domingo, 9 de dezembro de 2012

Sudden Light

by Dante Gabriel Rossetti

I HAVE been here before,
But when or how I cannot tell:
I know the grass beyond the door,
The sweet keen smell,
The sighing sound,
the lights around the shore.
You have been mine before,—
How long ago I may not know:
But just when at that swallow's soar
Your neck turned so, Some veil did fall,—I knew it all of yore.
Has this been thus before?
And shall not thus time's eddying flight
Still with our lives our love restore In death's despite,
And day and night yield one delight once more?







quinta-feira, 8 de novembro de 2012

Al salir do carcel





by Fray Luis de Leon





Aquí la envidia y mentira
me tuvieron encerrado. 
Dichoso el humilde estado
del sabio que se retira
de aqueste mundo malvado,            
y con pobre mesa y casa,
en el campo deleitoso
con sólo Dios se compasa,
y a solas su vida pasa,
ni envidiado ni envidioso.













  

terça-feira, 6 de novembro de 2012

Soneto 126

by Lope da Vega





Desmayarse, atreverse, estar furioso,
áspero, tierno, liberal, esquivo,
alentado, mortal, difunto, vivo,
leal, traidor, cobarde y animoso;

no hallar fuera del bien centro y reposo,
mostrarse alegre, triste, humilde, altivo,
enojado, valiente, fugitivo,
satisfecho, ofendido, receloso;

huir el rostro al claro desengaño,
beber veneno por licor süave,
olvidar el provecho, amar el daño;

creer que un cielo en un infierno cabe,
dar la vida y el alma a un desengaño;
esto es amor, quien lo probó lo sabe.



segunda-feira, 5 de novembro de 2012

Sentimientos de ausente - 2ª Estrofa

by Sor Juana Ines de La Cruz



Óyeme con los ojos,
Ya que están tan distantes los oídos,
Y de ausentes enojos
En ecos de mi pluma mis gemidos; 
Y ya que a ti no llega mi voz ruda,
Óyeme sordo, pues me quejo muda. 














domingo, 4 de novembro de 2012

Ode a la vida retirada

by Fray Luis de Leon





¡Qué descansada vida
la del que huye del mundanal ruïdo,
y sigue la escondida
senda, por donde han ido
los pocos sabios que en el mundo han sido;

Que no le enturbia el pecho
de los soberbios grandes el estado,
ni del dorado techo
se admira, fabricado
del sabio Moro, en jaspe sustentado!

No cura si la fama
canta con voz su nombre pregonera,
ni cura si encarama
la lengua lisonjera
lo que condena la verdad sincera.

¿Qué presta a mi contento
si soy del vano dedo señalado;
si, en busca deste viento,
ando desalentado
con ansias vivas, con mortal cuidado?

¡Oh monte, oh fuente, oh río,!
¡Oh secreto seguro, deleitoso!
Roto casi el navío,
a vuestro almo reposo
huyo de aqueste mar tempestuoso.

Un no rompido sueño,
un día puro, alegre, libre quiero;
no quiero ver el ceño
vanamente severo
de a quien la sangre ensalza o el dinero.

Despiértenme las aves
con su cantar sabroso no aprendido;
no los cuidados graves
de que es siempre seguido
el que al ajeno arbitrio está atenido.

Vivir quiero conmigo,
gozar quiero del bien que debo al cielo,
a solas, sin testigo,
libre de amor, de celo,
de odio, de esperanzas, de recelo.

Del monte en la ladera,
por mi mano plantado tengo un huerto,
que con la primavera
de bella flor cubierto
ya muestra en esperanza el fruto cierto.

Y como codiciosa
por ver y acrecentar su hermosura,
desde la cumbre airosa
una fontana pura
hasta llegar corriendo se apresura.

Y luego, sosegada,
el paso entre los árboles torciendo,
el suelo de pasada
de verdura vistiendo
y con diversas flores va esparciendo.

El aire del huerto orea
y ofrece mil olores al sentido;
los árboles menea
con un manso ruïdo
que del oro y del cetro pone olvido.

Téngase su tesoro
los que de un falso leño se confían;
no es mío ver el lloro
de los que desconfían
cuando el cierzo y el ábrego porfían.

La combatida antena
cruje, y en ciega noche el claro día
se torna, al cielo suena
confusa vocería,
y la mar enriquecen a porfía.

A mí una pobrecilla
mesa de amable paz bien abastada
me basta, y la vajilla,
de fino oro labrada
sea de quien la mar no teme airada.

