Trojan Genealogy

Genealogías troyanas

Alfonso Reyes (1889-1959)

from 'Homer in Cuernavaca'. 'Alfonso Reyes Miracle of Mexico': Shearsman Books
Genealogías troyanas
Zeus lo engendró, lo hubo alguna de las Pléyades: tal es la dignidad de Dárdano el epónimo. Su vástago, Erictonio, en Dardania fue rey - a - des- ¬pecho de quien lo toma por su ateniense homónimo. Su hijo Tros, el padre de Ilo, impuso ley - a – des ¬perdigadas comarcas de aquel lugar anónimo; y de Tros y de no heredó la epopeya - des- pués los nombres de “iliano” y “troyano” el sinónimo. Ilo tuvo, entre otros, un nieto ilustre: Príamo, viejo rey de la Ilíada, decente aunque polígamo. Crió cincuenta príncipes; mas Paris, mala pécora, le salió mujeriego y vano y sin escrúpulo ... - Puedo seguir; no sigo: me canso del esdrújulo y, cerrando los párpados, dejo caer la péñola.
Trojan Genealogy
Zeus begat Dardanus out of a Pleiad. He’s god-fathered, star-mothered Hero Eponymous. Next Erichthonius inherited Troy, a dis- creet distance off from his Athens homonymus. Tros, before Ilus, a King and a lawyer, dis- pensed honest rule in his broad, yet anonymous, Troad. The Iliad’s vast epopoiia des- cribes Troy, or ‘Ilium’: these are synonymous. Ilus’s grandson, King Priam the glorious, sired fifty princes: not primly uxorious! One, though, was Paris, the vain Alexander, a rotten, unscrupulous heel and philanderer... Stop, superfeminines! Done my full complement... sated and somnolent, sheathe my small implement.
'Esdrújulo' means a word stressed on the antepenultimate!

Translation: Copyright © Timothy Adès

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Complex

Complejo

Alfonso Reyes (1889-1959)

Complejo
Amigos, dondequiera que voy me sigue un oso, Un oso que se ve con el rabo del ojo. Ni soporta ser visto de frente, ni lo puedo descubrir cuando quiero mirado en el espejo. No se oyen sus pasos, porque van con los míos. Es como una amenaza constante: es un testigo. Nada busca; pero me tiene medio loco saber que dondequiera que voy me sigue un oso.
Complex
My friends, no matter where I go I’m followed by a bear. He’s only glimpsed obliquely by a sneaky sidelong glance, He won’t permit a frontal view, he has no tolerance; I may seek him in the mirror, but I never see him there. I cannot hear his footsteps: when I tread, he’s treading too: A constant threat, a witness to whatever I may do. He isn’t after anything; it fairly spooks me, though, To know I’m followed by a bear, no matter where I go.

Translation: Copyright © Timothy Adès

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Complex

Complejo

Alfonso Reyes (1889-1959)

From 'Alfonso Reyes, Miracle of Mexico': Shearsman Books
Complejo
Amigos, dondequiera que voy me sigue un oso, Un oso que se ve con el rabo del ojo. Ni soporta ser visto de frente, ni lo puedo descubrir cuando quiero mirado en el espejo. No se oyen sus pasos, porque van con los míos. Es como una amenaza constante: es un testigo. Nada busca; pero me tiene medio loco saber que dondequiera que voy me sigue un oso.
Complex
My friends, no matter where I go I’m followed by a bear. He’s only glimpsed obliquely by a sneaky sidelong glance, He won’t permit a frontal view, he has no tolerance; I may seek him in the mirror, but I never see him there. I cannot hear his footsteps: when I tread, he’s treading too: A constant threat, a witness to whatever I may do. He isn’t after anything; it fairly spooks me, though, To know I’m followed by a bear, no matter where I go.
Video by Dónall Dempsey at Torriano, LondonNW5.

