La luna è il sole (Gli emersi poesia) (Italian Edition)

Il sole e la pioggia penetrano deboli nella vegetazione sento oscuri fruscii venire da ogni direzione qui vi sono migliaia di animali che volano camminano strisciano. No problems sir…sure no problems mi guardo intorno. Look sir , many bats! Oh cristo anche i pipistrelli ci sono e grandi pure.

Su forza On y va! I pipistrelli dormono beati riscendiamo le scale molto lentamente. Like Us On Facebook. Categorie Articoli La poesia della settimana. I testi che compaiono nel sito italian-poetry. Tutti i diritti sono riservati. Rivedere la bicicletta che porta dal Corso alberato alla Fortezza delle Armi. Ci confondono i morti. Tutto ci confonde la memoria. Tutti nonni dei figli. Un solo grande casco dagli occhi azzurri.

Il nostro trofeo di guerra. Poter essere ancora questa canzone degli anni settanta. Anche se ora avanzi lento vestito da soldato Beslan. Ha la testa rasata ma ti somiglia. Mentre guardi e porgi il bambino verso noi. Essere qualunque bene entrato dentro. Per trovare insieme il grande salvataggio estremo. Mentre tieni la bicicletta che se ne va da sola e pare una. Se desideriamo essere madri per gestire figli. La trincea del banco. Pile di libri e appunti sparsi. Lo stesso cuore due labbra un fegato due braccia tengono il bambino implacato. Ora che sei diventato. Insegni in una classe vuota.

La mente vuole ricreare la bici. I quadri chiedono pelle trasparente. La luce bianca da filtrare. Un disco di Battisti per nostro Maggio cantare. Nei pomeriggi di pioggia e di compiti dopo il primo giorno. Per quale desiderio sei dentro quella foto sui giornali del mondo? Sei ancora dentro il maestro che volevi diventare?

Per credere inermi che sia possibile ricordare. Per il male rosso e involontario che abbiamo senza pensare. Se mettiamo il silenzio ai sentimenti. E ci troviamo a un passo dalla morte impreparati.

Gregari nel gioco del pallone. On foot from school the road home. On the first day of high school. We take his bike by hand. The old lady crossbar and the rainbow chain over the steel spokes. Already we are friends but now we are truly. Seeing again the bike that carries you from the tree- lined corso to the Army Fortress. The dead confuse us. Memory confuses everything within us. We are in the Hereafter of the same age. All grandfathers of sons. We are one alone. A single great helmet with blue eyes. It could be once again this same song from the seventies.

Even if you come forward dressed as Beslan the soldier. He has a shaved head but he looks like you. Have pity on our different life. As you gaze and set the child down near to us. He could be us. Whatever good entered into a shared. Finding together the great extreme salvation. While you hold on to the bike moving off by itself. When and if friendship is accompanied to the altar. Knowing why unexpected friends abandon each other within the horizon full of holes. If we desire to become mothers to bring up sons. The battle trench of that desk.

Piles of books and scattered notes. In the far corner of the classroom. The same heart two lips a liver two arms hold the anguished child. Now you have been employed. You teach in an empty classroom. The mind hopes to remake that bike. But life is totally different. The pictures ask for a transparent skin. A white light to filter in. A disco of Battisti for our May singing. In the afternoons of rain and homework after living the first day. Inside are you still the teacher you wanted to become? For the red involuntary evil we have without thinking. If we silence our feelings.

Spread out eternity thinking of infinite. Unready we find ourselves one step away from death. Heroes without having time to choose what was necessary. Playing ball supporting each other. Dribbling around love as you dribble around another. Io non posso dire quale giardino sia mio o tuo. Ma io conosco il giardino. Nel bianco si sentiva. Lascia che io adorando lo veda in uno stuolo beato fatto di brina. Il giardino se fiorisce non ha male.

