To Abbot-Bishop Oliba

(971-1046 A.D.),
who tightened the strings of the celestial violin where they coursed over the mountains of Catalonia, keeping the local song in tune with the cosmic.







Place



Pere Quart (Joan Oliver) (1899-1986)

Prehistory

Oh, and I wanted to tell you:
I had seven wet nurses.
That's no lie.

Years later my mother told me about it:
"Yes, Juan, it's true.
We suffered long with you.
What bad luck!"

The first one's spring dried up.
Watery substances flowed
from the second and the fourth.
The third received, on the sly at night,
her lover, a false nurse's-husband, a bully
(she was a habitual drunkard;
and it's well known that the wine
that the nurse gulps down,
after a mere half hour,
can pass without harm
into the tot's supper, spirits and all).
The fifth, an underage, unmarried mother,
was reclaimed by her parents
(a nurse-dealer had conned her and
with him she had run away from home
and from the bad treatment
inherent in her illicit state).
And the sixth one
— my mother pondered:
"Really, she was gorgeous!" —
died of galloping pneumonia.
Finally the seventh, a real find:
healthy, loving, long-suffering,
precisely a subsidiary mother
(and one day — I had gone to
military training camp,
one meter eighty-four,
completely weaned —
she came to see me, from far away,
a dried up little woman, tanned skin;
and, eyes melting with tears,
gluttonously pawed me).

Nearly all Gallicians,
bean-fed maidens
— oh, tempermental! —
seduced by the master, or his son,
or else by the town rector
— mothers of possible (Saint) Rosalias.

An uncle of mine, seminarian,
would call at me mockingly:
"Seven live nurses — like a cat!"

And I ask myself now:
such a mixture,
sucking and slurping in divers fountains,
passing from hand to hand to arm to lap,
in so many rosy cushions of elastic meat,
can't that destine one to be a
dabbling pot-taster ?
What, gentlemen, does psychoanalysis have to say?

But there's another circumstance,
and I should mention it.
During one of the more unexpected intervals
between two pairs of orthodox teats,
I was nourished, two months,
— doctor's prescription — by burro's milk,
that which most resembles woman's, so it seems
(another datum from my prehistoric past
which still unnerves me).
So, I was milk-brother
to more than one or two
long-eared quadrupeds
and maybe kickers at that?
Should I be ashamed,
develop a complex?
Should I lodge a complaint ?
Can it have something to do
with the Franciscanism
&mdash lesser, I admit —
which has always surrounded me
and still surrounds me?

Prehistoria (1968)

També us volia dir:
jo vaig tenir set dides.
No us enganyo.

Passats els anys la mare m'ho contava:
Si, Juan, t'ho pots ben creure.
Vam patir força amb tu.
Quina tongada!

A la primera se li estroncà la deu.
Tant la segona com la quarta
adollaven substàncies aigualides.
La tercera rebia, d'amagat i de nit,
el seu amant, un didot ful, un pinxo
(borratxa consueta;
i és sabut que el vi
que engoleix la nodrissa,
al cap de mitja horeta,
ja pot passar sense destorb
a l'apat del ninó, amb esprit i tot).
La cinquena, menor, mare soltera,
fou reclamada pels seus pares
(l'entabanà un tractant de dides
i amb ell fugí de casa seva
i dels mals tractes
inherents al seu estat il.lícit).
I la que feia sis
--la mare ponderava:
"Per cert que era guapíssima!"--
morí de pulmonia galopant.
Finalment la setena, una troballa:
sana, amorosa, patidora,
justament una mare subsidiària
(i un dia -- jo acabava d'entrar en quintes,
metre vuitenta-quatre
doncs deslletat del tot --,
em vingué a veure, de molt lluny,
una dona eixuta, pell rostida;
i, els ulls fosos en llàgrimes,
goludament em grapejava).

Quasi totes gallegues,
donzelles enfavades
--o tempermentals!--,
sedüides per l'amo, el fill de l'amo
o tal vegada pel rector del poble
--maretes de possibles rosalías.

Un oncle meu, seminarista i bútxera,
em cridava amb mofa:
"Set dides com els gats!"