Translation: Copyright © Timothy Adès

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AUGUST GARDEN (a flower basket)

JARDÍN DE AGOSTO (una cesta de flores)

Alfonso Reyes (1889-1959)

It's Reyes translating a text by MALLARMÉ in Mallarmé's magazine *La dernière mode*, 1874. Not a poem - but Reyes put it in his *Banquet* poem-sequence, which is in my book.
JARDÍN DE AGOSTO (una cesta de flores)
“ ...Una legítima cesta de flores de pleno estío tendrá que tomar de la naturaleza misma de sus plantas ese aspecto polvoriento, vencido y palidecido de calor que todas las cosas deben ofrecer en este instante. “Tal el que reviste el primer arriate de la derecha, según se entra al Parque de la Muette por la Avenida de la Reina Hortensia. “La laxitud entera de la hora esta expresada por la Centaurea Candidissima, follaje pálido y mate, casi blanquecino de polvo y descuidadamente igual en las dos caras rugosas de la hoja. Todo el efecto de la cesta dependerá de esta planta y de otra: la Obelia Erinens que, seca y delicada, con sus florecillas de un azul duro, va a perderse, por entre los intersticios de la verdura oval, hacia la cima de la colinilla. Tono principal: empañado. Ahora, reavivarlo: algunas manchas, bruscas y sencillamente rojas y de fuego, son necesarias. He aquí el Pelargonium Diogenes (rojo) cuyos cinco pétalos consumidos y algo deshechos también dejan sitio a la hoja del Coleus, primor de Vilmore, vinosa y verde y como herida ya de otoño. Todo esto, amontonado sin un dibujo preciso, encuentra una armonía que se produce sola y que desafía, habilmente ornada de sus tintes, los mediodías y siestas de agosto.” - STÉPHANE MALLARMÉ en su revista La Última Moda.
AUGUST GARDEN (a flower basket)
“...A proper flower basket in high summer should take after the plants’ natural condition and look dusty, defeated and faded from heat, like everything else at this time. “Like the one that adorns the first trellis on the right, going into the Parc de la Muette by the Avenue de la Reine Hortense. “The utter lassitude of the season is expressed by Centaurea Candidissima, a pale matt leaf, almost white with dust and much the same on both the leaf’s wrinkled surfaces. The whole effect of the basket will depend on this plant and another: the Obelia Erinus. Dry and delicate, with its little, harsh blue leaves, it will lose itself among the gaps in the oval foliage, up to the top of the pile. Dominant tone: muted. Now, bring it back to life: some rough smudges are needed, simply red and fiery. Here I have Pelargonium Diogenes (red): its five petals, worn out and coming apart, are giving way to the leaf of Coleus, primor de Vilmore, vinous and green and already bearing the wound of autumn. All this, assembled with no particular design, achieves a harmony which, skilfully adorned with colours, challenges the noontides and siestas of August.” - STÉPHANE MALLARMÉ in his magazine The Latest Fashion.

Translation: Copyright © Timothy Adès

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Tenías un Rebozo de Seda

Categories
Spanish

Tenías un Rebozo de Seda

Ramón López Velarde (1888-1921)

Tenías un rebozo en que lo blanco iba sobre lo gris con gentileza para hacer a los ojos que te amaban un festejo de nieve en la maleza. Del rebozo en la seda me anegaba con fé, como en un golfo intenso y puro, a oler abiertas rosas del presente y hermético botones del futuro. (En abono de mi sinceridad séame permitido un alegato: entonces era yo seminarista sin Baudelaire, sin rima y sin olfato). Guardas, flor del terruño aquel rebozo de maleza y de nieve, en cuya seda me dormí aspirando la quinta esencia de tu espalda leve?
Tenías un Rebozo de Seda
You had a silk shawl of two colors, White on gray, such elegant layers As to make for the eyes that loved you A spreading of snow over briars. In the silk of the shawl I was drowning, In faith, as in gulfs pure and deep: Scent of roses full–blown, in the present; Sealed buds of the future, asleep. Let me enter this plea as an earnest, For it’s truth I desire to tell: In the school for priests, we were lacking Baudelaire, rhyme, sense of smell. Do you keep it, dear flower of my country, That shawl of briars and snow? Asleep on those silks I was breathing Your neck’s quintessence of dew!

Translation: Copyright © Timothy Adès

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Memories of the Circus

Recuerdos del Circo

Ramón López Velarde (1888-1921)