Iris come se piovesse. Una boscaglia di spade di Toledo luccicanti. Come tante lance mi persi un giorno in un ossario azzurro chiaro. Come tante tibie fiorite erano. Allora mi appartavo dietro la casa nel garage mentre ibridando per steli e steli e per semi e semi. E mescolando i geni e i gameti e i pistilli. Gli iris per passare in pace. Saranno stati diecimila con le bandiere color degli iris. Come tanti guerrieri che in spalla non tenevano fucili ma iris di sette colori.

Solo che i fiori si sprecheranno. Ma io non so se coltivando iris dovunque. In conche bidoni vasche tu volessi rendere omaggio. Quando in una cosmogonia precoce rendevi grazie ad Iside. Era il nome di tua madre. Ma piantando gli iris forse tu volevi ritrovare il suo corpo. Iris gialli il fegato. Iris blu i polmoni.

Iris verdi le vene. Iris viola le labbra. Padre padre padre nel giardino innamorato. I cannot tell any more which garden is mine or yours. And in this atlas of the nameless garden maybe we have already been entrusted to the care of our descendents. When in spring one rose which was more yellow than sunlight. I was sire in the gold marching between the white helmeted ensigns. Father do not uproot the golden iris from that rank. Do not make each one intolerant. Let it be so that adoring I see it in a blessed crowd. If it flowers the garden holds no evil.

Now your good makes the stem of the iris blossom. Irises as though it rained them. A wood of Toledo swords glittering. Irises that crowd together against the infesting grass. Irises lined up one beside the other as in a field where soldiers. Bodies run through by irises of water of ashes of lead. One day as among so many lances I got lost in a clear blue ossuary.

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As so many flowering shinbones. So I withdrew behind my house into the garage while crossbreeding stem by stem and seed by seed. I wanted to make the iris that was as deeply red. And mixing the genes and the gametes and the pistils. I no longer remember what I did to give you back a red and beating heart. I really did restore you to life. Field of my dead dear friends. Irises to pass in peace. They would have been ten thousand with the flag the colour of irises. Like so many warriors who shouldered not rifles but irises in seven colours. As we pass into. Given this opinion of the play, it is difficult to explain her translation of Coriolanus.

Furthermore, the differences in omissions, quotations and notes reveal the presence of at least one, but probably several, English texts of the plays. Each time she compares the originals with the French versions, she chooses which one to follow according to her particular feeling about each passage. A case in point is offered by the third act of Othello where Calvani. It is worth noting that often Renier refers to English scholars, whose names I did not find in the French text, always favouring the Eng- lish source, whereas Le Tourneur used sources without mentioning the English author.

In the corresponding line of Le Tourneur, there is a note, but the translator restricted himself to stating that he followed the Oxford edition for the passage in question Le Tourneur , 4 , whereas he usually used the Johnson edition. Renier seems to proceed by comparing the English and French text.

It is thus possible to explain the difference in references. In the comparison she discovered all the notes that Le Tourneur had taken from the English scholars, without clearly stating it and she quotes his true source in the notes to her translations. It is the eighth scene of the first act.

Massimo Rossi

Othello remembers how Desdemona had been impressed by the narration of his adventurous life. Particularly, in reference to cannibals, Le Tourneur adds in a note that such stories had been told by Man- deville, as Johnson reported. In order to accomplish her educational task, she omits the passages she thought to be too vulgar and not Calvani. Moreover, she simplifies the wordy sentences of Le Tourneur, usually substituting the French pronouns with the proper noun, obviously for the sake of clarity. For the same reason she seems to prefer to translate literally or to quote the original whenever she departs from it.

She omits or simplifies all the stage directions, very detailed in Le Tourneur, confirming that her translation was not conceived to be performed. Much of what has been said of the translation of Othello is also true of the translation of Macbeth. The notes are also interesting. On the whole, this translation is marked by a less overwhelming presence of Le Tourneur and more fluency due to 14 During the Enlightenment many materialists philosophers, referring back to Cartesius, described men as machines.