Y mientras miserable-
mente se están los otros abrazando
con sed insacïable
del peligroso mando,
tendido yo a la sombra esté cantando.

A la sombra tendido,
de hiedra y lauro eterno coronado,
puesto el atento oído
al son dulce, acordado,
del plectro sabiamente meneado.

quinta-feira, 1 de novembro de 2012

Rilke 'Von der Pilgerschaft'




Lösch mir die Augen aus: ich kann dich sehn,
wirf mir die Ohren zu: ich kann dich hören,
und ohne Füße kann ich zu dir gehn,
und ohne Mund noch kann ich dich beschwören.
Brich mir die Arme ab, ich fasse dich
mit meinem Herzen wie mit einer Hand,
halt mir das Herz zu, und mein Hirn wird schlagen,
und wirfst du in mein Hirn den Brand,
so werd ich dich auf meinem Blute tragen.




sábado, 8 de setembro de 2012

Adonais - An Elegy on the Death of John Keats


by Percy Bysshe Shelley



39.


Peace, peace! he is not dead, he doth not sleep!
He hath awakened from the dream of life.
'Tis we who, lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance strike with our spirit's knife
Invulnerable nothings. We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.

40.

He has outsoared the shadow of our night.
Envy and calumny and hate and pain,
And that unrest which men miscall delight,
Can touch him not and torture not again.
From the contagion of the world's slow stain
He is secure; and now can never mourn
A heart grown cold, a head grown grey in vain—
Nor, when the spirit's self has ceased to burn,
With sparkless ashes load an unlamented urn.

39.

Paz, paz! Ele não está morto, ele não dorme!
Ele acordou do sonho da vida.
Somos nós que em visões tenebrosas, mantemos
Contra fantasmas uma estéril batalha,
E num transe louco lutamos com a faca do nosso espírito.
Invencíveis nadas. Decaímos
Como cadáveres no túmulo; medo e luto
Convulsiona-nos e nos consome diariamente
E frias esperanças escalam como vermes sobre o nosso barro vivo.
(Portuguese free translation by Literatur)


sexta-feira, 31 de agosto de 2012

CARMINVM LIBER PRIMVS XI

by Quintus Horatius Flaccus

Tu ne quaesieris (scire nefas) quem mihi, quem tibi
finem di dederint, Leuconoe, nec Babylonios
temptaris numeros. Vt melius quicquid erit pati!
Seu pluris hiemes seu tribuit Iuppiter ultimam,
quae nunc oppositis debilitat pumicibus mare
Tyrrhenum, sapias, uina liques et spatio breui
spem longam reseces. Dum loquimur, fugerit inuida
aetas: carpe diem, quam minimum credula postero.
(Original in Latim)

 Tu non chiedere - non è concesso sapere -
quale fine a me e quale fine a te
gli Dèi abbiano concesso, o Leuconoe, e non
consultare i calcoli babilonesi.
è meglio patire ciò che sarà.
sia che Giove ci attribuirà molti inverni
O che questo sia l'ultimo,
il quale fa infrangere le onde del mar Tirreno
sulle opposte scogliere,
tu sii saggia e filtra i vini e recidi
ogni lunga speranza che oltrepassi
il breve spazio del tempo immediato.
Mentre parliamo esso è già fuggito.
Cogli l'attimo, credendo il meno
possibile nel domani
(In Dante´s Language)


Não queiras perquirir, Leuconoe (é vedado)
Que fim a ti ou a mim hajam predestinado
Os deuses. Dos Caldeus nos números obscuros 
Não tentes deletrear os eventos futuros.
Quanto é melhor sofrer o que há de vir! Bom prazo 
De amos Jove nos dê, ou seja o último, acaso,
Estes que nos parcéis da praia o mar tirreno
Quebranta, saibas coar o teu vinho e em pequeno
Espaço confinar o teu ideal grandioso.
Ainda estamos falando, e já o tempo odioso
Terá fugido... E, pois, eia, colhe este dia
Como quem no amanhã de modo algum confia..
(Portuguese translation)



domingo, 19 de agosto de 2012

Hojoki




by Kamo  no Chomei


The current of the flowing river does not cease, and yet the water is not the same water as before. The foam that floats on stagnant pools, now vanishing, now forming, never stays the same for long. So, too, it is with the people and dwellings of the world. (Chambers) Original japonês de 1212









quarta-feira, 15 de agosto de 2012

Ode to a Nightingale

by John Keats


My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
'Tis not through envy of thy happy lot,
But being too happy in thine happiness,
—That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Copy hologram of Ode to a nightingale
Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been
Cool'd a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
John Keats by William Hilton
And haply the Queen-Moon is on her throne,
Cluster'd around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover'd up in leaves;
And mid-May's eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call'd him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm'd magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so we
llAs she is fam'd to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now 'tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music:—Do I wake or sleep?


