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Poetry in Translation (CCCLXXII), ROMANIA/GERMANY, Alexandru LUNGU (1924 Cetatea Alba, Bessarabia, Romania – 2008, Bonn, Germany): “Margini”, “Limit”

January 9th, 2016 · Diaspora, Famous People, International Media, PEOPLE, Poetry, quotations, Reviews, Translations

Poetry in Translation (CCCLXXII), ROMANIA/GERMANY, Alexandru LUNGU (1924 Cetatea Alba, Bessarabia, Romania – 2008, Bonn, Germany): “Margini”, “Limit”

cetatea_alba-super

Margini
Alexandru LUNGU

(1924 Cetatea Alba, Bessarabia, Romania – 2008, Bonn Germany)

Lasă-mi această margine
de lume
graniţă ultimă spaţiu incert
atât cât să nu lunece
talpa mea de călător însingurat
atât cât să nu-mi cadă
capul din nori
Nu-mi fura amarnicul
fir de nisip
care-mi sprijină
sufletul
sfâşiat ca într-un masacru ceresc
de necunoscute furtuni
Toate marginile
se întorc cândva împăcate
în miezul rotund de sâmbure dulce
al unei zile târzii
în care lumea devine nemărginită.

* * * * * *

A.  Lungu: volume poetry

A. Lungu: volume poetry

Limit
Alexandru LUNGU

(1924 Cetatea Alba, Bessarabia, Romania – 2008, Bonn, Germany)

Leave me this limit
of the world
ultimate frontier uncertain space
sufficient to stop sliding
this lonely traveler’s foot
sufficient to stop my head
falling off the clouds.
Do not steal from me this pitiful
grain of sand
propping up
my soul
torn by the heavenly slaughter
of an unseemly gale.
All these extremes
returning at some point reconciled
to the round heart of a sweet kernel
of latter days
as the world is without borders.

Rendered in English by Constantin ROMAN, London,
© 2016 Copyright Constantin R
OMAN

* * * * * *

dr alexandru lungu SHORT BIO: Alexandru LUNGU was born on 13 aprilie 1924, at Cetatea Albă, Bessarabia, then in Romania, now in Ukraine. A refugee from a land occupied by the Soviet Union, Lungu lived his childhood and early adolescence, with his family drifting from town to town: Buzău, Sibiu, Braşov, Cluj, Năsăud, before finally settling in Bucharest.
His first poem is published in the school’s magzine of the Lycee „Gheorghe Lazăr”, Sibiu (1935).
Prior to WWII, he publishes in several magazines, such as: „Prepoem”, „Curentul literar”, „Viaţa Basarabiei”. He further launches, together with Ion Caraion – the first four and only editions of the „Zarathustra” magazine, in Buzău. He frequents several literary circles such as that of Vladimir Streinu.
Between 1943 and 1949 he enrols as a student of the Faculty of Medicine in Bucharest. During this period, in 1945, he receives the prestigious “Ion Minulescu” Literary Prize for his volume entitled “The 25th Hour” “Ora 25”. However, soon after the war in 1948- 49, this volume is withdrawn from bookshops by the newly installed communist censorship. From 1949 to1973 LUNGU works at the Institute of Endocrinology of the Romanian Academy, in Bucharest, and during the next two decades he refrains from publishing any of his poems, because of the prevailing Communist censorship. Finally in 1973 Dr. LUNGU and his family emigrate to Germany, where they practice their Medical profession.
Together with his spouse Dr. Michaela Lungu, also a medical doctor, they produce the „Caietul solstiţial de poezie şi desen ARGO”
and concurrently he further publishes poems in several periodicals of the Romanian Diaspora.
After the fall of Ceausescu, in December 1989, Dr. LUNGU publishes in many literary magazines in Romania.
HE dies in Bonn, aged 84, on 24 June 2008.

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Poetry in Translation (CCCLXXI), RUSSIA, Alexander PUSHKIN (1799, Moscow – 1837 St. Petersburg): “Friendship”, “Prietenie”

January 5th, 2016 · Communist Prisons, Famous People, History, International Media, PEOPLE, Poetry, POLITICAL DETENTION / DISSENT, Translations

Poetry in Translation (CCCLXXI), RUSSIA, Alexander PUSHKIN (1799, Moscow – 1837 St. Petersburg): “Friendship”, “Prietenie”

Alexander PUSHKIN (1799-1837)

Alexander PUSHKIN (1799-1837)

Alexander PUSHKIN
(1799, Moscow – 1837 St. Petersburg)

Friendship

What’s friendship? The hangover’s faction,
The gratis talk of outrage,
Exchange by vanity, inaction,
Or bitter shame of patronage.

* * * * * *

Alexandru PUŞKIN
(1799, Moscova – 1837, Petrograd)

Prietenie

Prietenia ce e? Ecou de facţiune,
O vorbă ieftină, cu spirit de ultraj,
Cocktail de vanitate şi inacţiune,
Păcatul unui mare patronaj.