The presence of quota- tions from Plutarch has been used as evidence of Renier not being the author of the translations. As a woman, Giustina Renier had had no access to Latin or Greek, whose study was for men only, so it was easy for her detractors to accuse her. In this translation she also omits some passages because they were not in keeping with her taste and that of her readers Renier , — As in her other translations, she simplifies the stage direc- tions and the French sentences, sometimes even condensing lines Renier , 59; Le Tourneur , It is clear that she follows her original in the numbering of acts and scenes, not in accordance with Le Tourneur.

Sometimes the very attribution of the lines to the characters is different Renier , 50; Le Tourneur , Le Tourneur had already informed his readers of possible contra- dictions in the dialogues, due to errors or additions of the actors. Finally, there is again a concern for the role of the mother.

In note 33, she expresses her regret that Shakespeare did not make Coriolanus remember his children. The most natural reflection of a mother as I am. The astonishing silence in which her works have been buried seems to be ascribable mainly to the sense that the work Calvani.

The nineteenth century saw many translators of Shakespeare, among them Mi- chele Leoni, who translated the complete plays of Shakespeare. However, it was only with the first successful performances in the s that Shakespeare became popular in Italy which led to many new translations of the English dramatist. It could be argued that it is not only the importance of the author or his role in the original country that makes the text a classic abroad, but rather the importance of the critics who comment upon that author, the relevance of the publishing house that distributes the work and of course the importance of the translator in the target country that makes a literary work an acknowledged world classic.

A case in point may be that of Laurence Sterne in Italy. Laurence Sterne was a well-known writer in nineteenth- century Italy, a remarkable situation given the case of Shakespeare. The Italian context was a difficult one for foreign authors because, apart from translations from Greek or Latin, the Italian intellectuals saw no need to introduce new authors to Italy.

The motherland of the Renaissance and the country of Dante, Petrarch and Boccaccio had no need of foreign writers. The article provoked the fierce reactions of the Italian scholars and opened the way for Romanticism in Italy. We know for certain that at first Foscolo did not read the English Sentimental Journey; in a letter to Mme Bagien dated Sep- tember he writes: Giordani translator, Biblioteca Italiana, January, p.

Actually Foscolo could have read Sterne many years before. In this letter Foscolo tells the story of Lauretta, which follows closely the Maria episode of the Tristram Shandy. Foscolo loved it so much that he inserted the translation of the story of Maria described in the IXth volume of the Tristram Shandy within his translation of A Sentimental Journey.

In a letter to Bartholdy, he says: In his Piano di Studi of there is an entry named Laura, lettere. Fasano21 thought it was an indication of the very first novel written by Foscolo, whose fragments passed into the Jacopo Ortis letters. It is important to stress that Foscolo always mentions his source in quotations, but for the Lauretta episode he does not think it appropriate to do so as he considers the story a free reworking.

Such an obsession for authorship and originality plagued Foscolo through all the years he worked on translating Sterne. Carli edi- tor, Le Monnier, Firenze, p. Fasano , Stratigrafie foscoliane, Bulzoni, Roma. As the translation metaphors of the time indicate, translation was considered totally deprived of originality, and Foscolo himself highlights it in a letter saying: As mentioned above, this was a time when translation was considered a secondary activity, devoid of authorship, and whose low status made it appropriate for women.

He worked for years on his translation and it is possible to assume the existence of two versions before the publication of the last one in To make his presence evident in the text he creates his own character, something that did not exist in the original. Foscolo, so obsessed by the concept of authorship and original- ity, was fascinated by Laurence Sterne and his ability as a writer, but could not tolerate all the originalities of his style.

The Italian cultural context and maybe Foscolo himself were not ready for all the graphic peculiarities, the double entendres, the sexual allusions. This is evident in the numbering of the chapters that does not exist in the original, in the removal of the separation into two volumes and in the elimination of some graphical peculiarities of the original such as the very long dashes. Foscolo felt uncomfortable with the unfinished original and was compelled to add a conclusion to the book in which he explained that Yorick went on travelling in Italy but unfortunately died suddenly when he was on his way to London to publish his book.

