Found in Translation

by Frank Wynne

  He goes for a walk. Why, he asks himself with a smile, why must it be he who has nothing to do, nothing to strike at, nothing to throw down? He feels the sap and the strength in his body softly complaining. His entire soul thrills for bodily exertion. Between high ancient walls he climbs, down over whose gray stone screes the dark green ivy passionately curls, up to the castle hill. In all the windows up here the evening light is aglow. Up on the edge of the rock face stands a delightful pavilion, he sits here, and lets his soul fly, out and down into the shining holy silent prospect. He would be surprised if he were to feel well now. Read a newspaper? How would that be? Conduct an idiotic political or generally useful debate with some respected official half-wit or other? Yes? He is not unhappy. Secretly he considers happy alone the man who is inconsolable: naturally and powerfully inconsolable. With him the position is one small faint shade worse. He is too sensitive to be happy, too haunted by all his irresolute, cautious, mistrusted feelings. He would like to scream aloud, to weep. God in heaven, what is wrong with me, and he rushes down the darkening hill. Night soothes him. Back in his room he sits down, determined to work till frenzy comes, at his writing table. The light of the lamp eliminates his image of his whereabouts, and clears his brain, and he writes now.

  On rainy days it is terribly cold and void. The place shivers at him. The green shrubs whine and whimper and shed rain tears for some sun. Over the heads of the mountains drift monstrous dirty clouds like great impudent murderous hands over foreheads. The countryside seems to want to creep away and hide from this evil weather, to shrivel up. The lake is leaden and bleak, the language of the waves unkind. The storm wind, wailing like a weird admonition, can find no issue, crashes from one scarp to the next. It is dark here, and small, small. Everything is pressed right up against one’s nose. One would like to seize a sledgehammer and beat a way out of it all. Get away there, get away!

  The sun shines again, and it is Sunday. Bells are ringing. The people are leaving the hilltop church. The girls and women in tight black laced bodices with silver spangles, the men dressed simply and soberly. They carry prayer books in their hands, and their faces are peaceful, beautiful, as if all anxiety were vanished, all the furrows of worry and contention smoothed away, all trouble forgotten. And the bells. How they peal out, leap out with peals and waves of sound. How it glitters and glows with blue and bell tones over the whole Sunday sunbathed little town. The people scatter. Kleist stands, fanned by strange feelings, on the church steps and his eyes follow the movements of the people going down them. Many a farmer’s child he sees, descending the steps like a born princess, majesty and liberty bred in the bone. He sees big-muscled, handsome young men from the country, and what country, not flat land, not young plainsmen, but lads who have erupted out of deep valleys curiously caverned in the mountains, narrow often, like the arm of a tall, somewhat monstrous man. They are the lads from the mountains where cornland and pasture fall steep into the crevasses, where odorous hot grass grows in tiny flat patches on the brinks of horrible ravines, where the houses are stuck like specks on the meadows when you stand far below on the broad country road and look right up, to see if there can still be houses for people up there.

  Sundays Kleist likes, and market days also, when everything ripples and swarms with blue smocks and the costumes of the peasant women, on the road, and on the narrow main street. There, on this narrow street, by the pavement, the wares are stacked in stone vaults and on flimsy stalls. Grocers announce their cheap treasures with beguiling country cries. And usually on such a market day there shines the most brilliant, the hottest, the silliest sun. Kleist likes to be pushed hither and thither by the bright bland throng of folk. Everywhere there is the smell of cheese. Into the better shops go the serious and sometimes beautiful countrywomen, cautiously, to do their shopping. Many of the men have pipes in their mouths. Pigs, calves, and cows are hauled past. There is one man standing there and laughing and forcing his rosy piglet to walk by beating it with a stick. It refuses, so he takes it under his arm and carries it onward. The smells of human bodies filter through their clothes, out of the inns there pour the sounds of carousal, dancing, and eating. All this uproar, all the freedom of the sounds! Sometimes coaches cannot pass. The horses are completely hemmed in by trading and gossiping men. And the sun shines dazzling so exactly upon the objects, faces, cloths, baskets, and goods. Everything is moving and the dazzle of sunlight must of course move nicely along with everything else. Kleist would like to pray. He finds no majestic music so beautiful, no soul so subtle as the music and soul of all this human activity. He would like to sit down on one of the steps which lead into the narrow street. He walks on, past women with skirts lifted high, past girls who carry baskets on their heads, calm, almost noble, like the Italian women carrying jugs he has seen in paintings, past shouting men and drunken men, past policemen, past schoolboys moving with their schoolboy purposes, past shadowy alcoves which smell cool, past ropes, sticks, foodstuffs, imitation jewelry, jaws, noses, hats, horses, veils, blankets, woolen stockings, sausages, balls of butter, and slabs of cheese, out of the tumult to a bridge over the Aare, where he stops, and leans over the rail to look down into the deep blue water flowing wonderfully away. Above him the castle turrets glitter and glow like brownish liquid fire. This might almost be Italy.

