15.1.17
2.1.17
1.12.16
22.11.16
18.10.16
The Love Song of J. Alfred Prufrock
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question…
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? …
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep… tired… or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
. . . . .
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old… I grow old…
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question…
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? …
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep… tired… or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
. . . . .
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old… I grow old…
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
14.10.16
4.10.16
Maiakóvski sabe do que fala
“Eu
à poesia
só permito uma forma:
concisão,
precisão das fórmulas
matemáticas.
Às parlengas poéticas estou acostumado,
eu ainda falo versos e não fatos.
Porém
se eu falo
"A"
este "a"
é uma trombeta-alarma para a Humanidade.
Se eu falo
"B"
é uma nova bomba na batalha do homem.”“Eu
à poesia
só permito uma forma:
concisão,
precisão das fórmulas
matemáticas.
Às parlengas poéticas estou acostumado,
eu ainda falo versos e não fatos.
Porém
se eu falo
"A"
este "a"
é uma trombeta-alarma para a Humanidade.
Se eu falo
"B"
é uma nova bomba na batalha do homem.”“Eu
à poesia
só permito uma forma:
concisão,
precisão das fórmulas
matemáticas.
Às parlengas poéticas estou acostumado,
eu ainda falo versos e não fatos.
Porém
se eu falo
"A"
este "a"
é uma trombeta-alarma para a Humanidade.
Se eu falo
"B"
é uma nova bomba na batalha do homem.”
25.9.16
11.8.16
siMPle aS ThIs
When I am sad and weary
When I think all hope is gone
When I walk along High Holborn
I think of you with nothing on.
Adrian Mitchell
19.7.16
14.7.16
10.7.16
7.7.16
2.6.16
31.5.16
dança com ela
celebrando os 10 anos de " Fala com Ela " de Inês Menezes no Lux Frágil
a importância da disponibilidade às pessoas, às dificuldades. ao amor e claro à música
21.5.16
entre epifanias e fantasias
“A realidade é um bom sítio para visitar, mas eu não moraria lá”
Tom Wolfe
Tom Wolfe
20.5.16
suprematismo
"Eu sentia apenas noite dentro de mim, e foi então que concebi a nova arte, que chamei suprematismo."
Quadrado negro sobre fundo branco de Kasimir Malevich (1918).
13.5.16
18.4.16
21.3.16
enfrentar o medo
"Quis publicar um livro mas nunca o chegou a fazer, porque estava continuamente a fazer alterações no manuscrito, e fez tantas e tão grandes que, por fim, do manuscrito já nada restava, a alteração do manuscrito nada mais era do que a eliminação total do manuscrito, do qual por fim nada mais ficou do que o título O Náufrago. Agora tenho apenas o título, disse-me ele, assim é que está bem. Não sei se terei forças para escrever um segundo livro, parece-me que não, dissera ele, se O Náufrago tivesse sido publicado, disse ele, teria sido obrigado a matar-me."
Thomas Bernhard, O Náufrago
Thomas Bernhard, O Náufrago
9.3.16
22.2.16
9.2.16
14.1.16
and my bluebird is rhythm
Bluebird by Bukowski
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
wants to get out
but I'm too clever, I only let him out
at night sometimes
when everybody's asleep.
I say, I know that you're there,
so don't be
sad.
then I put him back,
but he's singing a little
in there, I haven't quite let him
die
and we sleep together like
that
with our
secret pact
and it's nice enough to
make a man
weep, but I don't
weep, do
you?
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
wants to get out
but I'm too clever, I only let him out
at night sometimes
when everybody's asleep.
I say, I know that you're there,
so don't be
sad.
then I put him back,
but he's singing a little
in there, I haven't quite let him
die
and we sleep together like
that
with our
secret pact
and it's nice enough to
make a man
weep, but I don't
weep, do
you?
10.1.16
9.12.15
24.11.15
Keep it simple , por Alberto Caeiro , a genialidade da simplicidade
" Nem sempre consigo sentir o que sei que devo sentir.
O meu pensamento só muito devagar atravessa o rio a nado
Porque lhe pesa o fato que os homens o fizeram usar. "
O meu pensamento só muito devagar atravessa o rio a nado
Porque lhe pesa o fato que os homens o fizeram usar. "
5.11.15
22.6.15
5.4.15
10.12.14
28.10.14
10.8.14
time to ....
"Show me how a community dances and I'll tell you if they are healthy or not"
Confucius
2.6.14
17.5.14
26.1.14
19.1.14
Ary
"Ecce Homo
Desbaratamos deuses, procurando
Um que nos satisfaça ou justifique.
Desbaratamos esperança, imaginando
Uma causa maior que nos explique.
Pensando nos secamos e perdemos
Esta força selvagem e secreta,
Esta semente agreste que trazemos
E gera heróis e homens e poetas.
Pois Deuses somos nós. Deuses do fogo
Malhando-nos a carne, até que em brasa
Nossos sexos furiosos se confundam,
Nossos corpos pensantes se entrelacem
E sangue, raiva, desespero ou asa,
Os filhos que tivermos forem nossos."
José Carlos Ary dos Santos
20.10.13
29.8.13
inegável
Há pessoas com as quais partilhamos a vocação; essa é a maior aliança que há. Sem trocarmos muitas palavras, sem o pretexto dos pensamentos para criarmos laços de família, o parentesco está lá.
Agustina Bessa-Luís, Contemplação Carinhosa da Angústia, Guimarães, p. 145.
15.6.13
democritus ou democracia
seria mesmo a intenção pintar democritus ou seria personificar a democracia .... a ambiguidade que
aquele sorriso me toma ...
