20 Aralık 2024 Cuma

Wet Picture / Jaroslav Seifert

Wet Picture

Those beautiful days
when the city resembles a die, a fan and a bird song
or a scallop shell on the seashore
          – goodbye, goodbye, pretty girls,
        we met today
      and will never meet again.
 
The beautiful Sundays
when the city resembles a football, a card and an ocarina
or a swinging bell
          – in the sunny street
        the shadows of passers-by were kissing
      and people walked away, total strangers.
 
Those beautiful evenings
when the city resembles a rose, a chessboard, a violin
or a crying girl
          – we played dominoes,
         black-dotted dominoes with the thin girls in the bar,
       watching their knees,
 
        which were emaciated
        like two skulls with the silk crowns of their garters
        in the desperate kingdom of love.

Jaroslav Seifert (23 September 1901 – 10 January 1986) was a Czech writer, poet and journalist.

Translated by Ewald Osers




Islak Resim

O güzel günler
hani kent bir zara, bir yelpazeye, bir kuş türküsüne
ya da deniz kıyısındaki bir tarak kabuğuna benzer
-elveda, elveda güzel kızlar
bugün tanışmıştık
bir daha görüşmeyeceğiz hiç.

O güzel Pazar günleri
hani kent bir topa, bir iskambil kâğıdına, bir okarinaya
ya da sallanıp duran bir çana benzer
-güneşli caddelerde
öpüşürdü gölgeleri gelip geçenlerin
ve birbirlerini tanımadan geçip giderdi insanlar.

O güzel akşam saatleri
hani kent bir güle, bir satranç tahtasına, bir kemana
ya da ağlayan bir kıza benzer
-domino oynamıştık
kara noktalı taşlarla, bardaki o zayıf kızlarla
dizlerine bakarak

               jartiyerlerinin ipek birer taç gibi süslediği
               iki kuru kafayı andıran bir deri bir kemik dizlerine
               umarsız krallığında aşkın.

Jaroslav Seifert

Çeviri: Cevat Çapan

Charles Bridge, Prague, 1965. by George Všetecka

1 Aralık 2024 Pazar

The Diary of Anaïs Nin / Anaïs Nin

“During the nuit blanche I think: Henry, my love, I can love you better now that you cannot hurt me. I can love you more gaily. More loosely. I can endure space and distance and betrayals. Only the best, the best and the strongest. Henry, my love, the wanderer, the artist, the faithless one who has loved me so well. Believe me, nothing has changed in me toward you except my courage. I cannot walk with one love ever. My head is strong, my head, but to walk, to walk into love I need miracles, the miracles of excess, and white heat, and two-ness! Lie here, breathing into my hair, over my neck. No hurt will come from me. No criticalness, no judgment. I bear you in my womb.”

Anaïs Nin

(The Diary of Anaïs Nin, Vol. 1: 1931-1934 ~ Incest: From "A Journal of Love": The Unexpurgated Diary of Anaïs Nin, 1932-1934)

Soft sensations by Dasha and Mari

28 Kasım 2024 Perşembe

a wind has blown the rain away and blown / E.E. Cummings

a wind has blown the rain away and blown
the sky away and all the leaves away,
and the trees stand.  I think i too have known
autumn too long

                  (and what have you to say,
wind wind wind—did you love somebody
and have you the petal of somewhere in your heart
pinched from dumb summer?
                            O crazy daddy
of death dance cruelly for us and start

the last leaf whirling in the final brain
of air!)Let us as we have seen see
doom’s integration………a wind has blown the rain

away and the leaves and the sky and the
trees stand:
             the trees stand.  The trees,
suddenly wait against the moon’s face.

E.E. Cummings

Photo by Anna Hilija

27 Kasım 2024 Çarşamba

The Diary of Anaïs Nin / Anaïs Nin

“To hell, to hell with balance! I break glasses; I want to burn, even if I break myself. I want to live only for ecstasy. Nothing else affects me. Small doses, moderate loves, all the demi-teintes – all these leave me cold. I like extravagance, heat… sexuality which bursts the thermometer! I’m neurotic, perverted, destructive, fiery, dangerous - lava, inflammable, unrestrained. I feel like a jungle animal who is escaping captivity.”

Anaïs Nin

(The Diary of Anaïs Nin, Vol. 1: 1931-1934 ~ Incest: From "A Journal of Love": The Unexpurgated Diary of Anaïs Nin, 1932-1934)




"¡Al diablo, al diablo con el equilibrio! Quiero romper vidrios; quiero arder, aunque me quiebre. Sólo vivo para el éxtasis. Es lo único que me afecta. Las pequeñas dosis, los amores moderados, todas las dimitentes: nada de esto me conmueve. Me gusta la extravagancia, el calor...  ¡la sexualidad que hace saltar el termómetro! Soy neurótica, perversa, destructiva, peligrosa: lava, inflamable, desenfrenada. Me siento como un animal salvaje que escapa del cautiverio."

Anaïs Nin

El Diario de Anaïs Nin, volumen 1 (1931-1934)

Grace, 1992, by Gunter Blum

19 Kasım 2024 Salı

Gdy pochylisz nade mną twe usta pocałunkami nabrzmiałe, ... / Maria Pawlikowska Jasnorzewska

Gdy pochylisz nade mną twe usta pocałunkami nabrzmiałe,
usta moje ulecą jak dwa skrzydełka ze strachu białe,
krew moja się zerwie, aby uciekać daleko, daleko
i o twarz mi uderzy płonąca czerwona rzeka.
Oczy moje, które pod wzrokiem twym słodkim się niebią,
oczy moje umrą, a powieki je cicho pogrzebią.
Pierś moja w objęciu twej ręki stopi się jakby śnieg,
i cała zniknę jak obłok, na którym za mocny wicher legł.

Maria Pawlikowska Jasnorzewska - (Niebieskie migdaly / 1922)




"When your lips swollen with kisses lean over me,
My lips will fly away like two tiny wings white with fear,

(...)

My breast in your hand's embrace will melt like snow,
and I will disappear like a cloud upon which a gale had fallen."

Maria Pawlikowska Jasnorzewska - (Woolgathering / 1922)

Translated by Maya Peretz




Dolgun dudaklarınla öpmeye hazırlandığında beni, 
Boyun eğiyor dudaklarım, korkudan bembeyaz olmuş iki kanatçık gibi.
Kanım sıyrılıyor benden, uzağa, uzaklara kaçmak için
Ve kırmızı bir nehir gibi yanıyor yüzüm.
Tatlı bakışın altındaki gözlerim, rengine bürünüyor gökyüzünün
Ölüyor gözlerim, göz yaşlarımsa sessizce gömüyor onları büsbütün.
Elinin dokunuşuyla eriyor göğsüm, karlar gibi adeta
Ve tüm bedenim yitiyor bir bulut gibi, hani eser ya üzerine güçlü bir fırtına.

Maria Pawlikowska Jasnorzewska

Çeviri: Seda Köycü Arslantekin

Photo by Nikolay Tikhomirov

18 Kasım 2024 Pazartesi

Jesień / Maria Pawlikowska Jasnorzewska

Jesień

Chodzi w szalu czerwonym i złotym.
Przegląda się w owalu jeziora.
Lecz jest chora. I nic nie wie o tym,
że ją pochowają w tym szalu.

