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Collection of Antique Prints and Engravings (16thc – 19th c), (Part II)

November 2nd, 2013 · Art Collections, Art Exhibitions, Diaspora, International Media, OPINION, PEOPLE, Reviews

Collection of Antique Prints and Engravings (16thc – 19th c), (Part II)

Constantin ROMAN

Constantin ROMAN

Collection of Antique Prints and Engravings (16thc – 19th c) Central Eastern Europe Habsburg Empire, Russian Empire, Ottoman Empire (Turkey in Europe) the Principalities of Transylvania, Moldavia & Wallachia (present-day Romania), (Part II)

Comments: Rare Items, Oddities and Famous Artists
• 18th c manuscript field map of Eugene of Savoya (Habsburg-Ottoman) battle
Engravings by the great Romanian painter Theodore Aman
• Sketch of historic Downtown Bucharest
• Drawings for the test exams at the school of Architecture, Bucharest
Political cartoons of the Russian-Turkish wars by Daumier, Cham,
W. Heath
Plans of 17th and 18th century battles of Habsburg-Ottoman and Ottoman-Russian military engagements and plans of fortifications
Portraits of Princes Dimitrie Cantemir, Antiochus Cantemir, Eugene of Savoya and Brancovan
• French Cartoon of Countess Anna de Noailles (nee Princess Brancovan) and Gabriel D’Annunzio
• 3D perspective map of the Black sea (19th c)
• 17th and 18th centuries Russian, Hungarian and Swedish and Dutch prints
Share certificates of Romanian oil fields (and of Caucasus)
18th c military uniforms of Romanian regiments in the Habsburg Army
• 19th c Greek Independence battle of the Etheria fighters against the Turks
• Hungarians at Ovid’s tomb (1791)
Some Artists – Daumier, Raffet, Bouquet, Lancelot, Preziosi, Turner, Theodore Aman, Claude Vignon, Pierre Francois Basa, Emile-Louis Vernier, Auguste Alexandre Hirsch, WH Bartlett, Valerio, P.F. Tardieu, Schlotterbeck, Cham, William Heath, F. Sorrieu,
Some Map Makers – Homann, Ortelius, Mercator, De Fer, Ruscelli, Merian, Munster, Lotter, Moll, Hondius, Probst, Valk, Schenk, Castaldo, Sanson, Stackhouse, Winter, La Feuille.

Austrian Military Uniform

Austrian Military Uniform

Hungarians at Ovid's Tomb

Hungarians at Ovid’s Tomb

Raptus Virginus

Raptus Virginus

UNATTRIBUTTED ITEMS: other than the 99 framed pictures discussed above, once they would get a specific date will give a more accurate idea about the exact age structure of the collection, perhaps with a greater weight on the 18th century.

About half of the unattributed items represent the 99 framed pictures which are mosttly 19th century views of the Danube, Bucharest and the provinces as well as many costumes. There are some 18th century military uniforms of Romanian regiments in the Austrian army and a few maps. Most of the framed prints are French, English and German with some Hungarian and Austrian engravings and a few drawings and sketches.

There is a certain overlap amongst the themes. For example:
• The BLACK SEA will include maps as well as views of ports
• The CARTOONS will have military themes and Royalty
• The COSTUMES will include some 18th c Royals
• The DANUBE will have views of ports as well as Military fortifications and some battles
• The FINANCE will have share certificates of oil companies with pictures of oil fields, and costumes and the bank notes the head of king Carol II
• The MAPS will have extensive coverage of the Danube and the Black Sea as well as plans od Military
fortifications.
• The MILITARY will have coverage of Royalty and plans of battles along the Danube
• The ROYALS will have some views of events attended by Royalty in Bucharest and elsewhere
• The VIEWS would have some scenes of the Danube, of Bucharest and of costumes
• The FRAMED PICTURES would have only a few maps and Military costumes with a majority of views of the Danube, and Bucharest and especially costumes and views of architectural monuments
• DUPLICATES: There would be some framed pictures of views and costumes which are also in the files of unframed engravings – probably no more than 3% of the total items. However amongst the few maps which appear to be duplicates they may have a different original hand colour applied.

Russian-Ottoman War (19th c. French Cartoon)

Russian-Ottoman War (19th c. French Cartoon)

"Hora" Romanian Peasant Dance (Engraving by Theodore AMAN)

“Hora” Romanian Peasant Dance (Engraving by Theodore AMAN)

Structure of the Collection:

The collection of just over 500 items encompasses a variety of woodcuts, steel/copper engravings, mezzotints, lithographs, and some RARE ITEMS such as original manuscript maps, drawings and artist’s editions. Perhaps the most interesting item represents the framed 18th century manuscript map on Parchment of the battle between the Austrian Armies under the command of General prince Eugene of Savoya and the Ottoman armies in the 18th century, on the Danube valley, near Timisoara. Equally important are the Paris engravings of the great classic Romanian artist Theodore Aman, whose paintings are found in the National Museum in Bucharest and in the Aman Memorial House.

Ninety-Nine items are framed, whilst the remainder of some 400 engravings are mounted on non-acid cardboard and protected by a transparent non-acid overlay. Presently there is an preliminary catalogue, in first draft which needs to be completed with regards to the exact date and source attribution, artist biographies and full descriptive of each print. .

Presently there is a preliminary catalogue, which needs to be further refined with regards to the exact date and source attribution, artist biographies and full descriptive of each print.

Artists and Sources:

Prior to the 19th century these provinces of the Austrian and Turkish Empires were not on the Grand Tour and due to the ongoing wars they did not attract the interest of major artists who would produce engravings of views and costumes. There were of course exceptions – the occasional travelers to Istanbul crossing Wallachia in the 17th and 18th centuries, but they were not accompanied by artists to make a sketch of the lands they crossed (Lady Mary Wortley Montague). From a political point of view, however the area was surveyed by all major European cartographers. The constant change in frontiers between the Turkish, Austrian, Prussian and Russian empires is reflected in this very area of our collection. As such the prints have a wealth of information on the Austrian Turkish battles of the 17th and 18th centuries (i.e. Prince Eugene of Savoya’s) or the Russian-Turkish battles of the 18th and 19th centuries. There are, nevertheless, a few notable artists prior to the 19th century (Haugenberg, Redinger), who depicted Romanian scenes such as cities, battle scenes or horses.

In the wake of major European conflagrations (i.e. Crimean War of 1856, the Russian-Turkish war of 1877, even the Greek war of Independence), scores of artists were expedited to the Romanian Principalities to gather intelligence. Their work enables us today to enjoy some wonderful examples of engravings. Daumier, Raffet, Bouquet, Lancelot, Preziosi, Turner and the Romanian Theodore Aman produced rich series of plates on this subject. The Illustrated London News magazine and the French L’Illustration also often covered either political or travel stories which contained engravings. The Crimean War of 1856 and the Russian-Turkish war of 1877 had graphic coverage in the 19th century European press, either with battle scenes or political cartoons (Daumier), of which the Collection has many good examples.

