Copyright © 2001 Gregory C. Richter · C ONTENTS viii P IERROT L UNAIRE 9. Pierrot Polaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Copyright © 2001 Gregory C. Richter

Published by Truman State University Press, Kirksville, Missouri.

http://tsup.truman.edu

All rights reserved.

Library of Congress Cataloging-in-Publication Data

Giraud, Albert, 1869–1929.[Pierrot Lunaire. Polyglot]Pierrot Lunaire / Albert Giraud : translated by Gregory C. Richter.

p. cm. – (New Odyssey series)Includes bibliographical references and index.Text in French, English, and German.ISBN 1–931112-02–9 (pbk. : alk. paper)

I. Title. II. Series

PQ2260.G73 P5412 2000841'.8–dc21

2001027530

Cover: Teresa Wheeler, Truman State University designer

Printing: Thomson-Shore, Dexter, Mich., U.S.A.

Body text and display type: Minion

No part of this work may be reproduced or transmitted in any format by any means,

electronic or mechanical, including photocopying and recording, or by any informa-

tion storage or retrieval system, without permission in writing from the publisher.

The paper in this publication meets or exceeds the minimum requirements of the

American National Standard—Permanence of Paper for Printed Library Materials,

ANSI Z39.48 (1984).

RichterBook Page iv Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

Translator’s Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

1. Théâtre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21. Eine Bühne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21. Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2. Décor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42. Feerie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42. Decor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

3. Pierrot Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63. Der Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63. Pierrot the Dandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

4. Déconvenue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84. Schweres Los . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84. Disappointment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5. Lune au Lavoir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105. Eine blasse Wäscherin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105. The Moon is a Laundress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

6. La Sérénade de Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126. Serenade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126. Pierrot’s Serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

7. Cuisine Lyrique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147. Der Koch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147. Lyric Cuisine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

8. Arlequinade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168. Harlequinade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168. Harlequin’s Tale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

RichterBook Page vii Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

viii

�

P

IERROT

L

UNAIRE

9. Pierrot Polaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189. Nordpolfahrt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189. Polar Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

10. A Colombine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010. Colombine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010. For Columbine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

11. Arlequin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2211. Harlequin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2211. Harlequin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

12. Les Nuages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2412. Die Wolken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2412. The Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

13. A mon Cousin de Bergame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2613. Mein Bruder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2613. To My Cousin from Bergamo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

14. Pierrot Voleur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2814. Raub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2814. Pierrot the Thief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

15. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3015. Herbst. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3015. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3115. Spleen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

16. Ivresse de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3216. Mondestrunken. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3216. Moondrunk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

17. La Chanson de la Potence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3417. Galgenlied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3417. Song of the Gallows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

18. Suicide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3618. Selbstmord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3618. Suicide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

RichterBook Page viii Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

P

IERROT

L

UNAIRE

�

ix

19. Papillons Noirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3819. Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3819. Black Butterflies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

20. Coucher de Soleil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4020. Sonnen-Ende . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4020. Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

21. Lune Malade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4221. Der kranke Mond. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4221. Sick Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

22. Absinthe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4422. Absinth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4422. Absinthe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

23. Mendiante de Têtes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4623. Köpfe! Köpfe! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4623. Begging for Heads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

24. Décollation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4824. Enthauptung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4824. Decapitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

25. Rouge et Blanc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5025. Rot und Weiß . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5025. Red and White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5125. Rot und Weiß . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

26. Valse de Chopin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5226. Valse de Chopin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5226. Chopin Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

27. L’Eglise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5427. Die Kirche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5427. The Church. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

28. Evocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5628. Madonna. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5628. Evocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

RichterBook Page ix Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

x

�

P

IERROT

L

UNAIRE

29. Messe Rouge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5829. Rote Messe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5829. Red Mass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

30. Les Croix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6030. Die Kreuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6030. Crosses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

31. Supplique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6231. Gebet an Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6231. Supplication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

32. Violon de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6432. Die Violine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6432. The Moon’s Violin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

33. Les Cigognes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6633. Abend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6633. The Storks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

34. Nostalgie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6834. Heimweh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6834. Nostalgia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

35. Parfums de Bergame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7035. O alter Duft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7035. The Perfumes of Bergamo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

36. Départ de Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7236. Heimfahrt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7236. Pierrot’s Departure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

37. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7437. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7437. Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

38. Brosseur de Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7638. Der Mondfleck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7638. Brushing Off a Moonbeam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

RichterBook Page x Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

P

IERROT

L

UNAIRE

�

xi

39. L’Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7839. Das Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7839. The Alphabet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

40. Blancheurs Sacrées . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8040. Das heilige Weiß . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8040. Sacred Whiteness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

41. Poussière Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8241. Morgen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8241. Red Dust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

42. Parodie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8442. Parodie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8442. Parody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

43. Lune Moqueuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8643. Moquerie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8643. Mocking Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

44. La Lanterne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8844. Die Laterne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8844. The Lantern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

45. Pierrot Cruel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9045. Gemeinheit! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9045. Cruel Pierrot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

46. Décor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9246. Landschaft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9246. Decor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

47. Le Miroir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9447. Im Spiegel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9447. The Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

48. Souper sur l’Eau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9648. Souper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9648. Soirée On the Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

RichterBook Page xi Tuesday, November 6, 2001 1:42 PM

C

ONTENTS

xii

�

P

IERROT

L

UNAIRE

49. L’Escalier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9849. Die Estrade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9849. The Staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

50. Cristal de Bohême . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10050. Böhmischer Kristall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10050. Bohemian Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

51. Die Harfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10251. The Harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

52. Pierrot et l’Ane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10452. Pierrot and the Donkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

About the Translator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Subject Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Index of Titles and First Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

RichterBook Page xii Tuesday, November 6, 2001 1:42 PM

T

RANSLATOR

’

S

N

OTE

T

RANSLATOR

’

S

N

OTE

Portions of Albert Giraud’s greatest work,

Pierrot Lunaire

, are well known.