(1926)

Maria Pawlikowska Jasnorzewska




Autumn

She is wearing the shawl. It’s red and gold.
In the lake’s oval she studies herself.
But she’s not well. She hasn’t yet been told
that’s the shawl they’ll bury her in.

(1926)

Maria Pawlikowska Jasnorzewska

Photo by Johanna Laamanen

12 Kasım 2024 Salı

Lubię, kiedy kobieta... / Kazimierz Przerwa-Tetmajer

Lubię, kiedy kobieta...

Lubię, kiedy kobieta omdlewa w objęciu,
kiedy w lubieżnym zwisa przez ramię przegięciu,
gdy jej oczy zachodzą mgłą, twarz cała blednie,
i wargi się wilgotnie rozchylą bezwiednie.

Lubię, kiedy ją rozkosz i żądza oniemi,
gdy wpija się w ramiona palcami drżącemi,
gdy krótkim, urywanym oddycha oddechem
i oddaje się cała z mdlejacym uśmiechem.

I lubię ten wstyd, co się kobiecie zabrania
przyznać, że czuje rozkosz, że moc pożądania
zwalcza ją, a sycenie żądzy oszalenia,
gdy szuka ust, a lęka się słów i spojrzenia.

Lubię to - i tę chwile lubię, gdy koło mnie
wyczerpana, zmęczona leży nieprzytomnie,
a myśl moja już od niej wybiega skrzydlata
w nieskończone przestrzenie nieziemskiego świata.

Kazimierz Przerwa-Tetmajer




I like it when a woman...

I like it when a woman faints in an embrace,
when she falls on my shoulders and I see her face
growing pale, when her eyes get covered with mist
and her moist lips just long to be kissed.

I like it when lust and pleasure take her away,
when she claws her fingers, this much I'll say,
as her breaths are quick, and not one bit deep,
she gives herself with a smile that she wants to keep.

And I like this shame which always forbids her
to admit that pleasure is making her eager,
that passion takes over in search for my lips
as she fears words and glances, not my finger tips.

I like it all - as well as the moment
when she is exhausted, tired and spent
and my thoughts are flying high to the sky,
to angelic world beyond reach of human eye.

Kazimierz Przerwa-Tetmajer




Hoşuma gidiyor, kadın...

Hoşuma gidiyor, kadın kendinden geçtiğinde ben onu sardığımda, 
Şehvetli bir kıvranmayla bedenini geriye attığında, 
Puslandığında gözleri, solduğunda bütün suratı
Ve şuursuzca aralandığında nemli dudakları.

Hoşuma gidiyor, dili tutulduğunda zevkle ve ihtirasla 
Tırmaladığında omuzlarımı titreyen parmaklarıyla, 
Soluduğunda kısa ve kesik kesik bir nefesle,
Ve bütünüyle verdiğinde kendisini bana baygın bir gülümsemeyle

Ve hoşuma gidiyor bu utanç, hani yasaklanmış olan kadına
İtiraf etmesi zevki ve arzunun gücünü hissettiğini ya
Ve bu güç hükmediyor ona, aldığı derin zevk çeviriyor onu çılgına 
Aradığında öpücüklerimi, korktuğunda sözcüklerimden ve bakışlarımdan ama

Hoşuma gidiyor bu - ve bu andan hoşlanıyorum, hani yanı başımda 
Yorgun ve tükenmiş, kendinden geçmişçesine uzandığında, 
Ama ondan uzaklaştığında benim kanatlı fikrim
Uçtuğunda bir başka ebedi boyutuna bu aleminin.

Kazimierz Przerwa-Tetmajer

Çeviri: Seda Köycü Arslantekin

Piru Bullrich, 1943, by Annemarie Heinrich

11 Kasım 2024 Pazartesi

po co umyłam piersi ... / Halina Poświatowska

po co umyłam piersi
i każdy włos z osobna
czesałam w wąskim lustrze
puste są moje ręce
i łóżko

cienki scyzoryk nocy
rozciął obrączkę
półksiężycem zwisła
pod brzemienną w pąki jabłonią

szamocę się szarpię
krochmaloną koszulę
wydyma wielki wiatr

mój brzuch jest gładkim stawem
piersi - rozpieniona woda
ugłaskać je - ugłaskać - ugłaskać

światło dnia pijane z niemocy
znajdzie moje zaschłe usta
i niechętnie i obco
mglisto je ucałuje - odejdzie

Halina Poświatowska




why have I washed my breasts 
and combed each hair one by one 
before the narrow mirror 
my hands are empty 
and my bed 

the night's thin pocketknife 
cut my wedding band open 
like a halfmoon it dangles 
under the appletree pregnant with buds 

I struggle tussle 
my starched shirt 
blown big with the wind 

my belly is a smooth pond 
breasts — bubbling water 
to be soothed — solaced — caressed 

the light of day drunk with languor 
will find my scorched lips 
and reluctant and unwilling 
mistily kiss them — and leave

Halina Poświatowska

Translated by Maya Peretz




"neden yıkadım göğüslerimi 
ve her bir saç telimi ayrı ayrı
neden taradım dar ayna karşısında 
ellerim boş
yatağım da 

(...) 

karnım kıpırtısız bir gölet 
göğüslerim - tutuşmuş bir su 
okşamalı onları – okşamalı – okşamalı"

Halina Poświatowska

Çeviri: Seda Köycü Arslantekin

Nude XXXIV, 1934,
by Annemarie Heinrich
(Darmstadt, 1912 – Buenos Aires, 2005)

3 Kasım 2024 Pazar

czekałam długo ... / Halina Poświatowska

czekałam długo
wspierałam włosy na ręce
podpórkę robiłam włosom
z moich rąk samotnych z palców

usta oszukiwałam pieszczotą
kolorowej szminki
czekajcie - mówiłam ustom -
przyfruną pocałunki
opadną
rojem pszczół w wasze różowe wnętrze

i piersi dotykałam ręką
szeptałam w uniesione końce
czekajcie - przyjdzie ten
w którego rąk zagłębieniu
znajdziecie przystań spokojną

i nóg strzelistym wieżom
odwróconym w dół
kłamałam - przyjdzie
i drżały - wierząc

teraz - rzucam to wszystko
w chłodną taflę lustra
jak w głęboki staw
i odwracam twarz i się śmieję

Halina Poświatowska




uzun süre bekledim 
dayadım elimi başıma 
dayanak yaptım saçlarıma 
parmaklarımı, yalnız ellerimi
aldattım dudaklarımı okşamasıyla 
renkli rujun 
bekleyin – dedim dudaklarıma – 
uçuşup gelecek öpücükler 
konacaklar 
balarılarının uçuşuyla sizin pembe aralığınıza 
ve dokundum göğüslerime elimle 
kalkmış uçlarına fısıldadım 
bekleyin, o 
hani geniş omuzlarında 
dingin bir liman bulacağınız sevgili, gelecek 
ve bacaklarımın doruğundaki 
aşağı dönük kubbeye 
yalan söyledim – gelecek 
ve titredi bacaklarım inanarak 
şimdi fırlatıyorum her şeyi 
soğuk, pürüzsüz yüzeyine aynanın 
derin bir gölete fırlatır gibi 
çeviriyorum yüzümü ve gülümsüyorum

Halina Poświatowska

Çeviri: Seda Köycü Arslantekin

Photo by Christian Coigny

31 Ekim 2024 Perşembe

Róża / Maria Pawlikowska Jasnorzewska

Róża

W tym parku pobladłym bez śmiechów
przy róży rozkwitłej stoję.
Otośmy jedynymi świadkami pilności
ja jej a ona mojej. 