Antoine Coypel - Democritus
aquele sorriso me toma ...
24.5.13
o dever ....sim o dever
O dever
Do escritor, do poeta
Não é encerrar-se cobardementre num texto
Num livro, numa revista de onde nunca sairá,
Pelo contrário, é vir
Para o exterior
E sacudir,
Atacar
O espírito público.
Ou então para que serve?
Para que nasceu?
Antonin Artaud (1896-1948), França, tradução de Soledade Santos
Do escritor, do poeta
Não é encerrar-se cobardementre num texto
Num livro, numa revista de onde nunca sairá,
Pelo contrário, é vir
Para o exterior
E sacudir,
Atacar
O espírito público.
Ou então para que serve?
Para que nasceu?
Antonin Artaud (1896-1948), França, tradução de Soledade Santos
23.5.13
10.5.13
7.5.13
6.5.13
e nao terei tempo para ler tudo o que desejo ....
nem para criar um tumbrl nem um pinterest que não desejo ...
19.4.13
10.4.13
16.2.13
tava aqui mesmo na ponta da língua ....
"Não maldigo a hora em que nasci. Um instante que seja de íntima elevação espiritual, compensa-nos de muitas dores; robustece o nosso orgulho em que se firma a nossa alma, como o corpo nos ossos do esqueleto. O esqueleto é o orgulho do corpo, a força que o sustenta de pé, – uma força petrificada.
E não maldigo a dor.
O sofrimento é a sensação do Eterno violentando a nossa capacidade de sentir que se exagera, a fim de apreender, dominar, o que existe de mais transcendente e fugitivo...
E assim, adquirimos um heróico e melindroso estado de alma, como íntima ferida sempre aberta, que sangra ao menor contacto. Eis o inferno e o paraíso de todos os poetas que fazem da sua existência uma divina comédia, com letra pequena, é claro. A outra, com maiúscula, pertence aos Deuses."
E não maldigo a dor.
O sofrimento é a sensação do Eterno violentando a nossa capacidade de sentir que se exagera, a fim de apreender, dominar, o que existe de mais transcendente e fugitivo...
E assim, adquirimos um heróico e melindroso estado de alma, como íntima ferida sempre aberta, que sangra ao menor contacto. Eis o inferno e o paraíso de todos os poetas que fazem da sua existência uma divina comédia, com letra pequena, é claro. A outra, com maiúscula, pertence aos Deuses."
Teixeira de Pascoaes
9.2.13
no telurismo do torga está a simplicidade da vida , não compliquem
"A vida... e a gente põe-se a pensar em quantas maravilhosas teorias os filósofos arquitectaram na severidade das bibliotecas, em quantos belos poemas os poetas rimaram na pobreza das mansardas, ou em quantos fechados dogmas os teólogos não entenderam na solidão das celas. Nisto, ou então na conta do sapateiro, na degradação moral do século, ou na triste pequenez de tudo, a começar por nós.
Mas a vida é uma coisa imensa, que não cabe numa teoria, num poema, num dogma, nem mesmo no desespero inteiro dum homem.
A vida é o que eu estou a ver: uma manhã majestosa e nua sobre estes montes cobertos de neve e de sol, uma manta de panasco onde uma ovelha acabou de parir um cordeiro, e duas crianças — um rapaz e uma rapariga — silenciosas, pasmadas, a olhar o milagre ainda a fumegar.
Miguel Torga, in "Diário (1941)"
Mas a vida é uma coisa imensa, que não cabe numa teoria, num poema, num dogma, nem mesmo no desespero inteiro dum homem.
A vida é o que eu estou a ver: uma manhã majestosa e nua sobre estes montes cobertos de neve e de sol, uma manta de panasco onde uma ovelha acabou de parir um cordeiro, e duas crianças — um rapaz e uma rapariga — silenciosas, pasmadas, a olhar o milagre ainda a fumegar.
Miguel Torga, in "Diário (1941)"
22.1.13
8.12.12
todos têm a sua ítaca, respeitem as ítacas uns dos outros
"Se partires um dia rumo a Ítaca
Faz votos de que o caminho seja longo
repleto de aventuras, repleto de saber.
Que nem monstros, nem ciclopes,
nem a cólera de Poseídon te intimidem!
Não os encontrarás jamais no teu caminho
Se altivo for o teu pensamento
Se subtil emoção tocar o teu corpo e o teu espírito
Nem monstros, nem ciclopes
Nem o bravio Poseídon hás-de encontrar
Se tu mesmo não os levares dentro da tua alma
Se a tua alma não os puser dentro de ti.
Faz votos de que o caminho seja longo.
Numerosas serão as manhãs de Verão
Nas quais com prazer, com alegria
Tu hás-de entrar pela primeira vez num porto
Para visitar as lojas fenícias
Comprar as mais belas mercadorias
Madrepérola, coral, âmbar, ébano
E perfumes sensuais de todas as espécies
Quantos aromas deleitosos.
Peregrinarás em muitas cidades do Egipto
Para aprender, para aprender dos sábios.
Mantém Ítaca na tua mente.
Estás predestinado a ali chegar.
Mas, não apresses a viagem nunca.
O melhor é levares muitos anos nesta jornada
E fundeares na ilha velho por fim.
Rico de quanto ganhaste no caminho
Sem esperar riquezas que Ítaca te desse.
Ítaca proporcionou-te uma bela viagem
Sem ela não te punhas a caminho.
Mais do que isso não lhe cumpre dar-te.
Ítaca não te iludiu
Se a achas pobre.
Tu tornaste-te sábio, experiente.
E, agora, sabes o que significa Ítaca."
Constantino Kabvafis (1863-1933)
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Andreas Gursky |
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