Giulia Margstahler
FIRST VEGLIATRICE do not know ... (Looking at the coffin, with a lower voice) Why do people die? SECOND
VEGLIATRICE Maybe because you do not dream of lowering
BEFORE ... importance VEGLIATRICE You can ... But then, not would be worth close in the dream and forget about life, because death will forget all about us? ... SECOND
VEGLIATRICE No, my sister, nothing is worth ...
VEGLIATRICE Maybe because you do not dream of lowering
BEFORE ... importance VEGLIATRICE You can ... But then, not would be worth close in the dream and forget about life, because death will forget all about us? ... SECOND
VEGLIATRICE No, my sister, nothing is worth ...
In the room of an old castle, beyond time and space, three girls watch white-friend dead. Four candles and a vague dim moonlight illuminate their faces. Their voices are hoarse, the words we speak to believe or pretend to be real, the stories and the stories of their past and the lives that might not have ever had, and memories of places far away that perhaps they are dreams, perhaps you'd like, maybe I am nothing. They do not move, because every gesture dissolves a dream ... of silence and fearful of the day about to dawn, the dream and imagine Vegliatrici evoke places: trees, rocks, streams that flow, mountains, and the island where he lived a sailor from wrecked a lot of time there, which in turn dreamed a dream and built a new home, new roads, new landscapes and new people, and the lives past the inhabitants of this imaginary land, and their conversations, and the way they ride and look out the windows. But one day the sailor disappeared, perhaps he returned to his country, but which one? And as he dissolve the three girls, the crowing of a cock. Thus, in the white light of dawn and in the silence, ending the play of stillness, suspended, trembling voices. And the reader gets confused, dazzled, we also ask him whether he had dreamed a dream, or spying on others, but then who dreamed of who? Remains the thrill to a story that is almost ghostly, fear, horror, deep frost, death cases, questions, possibilities: a surreal drama made things affirmed and disowned, dissolved, a lexicon to strongly negative and nasal, and what não recurring incessantly, and the points of suspension. Tabucchi writes in the notes to the translation that the sailor is a play written in the subjunctive: that exploits all the wealth that the Portuguese, strongly conjunctival can offer, and as he justifies those shades of meaning that are lost in translation by force, suggests that both its hyper-literary language of this superb, elegant and to give this unreal symbolic drama that carries the strange charm. Consisting of a night jet in 1913 and published in 1915, the sailor is an ambiguous and seductive drama about the uncertain boundaries between truth and fiction, dream and Realta, vita, and death; un Discorso intorno a un sull'arte cadavere in bianco. Fernando Pessoa, Il Marinaio , trans. Antonio Tabucchi, Einaudi, Torino 2005.
Fernando Pessoa
Sailor. Drama in a static framework
Sailor. Drama in a static framework
by Giulia Margstahler
FIRST I do not know ... (Looking at the coffin, in a lower voice) Why do we die? SECOND
Perhaps dreaming is not enough ... You can
FIRST ... Would not it then worth close ourselves in dream and forget life, to death do us forget? ...
SECOND No, my sister, nothing is worth ...
a quarter of an ancient castle, beyond time and space the three maidens in white ensure a dead friend. Four candles and a weak remainder vacant moon illuminate its faces. Also weak are their voices, the words which they speak to believe in themselves, pretend to be real, tales and stories of your past and the lives they had not had, from far away places and memories are dreams that maybe, maybe desires, maybe not no thing. Do not move, because every gesture interrupts a dream ... worryingly of silence and days to be born, the maidens evoke dreamed and imagined places: trees, rocks, rivers flowing, and the island where he lived a sailor from the sinking too much time there, who also dreamed and co nstruía in a dream new country, new roads, new landscapes and new people, and the past lives of the inhabitants of this imaginary land, and their conversations, and how to walk and of focusing the windows. But one day the sailor disappeared, perhaps regressed to their homeland, but which? And like him, so the three maidens dissolve, the singing of a rooster. Thus, in the white light of dawn and in the silence, it is concluded that drama immobility, suspension, voice trembling. And the reader gets the confusion , dazzled, ask yourself if he had dreamed a dream of spying or other, but then who dreamed? There is only one story almost to shiver of ghosts, fear, horror, deep, ice, death, hypotheses, questions, possibilities: a drama made for unreal things affirmed and denied; lexicon to a strongly negative and nose, and that's not coming back continuing, and the points of suspension. Tabucchi writes in the note of translation that the sailor is a drama written in the conjunctive: that is, exploring all the riches that the Portuguese, strongly conjunctival can offer, and while it is justified by these shades of meaning that are mandatory lost in translation, suggests that it is proper hyper-literariness of language superb, elegant and give this unreal the symbolist drama that strange fascination exercised. Composed of a single night in 1913 and published in 1915, Sailor is an ambiguous and charming drama about the fine line between truth and deception, dream and reality, life and death: a discourse on art around a corpse in white. Fernando Pessoa, Il Marinaio , trans. Antonio Tabucchi, Einaudi, Torino 2005.
Margstahler thank Julia for their valuable contribution.
Cultural Association Luís de Camões
Cultural Association Luís de Camões