Maria Pawlikowska Jasnorzewska




Gül

Gülüşten ve bir konuktan yoksun bu bahçede 
Yanında duruyorum çiçek açmış gülün. 
İşte biziz güzelliğin tanıkları yegane, 
Ben onun, o ise benim güzelliğimin. 

Maria Pawlikowska Jasnorzewska

Çeviri: Seda Köycü Arslantekin


Maybe Someday. Antwerp, Belgium, 2000,
by Marc Lagrange

27 Ekim 2024 Pazar

...Tira un'aria strana stasera... / ©Sogni Di Ieri

...Tira un'aria strana stasera...
La sento stuzzicarmi la pelle
ruffiana.. voluttuosa e leggera..

Indosso la notte come una sottoveste
di seta nera...

Sorvolo la città
che non è più la mia..
Mi sublima un presagio di ipotetica follia...
Quella impudica d'istigarti i sensi...
Così..
Per il gusto impertinente
di saperti insonne
a fantasticare su di me
la tua notte proibit

©Sogni Di Ieri

Waiting for Desire. Antwerp, Belgium, 2010,
by Marc Lagrange

20 Ekim 2024 Pazar

Las cosas / Jorge Luis Borges

Las cosas

El bastón, las monedas, el llavero,
la dócil cerradura, las tardías
notas que no leerán los pocos días
que me quedan, los naipes y el tablero,

un libro y en sus páginas la ajada
violeta, monumento de una tarde
sin duda inolvidable y ya olvidada,
el rojo espejo occidental en que arde

una ilusoria aurora. ¡Cuántas cosas,
limas, umbrales, atlas, copas, clavos,
nos sirven como tácitos esclavos,

ciegas y extrañamente sigilosas!
durarán más allá de nuestro olvido;
no sabrán nunca que nos hemos ido.

Jorge Luis Borges

Elogio de la sombra (1969)



Things

My keychain, lock, spare coins, and cane,
the board on which these cards are spread,
the late reminders that will never get read
in these last few days of mine that remain,

a book inside of which is pressed
some violet, souvenir of a day grown rotten,
undeniable, unforgettable, and yet forgotten,
a ruby mirror facing west

in which burns the fiction of a morning sky.
Things!  Windows, files, cups, maps, and staves,
all serving us like implicit slaves,

yet lacking vision and strangely sly.
Beyond our oblivion, these things labor on,
never noticing that we are gone.

Jorge Luis Borges

Translated from Spanish by Paul Weinfield, © 2013




Things (other english translation)

A cane, coins and a key ring,
The meek lock, the late, scribbled
Notes my remaining days won't
Read, the playing cards and the board,

A book and, between its pages, the withered
Violet, a monument to an evening
Doubtless unforgettable yet already forgotten,
The rufous sunset where a delusive dawn

Seethes. How many things,
Engravings, meters, atlases, wine cups, nails,
Waiting on us like docile slaves,

Things blind and oddly stealthy!
They'll last beyond our oblivion; 
They'll never know we're long gone.

Jorge Luis Borges




Le cose

Le monete, il bastone, il portachiavi,
la pronta serratura, i tardi appunti
che non potranno leggere i miei scarsi
giorni, le carte da gioco e la scacchiera,
un libro e tra le pagine appassita
la viola, monumento d’una sera
di certo inobliabile e obliata,
il rosso specchio a occidente in cui arde
illusoria un’aurora. Quante cose,
atlanti, lime, soglie, coppe, chiodi,
ci servono come taciti schiavi,
senza sguardo, stranamente segrete!
Dureranno piú in là del nostro oblio;
non sapran mai che ce ne siamo andati.

Jorge Luis Borges

Traduzione di Francesco Tentori Montalto

(da “Elogio dell’ombra”, Einaudi, Torino, 1971)




Şeyler

Bastonum, cüzdanım, anahtarlığım,
İtaatkâr kilidim, eski notlarım
Okumaya vakit bulamadığım kitaplarım,
masa üstündeki oyun kartlarım, sayfaları
ezilmiş bir kitabım, ölgün menekşem,
öğleden sonra yapacağım unutulmaması
gereken işler, şu an unuttuğum,
Gün batımına bakan aynamdaki kızıl
güneş ışığının illüzyonu. Ne kadar
fazla şey, dosyalar, kapı eşikleri,
atlaslar, rüzgâr gözlükleri, çiviler,
Hizmet ederler bize bir kelime
dahi etmeden, tıpkı bir köle gibi,
gizemlice saklanmış perde.
Onlar var olacaklar yok oluşumuzun
ötesinde; ve asla öğrenemeyecekler
öldüğümüzü.

Jorge Luis Borges

Çeviri: Ömer Cem Demirci

Jorge Luis Borges a Villa Palagonia, Bagheria, 1984.
Foto di Ferdinando Scianna

2 Ekim 2024 Çarşamba

Henry & June / Anaïs Nin

"It is Fred's role, unconsciously, to poison my happiness. He points to the inadequacies of Henry's love. I do not deserve a half love, he says. I deserve extraordinary things. Hell, Henry's half love is worth more to me than the whole loves of a thousand men.

I imagined for a moment a world without Henry. And I swore that the day I lose Henry I will kill my vulnerability, my capacity for true love, my feelings by the most frenzied debauch. After Henry I want no more love. Just fucking, on the one hand, and solitude and work on the other. No more pain.

After not seeing Henry for five days, due to a thousand obligations, I couldn't bear it. I asked him to meet me for an hour between two engagements. We talked for a moment and then we went to the nearest hotel room. What a profound need of him. Only when I am in his arms does everything seem right. After an hour with him I could go on with my day, doing things I do not want to do, seeing people who do not interest me.

A hotel room, for me, has an implication of voluptuousness, furtive, short lived. Perhaps my not seeing Henry has heightened my hunger. I masturbate often, luxuriously, without remorse or after distaste. For the first time I know what it is to eat. I have gained four pounds. I get frantically hungry, and the food I eat gives me a lingering pleasure. I never ate before in this deep carnal way. I have only three desires now, to eat, to sleep, and to fuck. The cabarets excite me. I want to hear raucous music, to see faces, to brush against bodies, to drink fiery Benedictine. Beautiful women and handsome men arouse fierce desires in me. I want to dance. I want drugs. I want to know perverse people, to be intimate with them. I never look at naive faces. I want to bite into life, and to be torn by it. Henry does not give me all this. I have aroused his love. Curse his love. He can fuck me as no one else can, but I want more than that. I'm going to hell, to hell, to hell. Wild, wild, wild."

Anaïs Nin ~ (Henry & June)




"El papel inconsciente de Fred es envenenar mi felicidad. Me señala las debilidades del amor de Henry. No me merezco un amor a medias, dice. Merezco cosas extraordinarias. Y un cuerno; el amor a medias de Henry vale más para mí que el amor total de un millar de hombres.