Twenty-one poems of the total fifty provide the text for Arnold Schoen-

berg’s 1912 composition

Pierrot Lunaire

, op. 21, a song cycle that has

proved to be one of the defining compositions of the twentieth century.

Among modern works, its influence is matched only by that of Igor Stravin-

sky’s 1913

Le sacre de printemps

[The Rite of Spring]. The texts, however,

are sung in German using the translations by Otto Erich Hartleben, some of

which differ widely from the French originals.

1

Various English translations

of the German renditions appear on record jackets, and Andrew Porter’s

fine English renderings of the twenty-one Hartleben translations appear in

the volume

From Pierrot to Marteau

(1987)

.

Never before, however, have

the French poems been translated directly into English, and never before

have Hartleben’s creative renditions appeared alongside their models. This

trilingual edition of the entire work seeks to achieve both of these ends. The

original French versions are presented on the verso pages, and the English

translations appear on the recto pages, opposite the original French. Read-

ers with a knowledge of German will be able to judge and appreciate

Hartleben’s versions as well, which are presented beneath the French origi-

nals.

2

Susan Youens notes Hartleben’s own comment that he often did not

“translate” the poems, but instead took up a few motifs to create his own

poem.

3

The current English renderings are closer to the French than are

most of the German versions, but of course no poetic translation can do

more than suggest the original poem. The current volume allows the reader

to view in its entirety, and in order, the source that inspired Hartleben.

This, in turn, sheds light on the importance of the French

fin de siècle

as a

1

Albert Giraud,

Pierrot Lunaire,

tr. Otto Erich Hartleben (Berlin: Verlag Deutscher Phan-tasten, 1893).

2

In two cases—nos. 15 and 25—Hartleben created two versions. One differs widely fromthe original, while the other is more similar; both are included in the present edition.

3

Susan Youens, “The Texts of

Pierrot Lunaire

, op 21,”

Journal of the Arnold SchoenbergInstitute

8, no. 2 (November 1984): 94–115, here 103.

PierrotTransNote Page xiii Monday, November 12, 2001 8:26 AM

T

RANSLATOR

’

S

N

OTE

xiv

�

P

IERROT

L

UNAIRE

model for the German avant-garde, culminating in Schoenberg’s master-

piece. Furthermore, in the current volume Giraud himself is at long last

given his due.

Born to Catholic parents in Louvain, Belgium, Emile Albert Kayen-

bergh (1860–1929) was raised by his mother and by her sister, his father

having died in the poet’s early childhood. Young Kayenbergh studied law at

the University of Louvain, and in the period 1894 to 1896 he made three

trips to Italy, which were to inspire him for the rest of his life. Financial

constraints forced him to leave the university, and in order to support his

mother and aunt he took up work as a journalist. He took the pen name

Albert Giraud and in 1884, at the age of twenty-four, published his first

volume of poetry,

Pierrot Lunaire: Rondels bergamasques

. Apparently fin-

ding the French name Giraud more suitable than the very Flemish Kayen-

bergh, he retained the French name in all of his subsequent works. He was

active in Jeune Belgique [Young Belgium], a literary movement that initially

sought to develop a specifically Belgian literary consciousness, distinct from

that of France, whose members began holding informal meetings at the

Café Sésino in Brussels in 1885. He published numerous poems and critical

articles in the group’s journal,

Jeune Belgique

, including essays on Victor

Hugo, Charles-Marie Leconte de Lisle, and the Symbolist poets Paul Ver-

laine (1844–96), Stéphane Mallarmé (1842–98), Maurice Maeterlinck

(1862–1949), and Jean Rimbaud (1854-91). He admired, and later critici-

zed, the Parnassian poets, who emphasized form, technical perfection, and

often exoticism, and whose chief representative was Charles-Marie Leconte

de Lisle (1818–94), but seems always to have admired their predecessors,

Théophile Gautier (1811–72) and Théodore de Banville (1823–91). Ano-

ther primary influence on Giraud was Charles Baudelaire (1821–67), the

monumental precursor of the Symbolists, from whom the later poets took

their interest in individual, irrational, subjective experience. Although

Giraud has sometimes been categorized as an expressionist or surrealist

avant la lettre,

his oeuvre does not fit easily into any single preconceived

category;

4

like Verlaine, who was proud to bear the label Décadent, Giraud

presumably approved when that term was applied to his

Pierrot Lunaire

.

