Spanish Dancer, by Rainer Maria Rilke, Translated by Susan McLean

The Dancing Girl, Carmen the Gypsy, by Ignacio Zuloaga (Spain) 1903

Spanish Dancer

As in one’s hand a sulfur match, still white,
before it flares, sends out on every side 
small, twitching tongues, so, ringed by a close crowd 
of watchers there, her round dance—hasty, bright,
and hot—begins to flicker and spread out.

And suddenly it’s utterly on fire.

With just a glance she sets alight her hair,
and all at once with daring art she whirls
all of her dress into this fiery blaze,
as from the flames, like startled serpents, spring
her naked arms, roused up and clattering.

And then, as if the fire were running low,
she sweeps it all up, tosses it away
haughtily, with a gesture of disdain,
and stares: it lies on the ground there, raging on,
and blazes still, refusing to concede.
And yet, triumphant, sure, and with a sweet
and gracious smile, she raises up her head
and stamps it out with small, emphatic feet.

Rainer Maria Rilke, translation by Susan McLean

**

German:

Spanische Tänzerin

Wie in der Hand ein Schwefelzündholz, weiß,
eh es zur Flamme kommt, nach allen Seiten
zuckende Zungen streckt -: beginnt im Kreis
naher Beschauer hastig, hell und heiß
ihr runder Tanz sich zuckend auszubreiten.

Und plötzlich ist er Flamme, ganz und gar.

Mit einem Blick entzündet sie ihr Haar
und dreht auf einmal mit gewagter Kunst
ihr ganzes Kleid in diese Feuersbrunst,
aus welcher sich, wie Schlangen die erschrecken,
die nackten Arme wach und klappernd strecken.

Und dann: als würde ihr das Feuer knapp,
nimmt sie es ganz zusamm und wirft es ab
sehr herrisch, mit hochmütiger Gebärde
und schaut: da liegt es rasend auf der Erde
und flammt noch immer und ergiebt sich nicht -.
Doch sieghaft, sicher und mit einem süßen
grüßenden Lächeln hebt sie ihr Gesicht
und stampft es aus mit kleinen festen Füßen.

Rainer Maria Rilke
 
**

Literal translation:

Spanish Dancer

As in the hand a sulfur match, white,
before it comes ablaze, on all sides
stretches out flickering tongues, so, in the circle
of nearby watchers, hasty, bright, and hot,
her round dance starts to flicker and spread out.

And suddenly it is utterly and completely in flames.

With one glance she ignites her hair
and all at once with daring art whirls
her whole dress into this conflagration,
from which, like frightened snakes,
her naked arms stretch, roused up and rattling.

And then, as if the fire were becoming low,
she draws all of it together and throws it away
very imperiously, with a haughty gesture,
and looks at it: it lies there on the ground, raging,
and flames still, and does not surrender—.
But triumphant, self-assured, and with a sweet,
welcoming smile, she lifts up her face
and stamps it out with firm little feet.

Rainer Maria Rilke, translation by Susan McLean

Author's note: "Although it is usually assumed that this poem was inspired by witnessing a dance by a Spanish flamenco dancer, I agree with the argument of Robert Vilain that it was likely inspired by the painting known as Gitanilla. by the Spanish artist Ignacio Zuloaga, with whom Rilke became friends during his stay in Paris.  Vilain's argument and evidence may be found here:

https://researchinformation.bris.ac.uk/ws/portalfiles/portal/133223948/GLL_White.Vilain.REVISED.pdf

​Susan McLean, a retired professor of English, has published two books of her own poems, The Best Disguise and The Whetstone Misses the Knife, and one book of translations of the Latin poet Martial, Selected Epigrams.  Her poems have appeared in Measure, Mezzo Cammin, Able Muse, and elsewhere.