quinta-feira, 2 de agosto de 2012

¡Pra Habana! - Follas Novas - Libro V



by Rosália de Castro

I

Venderonll'os bois,
Venderonll'as vacas,
O pote d'o caldo
Y á manta d'a cama.
Venderonll'ó carro
Y as leiras que tina,
Deixarono soyo
C'o á roupa vestida.
—María, eu son mozo,
Pedir non m'é dado,
Eu vou pó-lo mundo
Pra ver de gánalo.
Galicia está probé,
Y á Habana me vou...
¡Adiós, adiós, prendas
D'o meu corazón!


II
Cando ninguen os mira
Vénse rostros nubrados e sombrisos,
Homes qu'erran cal sombras voltejeantes
Por veigas e campíos.
Un, enriva d'un cómaro
Sentase caviloso e pensativo,
Outro, ó pe d'un carballo, queda imóvil
C'o á vista levantada hacia ó infinito.
Algún cabo d'a fronte recinado
Pares qu'escoita atento o murmurio
D'augua que cai, e eisala xordamente
Tristísimos sospiros.
¡Van á deixá-1-a patria!...
Forzoso, mais supremo sacrificio.
A miseria está negra en torno d'eles
¡Ay! ¡y adiant'está o abismo!...

III
O mar castiga bravamente as penas,
E contr'as bandas d'o vapor se rompen
As irritadas ondas
D'o cántabro salobre.
Chilan as gavi
¡Alá lonie!... ¡moy Ionice!

N'a prácida riveira solitaria
Que convida ó descanso y os amores.
De humanos seres á compauta linea
Que brila 6 sol, adiántase e retorcese,
Mais preto, e lentamente as curvas sigue
D'o murallon antigo d'o Parróte.
O corazón apertase d'angustia,
Ovense risas, xuramentos s'oyen,
Y as brasfemias s'a'iuntan c'os sospiros...
¿Onde van eses homes?
Dentro d'un mes n'o simiterio imenso
D'a Habana, ou n'os seus bosques,
Ide á ver que foy d'eles...
¡N'o etern'olvido para sempre dormen!...
¡Probes nais que os criaron,
Y as que os agardan amorosas, probes!

IV
—Animo, compañeiros,
Tod'á térra é d'os homes.
Aquel que non veu nunca mais que a propria
A inorancia ó consomé.
¡ Animo! á quen se muda Dio-l-o axuda!
¡E anqueora vamos de Galicia lonxe,
Veres des que tornemos
O que medrano os robres!
Manan é o dia grande ¡a mar amigos!
¡Manan, Dios nos acoche!

¡N'o sembrante á alegría,
N'o corazón o esforzó
Y acampana armoniosa d'a esperanza,
Lonxe, tocando á morto!

V

Este vaise y aquel vaise
E todos, todos se van,
Galicia, sin homes quedas
Que te poidan traballar.
Tes en cambio orfos e orfas
E campos de soledad,
E nais que non teñen fillos
E fillos que non ten pais.
E tés corazons que sufren
Longas ausencias mortás,
Viudas de vivos e mortos
Que ninguen consolará.



Notes:

1 . Livro Follas Novas disponível no internet public archive: http://ia600400.us.archive.org/32/items/follasnovasverso00castuoft/follasnovasverso00castuoft.pdf

2. Vídeo em Português: Cantar da Emigração por Antigos Orfeonistas da Universidade de Coimbra e a Orquestra Clássica do Centro.





sábado, 28 de julho de 2012

O Rei dos Elfos

by Johann Wolfgang von Goethe


Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.

"Mein Sohn, was birgst du so bang dein Gesicht?" –
"Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif?" –
"Mein Sohn, es ist ein Nebelstreif."

"Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel' ich mit dir;
Manch' bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand." –

"Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?" –
"Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind." –

"Willst, feiner Knabe, du mit mir gehen?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein." –

"Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?" –
"Mein Sohn, mein Sohn, ich seh es genau:
Es scheinen die alten Weiden so grau. –"

"Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt." –
"Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!" –

Dem Vater grauset's, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Müh' und Not;
In seinen Armen das Kind war tot.



quinta-feira, 26 de julho de 2012

My Last Duchess - Lucrécia de Médici



by Robert Browning


Lucrézia de Médici por Bronzino
Robert Browning
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her?
I said 'Fra Pandolf' by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her Husband's presence only, called that spot
Of joy into the Duchess' cheek; perhaps
Fra Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much", or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat"; such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men,—! Good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stood to blame
This sort of trifling? Even had you skill
In speech—(which I have not)—to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"—and if she let
Herself be lessoned on, nor plainly set
Her wits to yours, forsooth, and made excuse,—
E'en then would be some stooping; and I chose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew, I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then, I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!



domingo, 22 de julho de 2012

quarta-feira, 11 de julho de 2012

Canção do exílio

by Gonçalves Dias

Folha de rosto dos primeiros cantos

Minha terra tem palmeiras,
Onde canta o Sabiá;
As aves que aqui gorjeiam,
Não gorjeiam como lá.

Nosso céu tem mais estrelas,
Nossas várzeas têm mais flores,
Nossos bosques têm mais vida,
Nossa vida mais amores.

Em cismar, sozinho, à noite,
Mais prazer encontro eu lá;
Minha terra tem palmeiras,
Onde canta o Sabiá.

Minha terra tem primores,
Que tais não encontro eu cá;
Em cismar - sozinho, à noite -
Mais prazer encontro eu lá;
Minha terra tem palmeiras,
Onde canta o Sabiá.

Não permita Deus que eu morra,
Sem que eu volte para lá;
Sem que desfrute os primores
Que não encontro por cá;
Sem qu'inda aviste as palmeiras,
Onde canta o Sabiá."



sábado, 7 de julho de 2012

Der Zauberlehrling

by Johann Wolfgang von Goethe

Johann Wolfgang von Goethe


Hat der alte Hexenmeister,
Sich doch einmal wegbegeben!
Und nun sollen seine Geister
Auch nach meinem Willen leben.

Seine Wort und Werke                          5
Merkt ich, und den Brauch,
Und mit Geistesstärke
Thu ich Wunder auch.
Walle! walle!

Manche Strecke,                                   10
Daß zum Zwecke,
Wasser fließe,
Und, mit reichem vollem Schwalle,
Zu dem Bade sich ergieße.

Und nun komm du alter Besen,              15
Nimm die schlechten Lumpenhüllen,
Bist schon lange Knecht gewesen.
Nun erfülle meinen Willen.
Auf zwey Beinen stehe,

Oben sey ein Kopf,                                20
Eile nun und gehe
Mit dem Wassertopf.
Walle! walle!
Manche Strecke,

Daß zum Zwecke,                                  25
Wasser fließe,
Und, mit reichem vollem Schwalle,
Zu dem Bade sich ergieße.
Seht er läuft zum Ufer nieder,

Warlich ist schon an dem Flusse,           30
Und mit Blitzesschnelle wieder
Ist er hier mit raschem Gusse.
Schon zum zweytenmale!
Wie das Becken schwillt!

Wie sich jede Schaale                           35
Voll mit Wasser füllt!
Stehe! Stehe!
Denn wir haben
Deiner Gaben

Vollgemessen! –                                   40
Ach ich merk es, wehe! wehe!
Hab ich doch das Wort vergessen!
Ach! das Wort, worauf am Ende
Er das wird was er gewesen.

Ach er läuft und bringt behende,           45
Wärst du doch der alte Besen!
Immer neue Güsse
Bringt er schnell herein,
Ach! und hundert Flüsse

Stürzen auf mich ein.                            50
Nein nicht länger
Kann ichs lassen,
Will ihn fassen.
Das ist Tücke!

Ach! nun wird mir immer bänger!          55
Welche Mine! welche Blicke!
O! du Ausgeburt der Hölle!
Soll das ganze Haus ersaufen?
Seh ich über jede Schwelle

Doch schon Wasserströme laufen.        60
Ein verruchter Besen
Der nicht hören will!
Stock! der du gewesen,
Steh doch wieder still!

Willsts am Ende                                   65
Gar nicht lassen;
Will dich fassen,
Will dich halten,
Und das alte Holz behende

Mit dem scharfen Beile spalten.             70
Seht da kommt er schleppend wieder!
Wie ich mich nun auf dich werfe,
Gleich, o Kobold! liegst du nieder,
Krachend trifft die glatte Schärfe.