4

Lucien Christophe,

Albert Giraud: Son oeuvre et son temps

(Brussels: Palais des Acadé-mies, 1960),

ff

PierrotTransNote Page xiv Monday, November 12, 2001 8:26 AM

T

RANSLATOR

’

S

N

OTE

P

IERROT

L

UNAIRE

�

xv

With some interstices, Giraud continued to produce poetry, plays, and

critical articles for most of his life. His first volume of poetry after

Pierrot

Lunaire

was

Hors du siècle

. This work contains poems written between 1885

and 1897, including “Lohengrin,” “La mort d’Hunald” [The Death of

Hunald], “Roses d’Enfer” [Roses of Hell], “Les noces de Cana” [The Wed-

ding at Cana], “Le sphinx” [The Sphinx], and “Au tombeau de Baudelaire”

[At the Tomb of Baudelaire]. Titles such as “Lohengrin” evoke the late-

nineteenth-century interest in Richard Wagner (1813–83) and the heroic

past of Germanic legend. “Les noces de Cana” was perhaps inspired by the

1717 painting by Jean-Antoine Watteau (1684–1721) of the same name

(sometimes called

Embarkation for Cythera

). Sphinxes, both Egyptian and

Greek, were a nineteenth-century fascination. They appear in numerous

poems by Gautier, as in his 1838 collection

La comédie de la mort

[The

Comedy of Death]. The painting

Oedipus and the Sphinx

by the French

Symbolist painter Gustave Moreau (1826–98) dates from 1864, and

Giraud’s “Le Sphinx” follows in the tradition.

Giraud’s twentieth-century poetic anthologies include

La guirlande des

dieux

[The Garland of the Gods],

La frise empourprée

[The Crimson

Frieze], and

Le laurier

[The Laurel], in which there appear several poems

inspired by his experiences in the First World War, among them, one

lamenting the destruction wrought in Louvain by the Germans, and one in

memory of his young friend Robert Courouble, killed in battle in 1915. Late

in life Giraud was appointed chief librarian at the Belgian Ministry of the

Interior. In his last volume,

Le concert dans le musée

[The Concert in the

Museum], published in 1921, one can still see links to

Pierrot Lunaire

, for

example, in the poem “Bach, Stabat Mater,” which takes up the theme of the

sorrows of the Mother of Christ. At the time of his death in 1929, Giraud

was nearly blind and living alone. He is said always to have longed for his

lost childhood. He adored his mother and his beloved aunt, but never

found love as an adult: in matters of the heart, he was an outsider. In

various senses, Giraud was himself Pierrot.

5

5

For biographical information on Giraud see Lucien Christophe,

Albert Giraud

(Brus-sels: Palais des Académies, 1960)

;

Jeanne Polyte,

Albert Giraud, Emile Verhaeren, parallèle senti-mental

(Brussels: Office de Publicité, 1930); and especially Henri Liebrecht,

Albert Giraud

(Brussels: Office de Publicité, 1946).

PierrotTransNote Page xv Monday, November 12, 2001 8:26 AM

T

RANSLATOR

’

S

N

OTE

xvi

�

P

IERROT

L

UNAIRE

The German translator of Albert Giraud’s

Pierrot Lunaire

was Otto

Erich Hartleben (1864–1905), who admired the poems during his days as a

student of law in Leipzig and Berlin. In the years 1886 to 1891 he translated

the entire work, and the German edition was published by Paul Scheerbart

in 1893, when Hartleben was twenty-nine.

6

(Some of Hartleben’s German

renditions had previously appeared in 1891 in the French journal

Nord et

Sud

.) At the time of publication in Berlin, Hartleben’s translations were

already known in Germany through his performances of the work in caba-

rets. In 1968, in honor of the sev

enty-fifth anniversary of Hartleben’s publica-tion, a facsimile of the 1893 edition was printed by Halkyonische Akademiefür Unangewandte Wissenschaften

7

[Halcyon Academy for Unapplied Stud-ies] an avant-garde literary society founded by Hartleben in 1903 amidst fes-tivities at his villa in Salò on Lago di Garda, Northern Italy—two years beforehis untimely death. F

or several years after its inception, the Akademie flou-

rished among a group of expatriate Germans living in Florence; it functio-

ned until 1968 (with an interstice during the Second World War). The 1968

edition of

Pierrot Lunaire

, which includes a wordy but rather uninformative

1910 essay on Hartleben by the Austrian writer Franz Blei (1872–1942),

constitutes the swan song of the society. In her 1968 introduction, Hartle-

ben’s sister Annemarie Hartleben Pallat conveys something of the history of

the academy, and in conclusion declares it officially defunct.

Mary Garland writes that Hartleben specialized in “deft erotic come-

dies,” but he also wrote poems, short stories, and novellas.

8

An admirer of

Hugo von Hofmannsthal and Stefan George, he produced editions of

Goethe’s poems and of works by Angelus Silesius, a seventeenth-century

Catholic religious poet. Although it is the Schoenberg settings of his

Pierrot

Lunaire

that are best known, other composers took poems by Hartleben as

their text, including “In Arm der Liebe” [In the Arms of Love] by Max

Reger (1873–1916), “Selige Nacht” [Blessed Night] by Joseph Marx (1882-

1964), “Liebesode” [Love Ode] by Alban Berg (1885–1935), and “In meines

Vaters Garten” [In My Father’s Garden] by Alma Mahler (1879–1964).

6

Albert Giraud,

Pierrot Lunaire

, tr. Otto Erich Hartleben (Berlin: Verlag Deutscher Phan-tasten, 1893).

7

Pierrot Lunaire,

tr. Hartleben (1893; Reprint, Berlin: Halkyonische Akademie für Unan-gewandte Wissenschaften zu Salò, 1968).

8

The Oxford Companion to German Literature

. 3d ed., ed. Mary Garland (Oxford: OxfordUniversity Press, 1997), 336.

PierrotTransNote Page xvi Monday, November 12, 2001 8:26 AM

T

RANSLATOR

’

S

N

OTE

P

IERROT

L

UNAIRE

�

xvii

Hartleben’s most important work was the 1890 drama

Rosenmontag: Eine

Offizierstragödie

[Rose Monday: an Officer’s Tragedy], a Naturalistic tour de

force.

