Mostrando entradas con la etiqueta Eavan Boland. Mostrar todas las entradas
Mostrando entradas con la etiqueta Eavan Boland. Mostrar todas las entradas

miércoles, 9 de abril de 2014

Pangur Bán: Tres versiones al inglés del poema por Robin Flower, Eavan Boland y Frank O'Connor









The Scholar and the Cat
I and Pangur Bán, my cat
'Tis a like task we are at;
Hunting mice is his delight
Hunting words I sit all night.

Better far than praise of men
'Tis to sit with book and pen;
Pangur bears me no ill will,
He too plies his simple skill.

'Tis a merry thing to see
At our tasks how glad are we,
When at home we sit and find
Entertainment to our mind.

Oftentimes a mouse will stray
In the hero Pangur's way:
Oftentimes my keen thought set
Takes a meaning in its net.

'Gainst the wall he sets his eye
Full and fierce and sharp and sly;
'Gainst the wall of knowledge I
All my little wisdom try.

When a mouse darts from its den,
O how glad is Pangur then!
O what gladness do I prove
When I solve the doubts I love!

So in peace our tasks we ply,
Pangur Bán, my cat, and I;
In our arts we find our bliss,
I have mine and he has his.

Practice every day has made
Pangur perfect in his trade;
I get wisdom day and night
Turning darkness into light.


La traducción en inglés es de Robin Flower (1881-1946), un poeta, erudito y traductor del gaélico, conocido en Irlanda con el nombre de “Bláithín” (pequeña flor).


"The Scholar and the Cat""From the Irish of Pangur Ban"
by Frank O'Connorby Eavan Boland
Each of us pursues his trade,
I and Pangur my comrade,
His whole fancy on the hunt,
And mine for learning ardent.More than fame I love to be
Among my books and study,
Pangur does not grudge me it,
Content with his own merit.
When ­ a heavenly time! ­ we are
In our small room together
Each of us has his own sport
And asks no greater comfort.
While he sets his round sharp eye
On the wall of my study
I turn mine, though lost its edge,
On the great wall of knowledge.
Now a mouse drops in his net
After some mighty onset
While into my bag I cram
Some difficult darksome problem.
When a mouse comes to the kill
Pangur exults, a marvel!
I have when some secret's won
My hour of exultation.
Though we work for days and years
Neither the other hinders;
Each is competent and hence
Enjoys his skill in silence.
Master of the death of mice,
He keeps in daily practice,
I too, making dark things clear,
Am of my trade a master.
Myself and Pangur, cat and sage
Go each about our business;
I harass my beloved page,
He his mouse.Fame comes second to the peace
Of study, a still day
Unenvying, Pangur's choice
Is child's play.
Neither bored, both hone
At home a separate skill
Moving after hours alone
To the kill
When at last his net wraps
After a sly fight
Around a mouse; mine traps
Sudden insight.
On my cell wall here,
His sight fixes, burning,
Searching; my old eyes peer
At new learning,
And his delight when his claws
Close on his prey
Equals mine when sudden clues
Light my way.
So we find by degrees
Peace in solitude,
Both of us, solitaries,
Have each the trade
He loves: Pangur, never idle
Day or night
Hunts mice; I hunt each riddle
From dark to light.
Translated by Robin Flower






































































































miércoles, 1 de mayo de 2013

Eavan Boland: Dos Poemas











Eavan Boland

Una mujer sin país

Cuando rompe el día él entra a
una habitación con olor a ácido.
Apoya la plancha de cobre sobre la mesa
y  busca el mango del buril.
Dublin despierta a  caballos y lluvia.
Vendedores ambulantes llaman.
Todas las noticias son hambruna y hambruna.
El punzón chato, el punzón redondo,
la gubia lo esperan.
Se inclina sobre su trabajo y comienza.
Empieza por la cabeza, cortando
hasta la línea de la mejilla, encontrándose
con la pendiente del cráneo, cincelando
la forma del rostro que se convierte
en una fusión de sombras, cediendo—
con un corte más profundo en el cobre—
la mujer entera como un esqueleto,
los jirones de su falda, su muñeca
en una línea huesuda por siempre
                                               amputando
su cuerpo de su aire natal hasta
que ella está lista para la página,
para el vendedor ambulante, para
un nuevo inventario que ahora añade
a la pérdida y al laissez-faire
el olor a ácido y la pequeña
despiadada tragedia de ser imaginado.
Él guarda sus herramientas
una por una, las coloca con cuidado
en la mesa de pino, su trabajo terminado.



