Porque o mundo me empurrou,
Caí na lama, e então
Tomei-lhe a cor, mas não sou
A lama que muitos são.
“Este Livro Que Vos Deixo… – Livro 1”. António Aleixo. Casa das Letras. 2015.
Is this a holy thing to see,
In a rich and fruitful land,
Babes reduced to misery,
Fed with cold and usurous hand?
Is that trembling cry a song?
Can it be a song of joy?
And so many children poor?
It is a land of poverty!
And their sun does never shine,
And their fields are bleak & bare,
And their ways are fill’d with thorns
It is eternal winter there.
For where-‘er the sun does shine,
And where-‘er the rain does fall:
Babe can never hunger there,
Nor poverty the mind appall.
William Blake, Songs of Innocence and of Experience, Oxford University Press, 1977.
O sun, you who heal all troubled sight,
you so content me by resolving doubts
it pleases me no less to question than to know.
Dante Alighieri, Inferno, Canto XI 91-93. Translated by Robert Hollander and Jean Hollander. Random House, 2003.
O sol che sani ogne vista turbata,
tu mi contenti sì quando ti solvi,
che, non men che saver, dubbiar m’aggrata.
Dante Alighieri, Inferno, Canto XI 91-93.
Our efforts are those of men prone to disaster;
our efforts are like those of the Trojans.
We just begin to get somewhere,
gain a little confidence,
grow almost bold and hopeful,
when something always comes up to stop us:
Achilles leaps out of the trench in front of us
and terrifies us with his violent shouting.
Our efforts are like those of the Trojans.
We think we’ll change our luck
by being resolute and daring,
so we move outside ready to fight.
But when the great crisis comes,
our boldness and resolution vanish;
our spirit falters, paralyzed,
and we scurry around the walls
trying to save ourselves by running away.
Yet we’re sure to fail. Up there,
high on the walls, the dirge has already begun.
They’re mourning the memory, the aura of our days.
Priam and Hecuba mourn for us bitterly.
C.P. Cavafy, Collected Poems. Translated by Edmund Keeley and Philip Sherrard. Edited by George Savidis. Revised Edition. Princeton University Press, 1992.
São nossos esforços, os dos infortunados;
são nossos esforços como os dos troianos.
conseguimos um pouco; um pouco
levantamos a cabeça; e começamos
a ter coragem e boas esperanças.
Mas sempre surge alguma coisa que nos pára.
Aquiles junto do fosso à nossa frente
surge e com grandes gritos assusta-nos. —
São nossos esforços como os dos troianos.
Cuidamos que mudaremos com resolução
e valor a contrariedade da sorte,
e estamos cá fora para lutar.
Mas quando vier o momento decisivo,
o nosso valor e a nossa resolução perdem-se;
a nossa alma fica alterada, paralisa;
e em redor das muralhas corremos
à procura de nos salvarmos pela fura.
Porém a nossa queda é certa. Em cima,
nas muralhas já começou o pranto.
Choram pelas memórias e os sentimentos dos nossos dias.
Amargamente choram por nós Príamo e Hécuba.
C.P. Cavafy, Poemas e Prosas. Tradução de Joaquim Manuel Magalhães e Nikos Pratsinis. Relógio de Água, 1994.
Είν’ η προσπάθειές μας, των συφοριασμένων·
είν’ η προσπάθειές μας σαν των Τρώων.
Κομμάτι κατορθώνουμε· κομμάτι
παίρνουμ’ επάνω μας· κι αρχίζουμε
νάχουμε θάρρος και καλές ελπίδες.
Μα πάντα κάτι βγαίνει και μας σταματά.
Ο Aχιλλεύς στην τάφρον εμπροστά μας
βγαίνει και με φωνές μεγάλες μάς τρομάζει.—
Είν’ η προσπάθειές μας σαν των Τρώων.
Θαρρούμε πως με απόφασι και τόλμη
θ’ αλλάξουμε της τύχης την καταφορά,
κ’ έξω στεκόμεθα ν’ αγωνισθούμε.
Aλλ’ όταν η μεγάλη κρίσις έλθει,
η τόλμη κι η απόφασίς μας χάνονται·
ταράττεται η ψυχή μας, παραλύει·
κι ολόγυρα απ’ τα τείχη τρέχουμε
ζητώντας να γλυτώσουμε με την φυγή.