Me he imaginado durante un momento un mundo sin Henry y he jurado que el día que pierda a Henry abandonaré mi vulnerabilidad, mi capacidad para el verdadero amor, mis sentimientos, por la más enloquecida entrega al placer. Después de Henry no quiero más amor. Sólo relaciones sexuales por un lado y soledad y trabajo por otro. No quiero más dolor.

Tras pasar cinco días sin ver a Henry por culpa de un millar de obligaciones, ya no podía más. Le pedí que nos viéramos una hora entre compromiso y compromiso. Hablamos un momento y luego nos fuimos a la habitación de hotel más próximo. ¡Qué profunda necesidad de él! Sólo cuando estoy en sus brazos todo me parece bien. Después de pasar una hora con él, me sentí con fuerzas para seguir adelante, hacer cosas que no quería hacer, ver a gente que no me interesaba.

Una habitación de hotel tiene para mí una connotación de voluptuosidad furtiva, efímera. Tal vez no ver a Henry ha acentuado mi apetito. Me masturbo con frecuencia, placenteramente, sin remordimiento ni mal gusto de boca. Por primera vez sé lo que es comer. Me he engordado dos kilos. Me entra un hambre frenética y la comida me produce un placer prolongado. No había comido nunca de esta manera carnal y profunda. Ahora sólo deseo tres cosas: comer, dormir y follar. Los cabarets me excitan. Quiero escuchar música estridente, ver caras, pasar rozando cuerpos, beber «Benedictine» ferozmente. Las mujeres hermosas y los hombres guapos despiertan fieros deseos en mí. Quiero bailar. Quiero drogas. Quiero conocer a gente perversa, llegar a la intimidad de ellos. Nunca miro los rostros ingenuos. Quiero morder la vida y que me desgarre. Henry no me da todo esto. He despertado su amor. Maldito sea su amor. Me folla como nadie, pero quiero más. Me voy al infierno, al infierno, al infierno. Salvaje, salvaje, salvaje."

Anaïs Nin ~ (Henry y June)

Bare back I, 1993, by Gunter Blum

Whatever happens with us, your body / Adrienne Rich

(Floating Poem, Unnumbered)

Whatever happens with us, your body
will haunt mine—tender, delicate
your lovemaking, like the half-curled frond
of the fiddlehead fern in forests
just washed by sun. Your traveled, generous thighs
between which my whole face has come and come—
the innocence and wisdom of the place my tongue has found there—
the live, insatiate dance of your nipples in my mouth—
your touch on me, firm, protective, searching
me out, your strong tongue and slender fingers
reaching where I had been waiting years for you
in my rose-wet cave—whatever happens, this is.

Adrienne Rich

“Floating Poem, Unnumbered” from “Twenty-One Love Poems,” from (The Dream of a Common Language: Poems 1974–1977), by Adrienne Rich.




(EL POEMA FLOTANTE, SIN NÚMERO)

Pase lo que pase entre nosotras, tu cuerpo
va a atormentar el mío- tu modo tierno,
delicado de hacer el amor, como la apenas curvada fronda
del helecho en los bosques
recién bañados por el sol. Tus experimentados, generosos muslos
entre los cuales mi cara entera avanzó y avanzó-
la inocencia y sabiduría del lugar que mi lengua encontró ahí-
la viva, insaciable danza de tus pezones en mi boca,
tu caricia firme, protectora, encontrándome,
tu fuerte lengua y esbeltos dedos
llegando a donde te estuve esperando por años
en mi húmeda cueva rosada- pase lo que pase, esto es.

Adrienne Rich

Versión de Tom Maver

Del libro: (The Dream of a Common Language. Poems 1974-1977).

Photo by Ruslan Lobanov


25 Eylül 2024 Çarşamba

Re-Statement of Romance / Wallace Stevens

Re-Statement of Romance

The night knows nothing of the chants of night.
It is what it is as I am what I am:
And in perceiving this I best perceive myself

And you. Only we two may interchange
Each in the other what each has to give.
Only we two are one, not you and night,

Nor night and I, but you and I, alone,
So much alone, so deeply by ourselves,
So far beyond the casual solitudes,

That night is only the background of our selves,
Supremely true each to its separate self,
In the pale light that each upon the other throws.

Wallace Stevens - (The Collected Poems)




REAFIRMACIÓN ROMÁNTICA

Nada sabe la noche de los cantos nocturnos.
La noche es lo que es como yo soy quien soy,
y al percibirlo, puedo percibirme a mí mismo

mejor, y percibirte. Solo ambos podemos
intercambiarnos cuanto tenemos para dar.
Solo ambos somos uno, no así tú y la noche,

no así la noche y yo, sino tú y yo, a solas,
tan solos y hondamente por nuestra propia cuenta,
tan más allá de aquellas soledades fortuitas,

que la noche es el único fondo de nuestros seres,
fieles en grado sumo a su ser separado, 
a la pálida luz que arrojamos al otro.

Wallace Stevens




Replanteamiento del amor

La noche no sabe nada de los cantos nocturnos.
Es lo que es, como yo soy lo que soy:
y al percibir esto, mejor me percibo a mí mismo

y a ti. Sólo nosotros dos podemos intercambiar
cada uno en el otro lo que cada uno tiene para dar.
Sólo nosotros dos somos uno, no tú y la noche,

ni la noche y yo, sino tú y yo, solos,
tan solos, tan hondamente por nuestra cuenta,
tan lejos, más allá de las soledades casuales,

que la noche es sólo el trasfondo de nosotros mismos,
fieles al máximo cada uno a su propio ser,
en la pálida luz que cada uno proyecta sobre el otro.

Wallace Stevens




RIAFFERMAZIONE DEL ROMANTICO

La notte non sa nulla dei canti della notte.
È quel che è come io sono quel che sono:
e nel percepire ciò percepisco meglio me stesso

e te. Solo noi due possiamo scambiare
ciascuno con l’altro quel che ciascuno ha da dare.
Solo noi due siamo uno, non tu e la notte,

né la notte e io, ma tu e io, soli,
tanto soli, così profondamente con noi,
così distanti dalle solitudini casuali,

che la notte è solo sfondo ai nostri io,
supremamente fedeli ciascuno al suo diverso io,
nella luce pallida che ciascuno getta sull’altro.

Wallace Stevens




Yeniden Aşk Demek

Kendi türkülerinden habersiz gece,
Ben nasıl bensem, o da öyle o:
Bunu anlayınca en iyi anlıyorum kendimi,

Seni. Yalnız ikimiz alıp verebiliriz
Verecek neyimiz varsa birbirimize.
Yalnız ikimiz biriz, ne seninle gece.

Ne geceyle ben; seninle ben, yalnız,
Yapayalnız, o denli birbirimizle,
Delice ötesinde, bilinen yalnız kalmaların.

Gece arkamıza düşen karanlık sade,
Sonuna dek yalansız
Birbirimize yansıttığımız solgun ışıkta.

