Πάω με φάσεις, όπως η Σελήνη
Έχω φάσεις όπως η
Σελήνη
φάσεις για να κρύβομαι,
φάσεις για να κατεβαίνω
στο δρόμο ...
Καταστροφή της
ζωής μου!
Καταστροφή της
ζωής μου!
Έχω φάσεις να είμαι
δικιά σου,
και άλλες για να
είμαι μόνη.
Φάσεις που πάνε
κι έρχονται,
στο μυστικό ημερολόγιο
κι ένας αυθαίρετος
αστρολόγος
εφευρέθηκε για
μένα.
Και ξετυλίγει τη
μελαγχολία
ο ατελείωτος
χρόνος του!
Δεν είμαι με
κανέναν
(έχω πολλές
φάσεις όπως η Σελήνη ...)
Αν μια μέρα
κάποιος μπορεί να είναι δικός μου
δεν είναι η ημέρα
να είμαι δικιά του...
Και όταν έρθει
αυτή η μέρα,
άλλος ένας χάθηκε
...
πηγή: ilmiovivereinpoesia.wordpress.com
μετάφραση από τα Ιταλικά: Κοκολογιάννης Κωνσταντίνος
Cecília Meireles
From Wikipedia, the free encyclopedia
Cecília Benevides de Carvalho Meireles (Rio
de Janeiro, 1901–1964) was a Brazilian writer and educator, known
principally as a poet.
She is a canonical name of Brazilian Modernism,
one of the great female poets in the Portuguese language, and is widely considered
the best poetess from Brazil ,
though she combatted the word "poetess" because of gender discrimination.
She traveled in the Americas in
the 1940s, visiting the United
States, Mexico, Argentina, Uruguay and Chile. In the summer
of 1940 she gave lectures at theUniversity of Texas, Austin. She wrote
two poems about her time in the capital of Texas ,
and a long (800 lines) very socially aware poem "USA 1940",
which was published posthumously. As a journalist her
columns (crônicas, or chronicles) focused most often on education,
but also on her trips abroad in the western hemisphere, Portugal, other
parts of Europe, Israel, and India (where she received an honorary doctorate).
As a poet, her style was mostly neosymbolist and
her themes included ephemeral time and the contemplative life. Even though she
was not concerned with local color, native vernacular, or experiments in
(popular) syntax, she is considered one of the most important poets of the
second phase of the Brazilian Modernism, known for nationalistic vanguardism.
As a teacher she
did much to promote educational reforms and advocated the construction of
children's libraries. Between 1935 and 1938 she taught at the
short-lived federal-district university in
Rio .
Biography
Cecília Meireles was born in the city of Rio de Janeiro , in the then Federal District.
Her father, Carlos Alberto de Carvalho Meireles, who worked for Banco
do Brasil, died three months before her birth. Mathide Benevides, her
mother, who was an elementary school teacher, died when Cecília
was three. The three other children of this marriage died before Cecília was
born. She was brought up by a Portuguese grandmother in Rio, who came from the Azores and
told her stories from her birthplace. These stories later found their way to
Cecilia's poetry. From her nanny, Pedrina, Cecília learned Brazilian folk songs andgames. Meireles started
to compose poems at the age of nine. She attended normal school in Rio from 1913 to 1916, and after graduating, she was
trained as a teacher. However, she continued to studylanguages, literature, educational theory, music, and folklore. In
1922 she married the Portuguese painter Fernando Correia Dias;
they had three daughters: Maria Matilde, Maria Elvira, and Maria Fernanda. The
latter is a Brazilian actress who starred in plays and soap operas from
the 1970s until the early 1980; she toured U.S. universities to present
readings and musical settings of her mother's poems by her son. Mr. Dias,
Cecilia's husband, who suffered from acute depression, committed suicide in
1935. Meireles later married agronomist Heitor
Grillo, with whom she visited the Pan American Union inWashington,
D.C. in 1940. On her initiative the first children's library in Brazil was
founded in 1934; she also wrote several children's books. That same year she
lectured on Brazilian literature and popular culture in Portugal . Her
book Samba, Batuque & Macumba was
translated into English in 1983.
As a poet Meireles made her debut at the age of eighteen,
with Espectros (1919). It has been described as "an airy and
vague poetry, languid and fluid, set in an atmosphere of shadows and
dreams." The collection of seventeen sonnets dealt
with various historical personages. Although her next collections included
lyrics in free verse, she still preferred traditional forms and
symbolism. Between 1919 and 1927 she contributed to the magazines Árvore
Nova and Terra do Sol. She was a key figure in the spiritual and
transcendental magazine Festa. The Festa poets supported more traditional
expression and universality than the futurists and avant-gardewriters
of São
Paulo, whose Modern Art Week in 1922 caused much
controversy. Meireles always retained symbolist traits.
Especially Portuguese poetry interested her. She
visited Portugal in 1934 and
lectured there on Brazilian literature at the universities of Lisbon and Coimbra.
After 14 years without publishing a book of poetry, Meireles
published one of her major works, Viagem [Voyage] (1939), which
marked her poetic maturity. The book had received the annual Poetry Prize from
the Brazilian Academy of Letters in
1938. The title refers to a spiritual journey where life and poetry join
together. Meireles was a devout Catholic, but
did not emphasize her religious or social stands. In the 1940s Meireles
traveled widely and the sea became for her an important image. Mar Absoluto (1942)
was sea poetry with the qualities of so-called pure poetry. In 1953 she
participated in a symposium on the work of Gandhi, and India had a
great influence on her work. She had taught herself both Hindi and Sanskrit. Romanceiro
da Inconfidência (1953) was written in the style of medieval Iberian ballads. The work
draws its subject from the first colonial attempt at Brazilian Independence,
in Minas
Gerais in 1789, and centers on the leader of the uprising, Joaquim José da Silva Xavier, who was
hailed as another Jesus Christ. Giroflê, Giroflá (1956) was
based on the author's journeys to India
and Italy.
Meireles was a prolific contributor to Brazilian
periodicals, and for a time she served as education editor of Rio 's Diario
de Noticías. She translated into Brazilian Portuguese such diverse writers as Maeterlinck, Lorca, Anouilh, Ibsen, Tagore, Rilke, Virginia
Woolf, and Pushkin. Her other works include plays and children's books.
Cecília Meireles died of cancer in Rio de
Janeiro on November 9, 1964. During her career
Meireles was affected by many of the literary movements of her time. However,
her poetry always remained intensely personal.
In October 2009 she was one of the three featured authors at
the Primeiro Congresso de Escritoras Brasileiras em Nova Iorque (First
Congress of Brazilian Women Writers in New
York ) at the Centro Cultural Brasil / Brazilian
Endowment for the Arts in Midtown
Manhattan.
Sources
Karen Peña, Poetry and the Realm of the Public
Intellectual: The Alternative Destinies of Gabriela Mistral, Cecilia Meireles,
and Rosario Castellanos (2008);
Darlene Sadlier, Imagery and Theme in the Poetry of
Cecília Meireles (1983);
John Nist, The Modernist Movement in Brazil (Austin:
University of Texas Press, 1967).
Raymond Sayers, "The Poetic Universe of Cecilia
Meireles." In Romance Studies Offered to Francis Rogers (1981)
Marta Peixoto, "The Absent Body: Female Signature and
Poetic Convention in Cecilia Meireles." Bulletin of Hispanic Studies 65.1
(1988).
External links
Cecília
Meireles in Vidas Lusafonas
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