Foscolo adapts the colloquial style of the original to a compli- cated Italian language that is almost unreadable for a contemporary Italian reader, the opposite of the simple style of Sterne. The notes at the end of the Italian page slow down the reading and add ex- planations that in the original were left to the skill of the reader. A case in point is the image of the women that emerges from the English and the Italian text. It is not that he alters the material facts of the narration, but through the manipulation of small details the final portraits are altered.

Consider for example some of the expressions used to describe the Bruxelles lady. The lady of the English version is 24 L. One of the main explanations of the ex- istence of many different translations of one single original is that a translation grows old and the language used in one period does not seem clear and easily understandable in another. It was completely unsuccessful and soon retired from print. Full professor and expert on Sterne, Mazzacurati27 is, however, more concerned about Foscolo than Sterne, as is evident from his preface. He declares his admiration for Foscolo and accuses himself of arrogance and ingratitude.

Conclusion In conclusion, in the analysis of those texts that have been con- sidered particularly representative of a culture, and as such have been given a passport to travel beyond the borders of their original country, special attention must be given to the target context and the position of the translator in that context. The great popularity and the literary worth of the works of an author such as William Shakespeare made him central to English culture and his great success made him known abroad through translation.

Unfortunately, the opinions expressed by a key author of the French culture such as Voltaire slowed down his travelling in Italy. The very fact that the first Italian translation of Shakespeare was by a woman at a time when women were not considered able to write literary works further demonstrates this. Furthermore, the very limited popularity of Renier, his translator, could have acted as a further obstacle to the spread of knowledge of Shakespeare. Calvani , Il viaggio italiano di Sterne, Firenze: Gender also seems to play a very important role in the defini- tion of the relevance of the translated text.

The fact that Giustina Renier dared to take her first steps into the literary word is thanks to translation, secondary literary activity, scarcely important, not original and for these very reason feminine, as Lori Chamberlain28 explained. Re- nier tries to justify herself for being a translator, for gaining access to the literary world. Foscolo justifies himself too but for the very opposite reason. As translator, the fatherhood of his work could be contested,29 his translation being the original work of another author.

In order to claim his male authorship over the text, he cre- ates the character of Didimo Chierico. Women have been in darkness for centuries. They begin from a theoretical platform that is already in place, already elaborated. Chamberlain , Gender and the metaphorics of translation, in L. Foscolo cannot be a translator; he is first of all an author and in order to exert his right of possession over his work he must assert his originality, as the imagery of suc- cession, paternity, or hierarchy usually used by writers to assert their place in the literary word testifies.

It could be argued that literary texts change position according to the different cultures that read them. Furthermore, the relevance and popularity of an author in a culture can be influenced by ele- ments that are not only literary. Calvani, Alessandra, , The relationship between writer and transla- tor, Babel Calvani, Alessandra, , Translating in a female voice: Fasano, Pino, , Stratigrafie foscoliane, Roma: The Modern Language Association of America.

Silverstein, Michael, and Urban, Greg, eds. Sterne, Lawrence, , Un Viaggio sentimentale, G. Whoever makes the fewest mistakes wins. Chi ne commette di meno vince. Introduction Football is a popular sport with millions of fans and followers around the world. The media and the public watch, analyze, and comment on football both orally and in writing, translating and in-terpreting what happens on the pitch in national and international leagues across languages and cultures. Translation clearly has an important place in football given that it is a global sport which uses English as its lingua franca.

This paper asks what appears to be a simple question, but in reality is rather complex: How does football related terminology travel across languages and cultures? In this case, the languages and cultures under scrutiny are English, the source language, Italian and Persian, the target languages. This corpus-based research has been supported by online sources and the main domain specific dictionar-ies, as well as parallel texts1. The main purpose of this investigation is threefold: As a field of discourse, Lewandowski states that football involves a number of spoken and written contexts.

The first one is communication on the pitch during the game, which is carried out by players, coaches, and referees. The next context is the language used in the media: Other communicative contexts, identified by Lewandowski, are the Laws of the Game, football literature, training resources, fan reactions, and comments. Metaphors are also used as the substitutions among ideas and concepts to have a better understanding of the utterance. The main challenge, however, lies for the translator who is responsible for grasping the meaning in the source language and rendering it into the target language whether or not metaphor is involved.