Eavan Boland, Dublin, 1944
de A Woman Without A Country, Carcanet/Norton, 2014
versión © Silvia Camerotto




A Woman Without A Country

As dawn breaks he enters
A room with the odor of acid.
He lays the copper plate on the table.
And reaches for the shaft of the burin.
Dublin wakes to horses and rain.
Street hawkers call.
All the news is famine and famine.
The flat graver, the round graver,
The angle tint tool wait for him.
He bends to his work and begins.
He starts with the head, cutting in
To the line of the cheek, finding
The slope of the skull, incising
The shape of a face that becomes
A foundry of shadows, rendering —
With a deeper cut into copper —
The whole woman as a skeleton,
The rags of  her skirt, her wrist
In a bony line forever
                                        severing
Her body from its native air until
She is ready for the page,
For the street vendor, for
A new inventory which now
To loss and to laissez-faire adds
The odor of acid and the little,
Pitiless tragedy of  being imagined.
He puts his tools away,
One by one; lays them out carefully
On the deal table, his work done.



Y alma

Mi madre murió un verano—
el más húmedo según los registros del estado.
Las cosechas se podrían en el oeste.
Los manteles a cuadros se disolvían en los jardines traseros.
Las reposeras vacías acumulaban agua de lluvia.
Mientras iba hacia ella
a través del tránsito, a través de las lilas que goteaban turbias
detrás de las casas
y en las veredas,  para brindarle
el último homenaje de una hija, pensé en algo
que recordé
haber oído una vez, que el cuerpo es, o
dicen que es, casi todo
agua y mientras giraba hacia el sur, que la nuestra es
una ciudad de eso,
una en la que
cada día los elementos comienzan
un viaje hacia otro que jamás,
debido al clima,
falla—
            el océano visible en los bordes que lo delimitan,
color de nube alcanzando el aire,
con el Liffey almacenando uno y emplazando al otro,
la sal recibiendo en el North Wall la falta de aquello y,
como si esto no fuera suficiente, todo ello
terminando casi todas las tardes
en nuestro discurso—
costa   canal océano río corriente y ahora
madre y seguí manejando y aunque
el mente no es confiable cuando sufre, en
el próximo aguacero casi parecías
que podían ser las sombras uno del otro,
el modo en que el cuerpo es
de cada uno de ellos y ahora
ellos estaban otra vez en marcha— niebla en neblina,
neblina en bruma de mar y ambas en el esmalte aceitoso
que reposa en las barandas de
la casa donde ella se moría
a medida que yo entraba.


                                                               
Eavan Boland, Dublin, 1944
de Domestic Violence, W.W. Norton & Company, Inc., 2007
versión © Silvia Camerotto




And Soul

My mother died one summer—
the wettest in the records of the state.
Crops rotted in the west.
Checked tablecloths dissolved in back gardens.
Empty deck chairs collected rain.
As I took my way to her
through traffic, through lilacs dripping blackly
behind houses
and on curbsides, to pay her
the last tribute of a daughter, I thought of something
I remembered
I heard once, that the body is, or is
said to be, almost all
water and as I turned southward, that ours is
a city of it,
one in which
every single day the elements begin
a journey towards each other that will never,
given our weather,
fail—
       the ocean visible in the edges cut by it,
cloud color reaching into air,
the Liffey storing one and summoning the other,
salt greeting the lack of it at the North Wall and,
as if that wasn't enough, all of it
ending up almost every evening
inside our speech—
coast canal ocean river stream and now
mother and I drove on and although
the mind is unreliable in grief, at
the next cloudburst it almost seemed
they could be shades of each other,
the way the body is
of every one of them and now
they were on the move again—fog into mist,
mist into sea spray and both into the oily glaze
that lay on the railings of
the house she was dying in
as I went inside.