Rendered in Romanian by Constantin ROMAN, London,
© 2016 Copyright Constantin ROMAN

* * * * * *

Chişinău - Pushkin Museum

Chişinău – Pushkin Museum

SHORT HISTORICAL BACKGROUND OF CHISINAU – the place of Pushkin’s exile between 1820 and 1823:
Since the early Middle Ages, Moldova was a Romanian Principality which paid, on and off, tribute to the Ottoman Empire. Following a Russian – Ottoman war, these lands were occupied again, at the beginning of the 19th century, to bring them under the Tsar’s administration. It remained, for a century, a province of the Russian Empire to the beginning of WWI, when Moldova was reunited with the Kingdom of Romania, in 1919. However, twenty years later, as a result of Stalin-Hitler’s pact, signed in Berlin in 1939, this province of Eastern Romania, was “granted” by Hitler to Stalin! The Romanian Foreign Minister was summoned to “Berchtesgaden” and forced to formally relinquish the province to the Soviets. This strong-arm tactics sowed the political seeds, which prompted Romania, in 1941, to declare war on Soviet Russia, as anticipated by Hitler. For a brief interlude of two years, from 1941 to 1943, Moldova was reintegrated to the Kingdom of Romania, only to be recaptured by Stalin, in 1943 and turned into a “Soviet Republic”: Romania was given 72 hours ultimatum to withdraw… Those Romanians who were too slow to leave their land and cross the new border into Romania, were sent as slave labour to the Communist gulags, to Siberia, or to Kazakhstan. After 47 dour years of Soviet Communism, from 1944 to 1991, Moldova became independent, the Latin script replaced the Russian Cyrillic characters, Russian was replaced by Romanian as the State’s official language and those survivors from the Siberian and Kazak gulags were allowed to return to their homeland. See: “20 de ani in Siberia. Amintiri din viata” (Romanian Paperback – Edition, 2011)

"Ruaslan & Ludmila" written in 1820, in Chişinău

“Ruaslan & Ludmila” written in 1820, in Chişinău

SHORT BIO NOTES related to Pushkin’s exile in Chişinău, the capital of Moldavia: there is a modest one-storey terrace house, situated only a few blocks away from the city centre. Here is located the “Alexander Pushkin Memorial House and Museum”, regarded as one of the city’s important cultural monuments. It is located northeast of the Central Park and is housed in a four-room cottage, where Pushkin spent three years of his exile, between 1820 and 1823. During this period Pushkin composed the following narrative poems:
• 1820 – “Ruslan and Ludmila”, Ruslan i Lyudmila (Руслан и Людмила)
• 1820–21 – “The Prisoner of the Caucasus”, Kavkazskiy plennik (Кавказский пленник)
• 1821 – “The Gabrieliad”, Gavriiliada (Гавриилиада)
• 1821–1822 – “The Robber Brothers”, Bratya razboyniki (Братья разбойники)
• 1823 – “The Fountain of Bakhchisaray”, Bakhchisaraysky fontan (Бахчисарайский фонтан)
* 1823 – “The Black Shawl”or “Moldavian Song”
• 1824 – “The Gypsies”, “Tsygany (Цыганы)”, published the year that he was in the Crimea, a poem which was prompted by the poet’s encounter with the gypsies, during his exile in Chişinău.

The Black Shawl or Moldavian Song (1823) a setting of Alexander Pushkin's poem

The Black Shawl or Moldavian Song (1823) a setting of Alexander Pushkin’s poem

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Poetry in Translation (CCCLXX), Mexico, Víctor TERÁN (b. 1958, Mexico): “I Know Your Body”, “ Îţi cunosc trupul tău”

January 3rd, 2016 · Books, Diaspora, Famous People, International Media, PEOPLE, Poetry, quotations, Translations

Poetry in Translation (CCCLXX), Mexico, Víctor TERÁN (b. 1958, Mexico): “I Know Your Body”, “ Îţi cunosc trupul tău”

Victor TERÁN, Mexico

Victor TERÁN, Mexico

Víctor TERÁN
(b. 1958, Mexico)

I Know Your Body

I know your body,
entirely I know you.
If you were a city
I could give perfect directions
to wherever they asked me.
I like all of your body,
I like to see you talk, laugh
move your head. Your two well-rounded hills
are the honey of bees, where my lips celebrate to the gods.
I would have liked to continue storming your forest,
lodgings made deliberately for a nice death.
You were created with love,
your body is worthy of praise. What an honor to have lived,
to have been. I am no longer bothered
when men turn to look at you,
I am no longer impatient when you undress.
You are a stag in the air. A raft of flowers
that snakes across the river by morning.