López Velarde, born in Zacatecas, wrote 'La suave patria', the national poem of Mexico.
Recuerdos del Circo
Los circos trashumantes, de lamido perrillo enciclopédico y desacreditados elefantes, me enseñaron la cómica friolera y las magnas tragedias hilarantes. El aeronauta previo, colgado de los dedos de los pies, era un bravo cosmógrafo al revés que, si subía hasta asomarse al Polo Norte, o al Polo Sur, también tenía cuestiones personales con Eolo. Irrumpía el payaso como una estridencia ambigua, y era a un tiempo manicomio, niñez, golpe contuso, pesadilla y licencia. Amábanlo los niños porque salía de una bodega mágica de azúcares. Su faz sólo era trágica por dos lágrimas sendas de carmín. Su polvorosa apariencia toleraba tenerlo por muy limpio o por muy sucio, y un cónico bonete era la gloria inestable y procaz de su occipucio. El payaso tocaba a la amazona y la hallaba de almendra, a juzgar por la mímica fehaciente de toda su persona cuando llevaba el dedo temerario hasta la lengua cínica y glotona. Un día en que el payaso dio a probar su rastro de amazona al ejemplar señor Gobernador de aquel Estado, comprendí lo que es Poder Ejecutivo aturrullado. ¡Oh remoto payaso: en el umbral de mi infancia derecha y de mis virtudes recién nacidas yo no puedo tener una sospecha de amazonas y almendras prohibidas! Estas almendras raudas hechas de terciopelos y de trinos que no nos dejan ni tocar sus caudas... Los adioses baldíos a las augustas Evas redivivas que niegan la migaja, pero inculcan en nuestra sangre briosa una patética mendicidad de almendras fugitivas... Había una menuda cuadrumana de enagüilla de céfiro que, cabalgando por el redondel con azoros de humana, vencía los obstáculos de inquina y los aviesos aros de papel. Y cuando a la erudita cavilación de Darwin se le montaba la enagüilla obscena, la avisada monita se quedaba serena. como ante un espejismo, despreocupada lastimosamente de su desmantelado transformismo. La niña Bell cantaba: «Soy la paloma errante»; y de botellas y de cascabeles surtía un abundante surtidor de sonidos acuáticos, para la sed acuática de papás aburridos, nodriza inverecunda y prole gemebunda. ¡Oh memoria del circo! Tú te vas adelgazando en el frecuente síncope del latón sin compás; en la apesadumbrada somnolencia del gas; en el talento necio del domador aquel que molestaba a los leones hartos, y en el viudo oscilar del trapecio...
Memories of the Circus
Travelling circuses, with the dainty little dog’s encyclopaedic brilliance discrediting the elephants, taught me trivial comedies, laughable super-catastrophes. On came the aeronaut first, hanging on by the skin of his toes, daring explorer in reverse; whether or not he glimpsed the poles, north or south, he had personal scores, God of the Winds, to settle, of yours. In burst the clown, like a loud and dubious noise, bump and bruise, infancy, lunacy, all nightmare and naughtiness. How he was loved by the kids for coming out of a magic candy-pot: just his face was tragic, cochineal tear this side and that. Powdered thick, he could either be thought Of as spick and span, or as caked in smut; His glory was a conical hat, precarious, pert, on his occiput. The clown touched the bearded lady and found she was all of sugared almond, to judge from the lifelike mime of the whole of his frame, when he raised his audacious fingertip to his cynical gluttonous tongue. The day the clown presented a sniff of the bearded lady to be savoured by the Honourable Governor of the State, that was the day I discovered Executive Power disconcerted. You faraway clown of my early days, my virtues pristine, so carefully raised: I couldn’t be tarred with any suspicion of almonds and bearded ladies forbidden! These sugared almonds, dashing, in velvet and frills, we’re not to touch the hem of their train. The futile goodbyes to each idolised Eve revived, who denies us so much as a crumb, but who dins into our spirited blood a cringing, a cadging of almonds, not to be had… A four-handed creature in frou-frou and zephyr came galloping into the ring, in fear, as if human, and mastered the nasty obstacle-course and the awkward paper hoops. And when to the learned demurring of Darwin they dressed her, obscene, in the frou-frou, the wise little monkey kept calm as if faced with a trick in the glass, resigned to the dismal transformation. “I’m the wandering dove,” warbled little Miss Bell: and from bottles and bells gushed a tumbling fountain of watery sounds for the watery thirst of weary papas, the flighty nurse and the querulous child. O circus memory, fading away in the unrhythmical clashing of brass, the heavy drowsiness of the gas; the stupid skill of that lion-tamer who used to tease the well-stuffed beasts, and the vacantly swinging trapeze…

Translation: Copyright © Timothy Adès

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Morphine

Morfin

Emmy Ball-Hennings (1888-1948)

