Sedulia's Translations

Victor Hugo: My father, that hero

490px-Napoleon_Division_General_by_Bellange
After the Battle

My father, that hero with the sweetest smile,
followed by a single hussar whom he loved above all others
for his great bravery and his great height,
was riding, the evening after a battle,
across the field covered with the dead on whom night was falling.
He thought he heard a weak noise  in the shadow.
It was a Spaniard from the routed army
who was bleeding, dragging himself by the road.
groaning, broken, ashen, and more than half dead,
and who said, "Drink! Drink, for pity's sake!"
My father, moved, handed to his faithful hussar
a canteen of rum that hung from his saddle,
and said, "Here, give the poor wounded man something to drink."
Suddenly, at the moment when the hussar bent
leaning over him, the man, a kind of Moor,
seized a pistol that he was still gripping,
and aimed at my father's forehead crying "Caramba!"
The bullet passed so near that his hat fell off
and his horse shied backwards.
"All the same give him something to drink," said my father.

     --Victor Hugo (1802-1885). His father fought in Spain as a general under Napoleon.

Après la bataille

Mon père, ce héros au sourire si doux,
Suivi d'un seul housard qu'il aimait entre tous
Pour sa grande bravoure et pour sa haute taille,
Parcourait à cheval, le soir d'une bataille,
Le champ couvert de morts sur qui tombait la nuit.
Il lui sembla dans l'ombre entendre un faible bruit.
C'était un Espagnol de l'armée en déroute
Qui se traînait sanglant sur le bord de la route,
Râlant, brisé, livide, et mort plus qu'à moitié.
Et qui disait: " A boire! à boire par pitié ! "
Mon père, ému, tendit à son housard fidèle
Une gourde de rhum qui pendait à sa selle,
Et dit: "Tiens, donne à boire à ce pauvre blessé. "
Tout à coup, au moment où le housard baissé
Se penchait vers lui, l'homme, une espèce de maure,
Saisit un pistolet qu'il étreignait encore,
Et vise au front mon père en criant: "Caramba! "
Le coup passa si près que le chapeau tomba
Et que le cheval fit un écart en arrière.
" Donne-lui tout de même à boire ", dit mon père.

12 December 2009 in French, Spanish, War, conflict, problems | Permalink | Comments (0)

Technorati Tags: Mon père ce héros, poetry, translations, Victor Hugo

Georges Moustaki: In the Mediterranean

Bourget_82Maroc

In this basin where
children with black eyes play
there are three continents
and centuries of history,
prophets of the gods,
the Messiah in person.
There is a fair summer there
that fears no autumn,
in the Mediterranean.

RafahkidFlkra

There is a smell of blood
floating on its banks
and martyrised countries
like so many open wounds,
barbed-wire islands,
walls that imprison.
There is a fair summer there
that fears no autumn,
in the Mediterranean.

RafahkidFlkr

There are olive trees
dying under bombs
in the place where
the first dove appeared,
forgotten people
harvested by war.
There is a fair summer there
that fears no autumn,
in the Mediterranean.

BoysAlexandria

In this basin, I played
when I was a child.
I had my feet in the water.
I breathed the wind.
My playmates
have become men,
the brothers of those
the world has abandoned,
in the Mediterranean.

TsakDflkrPs

The sky is in mourning
above the Parthenon,
and "freedom" is no longer
said in Spanish.
But we can go on dreaming
of Athens and Barcelona.
There is still a fair summer there
that fears no autumn,
in the Mediterranean.

Bazylek100Alanya

--Georges Moustaki (1934- ) was born in Alexandria, Egypt. His parents were Sephardic Jews from Greece. He moved to France in 1951, and wrote this song in 1971, when Greece and Spain were under dictatorships. Since then Greece and Spain have become democracies, but the Mediterranean still sees wars and conflict. This is my favorite song of Moustaki's. You can buy it on iTunes. You can hear him singing it here.

En Méditerranée

Dans ce bassin où jouent
Des enfants aux yeux noirs,
Il y a trois continents
Et des siècles d'histoire,
Des prophètes des dieux,
Le Messie en personne.
Il y a un bel été
Qui ne craint pas l'automne,
En Méditerranée.

Il y a l'odeur du sang
Qui flotte sur ses rives
Et des pays meurtris
Comme autant de plaies vives,
Des îles barbelées,
Des murs qui emprisonnent.
Il y a un bel été
Qui ne craint pas l'automne,
En Méditerranée.

