Though we know well,
“That’t is not in the power of kings [or
presidents] to raise
A spirit for verse that is not born thereto,
Nor are they born in every prince’s days”;
yet spite of all they sang in praise of their
“Eliza’s reign,” we have evidence that poets may be born and sing in our day,
in the presidency of James K. Polk,
“And that the utmost powers of English rhyme,”
Were not “within her peaceful reign confined.”
The prophecy of the poet Daniel is already how
much more than fulfilled!
“And who in time knows whither we may vent
The treasure of our tongue? To what strange shores
This gain of our best glory shall be sent,
T’ enrich unknowing nations with our stores?
What worlds in th’ yet unformed occident,
May come refined with the accents that are ours.
(Henry David Thoreau, "A week on the Concord and Merrimack Rivers", Sunday)
Aunque sabemos bien,
“Que no está en el poder de los reyes [o presidentes] elevar
Un espíritu poético que no haya nacido tal,
Y que los poetas no nacen en cada uno de los días del príncipe”,
Y a pesar de todo lo que ellos cantaron
en alabanza del “reinado Eliza”, tenemos pruebas de que los poetas
pueden nacer y declamar en nuestro día, en la presidencia de James K. Polk,
“Y que los mayores poderes de la rima inglesa”
No fueron “confinados a su pacífico reinado”
¡La profecía del poeta Daniel ha sido ya mucho más que cumplida!.
“¿Y quién sabe a tiempo si podremos desatar
El tesoro de nuestra lengua? ¿A qué playas extrañas
Esta victoria de nuestra mejor gloria será enviada,
Para enriquecer naciones desconocidas con nuestros almacenes?
Que mundos todavía en el occidente informe
Pueden ser refinados con los acentos que son los nuestros"
Henry David Thoreau
(Fragmento de "A week on the Concord and Merrimack rivers", Sunday)
Traducción de Guillermo Ruiz
(Primera vez aquí el 21 de marzo de 2009 y el 28 de marzo de 2008)
No estoy hablando, tan solo caminando
Camino adelante, alrededor de una curva
Corazón que arde y todavía desea
En el ultimo lugar remoto en el fin del mundo
Bob Dylan ("Ain't talking", del album "Modern
Times", Columbia 2006)
(Traducción de Guillermo Ruiz)
They killed him once and they killed him twice
Killed him like a human sacrifice
The day that they killed him, someone said to me, "Son
the age of the Antichrist has just only begun"
Air Force One comin' in through the gate
Johnson sworn in at 2:38
Let me know when you decide to throw in the towel
It is what it is, and it's murder most foul
(...)
Play "Marching Through Georgia" and "Dumbarton's Drums"
Play darkness and death will come when it comes
Play "Love Me or leave Me" by the Great Bud Powell
Play "The Blood-Stained Banner, Play "Murder Most Foul"
Bob Dylan, (Roough and Rowdy ways, Murder Most Foul, Columbia 2020)
Cuadro "Cow's skull:Red, White and Blue"
Georgia O'Keeffe (American, 1887–1986)
Cow's Skull: Red, White, and Blue, 1931
Oil on canvas; H. 39-7/8, W. 35-7/8 in. (101.3 x 91.1 cm)
Alfred Stieglitz Collection, 1952 (52.203)
"Cow's
Skull: Red, White, and Blue" is masterful, both as an eloquent abstraction
of form and line and as a richly symbolic image that raises issues of
nationalism and religion. The compositional arrangement is starkly
simple. The skull, precisely modeled and strictly frontal in its placement,
becomes an image of great mystical power, like a sacred relic. The religious
connotation is reinforced by the cross configuration of the extended horns and
vertical support (probably the tree or easel upon which the skull was hung).
"Cow's
Skull: Red, White, and Blue" is symbolic of America as O'Keeffe saw it,
represented by the New Mexico desert and its relics; and almost as a joke, she
painted the canvas with the three colors of the American flag.
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