Interest of the Collection: TRANS-DISCIPLINARY
(History of Art, Architecture, Geography, Ethnography, Cultural Studies, History of Russian, Turkish and Habsburg Empires, Military History)

Cartouche of an 18th c. Map of the Russian Empire

Cartouche of an 18th c. Map of the Russian Empire

A Russian engraving showing the HQ of Prince Souvoroff's Camp, at the Negoeshti Monastery  (Wallachian Campaign)

A Russian engraving showing the HQ of Prince Souvoroff’s Camp, at the Negoeshti Monastery (Wallachian Campaign)

The Deputy keeper of the Prints Collection of a major Museum in London had inspected this collection in the Spring of 1994 and registered an interest in it. A second visit by two curators of the same Museum followed in 2001, on which occasion they acknowledged both the intrinsic artistic and academic value as well as the cohesive character and effort put into it, over a period of three decades.

From a prima facie evidence it seems that this collection is not matched by similar efforts in the public domain, either in Romania, or elsewhere. The Victoria and Albert Museum in London, also has not got this material although it covers immediately adjacent areas, such as the Levant and the Middle East, through the recent acquisition of a collection from a retired Shell executive.
The late Professor’s Oprescu’s collection, given to the Romanian Academy Prints Department, has some beautiful examples of watercolours and sketches, some by Count Prezziosi, but does not overlap with our prints. Prince Nicholas of Romania’s collection of maps has been dispersed soon after the Second World War. Sadly “Ceausescu’s surrogate “Muzeul Colectiilor” of Calea Victoriei, in Bucharest has relegated an important inter-war collection of historic engravings, donated by a private collector, to a “deposit” in a damp basement, sadly forgotten and most certainly ruined: such is the wisdom of our Wallachian luminaries, otherwise, known as “boierii mintii”(…).

NOTE:
For more information and access to pictures of the ENTIRE collection, please contact the Editor via email.

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Collection of Antique Prints and Engravings (16thc – 19th c), (Part I)

October 29th, 2013 · Diaspora, International Media, PEOPLE, Reviews

Collection of Antique Prints and Engravings (16thc – 19th c) Central Eastern Europe
Habsburg Empire, Russian Empire, Ottoman Empire ( Turkey in Europe)
the Principalities of Transylvania, Moldavia & Wallachia (present-day Romania), (Part I)

Portrait of Prince Dimitrie Cantemir

Portrait of Prince Dimitrie Cantemir

Philosophy of the Collection:

No single person could better represent the philosophy of this Collection than Prince Dimitrie Cantemir. Born in Moldavia, educated in Istanbul, to become a true Renaissance figure Cantemir spoke and wrote fluently in several languages, was ennobled by the Czar after the battle of the Pruth in 1711 and became a member of the Berlin Academy. Cantemir’s scholarly treatise on the History of the Ottoman Empire remained for 200 years a crucial reference book, used by Gibbon, Byron and Shelley and read by Churchill.

Dimitrie’s son, Antiochus, was the first Russian poet and was appointed the Tzar’s envoy to London, where he translated and printed his father’s books.

For over 400 years since the conquest of Constantinople, the continuous wars between the Ottomans and the Habsburgs, followed by the Russian-Ottoman wars changed the fortunes of empires. Yet in the midst of this maelstrom, in this Balkan alembic, the cross-fertilization of ideas produced some extraordinary characters, who led armies, changed borders, encouraged the emancipation of nations, explored the mosaic of a multi-ethnic society and attracted the attention of painters and engravers from Western Europe from the earliest map makers to the classic 18th and 19th century writers and artists.
It is hoped that such multi-faceted aspects, described by Cantemir in his oeuvre, are reflected in the themes of these engravings, whether depicting costumes, buildings, scenery, townscapes, battle scenes, military leaders, or political borders.

This wide-embracing ethos helped coalesce over a period of three decades the body of this Collection.

croman The Collector:

Constantin Roman is born in Romania and educated in Bucharest and Cambridge. Since childhood his interest in Arts is stimulated by his maternal grandmother’s collection of paintings, dispersed under the Communist regime. At the same time he studied the collection of old engravings and prints of the Biblioteca Centrala Universitara in Bucharest (formerly Fundatia Regele Carol I) burnt down in December 1989, by the Securitate.

From early childhood Constantin wanted to become an architect, but the positive discrimination meted out by the Communist regime after the Hungarian revolution of 1956, caused him to choose instead a career in Science. Ever since he kept a keen interest in History of Art and Architecture that is reflected in the current Collection.

Constantin ROMAN qualified with a Masters in Geophysics from the University of Bucharest. After graduation, he was invited to England, where he applied for and obtained several scholarships, in the United States, Canada and England amongst which a Research Scholarship from Peterhouse, Cambridge.

He graduated from Cambridge with a PhD in Plate Tectonics under the late Professor Sir Edward Bullard, FRS. Roman joined the exploration teams of major American oil companies in London, at the time of the first discoveries in the North Sea. He subsequently embarked on a career as an independent consultant to Industry and Governments, on world-wide projects. See http://www.celticpetroleum.com

This offered him the opportunity to travels and pursue his passion for collecting items of Romanian interest, which form the present-day collection.

After the fall of Ceausescu regime, Roman returned for a brief spell to the University of Bucharest as Visiting Professor. In 1997, in recognition of his contribution to Romanian Seismo-Tectonics Dr. Roman was awarded the degree of Professor Honoris Causa of the University of Bucharest and President of Romania, Emil Constantinescu (1996-2000) named him a Personal Adviser (Energy and Natural Resources). In 2000 The Institute of Physics Publishers (Bristol and Philadelphia) printed “Continental Drift, Colliding Continents, Converging Cultures” which charts Constantin Roman’s career and contribution to Earth Sciences as well as his Cultural forays . In 2002 Professor Roman was invested with the Order of Merit (Culture and Democracy) with the grade of Commander.

Constantin ROMAN is a British subject and currently lives in London.

History of the Collection:

Wallachia - 16th c. Italian Wood Engraving

Wallachia – 16th c. Italian Wood Engraving

Constantin ROMAN bought his first prints whilst a postgraduate student in Cambridge, in the early 1970s, when very few people were interested in the subject and prices were accessible. Over the following thirty years, as a Geophysicist, he had the opportunity to travel extensively and added substantially to his collection, mostly from dealers in England, France and Holland. His particular interest concentrated on images from the Ottoman Empire in Europe, with emphasis on Wallachia and Moldavia (the Lower Danube and the Carpathians) as well as the Eastern part of the Habsburg Empire, (the Principality of Transylvania). Auxiliary themes of a wider regional interest (Polish, Russian, Balkan, Hungarian, Austrian, Turkish) are also present.

Subject Matter:

The subject of the collection has a strong topographical interest. It consists of maps (including plans of battles and strategic fortifications), views (landscapes and townscapes), costumes, portraits of historical characters, scenes of social and political interest, architectural / natural monuments, political cartoons of the 19th century, etc.