Morfin
Wir warten auf ein letztes Abenteuer Was kümmert uns der Sonnenschein? Hochaufgetürmte Tage stürzen ein Unruhige Nächte – Gebet im Fegefeuer. Wir lesen auch nicht mehr die Tagespost Nur manchmal lächeln wir still in die Kissen, Weil wir alles wissen, und gerissen Fliegen wir hin und her im Fieberfrost. Mögen Menschen eilen und streben Heut fällt der Regen noch trüber Wir treiben haltlos durchs Leben Und schlafen, verwirrt, hinüber...
Morphine
We wait for a final adventure. Who cares if it’s sunny today? Days teeter and fall – nights are restless – In the purging fires we pray. The post? We’ve given up reading it. Into our pillows we quietly smile, For we know it all by now. With guile We flitter about in our shivering-fit. Folk may have hustle and bustle and strife The rain is more dismal today We travel with never a pause through life, To our sleep we muddle our way...
Published in The Dada Reader – a Critical Anthology, Ed: Dawn Ades, Tate Publishing 2006

Translation: Copyright © Timothy Adès

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The Accursed Homecoming

EL RETORNO MALÉFICO

Ramón López Velarde (1888-1921)

EL RETORNO MALÉFICO
Mejor será no regresar al pueblo, al edén subvertido que se calla en la mutilación de la metralla. Hasta los fresnos mancos, los dignatarios de cúpula oronda, han de rodar las quejas de la torre acribillada en los vientos de fronda. Y la fusilería grabó en la cal de todas las paredes de la aldea espectral, negros y aciagos mapas, porque en ellos leyese el hijo pródigo al volver a su umbral en un anochecer de maleficio, a la luz de petróleo de una mecha su esperanza deshecha. Cuando la tosca llave enmohecida tuerza la chirriante cerradura, en la añeja clausura del zaguán, los dos púdicos medallones de yeso, entornando los párpados narcóticos, se mirarán y se dirán: "¿Qué es eso?" Y yo entraré con pies advenedizos hasta el patio agorero en que hay un brocal ensimismado, con un cubo de cuero goteando su gota categórica como un estribillo plañidero. Si el sol inexorable, alegre y tónico, hace hervir a las fuentes catecúmenas en que bañábase mi sueño crónico; si se afana la hormiga; si en los techos resuena y se fatiga de los buches de tórtola el reclamo que entre las telarañas zumba y zumba; mi sed de amar será como una argolla; empotrada en la losa de una tumba. Las golondrinas nuevas, renovando con sus noveles picos alfareros los nidos tempraneros; bajo el ópalo insigne de los atardeceres monacales, el lloro dc recientes recentales por la ubérrima ubre prohibida de la vaca, rumiante y faraónica, que al párvulo intimida; campanario de timbre novedoso; remozados altares; el amor amoroso de las parejas pares; noviazgos de muchachas frescas y humildes, como humildes coles, y que la mano dan por el postigo a la luz de dramáticos faroles; alguna señorita que canta en algún piano alguna vieja aria; el gendarme que pita... ... Y una íntima tristeza reaccionaria.
The Accursed Homecoming
The village? Better not go back to that subverted heart's desire silenced and smashed by rattling fire. The worthy ash and alder trees, once nobly domed, now amputees, high in their windblown fronds must hear the keening of the riddled tower. And rifles have carved into the plaster of every wall of the village of disaster black and ill-omened maps, and the prodigal son returning to his home on an evil night may read there by the light of an oily lampwick's burning his hopes' and dreams' undoing. When the rusty key with a clumsy creak turns in the lock of the antique main front door to the hall, the modest pair of plaster bosses, with sleepy-lidded glances at one another, will say, "what's that?" And I as one who intrudes shall step inside to the delphic court where the well-stone broods with its leather pail, engrossed in dripping its categorical drops like the plaintive dirge of a ghost. If the relentless, glad, reviving sun heats up the young and studious streams that bathed my old recurring dreams; if ants are on the move, or if the throaty clamour of the dove, humming among the cobwebs, sounds above the rooftops and subsides, a languid hum, my thirst for loving shall be as a ring embedded in the capstone of a tomb. The new swallows, renewing, with their beaks new to the art of the clay, their nests in the season of spring; under the opal blazoning of a monkish close of day, the calves new-calved who bellow for the udder, forbidden to flow of the ruminant pharaonic cow the frightens the little fellow; the bell-tower's new-fangled peal above the altars made young and new; the couples, two by two, lovers in love; the girls fresh and modest, humble as cabbages, planning their marriages, reaching round back doors in the oddest pools of dramatic lantern-light; some young lady trilling some old melody at some piano: the sergeant's whistle shrilling ... ...And an intimate reactionary sadness.
Published in Outposts 174/5.