9

The tragedy depicts the inability of an officer, Hans Rudorff, to

“subordinate his individuality to the rigid social code of the officer caste”

10

and culminates in the suicide of Rudorff and his lover. It was the success of

this work that enabled Hartleben to spend great amounts of time at his villa

in Salò, which he purchased in 1901 and christened Villa Halkyone. His

drama later provided the inspiration for two German films of the same

name:

Rosenmontag

(1930), directed by Rudolf Meinert, and

Rosenmontag

(1955), directed by Willy Birgel.

Hartleben was a tormented alcoholic and as a consequence suffered

from ill health for most of his adult life. In an 1896 letter to his wife he

wrote: “I must drink heavily so as not to go simply mad. When I awaken in

the morning, I have a feeling of anxiety that I cannot describe to you, and

which only subsides after several glasses of vermouth. My nerves are in a

state of tension as I have never experienced it before.”

11

He was often pla-

gued by uncontrollable mood swings. He grew to detest his wife, Selma

Hesse Hartleben, because of her complaints about his having taken up resi-

dence with his mistress at Villa Halkyone. In the end, his death was as gro-

tesque as his life. In a gesture reminiscent of

Pierrot Lunaire

no. 24,

“Enthauptung” [Decapitation], he directed that upon his death his head

should be severed from his body and his skull preserved for posterity. His

physician graciously obliged. Local lore has it that following the procedure,

as the doctor made his way home, the head was dropped on the floor of a

taverna,

presumably to the dismay of the onlookers.

All the personalities in

Pierrot Lunaire

are characters from the comme-

dia dell’arte, a form of theater that arose in mid-sixteenth-century Renais-

sance Italy. The genre featured stock characters with characteristic costumes

and masks; the masks presumably were a trait derived from the Roman

theater. Improvisation was emphasized, although based on a set of standard

plots; performances also included acrobatics and singing. Professional

companies, to which actors belonged for their entire lives, toured Europe,

9

See Erich Otto Hartleben,

Rosenmontag: Eine Offizierstragödie

(Berlin: S. Fischer, 1924).

10

Oxford Companion to German Literature,

711.

11

Otto Erich Hartleben,

Briefe an seine Frau [Letters to his wife],

ed. Franz FerdinandHeitmüller (Berlin: Fischer, 1908), 217.

PierrotTransNote Page xvii Monday, November 12, 2001 8:26 AM

ABOUT THE TRANSLATOR

Gregory Richter is professor of linguistics and

foreign languages at Truman State University,

where he currently teaches linguistics and Ger-

man. Originally from California, he studied at

the University of California, Santa Cruz, and

earned his Ph.D. in linguistics at the University

of California, San Diego. With a strong interest

in translation, he has translated poems by Einar

Bragi, Jóhann Hjálmarsson, and Matthías

Johannessen in Icelandic, published in both

Paintbrush (1986) and Chariton Review (1990),

as well as poems by Larissa Vassilisa in Russian

in Chariton Review (1989), and poems by Hé

Dong in Chinese in Samtiden (1990) and Vinduet (1991). He has also pro-

duced a translation of the Chinese classic Tao Te Ching, entitled The Gate of All

Marvelous Things: A Guide to Reading the Tao Te Ching (Red Mansions Pub-

lishing, 1998). From German, he has translated the volume The Incest Theme

in Literature and Legend by the psychologist Otto Rank, which addresses the

Oedipus and Electra dramas and related literary works through the ages

(Johns Hopkins University Press, 1992). His most recent translation from

German (with E. James Lieberman) is Psychology and the Soul by Otto Rank, a

history of belief in the soul in numerous cultures (Johns Hopkins University

Press, 1998). Mr. Richter resides with his wife and son in Kirksville, Missouri.

RichterBook Page 106 Tuesday, November 6, 2001 1:42 PM

INDEX–SUBJECT

SUBJECT INDEX

AAustin, Larry (composer), xxix

BBalke, Maureen (singer), xxviiiBanville, Théodore de, xiv, xixBassett, Leslie (composer), xxviii

Die Wolken, 24Herbst, 30

Baudelaire, Charles, xiv, xvBerg, Alban, xviBergamo, Italy, xviBlaue Reiter Almanac, xxivBlei, Franz, xvi, xxiiiBrueghel, Jan, 3n41Bryant, Dinah (singer), xxviiiButor, Michel (writer), xxi

Ccabaret melodrama, xxiii–xxivCimarosa, Domenico, 83n50Columbine (commedia stock charac-

ter), xviii, xixcommedia dell’arte, xvii–xviii

DDeburau, Jean-Gaspard, xviiiDebussy, Claude, xixDécadent poets, xivDerain, André, xixDvorák, Jan Kaspar, xviii

GGautier, Théophile, xix, xivGilkin, Iwan, xix, xxiGiraud, Albert (pen name)

poetical works of: xxi–xxii, xxWWI poetry, xv

grotesque, in Pierrot Lunaire, xx

HHalkyonische Akademie, xviHarlequin (commedia stock character),

xviiiHarris, Donald (composer), xxix

Der Koch, 14Nordpolfahrt, 18Selbstmord, 36

Hartleben, Otto Erich, xvi, xiiiRosenmontag, xvii

Hartleben, Selma Hesse, xviiHors du Siècle (Outside the Century), xv

JJeune Belgique journal, xiv, xxiJeune Belgique (Young Belgium) literary

movement, xiv, xxi

KKammer, Salome (singer), xxviiKayenbergh, Emile Albert, xiv. See also

Giraud, AlbertKowalski, Max (composer)