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Poetry in Translation (CCXVIII): Francesco PETRARCA (1304-1374), TUSCANY/ITALY, “Când soarele- şi purta cernită faţa”, “Era il giorno ch’al sol si scolaro” , “The day the sun’s ray had turned pale”

October 28th, 2013 · Books, International Media, Poetry, quotations, Translations, Uncategorized

Poetry in Translation (CCXVIII): Francesco PETRARCA (1304-1374), TUSCANY/ITALY, “Când soarele- şi purta cernită faţa”, “Era il giorno ch’al sol si scolaro” , “The day the sun’s ray had turned pale”

Caravaggio Cupid

Caravaggio Cupid

Când soarele-şi purta cernită faţa
Francesco PETRARCA,

(Arezo, Tuscany, 1304 – Arquà Petrarca, Veneto, 1374)

Când soarele-şi purta cernită faţa,
Plângând durerea zeilor din ceruri,
M-a dezarmat, surprins, şi fără vlagă,
Privirea ta ce m-a făcut ostatec.

Putere nu aveam să fug, pribeagul,
Căci suferind, adânc, atunci plecat-am
Fără-ndoieli, mereu urmându-mi soarta,
Când dintr-odată m-a lovit necazul.

Când dorul m-a surprins, aflându-şi calea
Direct în suflet, aţintind săgeata,
Nestăvilind a plânsului şuvoaie.

Căci mie-mi pare-o lipsă de onoare,
Fiind înarmat cu arcul, să se-ascundă,
Să mă rănească în această stare!

Versiune în limba Română
Constantin ROMAN, Londra,
© 2013, Copyright Constantin ROMAN

Petrarch Manuscript

ERA IL GIORNO CH’AL SOL SI SCOLARO
Francesco PETRARCA,

(Arezo, Tuscany, 1304 – Arquà Petrarca, Veneto, 1374)

Era il giorno ch’al sol si scoloraro
per la pietà del suo factore i rai,
quando ì fui preso, et non me ne guardai,
chè i bè vostr’occhi, donna, mi legaro.
Tempo non mi parea da far riparo
contra colpi d’Amor: però m’andai
secur, senza sospetto; onde i miei guai
nel commune dolor s’incominciaro.

Trovommi Amor del tutto disarmato
et aperta la via per gli occhi al core,
che di lagrime son fatti uscio et varco:

Però al mio parer non li fu honore
ferir me de saetta in quello stato,
a voi armata non mostrar pur l’arco.

Petrarch Canzoniere

The day the sun’s ray had turned pale
Francesco PETRARCA,

(Arezo, Tuscany, 1304 – Arquà Petrarca, Veneto, 1374)

It was the day the sun’s ray had turned pale
with pity for the suffering of his Maker
when I was caught, and I put up no fight,
my lady, for your lovely eyes had bound me.
It seemed no time to be on guard against
Love’s blows; therefore, I went my way
secure and fearless-so, all my misfortunes
began in midst of universal woe.

Love found me all disarmed and found the way
was clear to reach my heart down through the eyes
which have become the halls and doors of tears.

It seems to me it did him little honour
to wound me with his arrow in my state
and to you, armed, not show his bow at all.

(from Canzoniere
translated by Mark Musa
Sonnet 3)

Petrarch

Petrarch

NOTES ON MARK MUSA’S ENGLISH TRANSLATION:

Mark Musa, in editing and translating Petrarch’s Canzoniere, has performed a wonderful service to the English-speaking reader. Here, in one volume, are included the poet’s own selection of the best lyric verse he wrote throughout his life, accompanied by brief but useful notes… ” —Chronicles

“As well as skillful and fluent verse renderings of the 366 lyrics that make up this milestone in the development of Western poetic tradition, Musa offers copious and up-to-date annotation to each poem… along with a substantial, sensitive, and intelligent introduction that is genuinely helpful for the first-time reader and thought provoking for Petrarch scholars and other medievalists.” —Choice

The 366 poems of Petrarch’s Canzoniere represent one of the most influential works in Western literature. Varied in form, style, and subject matter, these “scattered rhymes” contains metaphors and conceits that have been absorbed into the literature and language of love. In this bilingual edition, Mark Musa provides verse translations, annotations, and an introduction co-authored with Barbara Manfredi.

Francesco+Petrarca9 SHORT BIO NOTE:
Francesco Petrarca (Petrarch in English; July 20, 1304 – July 19, 1374) was an Aretine scholar and poet in Renaissance Italy, and one of the earliest humanists. Petrarch’s rediscovery of Cicero’s letters is often credited for initiating the 14th-century Renaissance. Petrarch is often called the “Father of Humanism”.

In the 16th century, Pietro Bembo created the model for the modern Italian language based on Petrarch’s works, as well as those of Giovanni Boccaccio, and, to a lesser extent, Dante Alighieri. Petrarch would be later endorsed as a model for Italian style.

Petrarch’s sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry.

(Extract from Wikipedia)

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Poetry in Translation (CCXVII): Lewis Carroll (1832-1898), ENGLAND, “How doeth the Little Crocodile”, “Cum face micul crocodil”

October 20th, 2013 · Diaspora, PEOPLE, Poetry, quotations, Translations

Poetry in Translation (CCXVII): Lewis Carroll (1832-1898), ENGLAND, “How doeth the Little Crocodile”, “Cum face micul crocodil”

"The Crocodile" by Eric Gill, Mond Cavendish Laboratory, Cambridge

“The Crocodile” by Eric Gill, Mond Cavendish Laboratory, Cambridge

How doeth the Little Crocodile
Lewis Carroll (1832-1898)

How doth the little crocodile
Improve his shining tail,
And pour the waters of the Nile
On every golden scale!
How cheerfully he seems to grin,
How neatly spreads his claws,
And welcomes little fishes in,
With gently smiling jaws!

croc_music

Cum face micul crocodil
Lewis Carroll (1832-1898)

Cum face micul crocodil
S-arate solzii săi,
Sclipind în unda de pe Nil,
Prin mii de mici scântei?
În gură, fericit îi lasă,
Toţi peştii, ca prieteni vechi,
Să intre şi îi şi înhaţă,

Cu-n zâmbet până la urechi.

Versiune în limba Română
Constantin ROMAN, Londra,
© 2013, Copyright Constantin ROMAN

Lewis Carroll (1832-1898)

Lewis Carroll (1832-1898)

SHORT BIO NOTE:
Charles Lutwidge Dodgson (27 January 1832 – 14 January 1898), better known by his pen name, Lewis Carroll , was an English writer, mathematician, logician, Anglican deacon and photographer. His most famous writings are Alice’s Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the poems “The Hunting of the Snark” and “Jabberwocky”, all examples of the genre of literary nonsense. He is noted for his facility at word play, logic, and fantasy, and there are societies in many parts of the world (including the United Kingdom, Japan, the United States, and New Zealand[3]) dedicated to the enjoyment and promotion of his works and the investigation of his life. (from Wikipedia)

SELECTIVE BIBLIOGRAPHY:
* by Lewis Carroll (1832-1898) [pseudonym] , no title, from Alice’s Adventures in Wonderland, published 1865
Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive)
* by Gary Bachlund , “The Little Crocodile”, 1991, published 1996 [high or medium voice and piano], from “Alice” Songs, no. 2.
* by John Duke (1899-1984) , “The little crocodile”, from Five Lewis Carroll Poems, no. 3.
* by Liza Lehmann (1862-1918) , “How Doth the Little Crocodile”, published 1908 [soprano, contralto, tenor, and bass], from Nonsense Songs: The Songs That Came Out Wrong, no. 1.