Wallace Stevens

Çeviren: Cevat Çapan

Laetitia Casta shot by Dominique Issermann

16 Eylül 2024 Pazartesi

Si tu veux nous nous aimerons / Stéphane Mallarmé

Rondel II

Si tu veux nous nous aimerons
Avec tes lèvres sans le dire
Cette rose ne l’interromps
Qu’à verser un silence pire

Jamais de chants ne lancent prompts
Le scintillement du sourire
Si tu veux nous nous aimerons
Avec tes lèvres sans le dire

Muet muet entre les ronds
Sylphe dans la pourpre d’empire
Un baiser flambant se déchire
Jusqu’aux pointes des ailerons
Si tu veux nous nous aimerons

Stéphane Mallarmé




Rondel II

If you wish we shall make love
with your lips wordlessly
never break off that rose
except to shed worse silence

no song can ever spark 
the sudden gleam of a smile
if you wish we shall make love
with your lips wordlessly

softly softly between the rounds
sylph in imperial purple 10
a flaming kiss is sundered
on the very tips of the pinions
if you wish we shall make love

Stéphane Mallarmé

(OXFORD WORLD’S CLASSICS. STÉPHANE MALLARMÉ, Collected Poems and Other Verse. Translated with Notes by E. H. and A. M. BLACKMORE)




Rondeles II

Si quieres nos amaremos 
Con tus labios sin decirlo 
No calles esa rosa sino 
Para vertir peor silencio 

Nunca cantos lanzan raudos 
De la sonrisa el relumbre 
Si quieres nos amaremos 
Con tus labios sin decirlo 

Mudo entre círculos mudo 
Sílfide de púrpura imperial 
Un beso ardiendo se abre 
Hasta el fin de los alones 
Si quieres nos amaremos. 

Stéphane Mallarmé

Traducción: Federico Gorbea




Rondò II

Se tu vuoi noi ci ameremo
Con le tue labbra senza parlare
Questa rosa non lasceremo
Che per un silenzio maggiore

I canti mai lanciano pieno
Del sorriso il puro splendore
Se tu vuoi noi ci ameremo
Con le tue labbra senza parlare

Zitto zitto tra i tondi sale
Silfo tra porpora imperiale
Un fiammante bacio allo stremo
Spezzato sulla punta dell'ale
Se tu vuoi noi ci ameremo

Stéphane Mallarmé

Traduzione di Valeria Ramacciotti, Adriano Guerrini.




Rondelli II

Se tu vuoi noi ci ameremo
con le tue labbra senza dirlo,
questa rosa non la spezzare
che a versare un silenzio peggiore

mai canti lancino pronti
lo sfolgorio del sorriso,
se tu vuoi noi ci ameremo
con le tue labbra senza dirlo

muto muto tra i cespugli,
silfo nella porpora imperiale,
un bacio fiammeggiante si dilania
fino alle punte delle piccole ali
se tu vuoi noi ci ameremo.

Stéphane Mallarmé




Rondel II

Sevişiriz dilersen şâyet
Aşkı anmadan dudaklarınla
Bir şeycik yapamaz bize anla
Susmaktan gayri bu gülden demet.

O nağmeler ki gülüşün elbet
Veremez pırıltısını aslâ
Sevişiriz dilersen şâyet
Aşkı anmadan dudaklarınla.

Sessizce sarmaş dolaş nihayet
Sylphe giymiş kıpkızıl urbasını
O hayâl kanatların uçlarını
Alev bir öpüş kavrar âkıbet
Sevişiriz dilersen şâyet.

Stéphane Mallarmé

Çeviri: Salâh Birsel

Art by Qi Sheng Luo

15 Eylül 2024 Pazar

to Alice / Erdinç Durukan

to Alice

Autumn has come. You know it's my favorite season. The first autumn leaf has fallen. Sometimes I get lost and look for myself in a dark forest. Then I find your eyes. As bright as moonlight, as deep as a deep lake. I've never stopped loving you. I am always in love with you like the first day. I'll love you forever.

To hug you and look into your eyes, this distance, this railway, a bird's journey. The countryside of Viterbo. I can see everything your eyes can see. Trees, birds, cats, lakes and forests. Your hair blowing in a breeze and the scent of your hair. Your eyes and your smile. Your hands in mine. An autumn dream. It shouldn't be so hard for this dream not to come true. Only I can make this dream come true.

Let's listen to this music together on some autumn nights. You and I, looking up at the sky:

(The First Autumn Leaf (Piano Solo) - Luca Morelli)

Erdinç Durukan

Alice

9 Eylül 2024 Pazartesi

A une femme / Paul Verlaine

A une femme

A vous ces vers de par la grâce consolante
De vos grands yeux où rit et pleure un rêve doux,
De par votre âme pure et toute bonne, à vous
Ces vers du fond de ma détresse violente

C'est qu'hélas ! le hideux cauchemar qui me hante
N'a pas de trêve et va furieux, fou, jaloux,
Se multipliant comme un cortège de loups
Et se pendant après mon sort qu'il ensanglante !

Oh ! je souffre, je souffre affreusement, si bien
Que le gémissement premier du premier homme
Chassé d'Eden n'est qu'une églogue au prix du mien !

Et les soucis que vous pouvez avoir sont comme
Des hirondelles sur un ciel d'après-midi,
- Chère, - par un beau jour de septembre attiédi

Paul Verlaine




To a woman

To you these songs for the consoling grace
Of your great eyes where laughs and weeps a dream;
For your pure soul whose goodness sheds a beam
To you these songs out of my deep distress.

What hideous nightmares haunt me in this place;
Foolish, jealous, furious, and that seem 
To multiply like wolves whose white fangs gleam,
Threatening the while to leave their bloody trace.

Oh ! how I suffer, suffer and repine,
So that the first grief of the world's first man
Driven from Eden scarce compares with mine!

And may your cares be like, or lighter than
The swallows on a sky of afternoon,
Dear on a fair September day, in tune.

Paul Verlaine

Translated by Bergen Applegate

(PAUL VERLAINE - His Absinthe-Tinted Song - RALPH FLETCHER SEYMOUR, THE ALDERBRINK PRESS, CHICAGO, 1916.)




To a woman (second english translation)

To you these lines in faith must console I address :
A sweet dream laughs and cries in your large eyes through
The purity of your soul which is wholly good, to you
These lines from the depths of my turbulent distress.

Just that, Alas ! the nightmare which haunts me hideous
Allows no respite and furious, mad and jealous continue
Multiplying themselves like wolves in a funeral retinue
Hanging on to my fate which at their mercy they harrass !

Oh ! how I suffer, I suffer hopelessly, so mean
That the initial whimperings of the first man
Banished from Eden a mere eclogue to the cost I wean. !

And the minor discomforts you may endure in comparison
Are like the swallows in the sky on an afternoon
- My Dear – make the beautiful warm September day a boon !

Paul Verlaine

Translated by T. Wignesan – Paris, 2013




A una mujer

A usted, estos versos, por la consoladora gracia
De sus ojos grandes donde se ríe y llora un dulce sueño;
A su alma pura y buena, a usted
Estos versos desde el fondo de mi violenta miseria.

Y es que, ¡ay!, la horrible pesadilla que me visita
No me da tregua y, va, furiosa, loca, celosa,
Multiplicándose como un cortejo de lobos
Y se cuelga tras mi sino, que ensangrienta.