Translation: Copyright © Timothy Adès

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My Childhood Heaven

MEIN JUGENDHIMMEL

Emmy Ball-Hennings (1888-1948)

MEIN JUGENDHIMMEL
Mein Jugendhimmel, eine Glocke aus Glas. Wir trugen Florentinerhüte. Auf Kinderhände fiel Kirschenblüte. Schneeflocken fielen, weich und nass. Die Berge Jütlands und blaue Heide. Und in Vaters Hof fielen manchmal die Sterne. Da erzählte der Seeman von einer Taverne Und bunten Mädchen in leuchtender Seide. „Sag, Kleine, willst du mit? Sag ja…“ Matrose gab mir einen Kuss: „Weil ich noch heute reisen muss…“ Schön sind die Mädchen von Batavia.
My Childhood Heaven
My childhood heaven, that glass bell. Tuscan straw hats on every head. On little hands pink petals shed; And soft and wet the snowflakes fell. Jutland, its purple heaths and hills. At Father’s farm the stars dropped in. The sailor told us of an inn And merry girls with silken frills. ‘Will you come with me, darling? Please…’ He kissed my cheek, the sailorman. ‘Today I go to sea again…’ The lovely girls of Celebes.

Translation: Copyright © Timothy Adès

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XLIV

Fernando Pessoa is Portugal’s great modernist poet. He published almost nothing during his own lifetime, but left a trunk full of papers, many bearing different names and written in different styles. These names became known as ‘heteronyms’, which were not just names, but personalities, who produced poetry in keeping with their education, temperament, and personal philosophy. Alberto Caeiro was one of those heteronyms, for whom Pessoa provided the following biography: Born in 1889 in Lisbon, but lived nearly all his life in the country. His parents died when he was a child, and he lived with an elderly aunt. Only primary education. Average height, fair hair, blue eyes. Professions: none. Died of tuberculosis in 1915, aged 26.

“Alberto Caeiro” Fernando Pessoa (1888-1935)

Fernando Pessoa is Portugal’s great modernist poet. He published almost nothing during his own lifetime, but left a trunk full of papers, many bearing different names and written in different styles. These names became known as ‘heteronyms’, which were not just names, but personalities, who produced poetry in keeping with their education, temperament, and personal philosophy. Alberto Caeiro was one of those heteronyms, for whom Pessoa provided the following biography: Born in 1889 in Lisbon, but lived nearly all his life in the country. His parents died when he was a child, and he lived with an elderly aunt. Only primary education. Average height, fair hair, blue eyes. Professions: none. Died of tuberculosis in 1915, aged 26.
Acordo de noite subitamente, E o meu relógio ocupa a noite toda. Não sinto a Natureza lá fora. O meu quarto é uma coisa escura com paredes vagamente brancas. Lá fora há um sossego como se nada existisse. Só o relógio prossegue o seu ruído. E esta pequena coisa de engrenagens que está em cima da minha mesa Abafa toda a existência da terra e do céu… Quase que me perco a pensar o que isto significa, Mas estaco, e sinto-me sorrir na noite com os cantos da boca, Porque a única coisa que o meu relógio simboliza ou significa Enchendo com a sua pequenez a noite enorme É a curiosa sensação de encher a noite enorme Com a sua pequenez…
XLIV
Caeiro 44: English by Timothy Adès Suddenly I wake. Tick-tock: Night’s took over by my clock. Nature’s muted, muffled tight, Room is dark, walls vaguely white, Out there, silence, nowt exists, Only tick-tock clock persists: Little bedside cog-device Flatly blots out earth and skies. Lost me, what it signifies... No! I’ve smiled, lips puckering: So symbolic, just one thing, Night so big and clock so small, So infinitesimal, Fills it up, quite quizzical, With its littleness: that’s all. Caeiro XLIV: Latin by Timothy Adès excutior somno. stillat clepsydra liquores:   nox scatet! aure, oculo nil mihi percipitur: intus pallor et umbra; foris, res nulla movetur,   cuncta silent, non sunt. machina sola sonat, terram abolet caelumque. quid hoc? movet os mihi risu:   parvula vox vasta nocte peregit opus.

Translation: Copyright © Timothy Adès

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