This challenge has been mentioned several times by some of the Transla- tion Studies researchers such as Charteris-Black , Lewandowski , and Burgh This research has been carried out to analyse the translations from an academic perspective and provide useful data for a more conscious and standard approach to football translation rendered in Italian and Persian.

Translators and interpreters are those who can benefit from this study since being aware of the translation of football terminology produces a better rendering. In addition, this research investigates whether or not specific translation strategies such as those proposed by Vinay and Darbelnet and Newmark can be traced in the translation process pertaining to football terminology in Persian and Italian. As I have already pointed out, football and its language have acquired widespread popularity.

Also, other frameworks can be taken into consideration as suggestions for further research to conduct a comparative study. Theoretical Framework This research applies two translation theories introduced by Vinay and Darbelnet as well as Peter Newmark.

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The former one deals with a comparative study carried out in to analyse the English and French languages. Also, Vinay and Darbelnet came up with a model of translation strategies and procedures. They introduced two main categories: Ac- cording to Munday , P. Calque is considered as a kind of borrowing in which the linguistic structure is transferred from the source language into the target language. Also, replacing word for word of the vocabulary in the source language with those in the target language with equivalent meaning is called literal translation Vinay and Darbelnet, , P.

The following exemplifies these strategies in Italian and Persian: The second category Vinay and Darbelnet introduce en- compasses four procedures including transposition, modulation, equivalence, and adaptation. A common example of the transposition can be changing a verb into a noun. Modulation happens when the translator changes semantics of the source text such as changing space for time, symbol or metaphor between the languages. It occurs when the cultural reference of the source language does not exist in the target language when it comes to transferring the intended message.

Newmark also mentions eight methods to be used for translation. It should be noted that he draws a line to distinguish procedure versus method. With this in mind, Newmark introduces the following methods of translation: The translator converts grammatical con- structions of the source language to the nearest ones in the target language. The exact contextual meaning is rendered and both content and the language are acceptable for the reader.

Translation of Football Terminology All things considered, this research explains that there are two types of methods of translation which can be seen clearly in trans- lating football terminology into Italian and Persian including direct and indirect loan. The first category, direct loans, involves loanwords which have been transferred in Italian and Persian as can be seen in the following examples: Football Direct Loans in Italian Table 4.

One of the instances can be seen in the following example: Both sides played cautiously. Teams colluded with one another. In this case, side and team are the words for which there is only one equivalence in Persian, while in Italian, side is referred to as parte and team means squadra. It should be mentioned that the frequency of these kinds of words in Persian translation should be taken into consideration since the target language, Persian in this case, becomes repetitive as the same word has to be used on each occurrence. Chesterman , P5 notes such a criticism which is lexical impoverishment or loss of lexical variation against transla- tion.

However, the only reasonable way to transfer the meaning in Persian is using the target term tim. This can be seen in the Italian language, as well. The data yielded by the source materials of this research provide evidence that there are some expressions in English football terminol- ogy for which there are the same number of equivalent in Persian, but only one equivalent in Italian. A few examples are shown below: Are you going to the match this Saturday? Vai alla partita sabato prossimo? The examples above shed light that the terms match, game, and fixture have been translated with different words both in Italian and Persian, i.

It should be noted that the use of Italian and Persian translation for game, match, and fixture can be interchangeable depending on the context and formality in Persian and register in Italian. As, for example, in this excerpt: As Igno , p. As a result, according to Vinay and Darbelnet , p. Many linguistics scholars have based their commentaries on the assumption that there is a considerable amount of war-related terminol- ogy in football language According to Newmark , p.

Some of the examples proving that the translated expressions have the same image in the target language are described as below: Translation of Football Terminology with the Same Image in Italian and Persian The aforementioned words are clearly associated with war. Positions in football such as striker conveys the same image in these languages. The translations presented in the target languages follow the strategy Newmark , PP. It seems that his strategy, reproducing the same image of the source language metaphorical expression in the target language, could be employed for many football terminol- ogy instances.