NOTE ON THE GENESIS OF ERIC GILL’S CROCODILE:
Cambridge University: Mond Laboratory, “The Crocodile” by Eric Gill
The artists initials “E.G.” are marked in the animal’s mouth, at the angle of the two jaws.

Pyotr Kapitsa (1894-1984)

Pyotr Kapitsa (1894-1984)

Pyotr Kapitsa(1894-1984), the Russian-born physicist, was Teddy’s contemporary at the Cavendish, in the 1930s: Teddy told me about Kapitsa that “he would bathe naked, in the river Cam, during winter, he was quite an eccentric fellow”. It was Kapitsa’s idea to have the cartoon of a crocodile made in sgraffito, by Eric Gill, on the facade of the Mond Laboratory building, behind Corpus, which opened in 1933: “the Crocodile” was Rutherford’s nickname given to him by Kapitsa.
Ernest Rutherford (1871-1937)

Ernest Rutherford (1871-1937)

Here the flamboyant Russian émigré (the first foreigner to be elected an FRS, in 1929) worked on the problem of high magnetic fields and liquid helium.
Kapitsa made his fateful trips to the Soviet Union, before the War, the last one of which Stalin aborted, by not allowing him to return to Cambridge. This was in 1934, but Cambridge was generous to him and sent him, in the Soviet Union, all his equipment, a move they came to regret a decade later, as they thought that during the war Kapitsa would work on the atomic bomb. He worked instead on liquid air and oxygen, which was going to boost the steel production for the war effort. This work on low-temperature physics brought him the Nobel Prize for Physics, in 1978.
It took a good many years, under Krustchev, for the Russian nuclear physicist to be allowed out of Russia again. On his return visit to Cambridge, after some 35 years, Kapitsa would not allow the BBC crew to interview him on television. He acceded to this request only on condition that Teddy would interview him and nobody else. It is during this interview, Teddy told me, that Kapitsa admitted coyly that “the Crocodile” was no other than Rutherford: “in Russia the crocodile is the symbol of the father of the family. But the animal is also regarded with awe and admiration, because it has a stiff neck and never turns its head it just goes straight forward, like science, like Rutherford”. By this time, the nickname was an open secret.
Sir Edward Bullard, FRS (1907-1980) celebrating Constantin Roman's Wedding at Cambridge, 1973, with Molly Wisdom

Sir Edward Bullard, FRS (1907-1980) celebrating Constantin Roman’s Wedding at Cambridge, 1973, with Molly Wisdom

Sir E went to Russia on official trips, as guest of the Soviet Academy of Science. He was also an adviser to the Admiralty and attended as such the Geneva Conference on disarmament in 1958. Teddy was instrumental in bringing together the first specialists in the field of monitoring underground nuclear tests and he regularly attended Pugwash meetings on the subject. During my research at Cambridge I was going to be an indirect beneficiary of this data base in monitoring nuclear tests, when it came to studying the Central Asian earthquakes. During his soviet trips, Teddy had no qualms that his every movement would be followed, every discussion monitored, his hotel room bugged and bathroom fitted with two-way mirrors. Teddy had an extraordinarily mischievous streak: he told me that he would enjoy, on his trips to Moscow, going to his hotel bathroom and making faces in front of the mirror, to poke fun at his minders, “in case it was a two-way mirror”.
extract from:
“Continental Drift” a Cambridge Memoir
www.constantinroman.com/continentaldrift/
Constantin Roman: "Continental Drift"

Constantin Roman: “Continental Drift”

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Şerban Veliciu: Recenzie – Deriva Continetală – Coliziunea Continentelor şi Convergenţa Culturilor”, sau – “Un Român în Derivă”

October 18th, 2013 · Books, Diaspora, OPINION, PEOPLE, Reviews, Translations

Roman_Constantin_1991_01

Constantin Roman: "Continental Drift"

Constantin Roman: “Continental Drift”

Deriva Continetală – Coliziunea Continentelor şi Convergenţa Culturilor”
“Un Român în Derivă”
Dr. Ing. Şerban Veliciu
Profesor la Universitatea din Bucureşti,
Prof. Serban Veliciu

Prof. Şerban Veliciu

Citind “Deriva Continentală” aflăm despre meandrele carierei lui Constantin Roman, cel care a reuşit să strălucească în domenii în care, la începuturi, nu promitea prea mult.
Am fost amândoi colegi de an la Facultatea de Geologie Tehnică a Insitutului de Petrol şi Gaze (astăzi la Universitatea din Bucureşti) şi am absolvit amândoi geofizica. Imi amintesc perioada studenţiei când Costi Roman îmi povestea că în liceu nu prea era pasionat de fizica şi de geologie (el dorea sa devină arhitect) ca să ajungă în cele din urmă inginer geofizician. Pe timpul studenţiei la Bucureşti, Costi nu s-a remarcat nici in tectonică şi cu atât mai puţin în seismologie, pentru ca mai târziu să ajungă bursier şi doctorant la Cambridge, iar domeniul în care s-a afirmat să fie “seismo-tectonica”! Acest succes nu este întâmplător, el se datorează unor calităţi recunoscute de către profesorii săi de la Bucureşti, şi anume, entuziasmul şi perseverenţa. La acestea se mai adaugă şi o a treia calitate, indispensabilă în profesia noastră – imaginaţia, calitate pe care a folosit-o la maximum în găsirea unor soluţii unice, de multe ori trecând peste dificultăţi insurmontabile.

În afară de capitolul introductiv despre rădăcinile familiei sale (“Amprenta genetică”) şi de perioada petrecută la Paris şi la School of Physics, în acest volum este şi un jurnal care consemnează observaţiile autorului despre perioada 1969 – 1973, petrecută la Cambridge, ca bursier al celui mai vechi colegiu, Peterhouse, ctitorit la 1284 de episcopul de Ely, un contemporan al descălecătorilor Tărilor Româneşti şi Moldovei. La Cambridge, Constantin Roman a avut privilegiul de a-şi efectua cercetările într-o perioadă când, la momentul potrivit, a fost îndemnat să urmeze un drum pe care puţini au păşit, dar unde fiecare drumeţ a fost remarcat. Acum, acest drum este aglomerat şi bine bătătorit de prea mulţi pietoni, dornici să ajungă în faţă, folosind toate mijloacele, chiar si datul din coate. In acest context, lucrările lui Constantin Roman au avut drept rezultat o nouă soluţie tectonică pentru manifestările seismice localizate in crusta continentală a Eurasiei: această soluţie a constituit un fundament pentru dezvoltarea ulterioară, la Cambridge, a teoriei Tectonicii Plăcilor şi a fost unică, in felul ei, din mai multe motive.