Il y a des oliviers
Qui meurent sous les bombes
Là où est apparue
La première colombe,
Des peuples oubliés
Que la guerre moissonne.
Il y a un bel été
Qui ne craint pas l'automne,
En Méditerranée.

Dans ce bassin, je jouais
Lorsque j'étais enfant.
J'avais les pieds dans l'eau.
Je respirais le vent.
Mes compagnons de jeux
Sont devenus des hommes,
Les frères de ceux-là
Que le monde abandonne,
En Méditerranée.

Le ciel est endeuillé,
Par-dessus l'Acropole
Et liberté ne se dit plus
En espagnol.
On peut toujours rêver,
D'Athènes et Barcelone.
Il reste un bel été
Qui ne craint pas l'automne,
En Méditerranée.

20 April 2009 in French, Greek, Middle Eastern, Spanish | Permalink | Comments (1)

Luis de Góngora y Argote: The hours that are filing down the days, the days that are gnawing down the years

LeoReynoldsFlickr

Of the deceitful brevity of life

The arrow goes less quickly to its target,
that it bites sharply; the straining chariot
does not race more silently
over the mute sand to the finish line,

than hastily and secretly our age
runs to its end. To whomever doubts this,
proud as he may be of naked reason,
each repeated Sun is a comet.

Carthage admits this, and you don't know it?
You risk danger, Licio, if you keep on
following shadows and embracing illusions.

The hours will not pardon you easily;
the hours that are filing down the days,
the days that are gnawing down the years.

--Luis de Góngora y Argote (1561-1627). This is one of the most famous poems in the Spanish language.

De la brevedad engañosa de la vida

Menos solicitó veloz saeta
destinada señal, que mordió aguda;
agonal carro por la arena muda
no coronó con más silencio meta,

que presurosa corre, que secreta,
a su fin nuestra edad. A quien lo duda,
fiera que sea de razón desnuda,
cada Sol repetida es un cometa.

¿Confiésalo Cartago, y tú lo ignoras?
Peligro corres, Licio, si porfías
en seguir sombras y abrazar engaños.

Mal te perdonarán a ti las horas;
las horas que limando están los días,
los días que royendo están los años.

09 April 2009 in Death, the transience of all things, Spanish | Permalink | Comments (3)

Borges on the Art of Poetry

To look at the river made of time and water
and remember that time is another river,
to know that we lose ourselves like the river
and that faces go by like the water.

To feel that wakefulness is another sleep
that dreams it is not dreaming and that the death
that our flesh fears is that death
every night that is called sleep.

To see in the day or in the year a symbol
of the days of mankind and of his years,
to change the outrage of the years
into a music, a rumor, and a symbol,

to see in death sleep, in sunset
a sad gold, such is the poetry
that is immortal and poor. Poetry
returns like dawn and sunset.

Sometimes in the evening a face
looks at us from the bottom of a mirror;
art should be like that mirror
that reveals our own face to us.

They tell that Ulysses, tired of wonders,
wept with love at the sight of his Ithaca,
green and humble. Art is that Ithaca
of green eternity, not of wonders.

It is also like the endless river
that passes and remains and is the mirror of one same
inconstant Heraclitus, who is the same
and is another, like the endless river.

        --Jorge Luís Borges (1899-1986)

Mirar el río hecho de tiempo y agua
Y recordar que el tiempo es otro río,
Saber que nos perdemos como el río
Y que los rostros pasan como el agua.

Sentir que la vigilia es otro sueño
Que sueña no soñar y que la muerte
Que teme nuestra carne es esa muerte
De cada noche, que se llama sueño.

Ver en el día o en el año un símbolo
De los días del hombre y de sus años,
Convertir el ultraje de los años
En una música, un rumor y un símbolo.

Ver en la muerte el sueño, en el ocaso
Un triste oro, tal es la poesía
Que es inmortal y pobre. La poesía
Vuelve como la aurora y el ocaso.

A veces en las tardes una cara
Nos mira desde el fondo de un espejo;
El arte debe ser como ese espejo
Que nos revela nuestra propia cara.

Cuentan que Ulises, harto de prodigios,
Lloró de amor al divisar su Itaca
Verde y humilde. El arte es esa Itaca
De verde eternidad, no de prodigios.

También es como el río interminable
Que pasa y queda y es cristal de un mismo
Heráclito inconstante, que es el mismo
Y es otro, como el río interminable.

Continue reading "Borges on the Art of Poetry" »

28 September 2006 in Books, Spanish | Permalink | Comments (0)

Count Arnaldos

Count Arnaldos

Who could have such fortune
on the waters of the sea
as had the Count Arnaldos
on the morning of Saint John’s Day!