I jo em pregunto, ara:
tanta barreja,
tantes xuclades i xarrups en fonts diverses,
passar de tantes mans, braços i faldes,
per tants coixins rosats de carn elàstica,
no pot marcar un destí de tastaolletes?
Què hi diu, senyors, la psicoanàlisi?

Però hi un altre circumstància,
i cal parlar-ne.
En una de les pauses més sobtades
entre dos jocs de metes ortodoxes,
vaig ser nodrit, dos mesos
--prescripció del metge--, amb llet de burra,
la mes afí a la de dona, sembla
(heus aquí una altre dada del meu passat prehistoric
que encara m'inquieta).
?He estat, així, germà de llet
de més d'un i de dos
orelluts quadrúpedes
i per afegidura potser guits?
?N'hi ha per a avergonyir-se'n?
O potser per a reivindicar-ho?
?Pot tenir el fet quelcom a veure
amb el franciscanisme
--menor, ho reconec--
que sempre m'ha rondat
i encara em ronda?




* * *

Joan Vinyoli (1914-1984)

Cistern (1975)

How full of pain
your dark stone
cistern.
The rains of many years
of solitude
have filled it.
Now I drink of your sullage,
an attempt to save us
from this solitude.

Cisterna

Que plena de dolor
la teva cisterna
de pedra fosca.
La pluja de molts anys
de soletat
l'ha omplert.
Jo ara bec del teu solatge,
l'intent de salvar-nos
d'aquesta soletat.




drawing by Neus Pedrals Pugés

Josep Sebastià Pons (1886-1962)

The Snow that Sleeps

By the wayside, shaded, sleeps the snow;
it lies in wait for a thirsty ray of sun.
But, coming to renew it, iced winds blow.
And love, from frozen wind, is born.

Nearby the windmill, now forever open,
the long awaiting olive branch despairs.
The deserted mountain with it's fields forsaken
crumbles into torrent sculpted hairs.

One sunless day, alone, again I'd tread
in my grandparents' steps along the way,
following cold vinyard, Holm oak wood..
lost bird, the only bird of day.

La Neu que Dorm

La neu que dorm a l'ombra del camí
espera el raig de sol que la beuria.
El vent geliu me ve a rejovenir.
Del vent geliu l'amor naixia.

Vora el molí de vent per sempre obert
la branca de l'oliu es desespera.
La muntanya amb els camps és un desert
i s'engruna en palets la torrentera.

I jo encara tot sol per recordar
els passos do mos avis tornaria,
seguint la vinya freda i l'alzinar,
ocell perdut, el sol ocell del dia.




* * *

Joan Maragall (1860-1911)

Jordan's Beechwood

Where's Jordan's beechwood, do you know?
Around Olot, above the plain you go
into a cavernous domain, all green,
like nothing in this world you've ever seen;
a green like underwater, deep and clear:
the green you'll find in here.
A wayfarer in Jordan's beechwood
slowly, slowly shifts from foot to foot,
he counts his steps in the quiet forest,
then stops, hears nothing, and is lost.
Down here the silence covers all
thoughts of the outside world
in sweet forgetfulness - should he
think of leaving - and he doesn't - it would be
in vain. He's taken prisoner
in company of silence and of green.
O prison, my liberator!

La Fageda d'en Jordá

?Saps on és la fageda d'en Jordá?
Si vas pels volts d'Olot, amunt del pla,
trobarás un indret verd i pregon
com mai més n'hagis trobat al món:
un verd com d'aigua endins, pregon i clar;
el verd de la fageda d'en Jordà.
El caminant, quan entra en aquest lloc,
comença a caminar-hi poc a poc;
compta els seus passos en la gran quietud
s'atura, i no sent res, i est? perdut.
Li agafa un dolç oblit de tot el món
en el silenci d'aquell lloc pregon,
i no pensa en sortir o hi pensa en va:
és pres de la fageda d'en Jordà,
presoner del silenci i la verdor.
Oh companyia! Oh deslliurant presó!




Vall d'en Bas, drawing by E.M.Tuohy

Joan Alcover (1854-1926)

Hermit's Net

Guest of the heights am I; it's my trade
to go from house to house and ask for alms,
to every nook where the trembling echoes
of the hermitage reach.
The sign of my step crosses all the paths
within these limits. I know every family's lands
and barns, the towns, and the neighbors, and I ask them news
of their tribulations and their ventures.
From my high tower in the hermitage
I see something travelers don't see,
those indifferent travelers who buzz over
the lands of the vicinity.
If you want to stretch
your thoughtful gaze out over the wide horizons
of the mountain, before you go up
first walk over every inch of the land
you will control from that high vantage point; stop
at the leveled plot, at the wood; look into the mine,
hail the inhabitants of the human nests; you'll want
to know whether that patch of green is wheat or barley;
and thus, by scrutinizing every single thing,
your eye will be prepared to contemplate.

Not that this will dissolve the mystery
which is at the bottom of each inseparable thing;
as light advances, shadow retreats;
the further it retreats, the more imposing it is.

The star-filled night - is it less divine
to the wise man who knows them one by one
than it is to the one who sees in the stars
nothing but a mass of uncomprehended signs?
Once, my gaze slipped indifferently
over the nocturnal scattering of lights
of the houses that surround this rise
like a heaven lying on the earth; but now
every light is a name, a home
where I have sat to rest and cool off in the shade,
or warmed my chapped hands a while
in the smoky kitchen; where I've received
pious thanks or felt the warmth
of humility before the closed door.

Below those horizons, other more intimate ones
attract the spirit; and thus enjoying
the fullness of the vision, my gaze
penetrates, like water into a sponge,
to nature's deepest expression.

L'Ermità que Capta

Hoste só de l'altura; es mon ofici i
de casa en casa demanar almoina
per tota l'encontrada a on els ecos
de l'ermitatge tremolant arriben.
Ma petja seny pels viaranys del terme;
conec les heretats i les cabanes
i els pobles i els veïns, i els deman noves
de llurs tribulacions i llurs ventures.
Per çò del mirador de l'altiva hermita
jo veig quelcom que els viatgers no veuen,
els viatgers que indiferents trescaren
la terra del voltant.
           Si vols estendre
pels amples horitzons de la muntanya
l'esguard contemplatiu, ans de pujar-hi
recorre pam a pam tota la terra
que des del cim dominaràs; atura't
al comellar, al bosc; guaita la mina,
saluda els nius humans; vulles conèixer
la clapa del verdor si és blat o és ordi;
i aixi, escorcollant cosa per cosa,
a la contemplació ton ull prepara.

No per això s'esvairà el misteri,
del fons de tota cosa inseparable;
si avança la claror, l'ombra recula;
com més va reculant, més imponenta.

La nit plena d'estels, per l'home savi
que els coneix d'un en un, ?és menys divina
que pel qui veu només en l'estelada
una munió de signes incompresos?
Un temps, per la nocturna escampadissa
de llumets casolans que el puig revolten,
com un cel ajegut sobre la terra,
l'esguard lliscava indiferent; mes ara
cada llum és un nom, una vivenda
on he segut a dessuar, a l'ombra,
o he escalfat una estona les mans balbes
en la fumosa cuina; on he rebudes
mercès de pietat o la dolcesa
d'esser humil davant la porta closa.

Sota aquells horitzons, altres més íntims
atreuen l'esprit; i així fruint-ne
la plenitude de la visió, penetra
la mirada, com aigua dins l'esponja,
en la fonda expressió de la natura.

* * *

Agusti Bartra (1908-1982)

In Many Places In This World... (1946)

In many places in this world there are great expanses of full-bodied wheat
with skies where songs take joyful, confident flight.

In many places in this world the leaves are ardent lips that kiss
the clouds and speak to each wind's hiss.

In many places in this world day falls like an apple of light
and aroma - ripened by the tree of night.

In many places in this world towers blackened by rain and years
listen to every rising voice with their immobile bells' ears.

In many places in this world love triumphs and is crowned,
and tranquil seas raise waves of white-capped joy all 'round.

In many places in this world the hours go on braiding
their dance of tombs and cradles with a light foot never tiring.

In many places in this world wheat, songs, leaves, and bells,
love, cradles and tombs... Oh tedious heart, and now you're asking for what else?

A Molts Llocs d'aquest Mon...

A molts llocs d'aquest món hi ha grans espais de blat madur
amb cels on les cançons tenen un joiós vol segur.

A molts llocs d'aquest món les fulles són llavis ardents
que besen tots els núvols i parlen a tots els vents.