Oh, sufro, sufro espantosamente, de tal modo
Que el primer gemido del hombre
Arrojado del Edén es una égloga al lado del mío.

Y las penas que usted pueda tener son como
Las golondrinas que un cielo al mediodía,
Querida, en un bello día de septiembre tibio.

Paul Verlaine




A una donna

A voi questi versi, per la grazia consolatrice
dei vostri grandi occhi dove ride e piange un dolce sogno,
per la vostra anima pura e così onesta, a voi
questi versi dal fondo del mio violento sconforto.

Perché, ahimè! l'incubo orrendo che mi tormenta
non mi dà tregua e infuria, folle, geloso,
come branco di lupi si moltiplica
e si accanisce sul mio destino che insanguina!

Oh! io soffro, soffro terribilmente, così tanto
che è un'ècloga, in confronto al mio, il primo gemito
del primo uomo scacciato dall'Eden.

E gli affanni che voi potete provare
sono rondini in un cielo pomeridiano,
- mia cara, - intiepidito da un bel giorno di settembre.

Paul Verlaine




Bir Kadına

Size bu dizeler, avutucu çekiciliğinden
İçinde düş ağlar güler iri gözlerinizin,
İyiliği, dupduruluğu için yüreğinizin
Size bu dizeler, acımın derinliklerinden.

Ve yazık; üstümde hep, bu iğrenç karabasan
Ki gider hiç durmadan, kızgın, kıskanç ve deli
O gittikçe çoğalan kurt sürüsü örneği,
Asılıp, kana boğduğu yazgımın arkasından. 

Acılıyım, ah! acılı, korkunç acılı, şu anda
Cennetten ilk kovulan, ilk kişinin, ilk iniltisi,
Bir çoban türküsü kalır benimkinin yanında.

Ve sizin kaygılarınız, tasalarınız, Sevgili,
Kırlangıçlardır, ılık, güzel bir eylül gününde 
Kırlangıçlar, o bir öğlen sonrası gökyüzünde. 

Paul Verlaine

Çeviri: Tahsin Saraç

(Türk Dili Dil ve Edebiyat Dergisi, Mayıs 1964, S: 152, S. 487)

Photo by David Dubnitskiy

31 Ağustos 2024 Cumartesi

L’immaculée conception / Paul Éluard et André Breton

"[...] L’amour a toujours le temps. Il a devant lui le front d’où semble venir la pensée, les yeux qu’il s’agira tout à l’heure de distraire de leur regard, la gorge dans laquelle se cailleront les sons, il a les seins et le fond de la bouche. Il a devant lui les plis inguinaux, les jambes qui couraient, la vapeur qui descend de leurs voiles, il a le plaisir de la neige qui tombe devant la fenêtre. La langue dessine les lèvres, joint les yeux, dresse les seins, creuse les aisselles, ouvre la fenêtre; la bouche attire la chair de toutes ses forces, elle sombre dans un baiser errant, elle remplace la bouche quelle a prise, c’est le mélange du jour et de la nuit. Les bras et les cuisses de l’homme sont liés aux bras et aux cuisses de la femme, le vent se mêle à la fumée, les mains prennent l’ensemble des désirs. [...]"

Paul Éluard et André Breton – (L’immaculée conception)

Photo by Celine Andrea

28 Ağustos 2024 Çarşamba

Girovago / Giuseppe Ungaretti

Girovago

In nessuna
parte
di terra
mi posso 
accasare

A ogni
nuovo
clima
che incontro
mi trovo
languente
che
una volta
già gli ero stato
assuefatto

E me ne stacco sempre
straniero

Nascendo
tornato da epoche troppo
vissute

Godere un solo
minuto di vita
iniziale

Cerco un paese
innocente

Giuseppe Ungaretti




Wanderer

No piece
of land
can I
make
my home

For each
new
climate
I meet
I pine
as
once before
already I had been
addicted

And I always leave
a stranger

Being born
changed by ages too
lived

To enjoy just one
initial
instant of life

I seek an innocent
country

Giuseppe Ungaretti




Wanderer (second english translation)

Nowhere 
On earth 
Can I make 
Myself 
A home 

In every 
New 
Environment 
I encounter 
I find myself 
Longing 
For once upon a time
When it was already 
Familiar 

And since parting 
I’m always 
A stranger 

A newly born 
Returning from epochs 
lived to the brim 

Enjoying 
One single minute 
Of the initial life 

I am searching 
For an innocent country 

Giuseppe Ungaretti

Translation: Youlika K. Masry (2014)




Vagabundo

En ninguna
parte
de la tierra
me puedo
arraigar

A cada
nuevo
clima
que encuentro
descubro
desfalleciente
que
una vez
ya le estuve
habituado

Y me separo siempre
extranjero

Naciendo
tornado de épocas demasiado
vividas

Gozar un solo
minuto de vida
inicial

Busco un
país inocente

Giuseppe Ungaretti




Gezgin

Yeryüzünün
hiçbir yerinde
yerleşecek
yer bulamadım
kendime

Gittiğim
her yeni iklimde
oraya
alıştığımı
hissedince
bıkmaya
başlıyorum

Ve oradan
bir yabancı olarak uzaklaşıyorum

Fazla yaşanmış
bir çağda
dünyaya gelmişim

Bir an
tadını çıkarabilmek için
yaşanmamış bir hayatın

Masum bir ülke
arıyorum.

Giuseppe Ungaretti

Çeviren: Cevat Çapan

Rainy day. Hallstatt, Austria, by @wauba

26 Ağustos 2024 Pazartesi

Einsamer Abend / Hermann Hesse

Einsamer Abend

In der leeren Flasche und im Glas
Wankt der Kerze Schimmer;
Es ist kalt im Zimmer.
Draußen fällt der Regen weich ins Gras.

Wieder legst du nun zu kurzer Ruh
Frierend dich und traurig nieder.
Morgen kommt und Abend wieder,
Kommen immer wieder,
Aber niemals du.

Hermann Hesse




Solitary Evening

In the empty bottle, in the glass,
The candle glimmers through the gloom;
It is cold in the room,
Outside the rain falls softly on the grass.

I lie down again as I always do,
Cold and sad lie down again;
Morning comes and evening then
Comes again, but never you.

Hermann Hesse

(DEMIAN by Hermann Hesse, translated by Roloff and Lebeck)




Solitary Evening (second english translation)

In the empty bottle and in the glass
The shimmering of the candle undulates;
It is cold in my chamber
Outdoors the rain falls softly into the grass.

Once again now, freezing and sad,
You lie down for a short rest.
Morning comes and evening again,
They come again and again,
But never you.

Hermann Hesse

Translated by Sharon Krebs




Kimsesiz Akşam

Boş şişeyle bardakta.
Titremekte mum alevi;
Oda soğuk buz gibi.
Dışarda otlara yağmur yağmakta.

Yatıyorsun kısa bir zaman için
Üşüyerekten üzgün, yatağına.
Yine sabah olacak, akşam daha sonra,
Sabahlar, sabahlar gelecek tekrar,
Ama sen hiç gelmeyeceksin.