Gebet an Pierrot (no. 1), 62Raub (no.2), 28Die Estrade (no. 3), 98


INDEX–SUBJECT

112 � PEIRROT LUNAIRE

Kowalski(continued)Der Dandy (no. 4), 6Moquerie (no. 5), 86Sonnen-Ende (no. 6), 40Nordpolfahrt (no. 7), 18Colombine (no. 8), 20Der Mondfleck (no. 9), 76Die Laterne (no. 10), 88Abend (no. 11), 66Heimfahrt (no. 12), 66Pierrot Lunaire song cycle, xxvi

Kraft, William (composer), xxixFeerie, 4Harlequinade, 16Mein Bruder, 26Selbstmord, 36

LLaforgue, Jules, xixLaunay, Michel (writer), xxiiLeconte de Lisle, Charles-Marie, xiv

MMahler, Alma, xviiMamlok, Ursula (composer), xxviii

Die Laterne, 88Marx, Joseph (composer), xvii, xxviii

Colombine, 20Der Dandy, 6Valse de Chopin, 52

Milhaud, Darius, xxiiMosko, Stephen (composer), xxviii

Schweres Los, 8music for Pierrot Lunaire, xxiii–xxx

PPallat, Annemarie (Hartleben), xviPicasso, Pablo, xixPierrot Lunaire

color terminology in, xxnovel by Stevenson, xxiirhyme scheme, xxi

Schoenberg’s selections, xxii–xxixstructure of, xx–xxithemes in, xxi, xxvitranslated from German to French, xxiiwriting of, xii, xix

Pierrot (Pedrolino)commedia stock character, xviiiin Giraud’s work, xx

Porter, Andrew, xiiiPoulenc, Francis, xixPousseur, Marianne (singer), xxviiPowell, Mel (composer), xxviii

Die Violine, 64

RReger, Max, xviRemaekers, Georges (critic), xxiReynolds, Roger (composer) xxviii

Abend, 66Morgen, 82

rondel rhyme scheme, xxiRosenmontag, by Hartleben, xviiRouault, Georges, xix

SSchäfer, Christine (singer), xxviiScheerbart, Paul (publisher), xviSchoenberg, Arnold

Mondestrunken (no. 1), 32Colombine (no. 2), 20Der Dandy (no. 3), 6Eine blasse Wäscherin (no. 4), 10Valse de Chopin (no. 5), 52Madonna (no. 6), 56Der kranke Mond (no. 7), 42Nacht (no. 8), 38Gebet an Pierrot (no. 9), 62Raub (no. 10), 28Rote Messe (no. 11), 58Galgenlied (no. 12), 34Enthauptung (no. 13), 48Die Kreuze (no. 14), 60Heimweh (no. 15), 68


INDEX–SUBJECT

PEIRROT LUNAIRE � 113

Gemeinheit! (no. 16), 90Parodie (no. 17), 84Der Mondfleck (no. 18), 76Serenade (no. 19), 12Heimfahrt (no. 20), 72O alter Duft (no. 21), 70composition of Pierrot Lunaire, xxiii–

xxvmoves from Nazi Germany to U.S.,

xxviShakespeare, William, xxSprechstimme technique, xxvStevenson, Helen (novelist), xxiiSymbolist poets, xiv

VVerlaine, Paul, xiv, xviiiVrieslander, Otto (composer), xxiii, xxiv

Rot und Weiß (no. 1), 51Spleen (no. 2), 31Landschaft (no. 3), 92

WWagner, Erika (performer), xxviWatteau, Jean-Antoine (artist), xv, xviii,

3n42Webern, Anton, xivWillette, Adolphe, 77n49

YYouens, Susan, 77n49

ZZehme, Albertine (actress/singer), xxiii–

xxiv


INDEX–TITLES & FIRST LINES

INDEX OF TITLES AND FIRST LINES

AA basket, red and full of sawdust, ................................................................................. 47

“A Colombine” (no. 10) .................................................................................................. 20A crescent of laughing Moon ........................................................................................ 95A cruel, red tongue ........................................................................................................ 51A fantastic Moonbeam .................................................................................................... 7

“A mon Cousin de Bergame” (no. 13) ............................................................................ 26A Moonbeam in a bottle ............................................................................................. 101A Moonbeam is his oar, ................................................................................................. 73A multicolored alphabet ................................................................................................ 79A polar iceblock, mirrorlike, ......................................................................................... 19A very pale Moonbeam ................................................................................................. 77

“Abend” (no. 33) .............................................................................................................. 66“Absinth” (no. 22) ............................................................................................................ 44“Absinthe” (no. 22) .......................................................................................................... 45Absurd and sweet as a lie, .............................................................................................. 75Absurde et doux comme un mensonge ........................................................................ 74

“Arlequin” (no. 11) .......................................................................................................... 22Arlequin porte un arc-en-ciel ....................................................................................... 16

“Arlequinade” (no. 8) ...................................................................................................... 16At the cruel Eucharist, ................................................................................................... 59Auf den marmorstufen der Estrade, ............................................................................. 98Auf einem weißen Hügel, ............................................................................................ 102

BBeautiful verses are great crosses .................................................................................. 61

“Begging for Heads” (no. 23) .......................................................................................... 47“Black Butterflies” (no. 19) ............................................................................................. 39Blancheurs de la Neige et des Cygnes, .......................................................................... 80