Όμως η πτώσις μας είναι βεβαία. Επάνω,
στα τείχη, άρχισεν ήδη ο θρήνος.
Των ημερών μας αναμνήσεις κλαιν κ’ αισθήματα.
Πικρά για μας ο Πρίαμος κ’ η Εκάβη κλαίνε.
K.Π. Kαβάφη, τα Ποιήματα 1897-1933, Ίκαρος 1984.
So he declared. I poured him another fiery bowl—
three bowls I brimmed and three he drank to the last drop,
the fool, and then, when the wine was swirling round his brain, I approached my host with a cordial, winning word:
‘So, you ask me the name I’m known by, Cyclops?
I will tell you. But you must give me a guest-gift
as you’ve promised. Nobody—that’s my name. Nobody—
so my mother and father call me, all my friends.’
But he boomed back at me from his ruthless heart,
‘Nobody? I’ll eat Nobody last of all his friends—
I’ll eat the others first! That’s my gift to you!’
he toppled over, sprawled full-length, flat on his back
and lay there, his massive neck slumping to one side,
and sleep that conquers all overwhelmed him now
as wine came spurting, flooding up from his gullet
with chunks of human flesh—he vomited, blind drunk.
Now, at last, I thrust our stake in a bed of embers
to get it red-hot and rallied all my comrades:
‘Courage—no panic, no one hang back now!’
And green as it was, just as the olive stake
was about to catch fire—the glow terrific, yes—
I dragged it from the flames, my men clustering round
as some god breathed enormous courage through us all.
Hoisting high that olive stake with its stabbing point,
straight into the monster’s eye they rammed it hard—
I drove my weight on it from above and bored it home
as a shipwright bores his beam with a shipwright’s drill
that men below, whipping the strap back and forth, whirl
and the drill keeps twisting faster, never stopping—
So we seized our stake with its fiery tip
and bored it round and round in the giant’s eye
till blood came boiling up around that smoking shaft
and the hot blast singed his brow and eyelids round the core
and the broiling eyeball burst—
its crackling roots blazed
as a blacksmith plunges a glowing ax or adze
in an ice-cold bath and the metal screeches steam
and its temper hardens—that’s the iron’s strength—
so the eye of the Cyclops sizzled round that stake!
He loosed a hideous roar, the rock walls echoed round
and we scuttled back in terror. The monster wrenched the spike
from his eye and out it came with a red geyser of blood—
he flung it aside with frantic hands, and mad with pain
he bellowed out for help from his neighbor Cyclops
living round about in caves on windswept crags.
Hearing his cries, they lumbered up from every side
and hulking round his cavern, asked what ailed him:
‘What, Polyphemus, what in the world’s the trouble?
Roaring out in the godsent night to rob us of our sleep.
Surely no one’s rustling your flocks against your will—
surely no one’s trying to kill you now by fraud or force!’
‘Nobody, friends’—Polyphemus bellowed back from his cave—
‘Nobody’s killing me now by fraud and not by force.’‘
‘If you’re alone,’ his friends boomed back at once,
‘and nobody’s trying to overpower you now—look,
it must be a plague sent here by mighty Zeus
and there’s no escape from that.
You’d better pray to your father, Lord Poseidon.’
They lumbered off, but laughter filled my heart
to think how nobody’s name—my great cunning stroke—
had duped them one and all. But the Cyclops there,
still groaning, racked with agony, groped around
for the huge slab, and heaving it from the doorway,
down he sat in the cave’s mouth, his arms spread wide,
hoping to catch a comrade stealing out with sheep—
such a blithering fool he took me for!
But I was already plotting …
what was the best way out? how could I find
escape from death for my crew, myself as well?
My wits kept weaving, weaving cunning schemes—
life at stake, monstrous death staring us in the face—
till this plan struck my mind as best. That flock,
those well-fed rams with their splendid thick fleece,
sturdy, handsome beasts sporting their dark weight of wool:
I lashed them abreast, quietly, twisting the willow-twigs
the Cyclops slept on—giant, lawless brute—I took them
three by three; each ram in the middle bore a man
while the two rams either side would shield him well.
So three beasts to bear each man, but as for myself?
