sobs.
The only thing I want is to lie still like stones or wool.
The only thing I want is to see no more stores, no gardens,
no more goods, no spectacles, no elevators.

It so happens I am sick of my feet and my nails
and my hair and my shadow.
It so happens I am sick of being a man.

Still it would be marvelous
to terrify a law clerk with a cut lilly,
or kill a nun with a blow on the ear.
It would be great
to go through the streets with a green knife
letting out yells until I died of the cold.

I don't want to go on being a root in the dark,
insecure, stretched out, shivering with sleep,
going on down, into the moist guts of the earth,
taking in and thinking, eating every day.

I don't want so much misery.
I don't want to go on as a root and a tomb,
alone under the ground, a warehouse with corpses,
half frozen, dying of grief.

That's why Monday, when it sees me coming
with my convict face, blazes up like gasoline,
and it howls on its way like a wounded wheel,
and leaves tracks full of warm blood leading toward the night.

And it pushes me into certain corners, into some moist houses,
into hospitals where the bones fly out the window,
into shoeshops that smell like vinegar,
and certain streets hideous as cracks in the skin.

There are sulpher-colored birds, and hideous intestines
hanging over the doors of houses that I hate,
and there are false teeth forgotten in a coffeepot,
there are mirrors
that ought to have wept from shame and terror,
there are umbrellas everywhere, and venoms, and umbilical cords.

I stroll along serenely, with my eyes, my shoes,
my rage, forgetting everything,
I walk by, going through the office buildings and orthopedic shops,
and courtyards with washing hanging from the line:
underwear, towels and shirts from which slow
dirty tears are falling.

trans. Robert Bly
 

Walking Around (yet another translation)

It happens that I am tired of being a man.
It happens that I go into the tailor's shops and the movies
all shrivelled up, impenetrable, like a felt swan
navigating on a water of origin and ash.

The smell of barber shops makes me sob out loud.
I want nothing but the repose either of stone or of wool.
I want to see no more establishments, no more gardens,
nor merchandise, nor glasses, nor elevators.

It happens that I am tired of my feet and my nails
and my hair and my shadow.
It happens that I am tired of being a man.

Just the same it would be delicious
to scare a notary with a cut lily
or knock a nun stone dead with one blow of an ear.
It would be beautiful
to go through the streets with a green knife
shouting until I died of cold.

I do not want to go on being a root in the dark,
hesitating, stretched out, shivering with dreams,
downwards, in the wet tripe of the earth,
soaking it up and thinking, eating every day.

I do not want to be the inheritor of so many misfortunes.
I do not want to continue as a root and as a tomb,
as a solitary tunnel, as a cellar full of corpses,
stiff with cold, dying with pain.

For this reason Monday burns like oil
at the sight of me arriving with my jail-face,
and it howls in passing like a wounded wheel,
and its footsteps towards nightfall are filled with hot blood.

And it shoves me along to certain corners, to certain damp houses,
to hospitals where the bones come out of the windows,
to certain cobbler's shops smelling of vinegar,
to streets horrendous as crevices.

There are birds the colour of sulphur, and horrible intestines
hanging from the doors of the houses which I hate,
there are forgotten sets of teeth in a coffee-pot,
there are mirrors
which should have wept with shame and horror,
there are umbrellas all over the place, and poisons, and navels.

I stride along with calm, with eyes, with shoes,
with fury, with forgetfuless,
I pass, I cross offices and stores full of orthopedic appliances,
and courtyards hung with clothes on wires,
underpants, towels and shirts which weep
slow dirty tears.

trans. W.S. Merwin
 

And How Long?

How much does a man live, after all?

Does he live a thousand days, or one only?

For a week, or for several centuries?

How long does a man spend dying?

What does it mean to say 'for ever'?

Lost in this preoccupation,
I set myself to clear things up.

I sought out knowledgable priests,
I waited for them after their rituals,
I watched them when they went their ways
to visit God and the Devil.

They wearied of my questions.
They on their part knew very little.
They were no more than administrators.

Medical men received me
in between consultations,
a scalpel in each hand,
saturated in aureomycin,
busier each day.
As far as I could tell from their talk,
the problem was as follows:
it was not so much the death of a microbe--
they went down by the ton,
but the few which survived
showed signs of perversity.

