Thursday, June 14, 2012
O dominó que vesti era errado
...
Fiz de mim o que não soube
E o que podia fazer de mim não o fiz.
O dominó que vesti era errado.
Conheceram-me logo por quem não era e não desmenti, e perdi-me.
Quando quis tirar a máscara,
Estava pegada à cara.
Quando a tirei e me vi ao espelho,
Já tinha envelhecido.
Estava bêbado, já não sabia vestir o dominó que não tinha tirado.
Deitei fora a máscara e dormi no vestiário
Como um cão tolerado pela gerência
Por ser inofensivo
E vou escrever esta história para provar que sou sublime.
Essência musical dos meus versos inúteis
...
Álvaro de Campos, 15-1-1928
(extracto da Tabacaria)
Labels:
Fernando Pessoa,
Tabacaria
Espaço-Tempo-Mar
Thursday, June 7, 2012
Um dia um homem
Um dia um homem
Pega numa moeda olha as suas faces
existirão sempre sem saber uma da outra
Um dia um homem
Chega a casa despe-se por completo
Deita-se ao lado da maior janela e deixa-se ficar ali
A sentir o vento a luz a diminuir
Um dia um homem
Caminha por um jardim dá uma flor
a flor é logo comida o homem pensa :
- Que raro alguém que come flores…
Um dia um homem
Posta-se diante de um quadro e sente
As cores músicas distintas a reverberar nele
Um dia um homem
Acaba como um rio que chega ao mar deixa de ter nome
Um rio mesmo grande dilui-se sempre no mar maior
Um dia um homem
Não ri nem diz mais os nomes que ama
Todos os seus gestos perdidos no mar
Tuesday, June 5, 2012
The Imaginary Iceberg
The Imaginary Iceberg
We'd rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We'd rather have the iceberg than the ship;
we'd rather own this breathing plain of snow
though the ship's sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?
This is a scene a sailor'd give his eyes for.
The ship's ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.
The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another's waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We'd rather have the iceberg than the ship;
we'd rather own this breathing plain of snow
though the ship's sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?
This is a scene a sailor'd give his eyes for.
The ship's ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.
The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another's waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.
Elizabeth Bishop
Thursday, May 31, 2012
os nomes dos ventos
os nomes dos ventos
das árvores e dos pássaros
o valor de um abraço
o momento certo para um beijo
por tudo isto a vida
das árvores e dos pássaros
o valor de um abraço
o momento certo para um beijo
por tudo isto a vida
uma pedra
um "ploc" na água
círculos
um "ploc" na água
círculos
um momento
um momento só
Nós
Tuesday, May 29, 2012
Todos os tipos de azul e mais...
Todos os tipos de azul e mais...
Só um sitio
nem nuvem, nem mar
peixes a saltar e votos de boa sorte
um pouco de sombra e recato
as ruas são rios com gente
aqui é coito, uma transversal do tempo
aqui contam todos os tipos de azul e mais...
Lá fora tilias, estranhos a falar do tempo.
Monday, May 28, 2012
fora do eixo
um dia tudo estará centrado, alinhado
fora do eixo gasto dos dias estérieis e das horas ocas
um dia embarcaremos no varino "Liberdade" e vogaremos a Sul
nesse dia seguir-nos-ão as gaivotas e veremos flamingos e garças
enterraremos os pés no lodo e será ainda manhã, um dia cantaremos
o cantar das andorinhas, sobre casas esquecidas, girassois
grandes amarelos seguidores do sol.
Friday, May 25, 2012
Paseantes
Edmond Quinche. Paseantes. 1969-1970. Litografía con lápiz y raspaduras. Fondation William Cuendet & Atelier de Saint-Prex (en depósito en el Musée Jenisch, Vevey Cabinet cantonal des estampes) © Gérard Pétremand, Ginebra
Tuesday, May 22, 2012
Magnificat
Magnificat
Quando é que passará esta noite interna, o universo,
E eu, a minha alma, terei o meu dia?
Quando é que despertarei de estar acordado?
Não sei. O sol brilha alto,
Impossível de fitar.
As estrelas pestanejam frio,
Impossíveis de contar.
O coração pulsa alheio,
Impossível de escutar.
Quando é que passará este drama sem teatro,
Ou este teatro(*) sem drama,
E recolherei a casa?
Onde? Como? Quando?
Gato que me fitas com olhos de vida, que tens lá no fundo?
É esse! É esse!
Esse mandará como Josué parar o sol e eu acordarei;
E então será dia.
Sorri, dormindo, minha alma!
Sorri, minha alma, será dia!