There is no part of your body that I do not know, there is no
part that I do not like. I want to keep being
the light stunned at the look of your white
roundness of flesh. I want to keep
living
in the beautiful city
that you are.

Rendered in English by David SHOOK

* * * * * * *

 Victor TERÁN - Poems

Victor TERÁN – Poems

Víctor TERÁN
(b. 1958, Mexic)

Îţi cunosc trupul tău

Îţi cunosc trupul tău,
te cunosc în cel mai mărunt detaliu.
chiar dacă ai fi fost o cetate
aşi fi putut îndruma
pe oricine m-ar fi întrebat.
Îmi place trupul tău,
îmi place să te-aud vorbind, râzând,
întorcând capul. Colinele tale domoale
sunt ca mierea albinelor, unde buzele mele dau ofrande zeilor.
Aşi fi vrut mereu să iau cu asalt codrul tau,
un cămin menit, deliberat, unei morţi splendide.
Ai fost zămislită cu dragoste,
trupul tău merită osanale. Sunt mândru de a fi trăit,
de a fi existat. Acum nu mai îmi pasă
când bărbaţii întorc capul după tine,
nu mai sunt nerăbdător când te desbraci,
Eşti un cerb care sare peste culmi. Un covor de flori
plutind în zori pe unda râului.

Nu a mai rămas nici o parte a corpului tău care să nu-l cunosc, nici o
parte care să nu îmi placă, Aşi vrea să fiu de-a pururi
lumina înmărmurită, privind sideful
rotund al corpului tău. Aşi vrea de-a pururi
să trăiesc
în această cetate splendidă
care eşti Tu.

Rendered in Romanian by Constantin ROMAN, London,
© 2016 Copyright Constantin ROMAN

* * * * * *

Zapotec Art, Mexico

Zapotec Art, Mexico

SHORT BIOS: Víctor TERÁN is the most personal poet of the Zapotec Isthmus of Oaxaca, México. He was born in Juchitán de Zaragoza in 1958. His work has been published extensively in magazines and anthologies throughout Mexico. Since 2000, he has also appeared in anthologies in Italy and the United States (Reversible Monuments, Copper Canyon: 2002; Words of the True Peoples, U Texas P: 2005).
A three-time recipient of the national fellowship for writers of indigenous languages, his first book, Diixda; Xieeña (Barefoot Words) was republished in 1997 by Ediciones Bi’cu’ Nisa. His books of poetry include Sica ti Gubidxa Cubi (Like a New Sun; Editorial Diana: 1994) and Ca Guichi Xtí’ Guendaranaxhii (The Spines of Love; Editorial Praxis: 2003). Terán works as a media education teacher at the secondary level, on the Oaxacan Isthmus.
In 2009 his poetry in translation has appeared or is forthcoming in Hayden’s Ferry Review, Oxford Magazine, Poetry, and World Literature Today.

David SHOOK is a poet, translator, and filmmaker in Los Angeles, where he serves as Editorial Director of Phoneme Media, a non-profit publishing house that exclusively publishes literature in translation. Their newest book is Like a New Sun, a collection of contemporary indigenous Mexican poetry, which Shook co-edited along with Víctor Terán.

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Thirty five Years ago: Oriana Falacci interrogates Ayatollah Khomeini (1979)

December 31st, 2015 · Books, Diary, Famous People, History, OPINION, PEOPLE, quotations

Eulogy: Oriana Falacci and the Art of the Interview

Fallaci & Khomeyni, 1979

Fallaci & Khomeyni, 1979

Oriana Falacci interrogates Ayatollah Khomeini for The New York Times Magazine at his home in Qom, Iran, October 1979.
(Photograph © Archivio Rizzoli)

US Secretary of State Kissinger

US Secretary of State Kissinger

Oriana Falacci’s interrogations of leaders such as Kissinger and Qaddafi make today’s big-name interviewers look like powder puffs. Wondering when the questions got so soft, the author recounts his last visit with the tempestuous Italian journalist, who died in September, and her last, never-published scoop, a sit-down with the Pope.
Faalacci;  Interview with History

Faalacci; Interview with History

Neither Kissinger nor “Americans” in general liked this passage when it appeared in all its full-blown absurdity in late 1972. In fact, Kissinger disliked it so much that he claimed to have been misquoted and distorted. (Always watch out, by the way, when a politician or star claims to have been “quoted out of context.” A quotation is by definition an excerpt from context.) In this case, though, Oriana was able to produce the tape, a transcript of which she later reprinted in a book. And there it is for all to read, with Kissinger raving on and on about the uncanny similarities between himself and Henry Fonda. The book is called Interview with History.