Warlich braf getroffen!                          75
Seht er ist entzwey,
Und nun kann ich hoffen,
Und ich athme frey!
Wehe! wehe!

Beyde Theile                                         80
Stehn, in Eile,
Schon als Knechte
Völlig fertig in die Höhe!
Helft mir ach ihr hohen Mächte!


Und sie laufen! Naß und nässer              85
Wirds im Saal und auf den Stufen,
Welch entsetzliches Gewässer!
Herr und Meister! hör mich rufen!
Ach! da kommt der Meister!

Herr, die Noth ist groß,                          90
Die ich rief die Geister
Werd ich nun nicht los.
„In die Ecke,
Besen! Besen!

Seyds gewesen.                                    95
Denn als Geister
Ruft euch nur zu seinem Zwecke,
Erst hervor der alte Meister.“





sábado, 30 de junho de 2012

The charge of the Light brigade

by Alfred Lord Tennyson




Half a league half a league,
Lord Tennyson
Half a league onward,
All in the valley of Death
Rode the six hundred:
'Forward, the Light Brigade!
Charge for the guns' he said:
Into the valley of Death
Rode the six hundred.

'Forward, the Light Brigade!'
Was there a man dismay'd ?
Not tho' the soldier knew
Some one had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do & die,
Into the valley of Death
Rode the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd & thunder'd;
Richard Caton Woodville - Charge of the light brigade
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.

Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack & Russian
Tennyson - Trinity College - Cambridge
Reel'd from the sabre-stroke,
Shatter'd & sunder'd.
Then they rode back, but not
Not the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse & hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.

When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!






quarta-feira, 27 de junho de 2012

O Jabberwocky - Precursor of Finnegans Wake ?





Jabberwocky - A sound poem
Jabberwocky

by Lewis Carroll (Charles Lutwidge Dodgson)


First edition of Through the looking-glass
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"

He took his vorpal sword in hand:
Long time the manxome foe he sought--
So rested he by the Tumtum tree,
And stood awhile in thought.

And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One two! One two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.


'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.






sexta-feira, 22 de junho de 2012

The raven


The Raven

By Edgar  Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore —
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“ ’Tis some visiter,” I muttered, “tapping at my chamber door —
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; — vainly I had sought to borrow
From my books surcease of sorrow — sorrow for the lost Lenore —
For the rare and radiant maiden whom the angels name Lenore —
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me — filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“ ’Tis some visiter entreating entrance at my chamber door —
Some late visiter entreating entrance at my chamber door; —
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you” — here I opened wide the door; ——
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!” —
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore —
Let my heart be still a moment and this mystery explore;—
‘Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door —
Perched upon a bust of Pallas just above my chamber door —
Perched, and sat, and nothing more. [column 5:]

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore —
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning — little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door —
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered — not a feather then he fluttered —
Till I scarcely more than muttered “Other friends have flown before —
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore —
Till the dirges of his Hope that melancholy burden bore
Of ‘Never — nevermore’.”

But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore —
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee — by these angels he hath sent thee
Respite — respite and nepenthe, from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil! — prophet still, if bird or devil! —
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted —
On this home by Horror haunted — tell me truly, I implore —
Is there — is there balm in Gilead? — tell me — tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil! — prophet still, if bird or devil!
By that Heaven that bends above us — by that God we both adore —
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore —
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting —
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! — quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted — nevermore!


Notes:

  1. The complete edition  illustrated   by Gustave Doré is online at Project Gutemberg  http://www.gutenberg.org/files/14082/14082-h/14082-h.htm
  2. Other illustrated edition is one with a french translation by Stéphane Mallarmé and illustrations by Édouard Manet:  http://www.gutenberg.org/files/14082/14082-h/14082-h.htm
  3. The translation by the french poet Charles Baudelaire is on wikisource:  http://fr.wikisource.org/wiki/Le_Corbeau_(traduit_par_Charles_Baudelaire)
  4. The rhytmically portuguese translation by portuguese poet Fernando Pessoa is online at: http://www.insite.com.br/art/pessoa/coligidas/trad/921.php
  5. The translation by brazilian writer Machado de Assis is on wikisource:  http://pt.wikisource.org/wiki/O_Corvo_(tradu%C3%A7%C3%A3o_de_Machado_de_Assis)   

domingo, 17 de junho de 2012

Brecht, Die Mutter und Die Hydra

Bertold Brecht




Die Mutter 
By Literatur 









"Es gibt Meschen, die kämpfen einen Tag, und sie sind gut.
Es gibt andere, die kämpfen ein Jahr und sind besser.
Es gibt Menschen, die kämpfen viele Jahre und sind sehr gut.
Aber es gibt Menschen, die kämpfen ihr Leben lang:
Das sind die Unersetzlichen."
(einen möglichen Auszug aus Die Mutter - ein Theaterstück von Bertold Brecht)