Álvaro de Campos- Contemporânea, 07/11/1933
No original do 1933 diz theatro as duas vezes.
E eu, a minha alma, terei o meu dia?
Quando é que despertarei de estar acordado?
Não sei. O sol brilha alto,
Impossível de fitar.
As estrelas pestanejam frio,
Impossíveis de contar.
O coração pulsa alheio,
Impossível de escutar.
Quando é que passará este drama sem teatro,
Ou este teatro(*) sem drama,
E recolherei a casa?
Onde? Como? Quando?
Gato que me fitas com olhos de vida, que tens lá no fundo?
É esse! É esse!
Esse mandará como Josué parar o sol e eu acordarei;
E então será dia.
Sorri, dormindo, minha alma!
Sorri, minha alma, será dia!
Álvaro de Campos- Contemporânea, 07/11/1933
No original do 1933 diz theatro as duas vezes.
Labels:
Álvaro de Campos,
Fernando Pessoa
Monday, May 21, 2012
Uma anunciação
Uma anunciação é quando um anjo interrompe a tua errância e
te lembra que não deves desperdiçar passos.
Thursday, May 17, 2012
Leda
Um cisne, um homem
Leda
Um deus, um rei
Leda
(de nada servem as altas muralhas contra quem vem dos céus...)
Wednesday, May 16, 2012
The Last Post
By Robert Graves
1895.7.24-1985.12.7The bugler sent a call of high romance--
"Lights out! Lights out!" to the deserted square.
On the thin brazen notes he threw a prayer,
"God, if it's this for me next time in France ...
O spare the phantom bugle as I lie
Dead in the gas and smoke and roar of guns,
Dead in a row with the other broken ones
Lying so stiff and still under the sky,
Jolly young Fusiliers too good to die."
Monday, May 14, 2012
Lavender pathfinder
Jackson Pollock, Number 1, 1950 (Lavender Mist),1950, National Gallery of Art |
Playing a game
We start…and
start over again :
Starting and
restarting,
It sounds
like a pointless game
but it’s one
about roads, maps and paths…
ways of getting
to places, ways of getting there.
There playing
a game
Labels:
Adele Astaire,
Jackson Pollock
Monday, May 7, 2012
Tuesday, May 1, 2012
Dockery and Son
By Philip Larkin 1922–1985 Philip Larkin
‘Dockery was junior to you,
Wasn’t he?’ said the Dean.
‘His son’s here now.’
Death-suited, visitant, I nod.
‘And do
You keep in touch with—’ Or
remember how
Black-gowned, unbreakfasted,
and still half-tight
We used to stand before that
desk, to give
‘Our version’ of ‘these
incidents last night’?
I try the door of where I used
to live:
Locked. The lawn spreads
dazzlingly wide.
A known bell chimes. I catch
my train, ignored.
Canal and clouds and colleges
subside
Slowly from view. But Dockery,
good Lord,
Anyone up today must have been
born
In ’43, when I was twenty-one.
If he was younger, did he get
this son
At nineteen, twenty? Was he
that withdrawn
High-collared
public-schoolboy, sharing rooms
With Cartwright who was
killed? Well, it just shows
How much ... How little ...
Yawning, I suppose
I fell asleep, waking at the
fumes
And furnace-glares of
Sheffield, where I changed,
And ate an awful pie, and
walked along
The platform to its end to see
the ranged
Joining and parting lines
reflect a strong
Unhindered moon. To have no
son, no wife,
No house or land still seemed
quite natural.
Only a numbness registered the
shock
Of finding out how much had
gone of life,
How widely from the others.
Dockery, now:
Only nineteen, he must have
taken stock
Of what he wanted, and been
capable
Of ... No, that’s not the
difference: rather, how
Convinced he was he should be
added to!
Why did he think adding meant
increase?
To me it was dilution. Where
do these
Innate assumptions come from?
Not from what
We think truest, or most want
to do:
Those warp tight-shut, like
doors. They’re more a style
Our lives bring with them:
habit for a while,
Suddenly they harden into all
we’ve got
And how we got it; looked back
on, they rear
Like sand-clouds, thick and
close, embodying
For Dockery a son, for me
nothing,
Nothing with all a son’s harsh
patronage.
Life is first boredom, then
fear.
Whether or not we use it, it
goes,
And leaves what something
hidden from us chose,
And age, and then the only end
of age.
Philip Larkin, “Dockery and Son” from Collected Poems. Used by
permission of The Society of Authors as the Literary Representative of the
Estate of Phillip Larkin.
Source: Collected Poems (Farrar Straus and Giroux, 2001)
Friday, April 27, 2012
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(found in Flickr.com)