A molts llocs d'aquest món el dia cau com una poma
- que l'arbre de la nit ha madurat - de llum i aroma.

A molts llocs d'aquest món hi ha torres negres d'anys i pluja.
amb campanes immòbils que escolten tota veu que puja.

A molts llocs d'aquest món l'amor triomfa amb ses corones,
i els mars alcen, tranquils, la joia blanca de ses ones.

A molts llocs d'aquest món les hores van trenant sa dansa
de tombes i bressols amb peu lleuger que mai no es cansa.

A molts llocs d'aquest món, blat, cançons, fulles i campanes,
amor, bressols i tombes... Oh cor feixuc, què més demanes?

Camp d'Agda, 1939







Mind





Joan Vinyoli (1914-1984)

Not A Perfect Song (1951)

Not a perfect song but a cry
invoking God is needed,
because our heart's not satisfied
moving its wings well like an eagle.
With eyes aflame we have to enter
into the night of mystery,
so that the sacred, like the screaming air
which rushes at our eyes, can penetrate
to the heart's chamber.

No la Cançó Perfecta

No la cançó perfecta sinó el crit
que invoca Déu és necessari,
car no com l'águila en té prou
el nostre cor amb moure bé les ales.
Amb ulls encesos cal entrar
dins la nit del misteri,
perquè el sagrat, així com l'aire
que bat als ulls, penetri fins al cor.

* * *

J.V. Foix (1894-1987)

"It's thru my Mind..." (1936)

It's thru my mind that Nature opens
to my gluttonous eye; thru her I know that I'm immortal,
because she orders it, and on either side of evil,
time is one, and by my order hard.

From whence I'm man. And gone all pastures
from my languishing. In her the Unreal
is not darkness, nor is sound, nor the Ideal,
nor the crazed coveting of a future pot of gold,

but rather present time; and with it the hour and the place,
and the sweet burning in my own fire
made of will without complaining nor usura.

Precisely in concrete things I play my warm game
in every instant, and thru the centuries I move
slowly, like a rock before the dark sea.

"És per la Ment..."

És per la Ment que se m'obre Natura
a l'ull golós; per ella em sé immortal,
puix que l'ordén, i ençà i enllà del mal,
el temps és u, i pel meu ordre dura.

D'on home sóc. I alluny tota pastura
al meu llanguir. En ella l'Irreal
no és el fosc, ni el son, ni l'Ideal,
ni el foll cobeig d'una aurança futura,

ans el present; i amb ell, l'hora i el lloc,
i el cremar dolç en el meu propi foc
fet de voler sense queixa ni usura.

Del bell concret faig el meu càlid joc
a cada instant, i en els segles em moc
lent, com el roc devant la mar obscura.

* * *

Tomas Garcés (1901-1993)

The Hunter

Vines envy the chestnuts' green,
in the fog the sea loses its color,
the partidge's golden brown is muted,
there are deadly caresses in the air.
Summer goes. And a tired hunter
with a short shotgun,
breaks to pieces the clear glass sky
and scatters the sky's flowers over the earth

El Caçador

La vinya enveja el vert dels castanyers,
la mar perd son color sota la boira,
s'apaga l'or torrat de la perdiu,
en l'aire hi ha tendreses moridores.
L'estiu s'en va. I un caçador cansat,
amb una breu escopeta,
trenca a bocins el vidre clar del cel
i sobre el món les flors del cel escampa.

* * *

Maria Manent (1898-1988)

To A Swallow Waking Me At Dawn (1931)

Sweet silky friend, what do you know,
when dawn appears in golden dress,
here I'm encaged in shadow, how
could you know of my human sleeplessness?

the lichen, wet with blue shade,
must be clearing near your nest:
had the aloof Sleep-bird only stayed...
but by your song he's chased.

You don't know about my fretting eyelid,
nor my forehead's hot pillow-brand,
nor the room's gloom-blackened bed,
you, 'tween the dawn and the wind.

A una Oreneta que em Desvetllà a Trenc d'Alba

?Què saps, dolça amiga de seda,
quan l'alba es comença a daurar,
què saps de l'ombrívola cleda,
   del meu insomni humà?

El liquen, humit d'ombra blava,
ja es deu aclarir vora el niu:
però ta cançó m'allunyava
   la Son-ocell esquiu.