De o importanţă deosebită este interesul ştiinţific, provenit din recunoaşterea existenţei a noi tipuri de plăci litosferice – plăci ne-rigide sau plăci tampon (“non-rigid plates” sau “buffer plates”), descrise în revistele ştiinţifice. Câteva din noile-definite “plăci tampon” au fost separate din întinsa suprafaţă a crustei continentale aparţinând Eurasiei, în particular din arii situate în hinterlandul Himalaiei – Tibetul şi Sinkiang-ul, rezultat care va avea un remarcabil impact asupra teoriei Tectonicii Plăcilor. În plus, intuirea prezenţei unei porţiuni de litosferă oceanică, necunoscută încă, ce se scufunda sub crusta continentală a Carpaţilor, ipoteză publicată într-un numar al revistei “Nature”, din 1970, a reprezentat o contribuţie la marea lucrare care a fost reconstrucţia Mării Thetis. Aproape concomitent, Dan Rădulescu şi Mircea Săndulescu, la Bucureşti, explicau evoluţia geologică a ariei carpatice, ca un ansamblu de efecte ale Tectonicii Placilor. Recunoscând meritul deosebit al disertaţiei de doctorat a inginerului Roman, Institutul Geologic a publicat în intregime, în anul 1998, în Romanian Journal of Geophysics (l8, l998, Bucuresti) textul lucrării de la Cambridge, ca o recunoaştere a caracterului peren al modelelor stabilite cu 25 de ani înainte şi, în acelasi timp, ca o subliniere a priorităţii contribuţiei la evoluţia tectonicii alpine.

Constantin Roman a studiat la Cambridge sub îndrumarea a doi savanti de talie internaţională – mai întâi cu Dan McKenzie, şi după un an cu Sir Edward Bullard (memorabil pentru reconstructia matematică a Atlanticului, cunoscută ca ”imperecherea Bullard” – “the Bullard Fit”). C. Roman a studiat seismicitatea lanţurilor alpine – Carpaţii, Hindu-Kush-ul, Himalaia şi a Asiei Centrale (Tibet, Tarim şi Sinkiang).
Ca elev al lui Sir Edward Bullard, numele lui Roman se aşează într-o selectă serie de distinşi oameni de ştiinţă, aparţinând şcolii de Fizică din Cambridge, plecând de la Thompson, Rutherford şi Cavendish şi ajungând pană la Sir Isac Newton. Ca parte a acestei tradiţii, studiile lui Roman încercau să modifice chiar conceptul Tectonicii Globale.

Deriva, sau Sfidarea Idiocraţiei

Deriva, sau Sfidarea Idiocratiei

Apariţia în Româneste, la Centre for Romanian Sudies – London, a cărţii “Deriva Continentală” prezintă chiar fundalul pe care s-a construit teoria Tectonicii Globale la Cambridge (adică, oamenii, locurile şi evenimentele) nu este altceva decat o pură simetrie a două publicaţii perfect complementare – a tezei de doctorat, tipărite de I.G.R., şi anecdotica care a constituit baza acestei teze. In perioada anilor ’60 si ’70, acest nou concept, al Tectonicii Plăcilor, venea să revoluţioneze înţelegerea noastră asupra planetei Terra şi, în particular, să explice efectele coliziunii Eurasiei cu Africa, Arabia şi India. Este uimitor numărul mare de cercetători pe care acest nou concept i-a inspirat, primele articole publicate in Nature, Geophysical Journal si New Scientist, rămânând printre “clasicele” literaturii de specialitate; acelea au fost primele dar şi cele mai inspirate zile, când Vine şi Matthews dezvoltau ideea “spreading”-ului fundului oceanic, iar canadianul Tuzo Wilson, pe atunci profesor în vizită la Cambridge, intuia dinamica faliilor transformante. Toate acestea au produs o frenezie a cercetărilor care au schimbat geologia într-o manieră ne mai întâlnită nici înainte si nici după.

Răsfoind paginile cărţii, cititorul descoperă, încetul cu încetul, tensiunile cu care se confruntau in viaţa reală oamenii de ştiinţă, cu erorile si slăbiciunile lor, cu rivalităţile si ambiţiile lor mărunte. Trecând peste toate acestea, cei care au cunoscut relatările lui Constantin Roman despre debutul său la Cambridge în domeniul Tectonicii Plăcilor, au fost uimiţi de efortul disperat de a învinge un grup de cercetători, de la Massachusetts Institute of Technology, în rezolvarea unei mari enigme a Stiinţelor Pămantului – seismicitatea Asiei Centrale. Închis în microcosmosul său de la Cambridge şi obsedat de cercetările sale, Roman a uitat de echipa lui Peter Molnar, de dincolo de Atlantic, care studia de mai mulţi ani aceleaşi cutremure tibetane şi care acumulase o mulţime de informaţii pregătite tocmai atunci pentru a fi publicate.

(Photo, Cambridge Evening News), 1973.” class=”alignleft size-medium wp-image-1313″ /> Trezirea sa bruscă la realitate a fost un şoc, deoarece fiecare element al probelor strânse cu trudă şi care constituiau miezul disertaţiei sale de doctorat, ar fi fost puse în pericol prin publicarea cu prioritate a rezultatelor colegilor americani. Această împrejurare unică în luptă, dubiile şi apoi triumful final al lui Roman, reprezintă un exemplu dramatic al unei dileme cu care se confruntă Omul de ştiinţă. El nu este sigur dacă o noua idee, esenţială, va fi uşor acceptată de cei de o aceeaşi profesiune, cunoscuţi mai mult pentru conservatorism decat pentru spiritul lor iconoclast. În consecinţă, Roman a considerat că este prudent să introducă în dezbatere aceste noi idei şi să le verifice în faţa unei noi audienţe, prezentându-le într-o serie de conferinţe, în calitate de invitat al unor universităţi britanice si de pe continent: Imperial College, Oxford, Cambridge, Norwich, Newcastle, apoi trecând canalul Mânecii la Liége şi Frankfurt.

Într-o anumită măsură, exista un cod nescris al oamenilor de ştiinţă, cod care recunoaşte, până la un anumit punct, o revendicare de prioritate dintr-o direcţie de cercetare pe care mizează un coleg şi acest cod a fost încălcat în perioada şederii lui Roman la Cambridge. Dar când competiţia începe să te ameninţe din toate colţurile, nu mai exista nici o reţinere ca să ieşi in faţă şi să-ţi aperi lucrarea, a cărei paternitate trebuie păstrată cu orice preţ. Această dramă nescrisă transpare din paginile “Derivei Continentale”, carte pe care o oferim tiparului, atrăgand cititorul cu extraordinarul etos al simţului viu pe care îl are creaţia ştiinţifică: relatarea în sine nu este Istorie, ci o contribuţie la Istoria unui domeniu al Stiintei, care cândva urmează să fie scrisă. Multe din dogmele sale sunt valabile şi astăzi, aceasta fiind o dovadă a cât de solidă este temelia pe care vor creşte generaţiile tinere de cercetători.