Hermann Hesse

Çeviren: Behçet Necatigil

A parisian work break, by Laria Saunders

24 Ağustos 2024 Cumartesi

White Nights / Fyodor Dostoevsky

“I am a dreamer. I know so little of real life that I just can't help re-living such moments as these in my dreams, for such moments are something I have very rarely experienced. I am going to dream about you the whole night, the whole week, the whole year. I feel I know you so well that I couldn't have known you better if we'd been friends for twenty years. You won't fail me, will you? Only two minutes, and you've made me happy forever. Yes, happy. Who knows, perhaps you've reconciled me with myself, resolved all my doubts.

When I woke up it seemed to me that some snatch of a tune I had known for a long time, I had heard somewhere before but had forgotten, a melody of great sweetness, was coming back to me now. It seemed to me that it had been trying to emerge from my soul all my life, and only now-

If and when you fall in love, may you be happy with her. I don't need to wish her anything, for she'll be happy with you. May your sky always be clear, may your dear smile always be bright and happy, and may you be for ever blessed for that moment of bliss and happiness which you gave to another lonely and grateful heart. Isn't such a moment sufficient for the whole of one's life?”

Fyodor Dostoevsky - (White Nights)




"Ben bir hayalperestim. Gerçek hayat hakkında o kadar az şey biliyorum ki, böyle anları rüyalarımda tekrar yaşamaktan kendimi alamıyorum, çünkü böyle anlar çok nadir yaşadığım bir şey. Bütün gece, bütün hafta, bütün yıl seni hayal edeceğim. Seni o kadar iyi tanıdığımı hissediyorum ki, yirmi yıllık arkadaş olsaydık seni daha iyi tanıyamazdım. Beni hayal kırıklığına uğratmayacaksın, değil mi? Sadece iki dakika ve sen beni sonsuza dek mutlu ettin. Evet, mutlu. Kim bilir belki de beni kendimle barıştırdın, tüm şüphelerimi çözdün.

Uyandığımda,  uzun zamandır bildiğim, daha önce bir yerlerde duyduğum ama unuttuğum bir ezginin bir parçası, şimdi çok tatlı bir melodi geliyormuş gibi geldi bana. Bana hayatım boyunca ruhumdan çıkmaya çalışmış gibi geldi.

Eğer aşık olursan, onunla mutlu olabilir misin? Seninle mutlu olacağı için ona bir şey dilememe gerek yok. Gökyüzünüz her zaman açık olsun, sevgili gülümsemeniz her zaman parlak ve mutlu olsun ve başka bir yalnız ve minnettar kalbe verdiğiniz o mutluluk ve mutluluk anı için sonsuza dek kutsansın. Böyle bir an insanın bütün ömrüne yetmez mi?"

Fyodor Dostoyevski - (Beyaz Geceler)

Unknown photographer

23 Ağustos 2024 Cuma

Fantaisie / Gérard de Nerval

Fantaisie

Il est un air pour qui je donnerais
Tout Rossini, tout Mozart et tout Weber,
Un air très vieux, languissant et funèbre,
Qui pour moi seul a des charmes secrets.

Or, chaque fois que je viens à l’entendre,
De deux cents ans mon âme rajeunit :
C’est sous Louis treize ; et je crois voir s’étendre
Un coteau vert, que le couchant jaunit,

Puis un château de brique à coins de pierre,
Aux vitraux teints de rougeâtres couleurs,
Ceint de grands parcs, avec une rivière
Baignant ses pieds, qui coule entre des fleurs ;

Puis une dame, à sa haute fenêtre,
Blonde aux yeux noirs, en ses habits anciens,
Que, dans une autre existence peut-être,
J’ai déjà vue… – et dont je me souviens !

Gérard de Nerval




Fantasy

There is an air for which I'd freely change
All Weber's, Mozart's, and Rossini's spells:
An old, old air, that of some sorrow tells—
Sad, fascinating, endless, weird, and strange,

Each time I hear that air my soul is borne
Back through the vista of two hundred years:
Reigns 'Louis Treize'—and in my sight appears
A hill-side green, where fading sunbeams mourn.

Then suddenly a noble castle towers—
Brick, with stone fretwork, and red glass that glows,
Girt by a park, through which a river flows,
Bent over by innumerable ferns and flowers.

And then a lady at a window high,
Fair, with dark eyes, in which a tear I trace—
Oh, is it in my dreams I've seen that face?
Or have I ever lived in times gone by?

Gérard de Nerval

Translated by Toru Dutt




Fantasy (second english translation)

There is an air for which I'd gladly give
All Mozart, all Rossini, all Von Weber,
A languid, ancient, solemn-sounding air
That yields its secret charm to me alone.

Each time it happens that I hear it played
My heart grows younger by two hundred years:
I live in former times. . . and see portrayed
A green slope gilded by the setting sun,

And then a feudal castle Banked with stone,
Its windows tinted to a glowing rose,
Bounded by spacious parks and with its feet
Bathed by a stream that through a garden flows.

And then a lady in a window high,
Fair-haired, dark-eyed, and dressed in ancient style .
Whom, in another life, perhaps I've seen,
And whom 1 now remember with a sigh.

Gérard de Nerval




Fantasy (third english translation)

There is an air for which I would give
all Rossini, all Mozart, and all Weber,
an old air, languishing, funereal,
that has secret charms for me alone.

It happens that every time I hear it,
my soul becomes younger by two hundred years:
it's the time of Louis the Thirteenth...
and I think I see spread out before me
a green hillside turning yellow in the sunset;

then a chateau of brick with stone corners,
its windows tinted with reddish colors,
with a belt of grand parks around it, with a river
bathing its feet, that flows among the flowers.

Then a lady, at her high window,
blond with black eyes, in her old-fashioned clothes,
who in another life, perhaps,
I have already seen...and whom I remember!

Gérard de Nerval




Fantasía

Existe una tonada por la que yo daría
todo Mozart, Rossini y todo Weber,
una vieja tonada, languideciente y fúnebre
que me trae a mí solo sus secretos encantos.

Cada vez que la escucho mi alma se hace
doscientos años -es sobre Luis Trece-
más joven; y creo ver cómo se extiende
una ladera verde que amarillea el ocaso,

luego un alcázar de ladrillo y piedra,
de vidrieras teñidas de colores rojizos
ceñido de amplios parques y a sus pies un arroyo
que entre las flores corre;

luego una dama, en su ventana altísima,
rubia. con ojos negros. de vestimenta antigua,
que en otra vida acaso ya hube visto
y de la cual me acuerdo.

Gérard de Nerval

Versión de Aníbal Núñez




Fantazya

Bir hava bilirim, dünyalara değişmem:
Bütün Rossini, Mozart, Weber sizin olsun.
Çok eski bir hava, ağır, hazin, muhteşem;
Yalnız ben duyarım onda ne varsa füsun!

Ne zaman o havayı dinliyecek olsam
Ruhum gençleşiverir birden iki asır.
Onüçüncü Louis devridir, vakit akşam!
Batan günle sararmış bir yamaç uzanır.

Camları kızıla çalan renklerle yanar,
Kiremitten bir şato, köşeleri taştan.
Etrafı çepçevre bağlar, bahçeler, parklar;
Bir dere akıyor çiçekler arasından.

Kömür gözlü bir kumral en üst pencerede;
Eskidir geçmiş zaman esvapları eski.
Görmüşlüğüm var bu kadın, ama nerde?
Hatırlıyorum, başka bir hayatta belki!

