Anton Freiherr von Klesheim:
(Eine Volksliedversion)

Waun's Mailüfterl weht

Waun's Mailüfterl weht
z'geht im Woid drausd da Schnee,
doh hebn die blaun Veigaln
die Kopfaln in d'Höh.
Und d'Vehgaln, di gschloffn haum
die gaunze Winterszeit,
die wern wida munta,
|:die wern wida munta
und singan voi Freid.:|

Und bliahn daun die Rosn
wirds Heaz nimma triab,
di Rosnzeit is joh
di Zeit fia di Liab.
Und di Rosn bliahn wida
so scheh jedes Joa,
owa d'Liab bliaht nua amoi,
|:owa d'Liab bliaht nua amoi
und nocha is goa.:|

Jeds Joa kummt da Frühling,
is da Winta vorbei.
Da Mensch owa hod nua
an anzign Mai.
Und d'Vehgaln die fuatgflogn san
die kumman wida hea,
owa da Mensch, waun a fuatgeht,
|:owa da Mensch, waun a fuatgeht,
dea kummt nimmamea.:|

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Obgleich die Namen des Dichters und des Komponisten (Joseph Kreipl) bekannt sind, hat das Mailüfterl doch den Rang eines Volksliedes erreicht. Die obenstehende Fassung stammt aus meinem Gedächtnis - und das ist über ein halbes Jahrhundert alt. Um deutschsprechenden Lesern den Vergleich zu erleichtern, habe ich unten eine der konventionellen Versionen angefügt, wie sie z.B. vom Internet erhältlich sind.

Lesern, denen der österreichische Dialekt statt Kopfschütteln Vergnügen bereit, sei ein Versuch mit dem noch bodenständigerem Idiom der Wiener Fiaker angeraten.

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Wenn's Mailüfterl weht,
s'geht im Wald drauß' der Schnee,
da heb'n d'blauen Veigerln
ihre Köpferln in d'Höh.
Und d'Vögerl'n, die g'schlafen hab'n
durch d'Winterszeit,
die wer'n wieder munter,
die wer'n wieder munter,
die wer'n wieder munter
und singen voll Freud,
die wer'n wieder munter
und singen voll Freud.

Und blühen die Rosen,
wird's Herz nimmer trüb;
denn d'Rosenzeit ist ja
die Zeit für die Lieb.
Die Rosen, die blühen
so frisch alle Jahr,
doch d'Lieb blüht nur einmal,
doch d'Lieb blüht nur einmal,
doch d'Lieb blüht nur einmal,
und nachher ist's gar.

Jed's Jahr kommt der Frühling,
ist der Winter vorbei,
der Mensch aber hat nur
ein' einzigen Mai.
Die Schwalben flieg'n fort,
doch sie zieh'n wieder her,
nur der Mensch, wenn er fortgeht,
nur der Mensch, wenn er fortgeht,
nur der Mensch, wenn er fortgeht,
der kommt nimmermehr.

Anton Freiherr von Klesheim
(A Folksong Version) :

When May Breezes Blow

When May breezes blow,
in the woods melt the snow,
then all the blue violets
lift their heads from below;
and the birds that were sleeping
the whole winter's time,
with joy they awaken,
with joy they awaken
and they chirp and they chime.

When roses then blossom
the heart can't be gruff,
cause rose time, you know it,
is the right time for love.
The roses they blossom
each spring o'er the years,
but love blooms just one time,
but love blooms just one time
and then disappears.

Each year comes the spring
when the winter has flown,
but the human has only
one May of his own.
The birds that departed
come back to sojourn,
but the human who's leaving,
but the human who's leaving
will never return.

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Although Hochdeutsch ("High German") is the medium of communication between the populations of (as listed alphabetically) Austria, Germany and Switzerland, it is rarely used by the local tribes. Being primarily a written language, it is spoken only on the radio, theatre, and for purposes of affectation, emphasis, or interaction with other tribes. Without Hochdeutsch, which dates back to Luther's translation of the Bible, an Austrian from Vienna, a German from the North Sea, and a Swiss from anywhere in Switzerland would not be able to understand one another. This is quite different from, say, a Torontonian, a Londoner and a New Yorker conversing.

Literature, for obvious reasons, uses predominantly Hochdeutsch. However, the use of dialect in German-speaking countries is not restricted to oral traditions such as the folk song. It has its own, proud niche.

Speaking of folk songs, "true" German folk songs (Volkslieder) are supposed to be very old and anonymous. In many cases, however, songs have entered the folk tradition only in recent centuries, and have been transformed, to some degree or another, by strong public participation. It is for this reason that I translated my own memory's version of the much-sung Mailüfterl. This is by no means a slight to its author. On the contrary, considering a poem worthy to be a Volkslied is one of the highest honors the German listener can bestow.

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What the visitor, however, may well - and justifiedly - criticize, are the mp3 audio versions of the poem in Austrian dialect and in English. I am quite aware that my voice is unsuitable for reading - and so is my personality. Furthermore, my memory does not ever allow me to consider the pure poem. To wit, the melody always sneaks in with the text. So, obviously, some of it also sneaked into the audio - and I resignedly let it.

But why did I thus make a fool of myself? I had three good reasons. (For old profs, there are always three good reasons!) Here they are:

(1) I feel that hearing a poem, similar to reading it slowly, offers a completely different experience. Perhaps that dates from our tribal history, when oral tradition was the only one we had.

(2) Some poems, original or in translation, use dialect (usually one of the Viennese varieties). Written dialect can challenge even the initiate. Hearing the words pronounced - however inadequately! - may make it easier for the reader to grasp their meaning.

(3) On occasion, poems are used for learning a language, be it English or German. While a poor substitute for a good language tape, these audio links may prove useful for the task.

(3a) And so, if you can,

E N J O Y !