Dar, într-un sens mult mai larg, ceea ce trebuie subliniat este faptul că mai mult decât confruntările ştiinţei, sau ale oamenilor de ştiinţă, “Deriva Continentală” este o carte despre valori universale, despre Libertate, Umanism, Estetică, dar mai ales despre Bucuria Vieţii, “la joie de vivre”- acea corală a mediului ambiant care a inspirat cercetătorul, un mediu in care sunt create ideile cu adevărat permanente. Observăm aici impresiile care au colorat imaginaţia autorului şi care formează miezul naraţiunii, o interdependentă fără de care această cercetare ştiinţifică nu ar fi fost posibilă. Este vorba despre impactul pe care Europa Occidentală şi mai ales Marea Britanie, au avut-o asupra unui tânăr inginer din spatele Cortinei de Fier.

Ajuns la Newcastle, el afişează o nepăsare tinerească la faptul că avea doar cinci lire in buzunar! Biletul de călătorie in Anglia, a fost obţinut, în mod surprinzător, dintr-o bursa NATO, a cărei existenţă o ţinea secretă faţă de autorităţile române în caz că acestea din urmă i-ar fi retras permisul de călătorie (“Secretul NATO”). Si totuşi, autorităţile de la Bucureşti i-au dat voie sa călătoreasca, deabea în ajunul incheierii conferintei la care era invitat să-şi prezinte comunicarea – o tactică obişnuită din arsenalul birocraţiei comuniste, care încerca, prin toate mijloacele, să descurajeze contactele cu lumea din afară, bineînţeles, cu excepţia celor oficiale, ceea ce nu era valabil şi în cazul Roman. Atitudinea acestui neliniştit nici nu se compară cu obraznicia unui înalt functionar dela UNESCO al guvernului Român, şi agent al Securitătii, care, aflând că tânărului Roman i s-a oferit un loc de doctorant la Paris, l-a pus in gardă faţă de:

“această opţiune politică” (sic),

avertizându-l,in acelaşi timp, că:

“dacă ar vrea să se stabilească in Occident, în cel mai bun caz, ar ajunge cel mult, chelner într-un restaurant!”

Constantin ROMAN - Paris, May 1968 (1968)

Constantin ROMAN – Paris, May 1968 (1968)

Neţinând cont de acest avertisment sinistru, Costi Roman îşi petrece primele săptămâni în străinătate vizitând locurile turistice, închipuindu-şi că nu ar mai avea o altă ocazie să iasă din ţară. La întoarcere, în drum spre România, ca ori ce “român curios”, se opreşte la Paris “ca să vadă turnul Eiffel”…. De fapt, în subconştient, dorea să se întâlnească cu profesorul Émile Thellier, de la celebrul Institut de Physique du Globe. Thellier ii oferea lui Roman un loc la doctorat in arheomagnetism, dar cum acesta ajunge la Paris tocmai la 1 Mai l968, numai după o săptămână, studenţii francezi incep revolta lor, Franţa se scufundă in haos, şi, bineanteles, planul de studii devine inutil. Mult mai grav decât dezamăgirea profundă este faptul că Roman se află la Paris fără bani, fără posibilitatea de transport pentru a se întoarce în România, şi cu ambele vize expirate- cea Franceza de tranzit în Franţa şi cea de întoarcere în Romania (Capitolul “Paris-Revolta Studenţească). După o perioadă de trei luni, timp în care i se părea că existenţa lui atârna de un fir de aţă, Roman este salvat de către profesorul Kenneth M. Creer, de la Newcastle, care îi oferă un loc la School of Physics, ca “visiting research student”, pentru perioada de vară. Aici, Constantin face cinci cereri de bursă pentru doctorat, reuşind la trei concursuri, la Toronto, în Statele Unite şi la Cambridge, unde ajunge in toamna anului l969. Dar ghinionul îl urmăreşte şi aici, căci vechea universitate, la fel ca şi cea de la Paris, în anul precedent, este in revoltă, incendiind la propriu un hotel şi la figurat, spiritele, cu cartea feministei Germaine Greer – “The Female Eunuch”. Efectul acestei revolte nu a fost decât o copie palidă a mişcărilor studenţeşti pariziene, din 1968, un fel de Halloween cu mai multe focuri de artifcii, reuşind, totuşi, să facă scrum un hotel şi să îl pună pe fugă pe ministrul britanic al afacerilor interne. Fiind şcolit în spiritul dictaturii, unde orice formă de disidenţă era imediat sufocată, doctorantul român, paraşutat în mod neaşteptat în centrul acestor evenimente politice, rămâne desorientat, cu scările sale de valori complet răsturnate.
Teddy Bullard celebrating Constantin Roman's Wedding at Cambridge, 1973

Teddy Bullard celebrating Constantin Roman’s Wedding at Cambridge, 1973

Contrastul de culturi dintre Est si Vest, dintre idealurile preconcepute despre Occident, romantice şi romanţate, pe de o parte, şi realitatea cotidianului pe de alta, crează situaţii efervescente, pe traiectorii diverse, cu întâlniri stimulante cu personalităţi din lumea artelor, a ştiinţei şi politicii (“Lotus eater”). Aici vedem cum personajele, arhitectura şi peisajul grădinilor englezeşti care îl inconjoară şi formează fundalul cercetărilor sale ştiinţifice sunt evocate cu multă emoţie si lirism, iar dacă acest cadru este punctat şi de ironie şi de un stil direct, cititorul trebuie să-l înţeleagă pe autor în intenţia sa de a prezenta o imagine nealterată, aşa cum a perceput-o de la început. Această înţelegere este necesară pentru că opiniile exprimate pe timpul acestor ani imaturi, dar fericiţi, au adesea o notă de aroganţă tinerească, şi de aceea cei care figurează ţn paginile acestei cărţi trebuie să le citească cu multă înţelegere. Aceste păreri încărcate de emoţie nu se pot explica mai bine decat a făcut-o Regina Maria, prin urmatoarele cuvinte:

“Cândva am fost un străin printre voi; acum fac parte dintre voi şi pentru că vin de atât de departe sunt capabilă să vă desluşesc mai bine cu calitatile şi defectele voastre” (“Tara mea”, l9l6, Londra, Hodder & Stoughton).

Fără îndoială este adevărat că, gândirea lui Constantin Roman nu ar fi prosperat in mediul stimulator al Cambridge-ului, mediu ce reprezintă vârful lumii academice britanice, fără largă cultură geonomică pe care el a primit-o de la şcoala română de geologie şi geofizică, reprezentată prin Facultatea de Geologie Tehnica a Institutului de Petrol Gaze şi Geologie din Bucuresti, al cărei student a fost la inceputul anilor ‘60. Aici si-a obţinut diploma în geofizică, cu o disertaţie asupra unui subiect abordat pentru prima dată în ţara noastră:

“Paleomagnetismul zăcămintelor de cupru din Dobrogea”.