In the music by Silvio Rodriguez Sueño con serpientes, the passage was
The Lernaean Hydra
translated into a beautiful spanish. The music evokes Herakles and the Lernaean Hydra:



Sueño Con Serpientes
Hay hombres que luchan un día
Y son buenos.
Hay otros que luchan un año
Y son mejores.
Hay quienes luchan muchos años
Y son muy buenos.
Pero hay los que luchan toda la vida:                                                                      
Esos son los imprescindibles.
Bertolt brecht

Sueño con serpientes, con serpientes de mar,
Con cierto mar, ay, de serpientes sueño yo.
Largas, transparentes, y en sus barrigas llevan
Lo que puedan arrebatarle al amor.

Oh, la mato y aparece una mayor.
Oh, con mucho más infierno en digestión.

No quepo en su boca, me trata de tragar
Pero se atora con un trébol de mi sien.
Creo que está loca; le doy de masticar
Una paloma y la enveneno de mi bien.

Ésta al fin me engulle, y mientras por su esófago
Paseo, voy pensando en qué vendrá.
Pero se destruye cuando llego a su estómago
Y planteo con un verso una verdad.






quarta-feira, 13 de junho de 2012

L infinito

Manucscrito do canto L´infinito




L'infinito

By Giacomo Leopardi




Sempre caro mi fu quest’ermo colle,
E questa siepe, che da tanta parte
Dell’ultimo orizzonte il guardo esclude.
Ma sedendo e mirando, interminati
Spazi di là da quella, e sovrumani
Silenzi, e profondissima quiete
Io nel pensier mi fingo; ove per poco
Il cor non si spaura. E come il vento
Odo stormir tra queste piante, io quello
Infinito silenzio a questa voce
Vo comparando: e mi sovvien l’eterno,
E le morte stagioni, e la presente
E viva, e il suon di lei. Così tra questa
Immensità s’annega il pensier mio:
E il naufragar m’è dolce in questo mare.












terça-feira, 12 de junho de 2012

A une passante



A UNE PASSANTE

by Carles Baudelaire



La rue assourdissante autour de moi hurlait.
Longue, mince, en grand deuil, douleur majestueuse,
Une femme passa, d'une main fastueuse
Soulevant, balançant le feston et l'ourlet;

Agile et noble, avec sa jambe de statue.
Moi, je buvais, crispé comme un extravagant,
Dans son œil, ciel livide où germe l'ouragan,
La douceur qui fascine et le plaisir qui tue.

Un éclair... puis la nuit!--Fugitive beauté
Dont le regard m'a fait soudainement renaître,
Ne te verrai-je plus que dans l'éternité?

Ailleurs, bien loin d'ici! trop tard! jamais peut-être!
Car j'ignore où tu fuis, tu ne sais où je vais,
O toi que j'eusse aimée, ô toi qui le savais!


Die Loreley - Die schönste Jungfrau


Die Loreley


by Heinrich Heine


Ich weiß nicht was soll es bedeuten,
Dass ich so traurig bin;
Ein Märchen aus alten Zeiten,
Das kommt mir nicht aus dem Sinn.

Die Luft ist kühl und es dunkelt,
Und ruhig fließt der Rhein;
Der Gipfel des Berges funkelt
Im Abendsonnenschein.

Die schönste Jungfrau sitzet
Dort oben wunderbar;
Ihr goldnes Geschmeide blitzet,
Sie kämmt ihr goldenes Haar.

Sie kämmt es mit goldenem Kamme
Und singt ein Lied dabei;
Das hat eine wundersame,
Gewaltige Melodei.

Den Schiffer im kleinen Schiffe
Ergreift es mit wildem Weh;
Er schaut nicht die Felsenriffe,
Er schaut nur hinauf in die Höh.

Ich glaube, die Wellen verschlingen
Am Ende Schiffer und Kahn;
Und das hat mit ihrem Singen
Die Lore-Ley getan.




segunda-feira, 11 de junho de 2012

The road not taken - The right choice


The road not taken

by Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I––
I took the one less traveled by,
And that has made all the difference.