There was one bellwether ram, the prize of all the flock,
and clutching him by his back, tucked up under
his shaggy belly, there I hung, face upward,
both hands locked in his marvelous deep fleece,
clinging for dear life, my spirit steeled, enduring …
So we held on, desperate, waiting Dawn’s first light.
as young Dawn with her rose-red fingers shone once more
the rams went rumbling out of the cave toward pasture,
the ewes kept bleating round the pens, unmilked,
their udders about to burst. Their master now,
heaving in torment, felt the back of each animal
halting before him here, but the idiot never sensed
my men were trussed up under their thick fleecy ribs.
And last of them all came my great ram now, striding out,
weighed down with his dense wool and my deep plots.
Stroking him gently, powerful Polyphemus murmured,
‘Dear old ram, why last of the flock to quit the cave?
In the good old days you’d never lag behind the rest—
you with your long marching strides, first by far
of the flock to graze the fresh young grasses,
first by far to reach the rippling streams,
first to turn back home, keen for your fold
when night comes on—but now you’re last of all.
And why? Sick at heart for your master’s eye
that coward gouged out with his wicked crew?—
only after he’d stunned my wits with wine—
that, that Nobody …
who’s not escaped his death, I swear, not yet.
Oh if only you thought like me, had words like me
to tell me where that scoundrel is cringing from my rage!
I’d smash him against the ground, I’d spill his brains—
flooding across my cave—and that would ease my heart
of the pains that good-for-nothing Nobody made me suffer!’
Charley Parker Looked like Buddha
Charley Parker, who recently died
Laughing at a juggler on the TV
after weeks of strain and sickness,
was called the Perfect Musician.
And his expression on his face
Was as calm, beautiful, and profound
As the image of the Buddha
Represented in the East, the lidded eyes,
The expression that says “All is Well”
—This was what Charley Parker
Said when he played, All is Well.
You had the feeling of early-in-the-morning
Like a hermit’s joy, or like
the perfect cry
Of some wild gang at a jam session
“Wail, Wop”—Charley burst
His lungs to reach the speed
Of what the speedsters wanted
Was his Eternal Slowdown.
A great musician and a great
creator of forms
That ultimately find expression
In mores and what have you.
Mexico City Blues, Jack Kerouac
I opened this poem with a yawn
thinking how tired I am of revolution
the way it’s presented on television
isn’t exactly poetry
You could use some more methedrine
if you ask me personally
People should be treated personally
there’s another yawn
here’s some more methedrine
Thanks! Now about this revolution
What do you think? What is poetry?
Is it like television?
Now I get up and turn off the television
Whew! It was getting to me personally
I think it is like poetry
Yawn it’s 4 A.M. yawn yawn
This new record is one big revolution
if you were listening you’d understand methedrine
isn’t the greatest drug no not methedrine
it’s no fun for watching television
You want to jump up have a revolution
about something that affects you personally
When you’re busy and involved you never yawn
it’s more like feeling, like energy, like poetry
I really like to write poetry
it’s more fun than grass, acid, THC, methedrine
If I can’t write I start to yawn
and it’s time to sit back, watch television
see what’s happening to me personally:
war, strike, starvation, revolution
This is a sample of my own revolution
taking the easy way out of poetry
I want it to hit you all personally
like a shot of extra-strong methedrine
so you’ll become your own television
Become your own yawn!
O giant yawn, violent revolution
silent television, beautiful poetry
most deadly methedrine
I choose all of you for my poem personally
– Anne Waldman –
The Book of Longing
I can’t make the hills
The system is shot
I’m living on pills
For which I thank G-d
I followed the course
From chaos to art
Desire the horse
Depression the cart
I sailed like a swan
I sank like a rock
But time is long gone
Past my laughing stock
My page was too white
My ink was too thin
The day wouldn’t write
What the night pencilled in
My animal howls
My angel’s upset
But I’m not allowed
A trace of regret
For someone will use
What I couldn’t be
My heart will be hers
She’ll step on the path
She’ll see what I mean
My will cut in half
And freedom between
For less than a second
Our lives will collide
The endless suspended
The door open wide
Then she will be born
To someone like you
What no one has done
She’ll continue to do
I know she is coming
I know she will look
And that is the longing
And this is the book
in “Book of Longing”, Leonard Cohen, 2006