“Blancheurs Sacrées” (no. 40) ......................................................................................... 80“Bohemian Crystal” (no. 50) ........................................................................................ 101“Böhmischer Kristall” (no. 50) ..................................................................................... 100Brillant comme un spectre solaire, ............................................................................... 22

“Brosseur de Lune” (no. 38) ............................................................................................ 76“Brushing Off a Moonbeam” (no. 38) ............................................................................ 77




C“Colombine” (no. 10) ......................................................................................................20Comme de splendides nageoires, ..................................................................................24Comme un crachat sanguinolent, .................................................................................52Comme un doux soupir de cristal, ................................................................................68Comme une pâle lavandière, .........................................................................................10

“Chopin Waltz” (no. 26) ..................................................................................................53“Coucher de Soleil” (no. 20) ............................................................................................40“Cristal de Bohême” (no. 50) ........................................................................................100“Crosses” (no. 30) ............................................................................................................61“Cruel Pierrot” (no. 45) ...................................................................................................91“Cuisine Lyrique” (no. 7) .................................................................................................14

DD’un croissant de Lune hilarante ..................................................................................94Dans le chef poli de Cassandre, .....................................................................................90Dans l’Eglise odorante et sombre ..................................................................................54Dans une immense mer d’absinthe, ..............................................................................44

“Das Alphabet” (no. 39)...................................................................................................78Das Alphabet—ein scheckig Heer .................................................................................78

“Das heilige Weiß” (no. 40) .............................................................................................80Das Weiß der Schwäne und des Schnees, ......................................................................80De sinistres papillons noirs ............................................................................................38

“Decapitation” (no. 24) ...................................................................................................49“Décollation” (no. 24) ......................................................................................................48“Déconvenue” (no. 4) ........................................................................................................8“Decor”

(no. 2) .............................................................................................................................5(no. 46) .........................................................................................................................93

“Décor”(no. 2) .............................................................................................................................4(no. 46) .........................................................................................................................92

Den Wein, den man mit Augen trinkt, ..........................................................................32“Départ de Pierrot” (no. 36) ............................................................................................72“Der Dandy” (no. 3) ..........................................................................................................6“Der Koch” (no. 7) ...........................................................................................................14“Der kranke Mond” (no. 21) ...........................................................................................42Der Mond, ein blankes Türkenschwert .........................................................................48Der Mond gleicht einem blassen Horn .........................................................................86

“Der Mondfleck” (no. 38) ................................................................................................76Der Mondstrahl ist das Ruder, ......................................................................................72Der Violine zarte Seele, ..................................................................................................64Des aiguilles à tricoter ....................................................................................................84Des Mondlichts bleiche Blüten, .....................................................................................20




Die dürre Dirne.............................................................................................................. 34“Die Estrade” (no. 49) ..................................................................................................... 98“Die Harfe” (no. 51) ...................................................................................................... 102“Die Kirche” (no. 27) ....................................................................................................... 54“Die Kreuze” (no. 30) ...................................................................................................... 60“Die Laterne” (no. 44) ..................................................................................................... 88Die rote Zunge, .............................................................................................................. 51Die sieche Sonne lässt ihr Blut entströmen .................................................................. 40Die stumme Mondesgöttin säugt .................................................................................. 26

“Die Violine” (no. 32) ...................................................................................................... 64“Die Wolken” (no. 12) ..................................................................................................... 24“Disappointment” (no. 4) ................................................................................................. 9Du nächtig todeskranker Mond .................................................................................... 42D’un grotesque archet dissonant .................................................................................. 12D’un rayon de Lune fantasque ........................................................................................ 6Durch die braunen, trocknen Blätter ............................................................................ 30

EEin rosig blasser, feiner Staub ........................................................................................ 82Ein Strahl des Mondes, wohl verschlossen ................................................................. 100Eine blasse Wäscherin.................................................................................................... 10

“Eine blasse Wäscherin” (no. 5) ...................................................................................... 10“Eine Bühne” (no. 1) ......................................................................................................... 2Eine Bühne, bunt und heimlich, ..................................................................................... 2Eine fröhlich leuchtende Laterne, ................................................................................. 88Eine goldne Omelette .................................................................................................... 14Eine silberklare Mondessichel, ...................................................................................... 94Einen Eisblock, schillernd weiß, .................................................................................... 18Einen seidenen Regenbogen .......................................................................................... 16Einen weißen Fleck des hellen Mondes ........................................................................ 76En d’alanguissantes yoles ............................................................................................... 96En sa robe de Lune blanche, .......................................................................................... 36

“Enthauptung” (no. 24) ................................................................................................... 48“Evocation” (no. 28) .................................................................................................. 56, 57

FFatigué d’Eliane et las de Lélio, ................................................................................... 104

“Feerie” (no. 2) ................................................................................................................... 4Fine red dust................................................................................................................... 83Finstre, schwarze Riesenfalter ........................................................................................ 38

“For Columbine” (no. 10) ............................................................................................... 21




G“Galgenlied” (no. 17) .......................................................................................................34“Gebet an Pierrot” (no. 31) .............................................................................................62“Gemeinheit!” (no. 45) ....................................................................................................90Gewaltge, goldne Purpurvögel, .......................................................................................4Gleaming like a solar spectrum, ....................................................................................23Gleich himmlischen Fischen .........................................................................................24Great birds of purple and gold, .......................................................................................5

H“Harlequin” (no. 11) ..................................................................................................22, 23Harlequin carries a rainbow ..........................................................................................17