  At times on ordinary weekdays the whole small town seems to him bewitched by sun and stillness. He stands motionless before the strange old town hall, with the sharp-edged numerals of its date cut in the gleaming white wall. It is all so irretrievable, like the form of a folk song the people have forgotten. Hardly alive, no, not alive at all. He mounts the enclosed wooden stair to the castle where the old earls lived, the wood gives off the odor of age and of vanished human destinies. Up here he sits on a broad, curved, green bench to enjoy the view, but closes his eyes. It all looks so terrible, as if asleep, buried under dust, with the life gone out of it. The nearest thing lies as in a faraway veil-like dreaming distance. Everything is sheathed in a hot cloud. Summer, but what sort of a summer? I am not alive, he cries out, and does not know where to turn with his eyes, hands, legs, and breath. A dream. Nothing there. I do not want dreams. In the end he tells himself he lives too much alone. He shudders, compelled to admit how unfeeling is his relation to the world about him.

  Then come the summer evenings. Kleist sits on the high churchyard wall. Everything is damp, yet also sultry. He opens his shirt, to breathe freely. Below him lies the lake, as if it had been hurled down by the great hand of a god, incandescent with shades of yellow and red, its whole incandescence seems to glow up out of the water’s depths. It is like a lake of fire. The Alps have come to life and dip with fabulous gestures their foreheads into the water. His swans down there circle his quiet island, and the crests of trees in dark, chanting, fragrant joy float over—over what? Nothing, nothing. Kleist drinks it all in. To him the whole dark sparkling lake is the cluster of diamonds upon a vast, slumbering, unknown woman’s body. The lime trees and the pine trees and the flowers give off their perfumes. There is a soft, scarcely perceptible sound down there; he can hear it, but he can also see it. That is something new. He wants the intangible, the incomprehensible. Down on the lake a boat is rocking; Kleist does not see it, but he sees the lanterns which guide it, swaying to and fro. There he sits, his face jutting forward, as if he must be ready for the death leap into the image of that lovely depth. He wants to perish into the image. He wants eyes alone, only to be one single eye. No, something totally different. The air should be a bridge, and the whole image of the landscape a chair back to relax against, sensuous, happy, tired. Night comes, but he does not want to go down, he throws himself on a grave that is hidden under bushes, bats whiz around him, the pointed trees whisper as soft airs pass over them. The grass smells so delicious, blanketing the skeletons of buried men. He is so grievously happy, too happy, whence his suffocation, his aridity, his grief. So alone. Why cannot the dead emerge and talk a half hour with the lonely man? On a summer
night one ought really to have a woman to love. The thought of white lustrous breasts and lips hurls Kleist down the hill to the lakeside and into the water, fully dressed, laughing, weeping.

  Weeks pass, Kleist has destroyed one work, two, three works. He wants the highest mastery, good, good. What’s that? Not sure? Tear it up. Something new, wilder, more beautiful. He begins The Battle of Sempach, in the center of it the figure of Leopold of Austria, whose strange fate attracts him. Meanwhile, he remembers his Robert Guiscard. He wants him to be splendid. The good fortune to be a sensibly balanced man with simple feelings he sees burst into fragments, crash and rattle like boulders collapsing down the landslip of his life. He helps him nevertheless, now he is resolute. He wants to abandon himself to the entire catastrophe of being a poet: the best thing is for me to be destroyed as quickly as possible.