With a falcon in his hand
he was going out to hunt
when he saw a galley coming
about to land on shore.

The sails were of silk,
the riggings of gauze thread,
the sailor in command
was singing a song

that made the sea calm,
made the winds die down,
made the fish in the waves
rise to the surface,
and the birds flying by
come to land on the mast.

There spoke the Count Arnaldos,
you shall well hear what he'll say:
"By God I pray you, sailor,
tell me now that song."

The sailor answered him,
such an answer was given:
"I tell this song only
to someone who goes with me."

    --Anonymous

El Conde Arnaldos

Quién hubiese tal ventura
sobre las aguas del mar,
como hubo el conde Arnaldos
la mañana de San Juan!

Con un falcón en la mano
la caza iba al cazar,
vió venir una galera
que a tierra quiere llegar.

Las velas traía de seda,
la ejercia de un cendal,
marinero que la manda
diciendo viene un cantar

que la mar facíen en calma,
los vientos face amainar,
los peces que andan n’el hondo
arriba los face andar,
las aves que andan volando
n’el mástal las faz posar.

Allí fabló el conde Arnaldos,
bien oiréis lo que dirá:
--Por Dios te ruego, marinero,
dígasme ora ese cantar.

Respondió el marinero,
tal respuesta le fué a dar:
--Yo no digo esta canción
sino a quien conmigo va.

25 October 2004 in Spanish | Permalink | Comments (0)

Abenámar the Moor

Alhambra

Abenámar

“Abenámar, Abenámar,
Moor of the Moorish people,
on the day you were born,
there were great signs!

“The sea was calm,
the moon was full;
a Moor born under such a sign,
should never tell a lie!”

Then the Moor answered,
you shall hear what he said:
“I will tell you the truth, my lord,
though it cost me my life,

for I am the son of a Moor
and of a Christian captive;
when I was a child and a boy
my mother used to tell me

that I should not tell a lie,
that it was great villainy:
so ask me, King,
and I will tell you the truth.”

“I thank you, Abenámar,
for this your courtesy.
What castles are those?
High they are and shining!”

“It was the Alhambra, my lord,
and the other the mosque;
the others, the Alixares,
wrought so marvelously.

“The Moor who wrought them
earned a hundred gold coins a day,
and the day he did not work on them
he lost as many coins.

“When he had finished his work,
the king took the man’s life,
lest he work others such
for the king of Andalusía.

“The other is Generalife,
garden without peer;
the other Bermejos Towers,
castle of great worth.”

Then spoke the King, Don Juan,
you shall hear well what he said:

“If you were willing, Granada,
I would marry you;
and I would give you for dowry
Córdoba and Seville.”

“I am married, King Don Juan,
I am married, and no widow;
the Moor to whom I belong
loves me very well.”

          --Anonymous

(King John II tried to conquer Granada in 1431, but it was not taken until 1492.)

Abenámar

--Abenámar, Abenámar,
moro de la morería,
el día que tu naciste,
grandes señales había!

Estaba la mar en calma,
la luna estaba crecida:
moro que en tal signo nace,
no debe decir mentira!--

Allí respondiera el moro,
bien oiréis lo que decía:
--Yo te la diré, señor,
aunque me cueste la vida,

porque soy hijo de un moro
y una cristiana cautiva;
siendo yo niño y muchacho
mi madre me lo decía:

que mentira no dijese,
que era grande villanía:
por tanto pregunta, rey,
que la verdad te diría.—

--Yo te agradezco, Abenámar,
aquesta tu cortesía.
¿Qué castillos son aquellos?
¡Altos son y relucían!

--El Alhambra era, señor,
y la otra la mezquita;
los otros los Alixares,
labrados a maravilla.

El moro que los labraba
cien doblas ganaba al día,
y el día que no los labra
otras tantas se perdía.

Desque los tuvo labrados,
el rey le quitó la vida,
porque no labre otros tales
al rey del Andalucía.

El otro es Generalife,
huerta que par no tenía;
el otro Torres Bermejas,
castillo de gran valía.

Allí habló el rey don Juan,
bien oiréis lo que decía:

--Si tu quisieses, Granada,
contigo me casaría;
daréte en arras y dote
a Córdoba y a Sevilla.

--Casada soy, rey don Juan,
casada soy, que no viuda;
el moro que a mí me tiene,
muy grande bien me quería.

 

 

 

 

 

 

 

 

 

 

 

 

 

25 October 2004 in Spanish | Permalink | Comments (0)

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