Aceasta ne-a furnizat o primă sugestie despre viitoarea carieră a lui Roman, disertaţia fiind definită de conducatorul sau ştiinţific, profesorul Liviu Constantinescu, ca:

”o contribuţie semnificativă, indicând atât înţelegerea dar şi perseverenţa în rezolvarea unei probleme de cercetare”.

Mult mai încurajatoare în a sesiza potenţialul de talent din viitorul lui Roman, a fost aserţiunea profesorului Sabba Ştefănescu, ulterior membru al Academiei Române, care, în referatul de examinare scria:

“… el a găsit mijloacele să producă o foarte interesantă şi originală lucrare de diplomă, la absolvirea celor cinci ani de studii universitare..”,
“… lucrarea a fost scrisă atât de pasional şi frumos exprimată, încât dl.Roman a fost felicitat de examinatorii săi”.

Întorcând paginile acestei cărţi, este evident că viziunea utopică cu care a parcurs acest demers, a fost intersectată cu dezamăgiri şi regrese, pe măsură ce imperfecţiunile firii omeneşti au ieşit la suprafaţă. Si totuşi, în pofida celor amintite mai sus, acest Jurnal nu reprezintă un inventar exaustiv al greutăţilor întâmpinate, ci mai degrabă un refuz obstinat şi Quixotic în a accepta aceste dificultăţi. In alt context, o astfel de atitudine necompromiţătoare este rezumată, cum nu se poate mai potrivit, de Thomas Mann:

“În cele din urmă, aici pe pământ, nu mai rămâne decât o singură problemă de rezolvat: cum să ne ridicam şi sa plecăm, să spargem coaja crisalidei ca să devenim fluture”.

Citind această carte am fi tentaţi să-i şlefuim colţurile, dar nu ne permitem să facem aşa ceva, de teamă să nu umbrim bucuria cu care au fost împărtăşite aceste impresii de început, ele fiind componente indispensabile în desfătarea cititorului.

Ţinand seama de cele spuse mai sus, ne-am putea întreba:

“Deriva Continentala” reprezintă cumva oglinda în care se reflectă ochiul necruţător al musafirului de pe continentul european, aflat în derivă printre noi? Sau poate, mai degrabă, ar fi un diapazon, sau o cutie de rezonanţă care ne amplifică ecoul trimis de această solie? Sau, poate, în cele din urmă, să fie doar o istorie a ştiinţei, descriind deriva continentelor la începutul teoriei Tectonicii Globale? La o primă cercetare, toate aceste aspecte pot sa pară foarte diferite, totuşi, toate au o valenţă armonioasă şi perfect complementară, care justifică pe deplin tripla semnificaţie a titlului acestei cărţi – “ Deriva Continentală”.

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Poetry in Translation (CCXVI): Ferruccio GRECO, Poet of CALABRIA, “Tenerezze ”, “O mamă Calabreză

September 30th, 2013 · International Media, PEOPLE, Poetry, quotations, Translations, Uncategorized

Poetry in Translation (CCXVI): Ferruccio GRECO, Poet of CALABRIA, “Tenerezze ”, “O mamă Calabreză

ferruccio greco

Tenerezze
(Ferruccio Greco)

Nu paru d’anni, forse mancu, avie
mi ricuordu, ogne vota succedie
ca si ppe’ ncunu dulure io ciangie
mamma intr’a vrazza sue mi stringie;

m’addimmannave addre mi dulie
e quannu gridannu io cciu’ dicie
mi cce vasava: u chiantu finisc

Calabria

O mamă Calabreză
(Ferruccio Greco)

Abea doi ani de-aveam, şi îmi aduc aminte
Cum visuri din trecut în suflet se perindă.
Cât de amar plângeam, cu lacrimă fierbinte,
Iar mama mă strângea, la pieptu-i să m-alinte;

Ea mă-ntreba, duios , de ce, şi unde oare?
Şi-i arătam, plângând, la locul ce mă doare …
Atunci ma săruta, ca plânsul să-mi aline,
Şi lacrima să-mi treacă, din nou să zburd, în lume.

Versiune în limba Română
Constantin ROMAN, Londra,
© 2013, Copyright Constantin ROMAN

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Mircea Milcovitch: «Le Grand Mystère», Les Editions Romaines

September 23rd, 2013 · Books, Diaspora, International Media, OPINION, PEOPLE, quotations, Reviews

Le Grand Mystere

« Le Grand Mystère » édité par Les Editions Romaines , est déjà disponible !

http://www.librairieromaine.biz/2013/09/18/le-grand-mystere/

ou peut être commandé dans les librairies de France, Belgique et Suisse
————————————————————————

Le mot de l’éditeur

L’ouvrage que vous, lecteur, tenez entre vos mains n’est pas à proprement parler un ouvrage de théologie. D’ailleurs, l’auteur n’en aurait pas la prétention. Il s’agit en revanche d’un livre dans lequel Mircea Milcovitch a consigné l’ensemble de la logique biblique, de son intelligence de la foi chrétienne, qu’il a, au préalable, fait valider au fur et à mesure par de nombreuses conversations avec des théologiens de l’Institut Saint‑Serge de Paris (surtout Constantin Andronikof), et des moines‑théologiens du monastère bénédictin de Chevetogne, en Belgique.

On reconnaîtra, dans le style utilisé, un certain accent direct, pur, sans doute moins nuancé que ne l’aurait fait un prêtre ou un théologien, mais Le Grand Mystère est un ouvrage d’une grande sensibilité, celle d’un artiste chrétien contemporain.

Certes, de-ci, de-là, rencontrerez-vous sans doute ce qui s’apparenterait à un coup de sang contre certains comportements postmodernes occidentaux, peut‑être même certains trouveraient à redire dans la littéralité de l’écrit. Pour autant, l’éclairage complexe de ce livre, qui se concentre prioritairement sur la Genèse et les Evangiles, est une fenêtre ouverte sur les mystères de la foi chrétienne.

Une très bonne lecture à tous !

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Poetry in Translation (CCXV): Anonymous, ROMANIA, “The Ecologic Princess and Prince Charming“, “Prinţesa Ecologică şi Făt Frumos”

September 23rd, 2013 · International Media, Poetry, quotations, Translations, Uncategorized

Poetry in Translation (CCXV): Anonymous, ROMANIA, “The Ecologic Princess and Prince Charming“, “Prinţesa Ecologică şi Făt Frumos”

Fairy Princess

The Ecologic Princess and Prince Charming
(Romanian Anonymous)

Once upon a time,
In far-away lands,
There was a beautiful princess
Who just found a frog
Whilst she was contemplating ecologic aspects,
On the shore of an unpolluted lake,
In a green meadow
(recently re-granted by the Constitutional Court).
When, all of a sudden, out of the blue,
Just like that, the frog
Jumped in the Princess’ lap, saying:
My beautiful Princess,
Once upon a time I was a handsome Prince,
Just as a Communist witch
Cast a spell on me and turned me into a frog.
Pray, be so kind to give only one kiss
And I will turn back
Into a slender Prince Charming.
And thereafter, my Love, we shall wed,
And we shall be happy in your castle,
Together with my mother,
Whilst you will cook delicious meals,
Do the washing, conceive children
And be for ever
Grateful to me
And happy with your lot.