“Harlequinade” (no. 8) ....................................................................................................16“Harlequin’s Tale” (no. 8) ................................................................................................17Heilge Kreuze sind die Verse, .........................................................................................60

“Heimfahrt” (no. 36) .......................................................................................................72“Heimweh” (no. 34) .........................................................................................................68“Herbst” (no. 15)..............................................................................................................30

IIhren schmutzig roten Korb ..........................................................................................46I’m dreaming of a theater: ...............................................................................................3Im Ozeane des Absinths .................................................................................................44

“Im Spiegel” (no. 47) .......................................................................................................94In a boundless sea of absinthe .......................................................................................45In den blanken Kopf Cassanders, ..................................................................................90In der dunklen, weihrauchschwülen Kirche, ................................................................54In des Mondes weißer Robe ..........................................................................................36In einer müden Gondel .................................................................................................96In his robe of white Moonlight .....................................................................................37In languorous yachts ....................................................................................................907In the censed and somber Church, ...............................................................................55In the polished pate of Cassander, ................................................................................91

“Ivresse de Lune” (no. 16) ...............................................................................................32

JJe rêve un théâtre de chambre, ........................................................................................2

KKalte, feste, starrende Brüste, .........................................................................................50Knitting needles gleaming .............................................................................................85




“Köpfe! Köpfe!” (no. 23) ................................................................................................. 46

L“La Chanson de la Potence” (no. 17) .............................................................................. 34La claire et joyeuse lanterne, .......................................................................................... 88

“La Lanterne” (no. 44) ..................................................................................................... 88La Lune, comme un sabre blanc .................................................................................... 48La Lune, la jaune omelette, ............................................................................................ 14La Lune dessine une corne ............................................................................................ 86La maigre amoureuse au long cou ................................................................................ 34

“La Sérénade de Pierrot” (no. 6) ..................................................................................... 12“L’Alphabet” (no. 39) ....................................................................................................... 78L’âme du violon tremblant, ........................................................................................... 64

“Landschaft” (no. 46) ...................................................................................................... 92“Le Miroir” (no. 47) ......................................................................................................... 94Le Soleil, comme un grand œuf rose, ........................................................................... 92Le Soleil s’est ouvert les veines ...................................................................................... 40Le vin que l’on boit par les yeux ................................................................................... 32

“L’Eglise” (no. 27) ............................................................................................................ 54Les beaux vers sont de larges croix ................................................................................ 60

“Les Cigognes” (no. 33) ................................................................................................... 66Les cigognes mélancoliques, .......................................................................................... 66Les convives, fourchette au poing, .................................................................................. 8

“Les Croix” (no. 30) ......................................................................................................... 60Les fleurs pâles du clair de Lune, ................................................................................... 20Les grands oiseaux de pourpre et d’or, ........................................................................... 4

“Les Nuages” (no. 12) ...................................................................................................... 24Les rouges rubis souverains, .......................................................................................... 28

“L’Escalier” (no. 49) ......................................................................................................... 98Leuchtend glüht Italiens blauer Himmel, ..................................................................... 74Leuchtend wie ein Sonnenspektrum, ........................................................................... 22Lieblich klagend—ein kristallnes Seufzen .................................................................... 68Like a gentle crystal sigh, ............................................................................................... 69Like a pale laundress, ..................................................................................................... 11Like coughed-up blood ................................................................................................. 53Like ever-changing splendid fins ................................................................................... 25

“Lune au Lavoir” (no. 5) .................................................................................................. 10“Lune Malade” (no. 21) ................................................................................................... 42“Lune Moqueuse” (no. 43) .............................................................................................. 86“Lyric Cuisine” (no. 7) ..................................................................................................... 15

M“Madonna” (no. 28) ......................................................................................................... 56




Madonna of Hysteria, ....................................................................................................57“Mein Bruder” (no. 13) ...................................................................................................26Melancholisch ernste Störche, .......................................................................................66

“Mendiante de Têtes” (no. 23) ........................................................................................46“Messe Rouge” (no. 29) ...................................................................................................58Mit den Gabeln in den Fäusten .......................................................................................8Mit einem phantastischen Lichtstrahl ............................................................................6Mit groteskem Riesenbogen ..........................................................................................12

“Mocking Moon” (no. 43) ...............................................................................................87“Mondestrunken” (no. 16) ..............................................................................................32“Moondrunk” (no. 16) ....................................................................................................33“Moquerie” (no. 43) .........................................................................................................86“Morgen” (no. 41) ............................................................................................................82

N“Nacht” (no. 19) ...............................................................................................................38“Nordpolfahrt” (no. 9).....................................................................................................18“Nostalgia” (no. 34) .........................................................................................................69“Nostalgie” (no. 34) .........................................................................................................68Nous sommes parents par la Lune, ...............................................................................26

O“O alter Duft” (no. 35) .....................................................................................................70O alter Duft—aus Märchenzeit, ...................................................................................70O Lune, nocturne phtisique, .........................................................................................42O Madone des Hystéries! ...............................................................................................56O Moon, nocturnal phthistic, .......................................................................................43O old, ethereal perfume .................................................................................................71O Pierrot! Le ressort du rire, .........................................................................................62O vieux parfum vaporisé ...............................................................................................70On a white hillside .......................................................................................................103

P“Pantomime” (no. 37)................................................................................................74, 75“Papillons Noirs” (no. 19) ...............................................................................................38“Parfums de Bergame” (no. 35) ......................................................................................70“Parodie” (no. 42) ............................................................................................................84“Parody” (no. 42) .............................................................................................................85Pierrot, the key of laughter— ........................................................................................63