However, what Newmark , P. There are some metaphorical expressions in English termi- nology of football which require the literal translation method of Newmark , P. As a result, the examples below deploy literal language method Newmark, , P. Literal Translation of Football Terminology in Italian English Italian Empty net15 [a] porta vuota Centre referee arbitro principale [di campo] Counter attack contrattacco [ripartenza] Disciplinary body organo disciplinare [also plural] Table 7. As a result, the occurrence of the loanwords might be very convenient for Persian translators.

However, as Bergh and Ohlander , P. The next set of examples illustrate the frequency of borrowings and calques in both Italian and Persian. That goal was ruled out by the referee for offside. The pass was intercepted by the opponent. The cross from the side of the field went right to the other player. What we can infer from the examples examined is that the number of borrowed words in Persian is more than those in Ital- ian. However, when it comes to idiomatic expressions with these words, the translator needs to consult with parallel texts to render an understandable translation.

For instance, the word offside is sometimes used with the verb to be caught. The idiomatic expression to be caught in offside cannot be translated literally. Football corpora in English provide confirmatory evidence that there are some expressions which require a different method of translation: However, in terms of rendering the equivalence in Italian and Persian, the is- sue of appropriateness introduced by Newmark should be taken into consideration.

The researcher came up with the word harif in the Persian language which seems to be more acceptable for follow- ers of football in Iran.

Massimo ROSSI - Italian Poetry

In Italian, this expression can be translated as avversaria. Thus, there is no war-related connotation in English football terminology compared to Italian and Persian. So the allusion to war has been added to the target languages. Conclusion Football is the most popular sport in Italy24 and Iran25 and carry- ing out research projects in this field is both interesting and essential.

This study aimed to investigate and trace the strategies used in trans- lating football terminology from English into Italian and Persian. After investigating and tracing the translation theories in the target texts, this study came to posit that it is more appropriate to reduce the images to literal language for the Persian language as in the Italian language indirect loanwords can be found in Italian football terminology. What has emerged from the set of examples compared and analysed in this essay validates the view that translating football texts can be particularly challenging as a manifestation of football language is code-mixing This study has also shed light on how the language of football works, particularly its use of semi-fixed expressions.

Furthermore, parallel texts are considered to be an invaluable help for translators in every language so that they can come up with transferring the right meaning The opportunity to access parallel texts can be useful for checking the frequency of the synonyms and collocations28 in the target language. Since football is a code-mixing language, translators, interpreters, and com- mentators need to be aware of the formation of their language production to prevent any mistranslation.

Sociolinguistic Implications of Sports-Register Equivalence. Revista Veredas, 15 2. Free kicks, dribblers and WAGs. Science and the Beautiful Game. An analysis of the war metaphors used in spo-ken commentaries of the edition of the Premier Soccer League PSL matches in Zimbabwe. Corpus approaches to critical metaphor analysis. Claims, Changes and Challenges in Translation Studies. Fahim Afarinasadi 51 Chomsky, N. Some controversial questions in phonologi- cal theory. Journal of Linguistics, 1, 97— The Cambridge encyclopedia of language Vol.

Cambridge University Press Cambridge. Translating medical ter- minologies through word alignment in parallel text corpora. Journal of Biomedical Informatics, 42 4 , — A history of Italian football. The metaphor system used to justify war in the Gulf. Metaphors We Live By. The Uni- versity of Chicago Press. The language of soccer — a sociolect or a register? The rhetoric of violence in Polish and English soccer. Language, Communication, Information, 87— A typology of code-mixing Vol. Clevedon, Phila- delphia, Adelaide: A Textbook of Translation. Metaphor in German live radio football com-mentaries.

John Benjamins Publishing Company. As an academic board member for Academic OASIS since , Fahim has authored mono- graphic studies and presented papers at international conferences in the fields of English and Translation, Etymology and Sociolinguistics of Sports. His doctoral research investigates localisation of football websites as multi-modal, cross-cultural communication. The translations have been also carried out by the author in consultation with Italian and Persian translators.