Makarios cartoon That title didn’t suffer from an excess of modesty, but then, neither did its author. People began to sneer and gossip, saying that Oriana was just a confrontational bitch who used her femininity to get results, and who goaded men into saying incriminating things. I remember having it whispered to me that she would leave the transcript of the answers untouched but rephrase her original questions so that they seemed more penetrating than they had really been. As it happens, I found an opportunity to check that last rumor. During her interview with President Makarios, of Cyprus, who was also a Greek Orthodox patriarch, she had asked him straight-out if he was over-fond of women, and more or less got him to admit that his silence in response to her direct questioning was a confession. (The paragraphs from Interview with History here are too long to quote, but show a brilliantly incisive line of interrogation.) Many Greek Cypriots of my acquaintance were scandalized, and quite certain that their beloved leader would never have spoken that way. I knew the old boy slightly, and took the chance to ask him if he had read the relevant chapter. “Oh yes,” he said, with perfect gravity. “It is just as I remember it.”

Bhutto

Bhutto

Occasionally, Oriana’s interviews actually influenced history, or at the least the pace and rhythm of events. Interviewing Pakistan’s leader Zulfikar Ali Bhutto just after the war with India over Bangladesh, she induced him to say what he really thought of his opposite number in India, Mrs. Indira Gandhi:

” a diligent drudge of a schoolgirl, a woman devoid of initiative and imagination.… She should have half her father’s talent!”

Demanding a full copy of the text, Mrs. Gandhi thereupon declined to attend the proposed signing of a peace agreement with Pakistan. Bhutto had to pursue Oriana, through a diplomatic envoy, all the way to Addis Ababa, to which she had journeyed to interview Emperor Haile Selassie. Bhutto‘s ambassador begged her to disown the Gandhi parts, and hysterically claimed that the lives of 600 million people were at stake if she did not. One of the hardest things to resist, for reporters and journalists, is the appeal to the world-shaking importance of their work and the need for them to be “responsible.” Oriana declined to oblige, and Mr. Bhutto duly had to eat his plate of crow. Future “access” to the powerful meant absolutely nothing to her: she acted as if she had one chance to make the record and so did they.

Interview iin Tehran

Interview in Tehran

Perhaps only one Western journalist ever managed to interview Ayatollah Khomeini twice. And from those long discussions we learned an enormous amount about the nature of the adamant theocracy that he was bent upon instituting. The second session was an achievement in itself, since Oriana had terminated the first one by wrenching off the all-enveloping chador she had been compelled to wear and calling it a:

“stupid, medieval rag.”

She told me that after this moment of drama she had been taken aside by Khomeini’s son, who confided in her that it had been the only time in his life that he had seen his father laugh.

Do you really remember any recent interview with a major politician? Usually, the only thing that stands out in the mind is some stupid gaffe or piece of rambling incoherence. And if you go and check the original, it generally turns out that this was prompted by a dull or rambling question. Try reading the next transcript of a presidential “news conference,” and see which makes you whimper more: the chief executive’s train-wreck syntax or the lame and contrived promptings from the press. Oriana’s questions were tautly phrased and persistent. She researched her subjects minutely before going to see them, and each one of her published transcripts was preceded by an essay of several pages in length concerning the politics and the mentality of the interviewee. She proceeded, as Jeeves used to phrase it, from an appreciation of “the psychology of the individual.” Thus, a provocative or impudent question from her would not be a vulgar attempt to shock but a well-timed challenge, usually after a lot of listening, and often taking the form of a statement. (To Yasser Arafat: “Conclusion: you don’t at all want the peace that everyone is hoping for.”)

There came a time when leaders would no longer submit to the risks of a sit-down with Fallaci. She diverted her energies, with some success, into the channel of fiction. And, more and more, she made it her business to point out what she had been picking up in the course of her voyages—that Islamism was on the march. There’s something almost premonitory about her novel Inshallah, which was inspired by the first Muslim suicide bombers in Beirut, in 1983. And as she drew nearer to death she decided that she wanted to be interviewed herself, and to be the Cassandra who warned of the wrath to come.
For all that, she hated doing any listening and was extremely bad at submitting to questions. I went to meet her last April in New York, where she kept a little brownstone, and was more or less told to my face that I might well be the last man on earth she would talk to. By then she had 12 different tumors and had been asked, rather reassuringly, by one of her doctors if she had any idea why she was still alive. To this she had an answer. She carried on living in order to utter rebukes to Islamists, and to make these rebukes as abusive and frontal as possible. Gone was the rather rawboned-looking young woman who had once had her share of romantic involvement with “Third World” and leftist guerrilla fighters. Instead, a tiny, emaciated, black-clad Italian lady (who really did exclaim “Mamma mia!” at intervals) ranged exhaustingly around her tiny kitchen, cooking me the fattiest sausage I have ever eaten and declaiming that the Muslim immigrants to Europe were the advance guard of a new Islamic conquest. The “sons of Allah breed like rats”—this was the least of what she said in a famous polemic entitled:

The Rage and the Pride

The Rage and the Pride

The Rage and the Pride, written in a blaze of fury after September 11, 2001, and propelled onto the Italian best-seller list. It got her part of what she wanted after the long and depressing retirement caused by her illness. She became notorious all over again, was the subject of lawsuits from outraged groups who wanted to silence her, and managed to dominate the front pages. When someone becomes obsessed with the hygiene and reproduction of another group, it can be a bad sign: Oriana’s conversation (actually there was no conversation, since she scarcely drew breath) was thick with obscenities. I shall put them in Italian—brutto stronzo, vaffanculo—and omit some others. As to those who disagreed with her, or who did not see the danger as she did, well, they were no more than cretini and disgraciatti. It was like standing in a wind tunnel of cloacal abuse. Another bad sign was that she had started to refer to herself as “Fallaci.”

Oriana Fallaci @ 40

Oriana Fallaci @ 40

All her life she had denounced clericalism and fundamentalism in every form, yet now her loathing and disgust for Islam had driven her into the embrace of the Church. She had, she told me, been given one of the first private audiences with the new Pope, whom she referred to as “Ratzinger.”
“He is adorable! He agrees with me—but completely!” But, beyond assuring me that His Holiness was in her corner, she would tell me nothing of their conversation. Four months later, almost at the exact moment when Oriana was dying, the Pope did deliver himself of the celebrated speech in which he flailed on about the medieval objections to Islam and managed to set off a furor that moved us a little closer to a real clash of civilizations. This time, though, we did not have the Fallaci version of his views, nor the pleasure of seeing him have to explain or defend himself to her. She managed a final “big get,” and then kept it all to herself.
Ratzinger: Falacci's last interviewee

Ratzinger: Falacci’s last interviewee

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Poetry in Translation (CCCLXIX), GALICIA, SPAIN, Manuel Álvarez TORNEIRO (b. 1932): “On The Matter of Adagio, In tribute to Tomaso Albinoni”, “Adagio, Tribut lui Tomaso Albinoni”

December 21st, 2015 · Books, Famous People, International Media, PEOPLE, Poetry, quotations, Translations, Uncategorized

Poetry in Translation (CCCLXIX), GALICIA, SPAIN, Manuel Álvarez TORNEIRO(b. 1932): “On The Matter of Adagio, In tribute to Tomaso Albinoni”, “Adagio, Tribut lui Tomaso Albinoni”

Premio Nacional de Poesía

Premio Nacional de Poesía

Manuel Álvarez TORNEIRO
(b. 1932, La Coruña, Galicia)

On The Matter of Adagio
In tribute to Tomaso Albinoni

The hour arborescent in the shelter of evening.
That voluptuous taffeta of sense
And life,
which binds severe moments.
A lit blade of grass touches the tremulous flesh,
elaborates the happy flowering of what’s lost.
Nothing is shipwrecked definitively.
The viola turns into sheer silk.
Great scars receive their oils.

* * * * * * *

Manuel Álvarez TORNEIRO
(n. 1932, La Coruña, Galicia, SPANIA)

Adagio
Tribut lui Tomaso Albinoni

Clipă arborescentă la adăpost de seară,
Tafta voluptuoasă de înţelesuri
Și de viaţă, încercată de timpuri grele.
Un fir de iarbă atinge trupul zvâcnind,
Bucuros să reînvie floarea pierdută,
Sfidând o catastrofă sigură.
Arcuşul devine mătase pură…
Cicatrici adânci primesc balsamul lor.

(Rendered in Romanian by Constantin ROMAN, London,
© 2015 Copyright Constantin ROMAN)

* * * * * * *

Manuel Álvarez Torneiro

Manuel Álvarez Torneiro

SHORT BIO: Manuel Álvarez TORNEIRO, journalist and poet, was born in 1932, in La Coruña, Galicia, where he graduated at the School of Advanced Economic Studies.

In 1950, in La Coruña, he was a founding member of “Amanecer” – the Galician Poetry Society . As a tribute to his lifelong activity, in 2013, Manuel Álvarez TORNEIRO was awarded the Spanish National Prize for Poetry.

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Poetry in Translation (CCCLXVIII), France, René DAUMAL (1908-1944): “Poème”, “Poem”

December 17th, 2015 · Books, Famous People, International Media, PEOPLE, Poetry, quotations, Reviews, Translations

Poetry in Translation (CCCLXVIII), France, René DAUMAL (1908-1944): “Poème”, “Poem”

Holy Mountain

Holy Mountain

René Daumal (1908-1944)
Poème (1943)

Je suis mort parce que je n’ai pas le désir,
Je n’ai pas le désir parce que je crois posséder,
Je crois posséder parce que je n’essaye pas de donner.
Essayant de donner, on voit qu’on n’a rien,
Voyant qu’on n’a rien, on essaye de se donner,
Essayant de se donner, on voit qu’on n’est rien,
Voyant qu’on est rien, on désire devenir,
Désirant devenir, on vit.