“Pierrot and the Donkey” (no. 52) ................................................................................105“Pierrot Cruel” (no. 45) ...................................................................................................90“Pierrot Dandy” (no. 3) .....................................................................................................6




Pierrot de Bergame s’ennuie: ........................................................................................ 30“Pierrot et l’Ane” (no. 52) ............................................................................................. 104Pierrot from Bergamo is bored: .................................................................................... 31Pierrot hat Langeweile, .................................................................................................. 31Pierrot! Mein Lachen ..................................................................................................... 62

“Pierrot Polaire” (no. 9)................................................................................................... 18“Pierrot the Dandy” (no. 3) ............................................................................................... 7“Pierrot the Thief” (no. 14) ............................................................................................ 29“Pierrot Voleur” (no. 14) ................................................................................................. 28“Pierrot’s Departure” (no. 36) ......................................................................................... 73“Pierrot’s Serenade” (no. 6) ............................................................................................. 13“Polar Pierrot” (no. 9) ..................................................................................................... 19Pour la cruelle Eucharistie, ............................................................................................ 58

“Poussière Rose” (no. 41) ................................................................................................ 82

R“Raub” (no. 14) ................................................................................................................ 28“Red and White (no. 25) ................................................................................................. 51“Red Dust” (no. 41) ......................................................................................................... 83“Red Mass” (no. 29) ......................................................................................................... 59“Rot und Weiß” (no. 25) ........................................................................................... 50, 51Rote, fürstliche Rubine, ................................................................................................. 28

“Rote Messe” (no. 29) ...................................................................................................... 58Rotgelb, wie ein großes Ei .............................................................................................. 92

“Rouge et Blanc” (no. 25) ................................................................................................ 50Rubies, red and royal, .................................................................................................... 29

S“Sacred Whiteness” (no. 40) ............................................................................................ 81“Schweres Los” (no. 4) ....................................................................................................... 8“Selbstmord” (no. 18) ...................................................................................................... 36“Serenade” (no. 6) ............................................................................................................ 12“Sick Moon” (no. 21) ....................................................................................................... 43Sinister black butterflies ................................................................................................ 39

“Soirée On the Water” (no. 48) ....................................................................................... 97“Song of the Gallows” (no. 17) ....................................................................................... 35“Sonnen-Ende” (no. 20) .................................................................................................. 40“Souper” (no. 48) ............................................................................................................. 96“Souper sur l’Eau” (no. 48) ............................................................................................. 96“Spleen” (no. 15) ........................................................................................................ 30, 31Steig, o Mutter aller Schmerzen, ................................................................................... 56Stricknadeln, blank und blinkend, ................................................................................ 84

“Suicide” (no. 18) ....................................................................................................... 36, 37




“Sunset” (no. 20) ..............................................................................................................41“Supplication” (no. 31) ....................................................................................................63“Supplique” (no. 31) ........................................................................................................62Sur le marbre de l’escalier, .............................................................................................98

T“The Alphabet” (no. 39) ..................................................................................................79The bright and joyful lantern ........................................................................................89

“The Church” (no. 27) .....................................................................................................55“The Clouds” (no. 12) .....................................................................................................15The guests, with fork in fist, ............................................................................................9

“The Harp (no. 51) ........................................................................................................103“The Lantern” (no. 44) ....................................................................................................89The melancholy storks, ..................................................................................................67

“The Mirror” (no. 47) ......................................................................................................95The Moon, a long white saber .......................................................................................49The Moon, the yellow omelette, ....................................................................................15

“The Moon is a Laundress” (no. 5) .................................................................................11The Moon has made us brothers, ..................................................................................27The Moon has traced its horn .......................................................................................87The Moonlight’s pale blossoms, ....................................................................................21

“The Moon’s Violin” (no. 32) ..........................................................................................65“The Perfumes of Bergamo” (no. 35) .............................................................................71The slender hetaera with lengthy neck..........................................................................35

“The Staircase” (no. 49) ...................................................................................................99“The Storks” (no. 33) .......................................................................................................67The Sun, a great rose-colored egg, ................................................................................93The Sun has slit its veins ................................................................................................41The spirit of the trembling violin, .................................................................................65The wine we drink with our eyes ..................................................................................33

“Theater” (no. 1) ................................................................................................................3“Théâtre” (no. 1) ................................................................................................................2“To My Cousin from Bergamo” (no. 13) ........................................................................27Tormenting his viol ........................................................................................................13

UUn alphabet bariolé, .......................................................................................................78Un miroitant glaçon polaire, .........................................................................................18Un panier rouge empli de son .......................................................................................46Un rayon de Lune enfermé ..........................................................................................100Un rayon de Lune est la rame, .......................................................................................72Un très pâle rayon de Lune ............................................................................................76Une cruelle et rouge langue, ..........................................................................................50


Une fine poussière rose, ................................................................................................. 82Upon the marble staircase, ............................................................................................ 99

V“Valse de Chopin” (no. 26) .............................................................................................. 52“Violon de Lune” (no. 32) ............................................................................................... 64

WWeary of Eliane, tired of Lelio, .................................................................................... 105Whiteness of the Snow and Swans, ............................................................................... 81Wie ein blasser Tropfen Bluts ........................................................................................ 52

ZZu grausem Abendmahle, ............................................................................................. 58


Documents

Copyright © 2001 Gregory C. Richter · C ONTENTS viii P IERROT L UNAIRE 9. Pierrot Polaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .