Eva: There's no
dividing line, no insurmountable wall. I know it can't be described. It's a
world of liberated feelings. Do you know what I mean? To me, man is a
tremendous creation, an inconceivable thought. In man is everything, from the
highest to lowest. Everything exists side by side. Realities, not only the
reality we perceive with our dull senses, but a tumult of realities arching
above each other inside and outside. It's just fear and priggishness to believe
in limits. There are no limits, neither to thoughts nor feelings. It's anxiety that sets limits.
As minhas mãos não tocaram água desde que as tuas mãos,-
Não; - nem os meus lábios voltaram a libertar o riso desde o
"adeus".
E, com o dia, a distância novamente
Interpõe-se entre nós, muda como uma concha desfeita.
Contudo, - muito se segue, muito perdura... confia apenas nos
pássaros:
As asas de uma pomba fecharam-se sobre o meu coração a noite
passada
Com uma suavidade urgente; e a pedra azul
Do anel da promessa tem brilhado desde então muito mais.
Original:
Carrier Letter
My hands have not touched water since
your hands, -
No; - nor my lips freed laughter
since 'farewell'.
And with the day, distance again
expands
Between us, voiceless as an uncoiled
shell.
Yet, - much follows, much endures…
Trust birds alone:
A dove's wings clung about my heart
last night
With surging gentleness; and the blue
stone
Set in the tryst-ring has but worn
more bright.
The poem centres on
enduring emotional connection despite physical separation, using restrained
imagery to convey intimacy. Absence is felt through sensory
deprivation—untouched water, silenced laughter—suggesting grief or longing
restrained by will. The speaker measures time and distance in bodily denial,
grounding abstract loss in physical experience.
Water, laughter, and
touch serve as markers of shared past moments, now suspended. The uncoiled
shell evokes silence and natural metaphor, distancing human emotion from
speech. Birds—specifically the dove—introduce a motif of return and continuity,
diverging from typical romantic tropes by implying internalized presence rather
than external reunion. The blue stone in the tryst-ring gains luster over time,
reversing expectations of fading memory.
In The Complete Poems
of Hart Crane, ed. W. W. Norton
& CO., 2001
em
direcção à mesa, e à noite eu costumava deitar-me
a
ouvir as folhas ao vento. E as maçãs –
de
sabor mais apimentado, na Primavera, não há.
Dói
sempre que olho o cepo: quando
enfraquecer,
irei desfazê-lo em lenha.
Tradução de Henrique Manuel Bento Fialho.
O poema de Olav H. Hauge, explora a relação entre o ser
humano e a natureza, marcada por ambivalência e reflexão. Ao cortar a macieira,
o eu lírico elimina algo belo e vivo, sugerindo arrependimento ou consciência
tardia. A árvore simboliza crescimento, memória e ligação ao mundo natural. O
gesto de a destruir pode representar necessidade prática, mas também perda
irreversível. O poema, simples e direto, revela a tensão entre ação e
contemplação, destacando a fragilidade das escolhas humanas e o impacto emocional
de intervir na natureza.
It being in the springtime and the
small birds they were singing
Down by yon shady harbour I
carelessly did stray
The thrushes they were warbling, the
violets they were charming
To view fond lovers talking, a while
I did delay.
She said, "My dear don't leave me all
for another season
Though fortune does be pleasing I'll
go along with you
I'll forsake friends and relations
and bid this Irish Nation
And to the bonny Bann banks forever
I'll bid adieu."
He said, "My dear don't grieve or yet
annoy my patience
You know I love you dearly the more
I'm going away
I'm going to a foreign nation to
purchase a plantation
To comfort us hereafter all in
America.
Then after a short while a fortune
does be pleasing
Twill cause them for to smile at our
late going away
We'll be happy as Queen Victoria, all
in her greatest glory
We'll be drinking wine and porter,
all in America.
If you were in your bed lying and
thinking on dying
The sight of the lovely Bann banks
your sorrow you'd give o'er
Or if were down one hour, down in yon
shady bower
Pleasure would surround you, you'd
think on death no more.
Then fare you well, sweet Craigie
Hill, where often times I've roved
I never thought my childhood days I'd
part you any more
Now we're sailing on the ocean for
honour and promotion
And the bonny boats are sailing, way
down by Doorin shore."
May the sweet loving Lord adore you
Dolores, as we do.
This song probably
dates from the mid-19th century, when, as Paddy Tunneysays, "every Irish
port had an emigrant ship". The reference to the Bann's Banks helps to
locate the song.Craigie Hill is written
largely in the 'conversation' form which was popular in the 19th century. The
tribulations of life in Ireland, oppressed by 'the landlords and their agents'
are contrasted with the bright prospects in America where one may be 'as happy
as Queen Victoria'.
Betsabé é uma figura bíblica do Antigo Testamento, conhecida
como esposa de Urias e, posteriormente, uma das mulheres do Rei Davi. A sua
história é central no relato de adultério e abuso de poder de Davi, resultando
na morte de Urias e na posterior gravidez de Betsabé. Mais tarde, ela tornou-se
mãe do rei Salomão.
The song is a modern adaptation of the Unetanneh
Tokef, an 11th-century piyyut (liturgical poem) traditionally recited on Rosh
Hashanah and Yom Kippur. The original prayer lists various ways people may pass
away (e.g., "who by fire, who by water, who by plague"). Cohen
maintained the theme of listing ways to die, while adding his own lyrical
variations, such as "who by barbiturate" and "who in her lonely
slip". The repeated line "And who shall I say is calling?"
introduces a sense of doubt about a higher power, shifting the prayer from
divine certainty to a personal question.