René DAUMAL - La Grande Beuverie

René DAUMAL – La Grande Beuverie

Poem
René Daumal (1908-1944)

Sunt mort pentrucă îmi lipseşte dorinţa,
Nu am dorinţă pentru că îmi închipui că îmi aparţine,
Îmi închipui că îmi aparţine pentru că nu încerc s-o ofer,
Încercând s-o ofer, îmi dau seama că nu am nimic,
Văzând că nu am nimic, încerc să ofer,
Încercând să ofer, văd că sunt un nimic,
Văzând că sunt un nimic, doresc să devin,
Dorind să devin, trăiesc.

Rendered in Romanian by Constantin ROMAN, London,
© 2015 Copyright Constantin ROMAN

* * * * * * *

René Daumal

René Daumal

SHORT BIO: Born in the Ardennes, René DAUMAL (1908-1944) was an avant-garde poet and founder of a literary movement called “The Simplists”, which included the poet Roger Gilbert-Lecomte . He is best known in the English-speaking world for two novels: A Night of Serious Drinking, and the Mount Analogue, both based upon his friendship with Alexander de Salzmann.
Daumal taught himself Sanskrit and translated some of the Tripitaka Buddhist canon into the French language, as well as translating the literature of the Japanese Zen scholar D.T. Suzuki.
Daumal died prematurely from tuberculosis, on 21 May 1944, in Paris. His unfinished novel Mount Analogue was made posthumously into a film: Jodorowsky’s psychotropic creation – “The Holy Mountain” (1973).

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Poetry in Translation (CCCLXVII), R. S. THOMAS (1913-2000), Wales: “Acting”, “Arta dramatică”

December 15th, 2015 · Books, Famous People, International Media, PEOPLE, Poetry, quotations, Translations

Poetry in Translation (CCCLXVII), R. S. THOMAS (1913-2000), Wales: “Acting”, “Arta dramatică”

R. S. Thomas poet

R. S. Thomas poet

Acting
R. S. Thomas
(1913-2000)

Being unwise enough to have married her
I never knew when she was not acting.
‘I love you’ she would say; I heard the audiences
Sigh. ‘I hate you’; I could never be sure
They were still there. She was lovely. I
Was only the looking-glass she made up in.
I husbanded the rippling meadow
Of her body. Their eyes grazed nightly upon it.

Alone now on the brittle platform
Of herself she is playing her last rôle.
It is perfect. Never in all her career
Was she so good. And yet the curtain
Has fallen. My charmer, come out from behind
It to take the applause. Look, I am clapping too.

* * * * * * *

rs_thomas_draft_front_cover

Arta dramatică
R. S. Thomas
(1913-2000)

Făcând eroarea de a mă fi căsătorit cu ea
N-am ştiut niciodată dacă nu se preface.
“Te iubesc” mărturisea ea; iar eu auzeam publicul
Oftând. “Te urăsc”; dare eu nu eram sigur
Dacă sala încă urmărea dialogul. Era splendidă. Eu
Eram doar oglinda în care ea se reflecta
Şi cultivam dealurile ondulate
Ale trupului său. Ochii străinilor
Păşteau acolo seara.

Acum este singură, pe scena asta improbabilă,
Unde îşi joacă ultimul rol
La perfectie. Niciodată, în cariera ei,
Nu a jucat atât de bine. Şi totuşi cortina
A căzut. Zâna mea a reapărut la rampă
Să primească aplauzele. Uite că applaud şi eu.

Rendered in Romanian by Constantin ROMAN, London,
© 2015 Copyright Constantin ROMAN

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R. S. THOMAS

R. S. THOMAS

SHORT BIO: A Welsh poet and Anglican priest R. S. THOMAS was noted for his nationalism, spirituality and profound dislike of the anglicisation of Wales. Compared to Aleksandr Solzhenitsyn he was “a troubler of the Welsh conscience”, but also one of the major English language and European poets of the 20th century. In spite of this, he narrowly missed the 1996 Nobel Prize for Literature, which was given instead to Wislawa Szymborska (see our article): http://www.romanianstudies.org/content/2014/03/poetry-in-translation-cclxxix-poland-wislawa-szymborska-1923-2012-possibilities-posibilitati/

Yet, for this frugal clergyman, the monies of a Nobel Prize might have been an impediment, if not an embarrassment: he even denied his wife the luxury of using an electric Hoover, as “it would make too much noise”…
The poet Lord Gowrie considered R. S. Thomas as an Anglican or, as Thomas would prefer, an episcopalian poet, and place him in the context of other poets unfazed by the devotional: T. S. Eliot, John Betjeman, W. H. Auden and Geoffrey Hill.

Thr spirit of Ronald Stuart Thomas (1913-2000), one of the greats of the english-language poets of the twentieth century, is best captured by his enduring epitaph:

Prompt me, God;
But not yet. When I speak,
Though it be you who speak
Through me, something is lost.
The meaning is in the waiting.