  What he writes makes him grimace: his creations miscarry. Toward autumn he is taken ill. He is amazed at the gentleness which now comes over him. His sister travels to Thun to bring him home. There are deep furrows in his cheeks. His face has the expression and coloring of a man whose soul has been eaten away. His eyes are more lifeless than the eyebrows over them. His hair hangs clotted in thick pointed hanks over his temples, which are contorted by all the thoughts which he imagines have dragged him into filthy pits and into hells. The verses that resound in his brain seem to him like the croakings of ravens; he would like to eradicate his memory. He would like to shed his life; but first he wants to shatter the shells of life. His fury rages at the pitch of his agony, his scorn at the pitch of his misery. My dear, what is the matter, his sister embraces him. Nothing, nothing. That was the ultimate wrong, that he should have to say what was wrong with him. On the floor of his room lie his manuscripts, like children horribly forsaken by father and mother. He lays his hand in his sister’s, and is content to look at her, long, and in silence. Already it is the vacant gaze of a skull, and the girl shudders.

  Then they leave. The country girl who has kept house for Kleist says goodbye. It is a bright autumn morning, the coach rolls over bridges, past people, through roughly plastered lanes, people look out of windows, overhead is the sky, under trees lies yellowish foliage, everything is clean, autumnal, what else? And the coachman has his pipe in his mouth. All is as ever it was. Kleist sits dejected in a corner of the coach. The towers of the castle of Thun vanish behind a hill. Later, far in the distance, Kleist’s sister can see once more the beautiful lake. It is already quite chilly. Country houses appear. Well, well, such grand estates in such mountainous country? On and on. Everything flies past as you look to the side and drops behind, everything dances, circles, vanishes. Much is already hidden under the autumn’s veil, and everything is a little golden in the little sunlight which pierces the clouds. Such gold, how it shimmers there, still to be found only in the dirt. Hills, scarps, valleys, churches, villages, people staring, children, trees, wind, clouds, stuff and nonsense—is all this anything special? Isn’t it all rubbish, quotidian stuff? Kleist sees nothing. He is dreaming of clouds and of images and slightly of kind, comforting, caressing human hands. How do you feel? asks his sister. Kleist’s mouth puckers, and he would like to give her a little smile. He succeeds, but with an effort. It is as if he has a block of stone to lift from his mouth before he can smile.

  His sister cautiously plucks up the courage to speak of his taking on some practical activity soon. He nods, he is himself of the same opinion. Music and radiant shafts of light flicker about his senses. As a matter of fact, if he admits it quite frankly to himself, he feels quite well now; in pain, but well at the same time. Something hurts him, yes, really, quite correct, but not in the chest, not in the lungs either, or in the head, what? Nowhere at all? Well, not quite, a little, somewhere so that one cannot quite precisely tell where it is. Which means: it’s nothing to speak of. He says something, and then come moments when he is outright happy as a child, and then of course the girl makes a rather severe, punitive face, just to show him a little how very strangely he does fool around with his life. The girl is a Kleist and has enjoyed an education, exactly what her brother has wanted to throw overboard. At heart she is naturally glad that he is feeling better. On and on, well well, what a journey it is. But finally one has to let it go, this stagecoach, and last of all one can permit oneself the observation that on the front of the villa where Kleist lived there hangs a marble plaque which indicates who lived and worked there. Travelers who intend to tour the Alps can read it, the children of Thun read it and spell it out, letter by letter, and then look questioning into each other’s eyes. A Jew can read it, a Christian too, if he has the time and if his train is not leaving that very instant, a Turk, a swallow, insofar as she is interested, I also, I can read it again if I like. Thun stands at the entrance to the Bernese Oberland and is visited every year by thousands of foreigners. I know the region a little perhaps, because I worked as a clerk in a brewery there. The region is considerably more beautiful than I have been able to describe here, the lake is twice as blue, the sky three times as beautiful. Thun had a trade fair, I cannot say exactly but I think four years ago.