Also, the following online resources have been used: Re- trieved from http: He also states that collocation is the habitual co-occurrence of lexi- cal items. La traduzione era fatta bene ma quel brano mi parve proprio detestabile. Poesie del Fogazzaro entravano in una antologia inglese del di cui tratteremo oltre. From Cavalcanti to Fogazzaro, apparsa nel e recante fin nel titolo, come si vede, menzione del nostro autore. Questa consolidata reputazione estera non ci deve sorprendere.

Ma osserviamo la cronologia delle opere di Fogazzaro in prima edizione italiana e in prima traduzione inglese: Miranda Valsolda Malombra Daniele Cortis Il mistero del poeta Piccolo mondo antico Poesie scelte Piccolo mondo moderno Il santo Leila Prime traduzioni: Tilton, New York, Holt; e poco dopo, trad. Prichard-Agnetti, Lon- dra, Hodder and Stoughton; anche, stessa traduttrice, con pref.

An Anthology of Forty Italian Poets. Translated into English Verse and with an Intr. Dei sette romanzi di Fogazzaro, cinque vengono tradotti e pubblicati per la prima volta dopo il , anno in cui esce Il santo. Ci imbattiamo in tratti ostici al lettore odierno, che si possono sintetizzare nelle caratteristiche seguenti.

Edited by Matthew Asprey Gear

Intanto, il linguaggio dal sapore antiquato, ottocentesco. I molti troncamenti in fin di verso e nel mezzo: Sperimenta tanti metri, e sembra usare talora una metrica accentuativa irregolare. Altro esempio, nella sezione Mistero del poeta vi: Quando il poeta si scorda della sua preparazione classica e mette da parte la retorica, abbiamo versi lisci, naturali nel linguaggio e scorrevoli nella prosodia cfr. Tutti i testi sono tradotti di sua mano. A questo atteggiamento mentale necessariamente corrisponde uno JIT Tusiani include tre poesie di Fogazzaro nel suo From Marino to Marinetti.

An Anthology of Forty Italian Poets , terzo volume di una vasta scelta di poesia italiana da San Francesco in poi, in traduzione inglese interamente sua.

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Nel raffrontare i due traduttori, vanno stabilite delle differen- ze. Usa un inglese decoroso, formale, con qualche tratto desueto. Entrambe le aggiunte sono zeppe metriche, tuttavia non estra- nee al contesto: In Greene ritornano tratti antiquati e retorici: I due traduttori hanno delle espressioni in comune. Dal che si penserebbe ancora che il traduttore moderno potrebbe aver tratto spunti dal precedente.

Vediamo tornare qui un espe- diente usato daTusiani per rendere anche altri metri: Ci fa tornare alla mente il caso di Emily Dickinson, che reclusasi vo- lontariamente per anni fra quattro mura nella sua casa di Amherst, nel Massachu- setts, scrisse quasi frammenti poetici che contribuirono a fondare la poesia americana moderna. Ma alcuni tratti sembrano proprio ravvicinarla a questa Miranda reclusa in stanza. E forse il confronto testuale fra autore e autrice andrebbe esteso.

Non solo qui, ma anche in altri luoghi notiamo questo as- sottigliarsi delle percezioni.



• Poesie consigliate.
• Massimo Rossi.
• parallel texts: words reflected – Italian to English translations.

Dovunque il guardo io volgo Dalle finestre, nereggiar li vedo A selve, a gruppi, or densi ora dispersi. Come si aman gli abeti! Torno per un attimo alla Dickinson. In fatto di traduzione, le due recenti poesie rese da Joseph JIT Dagli spiriti mali, Signor, guarda i mortali! Dagli spiriti mali Guarda i mortali! Al bronzo ancora Sia pace. Con rotta lena Mia lunga pena Le piango omai.