‘Kneeling’

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Poetry in Translation (CCCLXVI), Chidiock TICHBORNE (b. ca. 1562 ENGLAND- d. 1586 London), “ELEGY“, “ELEGIE”

December 14th, 2015 · Famous People, History, PEOPLE, Poetry, POLITICAL DETENTION / DISSENT, quotations, Translations

Poetry in Translation (CCCLXVI), Chidiock TICHBORNE
(b. ca, 1562 ENGLAND- d. 1586 London), “ELEGY“, “ELEGIE”

Chidiock TICHBORNE

Chidiock TICHBORNE

Tichborn’s elegy (fragment)
Chidiock Tichborne

(b. aft. 1562 – executed 1586)

I sought my death and found it in my womb,
I looked for life and saw it was a shade,
I trod the earth and knew it was my tomb,
And now I die, and now I was but made;
My glass is full, and now my glass is run,
And now I live, and now my life is done.

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Elegie (fragment)
Chidiock Tichborne

(n. ca. 1562 – executat 1586)

Moartea ce am visat o strang la piept ca pruncul,
Viata ce-am cautat n-a fost decat un mit,
Pe cai ce am umblat mi-am regasit mormantul,
Acuma mor in fine dar sunt neimplinit.
Pocalul ce-a fost plin acuma e golit,
Candva am mai sperat, dar sunt un om sfarsit.

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© 2015 Copyright Constantin ROMAN

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tower of london

Hung Drawn Quartered

Hung Drawn Quartered

BIO NOTE: Chidiock Tichborne was born in Southampton sometime after 24 August 1562 to Roman Catholic parents. In 1583, Tichborne and his father, Peter, were arrested and questioned concerning the use of “popish relics”, religious objects Tichborne had brought back from a visit he had made abroad without informing the authorities of an intention to travel. Though released without charge, records suggest that this was not the last time they were to be questioned by the authorities over their religion. In June 1586 accusations of “popish practices” were laid against his family.
In June 1586, Tichborne agreed to take part in the Babington Plot to murder Queen Elizabeth and replace her with the Catholic Mary, Queen of Scots, who was next in line to the throne. The plot was foiled by Queen Elizabeth’s spymaster, using double agents, most notably Robert Poley who was later witness to the murder of Christopher Marlowe,Francis Walsingham, Elizabeth’s spymaster, using double agents, most notably Robert Poley who was later witness to the murder of Christopher Marlowe, and though most of the conspirators fled, Tichborne had an injured leg and was forced to remain in London. On 14 August he was arrested and he was later tried and sentenced to death in Westminster Hall.
On 20 September 1586, Tichborne was executed with Anthony Babington, John Ballard, and four other conspirators. They were eviscerated, hanged, drawn and quartered, the mandatory punishment for treason, in St Giles Field.

Tichborne mentions that his search for the cause of death lead him to birth. The number one cause of death is being born in the first place. He claims that life is just the beginning of something else; that it is a small piece of something much larger.

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Poetry in Translation (CCCLXV), Abu NUWAS (b. 756 AD, Ahvaz, PERSIA- d. 814 AD, Baghdad, Irak), “Libre et gaillard“, “Liber si ferice”

December 11th, 2015 · Famous People, International Media, PEOPLE, Poetry, quotations, Translations

Poetry in Translation (CCCLXV), Abu NUWAS (b. 756 AD, Ahvaz, PERSIA- d. 814 AD, Baghdad, Irak), “Libre et gaillard“, “Liber şi ferice”

Abu Nuwas

Abu Nuwas

Libre et gaillard,
Abu NUWAS (756-814)

Libre et gaillard, dressé de bon matin,
J’ai grand-soif de débauche et de bon vin,
D’un vénérable cru, ardent comme la braise,
À l’haleine de musc s’exhalant à son aise
Dans sa robe précieuse, où l’or danse et s’immerge.
Le soir tombait. Avisant une auberge,
À peine y descendîmes-nous à petits pas,
Qu’une aube resplendit, où l’aube n’était pas :
Quelle vierge exhibée, à saveur longue et âpre,
Faveur pour les marchands, langueur des opiniâtres !

French version by Patrick Mégarbané

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Liber şi ferice
Abu NUWAS (756-814)

Liber si prea-ferice, sculat de dimineaţă,
Mi-e sete de iubire şi de un vin de viaţă,
Un vin de viţă bună, gustat pe îndelete,
În roba lui de seară, să stingă a mea sete.
Şi trăgând la un han, sa adăstăm o noapte
De-abea ne luară paşii, tiptil, vorbind în şoapte,
Când soarele apare sa ne orbească faţa,
Şi-o fiinţă androgină, c-un zâmbet trist, dar aspru,
Dezlănţuie favoruri, cu gesturi de teatru.