They left me so startled
that I sought out the grave-diggers.
I went to the rivers where they burn
enormous painted corpses,
tiny bony bodies,
emperors with an aura
of terrible curses,
women snuffed out at a stroke
by a wave of cholera.
There were whole beaches of dead
and ashy specialists.

When I got the chance
I asked them a slew of questions.
They offered to burn me.
It was all they knew.

In my own country the dead
answered me, between drinks:
'Get yourself a good woman
and give up this nonsense.'

I never saw people so happy.

Raising their glasses they sang
toasting health and death.
They were huge fornicators.

I returned home, much older
after crossing the world.

Now I ask questions of nobody,

But I know less every day.
 
 

Tonight I Can Write

Tonight I can write the saddest lines.

Write, for example, 'The night is starry
and the stars are blue and shiver in the distance.'

The night wind revolves in the sky and sings.

Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.

Through nights like this one I held her in my arms.
I kissed her again and again under the endless sky.

She loved me, sometimes I loved her too.
How could one not have loved her great still eyes.

Tonight I can write the saddest lines.
To think that I do not have her. To feel that I have lost her.

To hear the immense night, still more immense without her.
And the verse falls to the soul like dew to the pasture.

What does it matter that my love could not keep her.
The night is starry and she is not with me.

This is all. In the distance someone is singing. In the distance.
My soul is not satisfied that it has lost her.

My sight tries to find her as though to bring her closer.
My heart looks for her, and she is not with me.

The same night whitening the same trees.
We, of that time, are no longer the same.

I no longer love her, that's certain, but how I loved her.
My voice tried to find the wind to touch her hearing.

Another's. She will be another's. As she was before my kisses.
Her voice, her bright body. Her infinite eyes.

I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long.

Because through nights like this one I held her in my arms
my soul is not satisfied that it has lost her.

Though this be the last pain that she makes me suffer
and these the last verses that I write for her.

trans. Merwin

Tonite I Can Write (Alternate Translation)

I can write the saddest lines tonight.

Write for example: ‘The night is fractured
and they shiver, blue, those stars, in the distance’

The night wind turns in the sky and sings.
I can write the saddest lines tonight.
I loved her, sometimes she loved me too.

On nights like these I held her in my arms.
I kissed her greatly under the infinite sky.

She loved me, sometimes I loved her too.
How could I not have loved her huge, still eyes.

I can write the saddest lines tonight.
To think I don’t have her, to feel I have lost her.

Hear the vast night, vaster without her.
Lines fall on the soul like dew on the grass.

What does it matter that I couldn’t keep her.
The night is fractured and she is not with me.

That is all. Someone sings far off. Far off,
my soul is not content to have lost her.

As though to reach her, my sight looks for her.
My heart looks for her: she is not with me

The same night whitens, in the same branches.
We, from that time, we are not the same.

I don’t love her, that’s certain, but how I loved her.
My voice tried to find the breeze to reach her.

Another’s kisses on her, like my kisses.
Her voice, her bright body, infinite eyes.

I don’t love her, that’s certain, but perhaps I love her.
Love is brief: forgetting lasts so long.

Since, on these nights, I held her in my arms,
my soul is not content to have lost her.

Though this is the last pain she will make me suffer,
and these are the last lines I will write for her.

The Night is La Negra

Ancient night and the unruly salt
beat at the walls of my house.
The shadow is all one, the sky
throbs now along with the ocean,
and sky and shadow erupt
in the crash of their vast conflict.
All night long they struggle;
nobody knows the name
of the harsh light that keeps slowly opening
like a languid fruit.
So on the coast comes to light,
out of seething shadow, the harsh dawn,
gnawed at by the moving salt,
swept clean by the mass of night,
bloodstained in its sea-washed crater.

Ode to Sadness

Sadness, scarab
with seven crippled feet,
spiderweb egg,
scramble-brained rat,
bitch's skeleton:
No entry here.
Don't come in.
Go away.
Go back
south with your umbrella,
go back
north with your serpent's teeth.
A poet lives here.
No sadness may
cross this threshold.
Through these windows
comes the breath of the world,
fresh red roses,
flags embroidered with
the victories of the people.
No.
No entry.
Flap
your bat's wings,
I will trample the feathers
that fall from your mantle,
I will sweep the bits and pieces
of your carcass to
the four corners of the wind,
I will wring your neck,
I will stitch your eyelids shut,
I will sew your shroud,
sadness, and bury your rodent bones
beneath the springtime of an apple tree.