  [1913]

  SEVEN PENNIES

  Zsigmond Móricz

  Translated from the Hungarian by István Farkas

  Zsigmond Móricz (1879–1942). Born in Tiszacsécse, to a poor rural family, the young Móricz proved an able, but unfocused student. At twenty, he briefly studied theology, but within months had given this up to study law, though he did not graduate. At the age of twenty-five, he began working as a journalist in Budapest, and it was here that his interests turned towards literature. He was a war correspondent during the First World War, and his articles focused less on military strategies than on the everyday lives of ordinary soldiers on the front lines. He was appointed vice president of the Vörösmarty Academy by the revolutionary government following the war, only to be imprisoned after the counterrevolution that led to the fall of the Soviet Republic. Móricz published his first story in the review Nyugat, which he later went on to edit. This was followed by poems, essays and short stories as well as novels. He was consumed by his writing, saying “Has the Lord created me for this? As long as I can stand it, I will do that which I cannot avoid in any case: write.” His stories often depict life in the rural, small-town Hungary he knew intimately as a child. Many of his novels have been adapted for film and television.

  The gods in their wisdom have granted the benefit of laughter also to the poor.

  The tenants of huts do not wail all the time, often enough a hearty laughter comes ringing from their dwellings. I might even go to the length of saying that the poor often laugh when they have every reason to cry.

  I happen to be thoroughly familiar with that kind of world. The generation of the Soós tribe that had brought forth my father went through the direst stages of destitution. At that time, my father worked as a day-labourer in a machine shop. There was nothing for him, nor for anyone else, to brag about in those days. (Yet brag they did.)

  And it is a fact that never in my life was I to laugh as much as in those very years of my childhood.

  How, indeed, should I ever again have laughed so heartily after I had lost my merry, red-cheeked mother, who used to laugh so sweetly that, in the end, tears came trickling down her cheeks and her laughter ended in a fit of coughing that almost choked her…

  But she never laughed as merrily as on the afternoon which we spent searching for seven pennies. We searched, and we found them, too. Three were in the drawer of the sewing machine, one in the cupboard… the rest were more difficult to find.

  My mother found the first three pennies all by herself. She thought there ought to be more coins in the drawer, for she used to turn a penny by sewing and kept whatever she earned in that drawer. To me, the drawer of the sewing machine seemed an inexhaustible gold mine, and whenever you delved into it, all your wishes came true.

  Thus I was flabbergasted to see my mother digging into a mess of needles, thimbles, scissors,
bits of ribbon, braid and buttons, and, after she had poked around in them a while, to hear her say in astonishment:

  “They have gone into hiding.”

  “Who?”

  “The coins,” she said with a laugh. She pulled out the drawer.

  “Come on, sonny, let us find the wicked things. Naughty, naughty coins.”

  She squatted on the floor and put down the drawer so cautiously, she seemed to fear its contents might fly away; then she daintily turned it upside down, as though she were catching butterflies under a hat.

  You couldn’t help laughing over the way she acted.

  “Here they are, in here,” she giggled, and was in no hurry to lift up the drawer. “If there’s but a single one, it must be in here.”

  I squatted on my heels and watched closely for a shiny coin to creep forth somewhere.

  Nothing stirred.

  To be quite frank, neither of us really believed that there were any inside. We glanced at each other, laughing over the childish joke.

  I touched the drawer as it lay there upside down.

  “Ssht!” my mother shushed me. “Keep still, child, or they’ll run away. You have no idea how nimble pennies can be. They run so fast, they simply roll away. My, how they roll…”

  We rocked with laughter. We had seen often enough, how easily the pennies could roll away. When we got over our fit of laughter, I stretched out my hand once more to lift the drawer. “Don’t!” mother cried out, and I snatched back my finger as if I had scorched it on a stove.