It portrays a tranquil
countryside scene, where an elegantly dressed mother and child stroll along a sunlit path.
Soft light filters through cereal fields.
The composition balances nature and human presence, evoking leisure, refinement,
and the gentle rhythm of summer. Subtle colours and careful detailing highlight
Bethke’s interest in atmosphere, mood, and everyday beauty in a serene rural
landscape. The figures’ gestures suggest quiet conversation and unhurried
companionship, enhancing the painting’s calm.
The film tells the story of a gifted
but restless young man who cannot live up to the high traditions of his family
and survives in obscurity, taking casual teaching jobs and living in a loveless
partnership with a depressed woman. His aimless existence reaches a crisis
point when he falls for one of his students, a beautiful but badly damaged
girl.
Despite receiving positive reviews
from critics, the film was a commercial failure. Perfect for a Leonard’s song.
A pastoral moment where
travellers pause with their livestock along a calm riverbank. The composition
balances human activity and natural scenery, with soft light illuminating
figures, animals, and distant hills. Bout’s detailed brushwork captures
textures of foliage, water, and clothing, while the relaxed poses convey rest
and routine. The scene reflects 17th-century rural life, emphasizing harmony
between people, animals, and landscape.
Agora pensa neste
dia. Um que provavelmente esquecerás.
O teu próximo fôlego,
um longo trago de ar.
Dia sagrado ou não,
não importa.
Uma criança nasceu e
não sabe que dia é hoje.
Nem pode imaginar a
alegria particular do meu coração.
O sabor dos alperces
permanece na loja à sua espera.
Original:
Nan Cohen - A Newborn Girl at Passover
Consider one apricot in a basket of them.
It is very much like all the other apricots
an individual already, skin and seed.
Now think of this day.One you
will probably forget.
The next breath you take, a long drink of air.
Holiday or not, it doesn't matter.
A child is born and doesn't know what day it is.
The particular joy in my heart she cannot imagine.
The taste of apricots is in store for her.
O poema articula o nascimento de uma criança com o
significado simbólico da Páscoa judaica. A autora cruza o íntimo e o histórico. O poema sugere esperança, mas
também responsabilidade, ao projetar no futuro da criança a herança coletiva.
A beleza das palavras em tempo de ditadura. A poesia de Cassiano e a voz de Ney Matogrosso nos Secos e Molhados. As barras de uma cela, com o sol e as andorinhas como símbolos de liberdade.
La vida breve is a
two-act, four-scene opera that Manuel de Falla composed between August 1904 and
March 1905 in Spain. The libretto, written by Carlos Fernández-Shaw, is set in
Granada and uses the local language, Andalusian Spanish. Unable to secure its
premiere in Spain, Falla continued revising the score after moving to France.
Act 1
Afternoon and sunset in
the (gypsy) Albaicín district.
A male chorus of anvil
workers plies their trade at the local forge. The young gypsy, Salud, is
passionately in love with a young well-to-do man named Paco. She does not know,
and Paco does not tell her, that he is already engaged to a woman of his social
class. Her uncle, Sarvaor (Salvador), and her grandmother (La abuela) have
discovered this, and they try to prevent Salud from interrupting Paco's wedding
after she learns the truth.
Act 2
A wealthier part of the
city: in front of a house on whose patio wedding festivities are in progress
(and visible from the street), and then in the patio itself.
Confrontation (which
from several perspectives is the theme of the whole opera) occurs after Salud
and Sarvaor gate-crash the festivities, astonishing the bride and the guests
and momentarily throwing the mendacious groom so much off his guard that he utters
Salud's name before denying he knows her and ordering her ejection. Her heart
broken, Salud falls dead at his feet, in what is said to be the ultimate
gesture of contempt for a former lover.
Trees, paths and open
space frame the human presence and a dog, emphasizing balance between people and nature.
The work captures a quiet moment of pastoral happiness, celebrating simplicity,
harmony, and the poetic beauty of Norway’s natural environment. Are they waiting for someone?
O poema, com muitas perguntas, descreve a paz como um estado interior simples e
profundo. O eu poético sugere que a paz não depende de grandes acontecimentos,
mas de uma atitude de aceitação, silêncio e harmonia com o mundo. O poema
valoriza a tranquilidade, o desapego e a contemplação do presente.
Entre dentes e punhais no vazio que por vezes me dás
Noite o teu tempo é canto passageiro
Fome de caminheiro peça sem tabuleiro.
Amanhã vivo mais cedo
Amanhã lembro quem és
Mais cedo que os nós que demos à vida
No amanhã que amanhece a teus pés.
Em noites frias de chuva na mão
Atiras para a vala o meu coração
Tempo de glória d’um amor livre
Que conta uma história de quem sobrevive.
Na tua noite lisa e suave deitada rosa
Num denso enclave descansa-me na tua brisa
No amanhã que amanhece a teus pés.
O fadista Ricardo Ribeiro disse que o seu novo álbum, "A Alma
Só Está Bem Onde não Cabe", a editar na próxima sexta-feira, é como "parte de
uma canção" de si mesmo, vem da vontade de estar desperto para o mundo.
The lyrics are
hauntingly truthful to many people who have experienced a situation like the
one described in this song, the rhymes are amazing and the words easy to sing
along to, and to recall because of its pace, the high pitch tones of the voices
are fantastic, and the unison of the singers is wonderful. No doubt that this
song rates as a true timeless classic.
%20-%20The%20Idyll,%201886.jpg)