No saps la inquieta palpebra,
ni el front al coixí massa ardent,
ni el llit ennegrit de tenebra,
   tu, entre l'alba i el vent.

Drawing by Conxita Pladevall Vila

Jaume Agelet i Garriga (1888-1981)

To A Comet
From A Window

Little bell, golden
honey globule.
O'erwelling fountain
of heaven-fired zeal.

Tenebrous beak
glaring light.

Seed of fever
in the night.

A l'Estel
d'una Finestre

Campana xica
gota de mel.
Curulla pica
de foc de cel.

Bec de tenebre
il.luminat.

Llavor que enfebre
l'obscuritat.

* * *

Carles Riba (1893-1959)

The Three Magi (fragment) (1957)

     All three sleep under one cape;
         they've eaten, drunk,
     from deep in their wise hearts laughed beatifically
with camel drivers and vagabonds at the stopping table.
     Each night, uncomfortable bridge,
they pass on to a new day with royal patience;
         a little of their sealed science
falls in the dark time of sleep.
Two moons and the fraction, more or less well counted
         - one day they'll no longer count -
         thus they'll have abolished from their looks
the sadness of always being tied down
to numbers and words known a priori.
         Till now, the stars had marked
in rigid ciphers a destiny, a way,
         presided over a straightforward vigil;
     this, tho not what one would call genteel,
has a strange attraction, like a lover who seizes our attention
         seeming to be ever disappearing in the distance.
     The three together make their way; but each one to himself,
an obsessed human image like a rough cloudburst
after drained years, sweetly gives up...
     The earth rumbles along the deep river.
         The camel drivers grumble
     and the secretaries abominate
     not knowing where so much hope is headed.
But God, in every instant, is a pure beginning.

Els Tres Reis d'Orient (fragment)

   Dormen tots tres sota una sola capa;
      han menjat, han begut,
   de savi cor beatament rigut
amb camellers i pòtols al taulell de l'etapa.
   Per cada nit, inconfortable pont,
passen cap a un nou dia amb reial paciència;
      un poc de llur closa ciència
cau dins el temps obscur que corre sota el son.
Dues llunes i l'escaig, més o menys ben comptades
      - vindrà que ja no comptaran -
      hauran així de llurs mirades
abolit la tristesa d'estar sempre lligades
pels nombres i pels mots sabuts per endavant.
      Els estels havien fins ara
marcat la xifre erta d'un destí o d'un estil,
      presidit una vetlla clara;
   aquest, sense ésser allò que es diu gentil,
atreu estranyament, com un amor que empara
      tot semblant que allunya la cara.
   Fan via els tres; sol, però, cadascun
amb imatges humanes que brusques obsedeixen
des dels anys exhaurits i dolçament cedeixen...
   La terra és broixa al llarg del riu profond.
         Els camellers rondinen
      i els secretaris abominen
   de no saber tanta esperança on va.
Déu, però, en cada instant, és un pur començar.

Fishing boat, L'Escala, photo by E.M.Tuohy

Tomás Garcès (1901-1993)

Sea Lullaby (1931)

The night sighs and the Prisoner
beats her sure pendulum on the sand.
"I come seeking your solitude."
"Sleep, the night is clear."

Dolphins dance below the moon:
they draw brief, living garlands.
"I want to dream, lost along your ways."
"The shade of the tamarisk is your cover."

"Oh, how fast my heart is beating,
slave of your profound words!
Tell it the word that will not die."
"Rest in the moon's cushions."

"Fragile fish scale, lasting enchantment,
are you hiding algae and sirens
in your tremulous paradise?"
"Sleep and dream, life is passing."

Cançó de Bressol de la Mar

La nit sospira i en l'arena bat,
péndol segur, la Presonera.
- Vinc a cercar la teva soledat.
- Dorm, que la nit es calra.

Sota la lluna dansen els dofins:
dibuixen breus garlandes vives.
- Vull somniar, perdut en tos camins.
- El tamariu t'ombreja.

- Ai, com s'apressa a palpitar mon cor,
esclau de tes paraules fondes!
Digue-li la paraula que no mor.
- Tria coixins de lluna.

- Fràgil escata, perdurable encís,
amagues algues i sirenes
en el teu trèmul paradís?
- Dorm i somnia, que la vida passa.







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