That evening,
As the Princess was eating a scrumptious dish
Of frog legs à la mode de Caën
Seasoned with garlic and a sauce of white wine
She smiled discretely, whispering:
I should be damned, if I complied!

prince charming

Prinţesa Ecologică şi Făt Frumos
(Poet Anonim ROMAN)

A fost odată
Ca nici odată
Şi dacă n-ar fi
Nu s-ar povesti.
A fost odată,
Pe meleaguri îndepărtate,
O mandră prinţesă
Care tocmai zări o broască,
În timp ce contempla aspecte ecologice,
Pe malul unui lac nepoluat,
Dintr-o luncă verde,
Lâng-un vechi castel,
(Restituit de Curtea Constituţională).
Când de-odată,
Aşa, netam-nesam, broasca
Sări drept în poala prinţesei, spunând:
Mândra mea prinţesă,
Am fost cândva şi eu un prinţ mândru
Până când o vrăjotoare comunistă
M-a afurisit să devin o broască.
Rogu-te, un singur sărut dela tine
Mă va transforma din nou
Într-un Făt Frumos, tras ca prin inel.
Iar apoi, iubita mea, ne vom cununa
Şi vom trăi fericiţi, în castelul tău,
Împreună cu mama mea,
Unde tu vei găti bucate gustoase,
Vei spăla rufele, îmi vei zămisli copii
Şi de-a pururea
Îmi vei fi recunoscătoare
Şi fericită că te-ai purtat aşa.

În seara aceea,
În timp ce prinţesa consuma un meniu somptuos
De ciulama de pulpe de broască,
Cu mujdei de usturoi, în sos de vin alb,
Ea schiţa un surâs suav, murmurând:
Să-mi sară ochii, dac-o să fac aşa!

(Adaptare liberă după un poet Român anonim,
Copyright Constantin ROMAN, London, 2009)

enchanted frog

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What has President Nicolas Maduro got in common with the late (dearly departed) President Nicolae Ceausescu?

September 22nd, 2013 · Books, Diaspora, International Media, OPINION, PEOPLE, Poetry, quotations, Translations

What has President Nicolas Maduro got in common with the late (dearly departed) President Nicolae Ceausescu?

BBC News: “The Venezuelan government has taken over a toilet paper factory to avoid any scarcity of the product.”

Maduro's Venezuela - Shortages of Toilet Paper

Maduro’s Venezuela – Shortages of Toilet Paper

Well, you may well ask, one has more answers to this question than one would like to give: not just Marxism and an admiration for dictatorship, not only Communist practice and humbug, or reducing a whole, once-prosperous nation to despair: one has to live through such Kafkaesque reality in order to believe it can exists! The examples are legion, but the latest news on the International media deserves particular attention, not just as unimaginable developments in this Venezuelan Absurdistan, no! But because of the inevitable degrading of human nature, under Communist practice.

Mayo+17++de+2013+El+Tiempo+F-1

Venezuela - Food Shortages

Venezuela – Food Shortages

Apparently, the blueprint of a five-year plan to reach “Communist Paradise” got into trouble, when such goods, as basic as lavatory paper, were no longer available in shops. Such crisis compelled Maduro to order emergency imports, to no avail, as the shortage was too severe – one graphic example of the bankruptcy of communist ideology, in sufficing to such bare necessities!
But let us comfort President Maduro by reassuring him that even in Ceauasescu’s Romania, one could not enjoy the luxury of importing toilet paper, because foreign currency was needed, instead, for securing a “bright Socialist Future”, through the import of technology from Capitalist countries… Have you ever imagined how much would have cost the regime, in equivalent US dollars, to import miles-long rolls of toilet paper for 20 million Romanians? Maybe the equivalent of buying a nuclear factory of the size of Fokushima!
Well, unlike the ‘sensible’ Maduro, Ceuasescu would simply deny a whole nation the luxury of importing toilet paper: he would look the other way and pretend that such urgent problem did not exist! But what did the resourceful Romanian people do in face of such pressing cataclysm? they were reduced, instead, to using the Communist Party newspaper “Scinteia”, as a substitute – the only item in plentiful supply…
Of course, the downside of this Marxist solution, in solving such bare necessities (excuse the pun), was that the printers ink would smear the users’ private parts with black ink!

Romania - Food Shortages under Communism

Romania – Food Shortages under Communism

Such crisis, remained enshrined in the popular folklore of Romania, in a Parody sung by Gypsy children, instead of a Christmas Carol: this ditty is quoted in the Introduction of the Antolgy:
“Blouse Roumaine – The Unsung Voices of Romanian Women”: http.www.blouseroumaine.com:

Christmas Carol, 1980 –
(A Parody sung by Romanian Gypsy Children)

Father Christmas we do beg
Bring us butter, bring us egg.
If you ever come on foot
Bring some cabbage, or beetroot
If your bag is large enough
Add some maize and garlic cloves.
Christmas Father don’t miss either
The potatoes and the flour.
Should you come, though, in a sleigh
Don’t forget for the New Year
Toilet paper that’s so sparse,
To wipe at least our arse.”

(Translated by Constantin Roman, from the French version,
published in the magazine “L’Alternative (Paris),
supplement 20, 1981, pp. 96)

English version first published in the Introduction of the Anthology:
“Blouse Roumaine – the Unsung Voices of Romanian Women”

http://www.blouseroumaine.com/buy-the-book/index.html
read more on:
http://www.romanianstudies.org/content/2010/12/1980-thirty-years-ago-romanias-communist-christmas/

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Poetry in Translation (CCXIV): Ono no KAMACHI (c. 825 – c. 900) JAPAN, “Youmeni “, “Dream Path”, “Căi de visuri”,

September 19th, 2013 · International Media, PEOPLE, Poetry, quotations, Translations

Poetry in Translation (CCXIV): Ono no KAMACHI (c. 825 – c. 900) JAPAN, “Youmeni “, “Dream Path”, “Căi de visuri”,

Ono no Komachi

Ono no Komachi

夢ぢには
あしもやすめず
かよへども
うつつにひとめ
見しごとはあらず

ad litteram translation:

in [my] dreams / along dream paths
without resting my legs
[I] go often [to you]
in the real world, a single glimpse
is different.

A free English translation:

Though I go to you
ceaselessly along dream paths,
the sum of those trysts
is less than a single glimpse
granted in the waking world.

Ono no Komachi
c. 825 – c. 900, Japan
“Căi de visuri”

în somn,
cu paşii osteniţi,
pe căi de visuri
ajung la tine
şi-n zori
o clipă de-ndoieli
e trează-n mine.

Versiune în limba Română
Constantin ROMAN, Londra,
© 2013, Copyright Constantin ROMAN

SHORT BIO:

Ono no Komachi (小野 小町?, c. 825 – c. 900) was a Japanese waka poet, one of the Rokkasen—the Six best Waka poets of the early Heian period. She was renowned for her unusual beauty, and Komachi is today a synonym for feminine beauty in Japan. She also counts among the Thirty-six Poetry Immortals

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