Gérard de Nerval

Çeviren: Cahit Sıtkı Tarancı

Photo by Mary Wilson

14 Ağustos 2024 Çarşamba

Piedra de sol / Octavio Paz

"voy por tu cuerpo como por el mundo,
tu vientre es una plaza soleada,
tus pechos dos iglesias donde oficia
la sangre sus misterios paralelos,
mis miradas te cubren como yedra,
eres una ciudad que el mar asedia,
una muralla que la luz divide
en dos mitades de color durazno,
un paraje de sal, rocas y pájaros
bajo la ley del mediodía absorto,

vestida del color de mis deseos
como mi pensamiento vas desnuda,
voy por tus ojos como por el agua,
los tigres beben sueño de esos ojos,
el colibrí se quema en esas llamas,
voy por tu frente como por la luna,
como la nube por tu pensamiento,
voy por tu vientre como por tus sueños,

tu falda de maíz ondula y canta,
tu falda de cristal, tu falda de agua,
tus labios, tus cabellos, tus miradas,
toda la noche llueves, todo el día
abres mi pecho con tus dedos de agua,
cierras mis ojos con tu boca de agua,
sobre mis huesos llueves, en mi pecho
hunde raíces de agua un árbol líquido,

voy por tu talle como por un río,
voy por tu cuerpo como por un bosque,
como por un sendero en la montaña
que en un abismo brusco se termina
voy por tus pensamientos afilados
y a la salida de tu blanca frente
mi sombra despeñada se destroza,
recojo mis fragmentos uno a uno
y prosigo sin cuerpo, busco a tientas,"

Octavio Paz - (Piedra de sol)




"I travel your body, like the world,
your belly is a plaza full of sun,
your breasts two churches where blood
performs its own, parallel rites,
my glances cover you like ivy,
you are a city the sea assaults,
a stretch of ramparts split by the light
in two halves the color of peaches,
a domain of salt, rocks and birds,
under the rule of oblivious noon,

dressed in the color of my desires,
you go your way naked as my thoughts,
I travel your eyes, like the sea,
tigers drink their dreams in those eyes,
the hummingbird burns in those flames,
I travel your forehead, like the moon,
like the cloud that passes through your thoughts,
I travel your belly, like your dreams,

your skirt of corn ripples and sings,
your skirt of crystal, your skirt of water,
your lips, your hair, your glances rain
all through the night, and all day long
you open my chest with your fingers of water,
you close my eyes with your mouth of water,
you rain on my bones, a tree of liquid

sending roots of water into my chest,
I travel your length, like a river,
I travel your body, like a forest,
like a mountain path that ends at a cliff
I travel along the edge of your thoughts,
and my shadow falls from your white forehead,
my shadow shatters, and I gather the pieces
and go with no body, groping my way,"

Octavio Paz - (Sunstone)

Translated by Eliot Weinberger




(other english translation)

"I go among your body as among the world,
your belly the sunlit center of the city,
your breasts two churches where are celebrated
the great parallel mysteries of the blood,
the looks of my eyes cover you like ivy,
you are a city by the sea assaulted,
you are a rampart by the light divided
into two halves, distinct, color of peaches,
and you are saltiness, you are rocks and birds
beneath the edict of concentrated noon

and dressed in the coloring of my desires
you go as naked as my thoughts go naked,
I go among your eyes as I swim water,
the tigers come to these eyes to drink their dreams,
the hummingbird is burning among these flames,
I go upon your forehead as on the moon,
like cloud I go among your imagining
journey your belly as I journey your dream,

your loins are harvest, a field of waves and singing,
your loins are crystal and your loins are water,
your lips, your hair, the looks you give me, they
you open up my breast with your fingers of water,
you close my eyelids with your mouth of water,
raining upon my bones, and in my breast
the roots of water drive deep a liquid tree,

I travel through your waist as through a river,
I voyage your body as through a grove going,
as by a footpath going up a mountain
and suddenly coming upon a steep ravine
I go the straitened way of your keen thoughts
break through to daylight upon your white forehead
and there my spirit flings itself down, is shattered
now I collect my fragments one by one
and go on, bodiless, searching, in the dark...."

Octavio Paz - (Sunstone)

Photo by Lucien Clergue

9 Ağustos 2024 Cuma

Nu / Manuel Bandeira

Nu

Quando estás vestida,
Ninguém imagina
Os mundos que escondes
Sob as tuas roupas.

(Assim, quando é dia,
Não temos noção
Dos astros que luzem
No profundo céu.

Mas a noite é nua,
E, nua na noite,
Palpitam teus mundos
E os mundos da noite.

Brilham teus joelhos,
Brilha o teu umbigo,
Brilha toda a tua
Lira abdominal.

Teus exíguos
- Como na rijeza
Do tronco robusto
Dois frutos pequenos -

Brilham.) Ah, teus seios!
Teus duros mamilos!
Teu dorso! Teus flancos!
Ah, tuas espáduas!

Se nua, teus olhos
Ficam nus também:
Teu olhar, mais longe,
Mais lento, mais líquido.

Então, dentro deles,
Bóio, nado, salto
Baixo num mergulho
Perpendicular.

Baixo até o mais fundo
De teu ser, lá onde
Me sorri tu'alma
Nua, nua, nua...

Manuel Bandeira




Naked

When you're dressed,
no one imagines
The worlds you hide
Under your clothes.

(So when it's daytime,
we have no idea
Of the stars that shine
In the deep sky.

But the night is naked
And naked in the night,
your worlds throb
And the worlds of night.

Your knees shine.
your navel shines,
shine all yours
Abdominal lyre.

your small breasts
- As in the stiffness
From the sturdy trunk
Two small fruits -

shine) Ah your breasts!
Your hard nipples!
your back! Your flanks!
Ah, your shoulders!

If naked, your eyes
They are also naked:
your longer gaze,
Slower, more liquid.

So inside them,
Float, swim, jump,
down in a dive
Perpendicular!

Down to the bottom
Of your being, where
your soul smiles at me,
Naked, naked, naked.

Manuel Bandeira




Desnudo

Cuando estás vestida
nadie se imagina
los mundos que escondes
bajo tus ropas.

(Así, cuando es de día,
no tenemos noción
de los astros que brillan
en el cielo profundo.

Pero la noche es desnuda,
y, desnuda en la noche,
palpitan tus mundos
y los mundos de la noche.

Brillan tus rodillas.
Brilla tu ombligo.
Brilla toda tú
lira abdominal

Tus senos exiguos
-como en la firmeza
del tronco robusto
dos frutos pequeños Brillan.)

¡ah tus senos!
¡tus duros pezones!
¡tu dorso! ¡Tus flancos!
¡ah, tus espaldas!

Si desnuda, tus ojos
quedan desnudos también;
tu mirar, más largo,
más lento, más líquido.

Entonces, dentro de ellos
floto, nado, salto,
bajo en zambullida
Perpendicular.

Bajo hasta lo más hondo
de tu ser, allí donde
me sonríe tu alma,
desnuda,
desnuda,
desnuda.

Manuel Bandeira

Traducción de Umberto Cobo

Alessia Marcuzzi for Panorama Calendar
2000, by Francesco Escalar