Solo un accento, Solo un lamento, Solo un sospiro Ancora, un bacio! Le stelle ridono Vaghe del nitido Speglio sereno; Mi trema e palpita Vespero in seno. Solo un accento, Solo un lamento, Solo un sospiro, Un bacio. The hour of darkness cometh. Come, let us pray. Hear us, O Lord! Save Thine eternity, Are vanity. Echoes from the Valleys Vanity! For so much sin unknown, and so much pain. Echoes from the Valleys O Holy One! Echoes from the Valleys Alone canst tell! That lives its life intense, Loves, suffers Thine adverse Inscrutable decrees.

Peace to the wave, to the hill These voices, too, be still: Echoes from the Valleys Peace! One accent alone, One murmur, one moan. One sigh — only this — As thy pebbles I kiss. Be silent, O deep! The stars as they smile Fall in love for awhile With my mirror serene: In my bosom bright Vesper reflected is seen.

One sigh — only this One kiss. The silent waves hear; The dark mountains hear; They list, and hear only My murmurs austere. Keep, Lord, from evil the men of dying day! The Bells of Osteno We, too, upon the waves from lonely shores must, one by one with deep voice run. And keep from evil the men of dying day! All the Bells The light is born and dies: All that has birth, save Your eternity, O Lord, on earth is vain.

Echoes from the Valleys Is vain. All grief and terror that still despise You, all human error that still denies You, all love by You not blest nor won, forgive, O Holy One! Echoes from the Valleys Can know the truth. Echoes from the Valleys Oh, peace! The Wave of the Lake And is the shore asleep, whose love I in me keep? Only one word, only one cry, only one sigh, and one more kiss. Be still, oh, peace! The stars are smiling in this clear mirror, calm and beguiling; and Vesper trembles, and beats fast upon my breast. Only one cry, only one sigh, and one more kiss.

The Waterfall of Rescia These waves have no more peace, these waves can no more cease: Talora per la tua porta che geme Entran lume di cielo, odor di mare, Qualche figura taciturna e mesta; Ed anche in me, talora, entrano insieme Un folle ardor vitale che dispare, Un dolce viso tenero che resta.

To the Ideal and to the God I love one lamp still glows with its immortal light. At times through this your door, which seems to moan, fragrance of sea and glimpse of heaven pass, or some sad person, silent and forlorn. And so to me, at times, together come a frantic warmth of life that quickly wanes and a sweet face that tenderly remains. Fuor da ogni finestra Nel chiaror delle nebbie il lago appare, Quale deserto, sconfinato mare.

Io sederei a poppa ed essi a prora; Senza parlar ci guarderemmo allora. Beyond, the lake appears in misty night, Like a deserted, boundless sea at night. Could I sail out upon this desert sea, Sail out alone, sail out afar and free; And, when the vanishing shores are lost to view, Yield to my thoughts and to the waters blue! And they will see the bit of art I learned, and smile at such a little knowledge found; and when in vain they will have sought and sought, they will explore the cells of every thought.

And then, before they leave me, with disdain they will, my darling, open this my heart, and out of it will dazzle then and there the deep-stored sunshine of your golden hair. Looking at last at your fine hair of gold, and at your pensive eyes deep as the sea, JIT Si sentiano i canti ; E dopo, che silenzio! From my window, though, I saw so many people on the road Beyond the meadow. Feeble songs were heard. And then, what silence! One small falling leaf I even heard as on the ground it lay. Strange, I can hear now every little sound. Gelido fu il viso, Gelide e rade furon le parole; Ma per mille reconditi pensieri Non detti mai, compresi, eran congiunte Le nostre vite.

Confitti negli abissi dei burroni Dove sole non penetra, protesi Sulle cascate candide, sublimi Sulle torri scoscese ove non giunge Nemico piede, voi felici, abeti! Vorrei di qua levarmi, Non posso. How fir-trees love each other! But underneath, their slender roots are eager To search, embrace, and strengthen one another, In countless knots commingled avidly. It was like this one day.

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We used to live One near the other. Still our looks were cold, And still our words were also cold and few; But through a thousand deeply hidden thoughts, Unsaid yet understood, our lives were bound. O fir-trees, happy fir-trees!