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© 2015 Copyright Constantin ROMAN

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Abu Nuwas Love Poems

Abu Nuwas Love Poems

BIOGRAPHICAL NOTE: Abū Nuwās al-Ḥasan ibn Hānī al-Ḥakamī (b. 756 AD, Ahvaz, Persia- d. 814 AD, Baghdad, Irak), known, for short, as Abū Nuwās, was one of the greatest classical Arabic poets, who, occasionally, also composed in Persian.

Patrick Megarbane

Patrick Megarbane

BIOGRAPHICAL NOTE of Patrick Mégarbané – French translator:
Patrick Mégarbané, d’origine syrienne, ancien élève de Polytechnique et de la Sorbonne, a travaillé et enseigné à Damas.
Chez Actes Sud / Sindbad, il a publié, en collaboration avec Hoa Hoï Vuong, trois anthologies de la poésie arabe classique : Ors et Saisons (2006), Le Dîwân de Bagdad (2008) et Le Chant d’al-Andalus (2011). Ainsi que les traductions de Les Impératifs. Poèmes de l’ascèse de Ma’arrî (2009) et Le Livre des Sabres de Mutanabbî (2012).
Il est également l’auteur de l’essai Mutanabbî, le prophète armé (2013).

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Poetry in Translation (CCCLXIV), Constantin OPRIŞAN (1921, co. BACĂU- 1959, JILAVA Political Prison, BUCHAREST, ROMANIA): “Vesperală”, “Vespers”

November 19th, 2015 · Communist Prisons, Famous People, History, PEOPLE, Poetry, POLITICAL DETENTION / DISSENT, quotations, Translations

Poetry in Translation (CCCLXIV), Constantin OPRIŞAN (1921,co. BACĂU – 1959, JILAVA Political Prison, BUCHAREST, ROMANIA): “Vesperală”, “Vespers”

Communist prison @ Galatz, Romania

Communist prison @ Galatz, Romania

Vesperală
Constantin_Oprişan

(1921, Co. Bacău, Romania – 1959, Jilava political prison, Bucharest, Romania)

Cânta singuraticul flaut,
Pe vânt alerga elegia.
Cu vântul, cu cântul te caut,
Maria, Maria, Maria!

Şi frunza cânta în dumbravă,
Şi-n freamăt pierea armonia.
Şi inima-mi cântă, bolnavă,
Maria, Maria, Maria!

Şi vântul, şi cântul, şi inima-mi frântă,
Şi toamna, şi frunza-şi trăiau agonia.
Tăcere… Un flaut mai cântă:
Maria, Maria, Maria!

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Martyrs of Romania's Communist Prisons

Martyrs of Romania’s Communist Prisons

VESPERS
Constantin_Oprişan

A lonely flute is singing,
The elegy’s blown off the road.
And yet, it is you I am seeking,
Oh, Mary – the Mother of God!

As tree leaves are carried asunder,
They lose the colour they’ve got.
My singing heart does flounder,
Oh, Mary – the Mother of God!

The battered Soul is breaking,
Like tree leaves on Golgotha’s road.
As a prayer, a lone flute is singing,
Oh, Mary – the Mother of God!

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© 2015 Copyright Constantin ROMAN

Constantin OPRISAN - Martyr of Romania's Communist Prisons

Constantin OPRISA – Martyr of Romania’s Communist Prisons

SHORT BIO: Constantin (aka Costache) Oprișan (b. 1921 – d. June 1958, Jilava political prison, Buchareșt) was born on 16 March 1921, in Oncești, county Bacău, Moldavia. He read Philosophy under Professor Martin Heidegger, in Germany, following which he enrolled as a student of Philosophy and Literature at Cluj University.
As an active opponent of the Communist regime imposed by the Soviet occupation of Romania, at the closure of WWII, Costache Oprișan is arrested in 1951 and condemned to twenty five years of hard labour. He is first an inmate of the infamous Pitesti prison, where he undergoes a so-called regime of ”re-education”, with the result of enduring the worst punishment ever perpetrated by the infamous torturer, Ion Turcanu. As this was not enough, Oprișan is transferred to another prison, of savage reputation, Gherla, where he contracts tuberculosis and is confined to the Văcărești prison hospital. In 1958 he is transferred to the extermination unit of Casinca, at Jilava prison, near Bucharest, where he spends his last days in a windowless, damp cell, with water pouring down the walls. His cellmates learned by heart his poems, which he recited from memory, as they were never written, in conditions where pen and paper were unheard of.
Costache Oprișan died in June 1959, aged 37, less than a year after arriving at Jilava, his body thrown into an unmarked, communal grave.
Oprisan’s poems, which were part of an oral mythology, were finally collated and published in 2009, forty years after his death, and twenty years after the demise of Ceauşescu’s Communist dictatorship.

vespers

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