"New Year's Morning"

Only a night from old to new!
Only a night, and so much wrought!
The Old Year's heart all weary grew,
But said: The New Year rest has brought."
The Old Year's hopes its heart laid down,
As in a grave; but trusting, said:
"The blossoms of the New Year's crown
Bloom from the ashes of the dead."
The Old Year's heart was full of greed;
With selfishness it longed and ached,
And cried: "I have not half I need.
My thirst is bitter and unslaked.
But to the New Year's generous hand
All gifts in plenty shall return;
True love it shall understand;
By all y failures it shall learn.
I have been reckless; it shall be
Quiet and calm and pure of life.
I was a slave; it shall go free,
And find sweet pace where I leave strife."

Only a night from old to new!
Never a night such changes brought.
The Old Year had its work to do;
No New Year miracles are wrought.

Always a night from old to new!
Night and the healing balm of sleep!
Each morn is New Year's morn come true,
Morn of a festival to keep.
All nights are sacred nights to make
Confession and resolve and prayer;
All days are sacred days to wake
New gladness in the sunny air.
Only a night from old to new;
Only a sleep from night to morn.
The new is but the old coem true;
Each sunrise sees a new year born."


Helen Hunt Jackson,
(1830-1885)

The Old House

"In through the porch and up the silent stair;
Little is changed, I know so well the ways;--
Here, the dead came to meet me; it was there
The dream was dreamed in unforgotten days.

But who is this that hurries on before,
A flitting shade the brooding shades among?--
She turned,--I saw her face,--O God, it wore
The face I used to wear when I was young!

I thought my spirit and my heart were tamed
To deadness; dead the pangs that agonise.
The old grief springs to choke me,--I am shamed
Before that little ghost with eager eyes.

O turn away, let her not see, not know!
How should she bear it, how should understand?
O hasten down the stairway, haste and go,
And leave her dreaming in the silent land."


Amy Levy,
(1861–1889)

'Spleen'

I was not sorrowful, I could not weep,
And all my memories were put to sleep.

I watched the river grow more white and strange,
All day till evening I watched it change.

All day till evening I watched the rain
Beat wearily upon the window pane.

I was not sorrowful, but only tired
Of everything that ever I desired.

Her lips, her eyes, all day became to me
The shadow of a shadow utterly.

All day mine hunger for her heart became
Oblivion, until the evening came,

And left me sorrowful, inclined to weep,
With all my memories that could not sleep.


Ernest Dowson
in; Verses
Originally published 1896

Do you remember still the falling stars

Do you remember still the falling stars
that like swift horses through the heavens raced
and suddenly leaped across the hurdles
of our wishes--do you recall? And we
did make so many! For there were countless numbers
of stars: each time we looked above we were
astounded by the swiftness of their daring play,
while in our hearts we felt safe and secure
watching these brilliant bodies disintegrate,
knowing somehow we had survived their fall.

Rainer Maria Rilke

In the Morning of Life

In the morning of life, when its cares are unknown,
And its pleasures in all their new lustre begin,
When we live in a bright-beaming world of our own,
And the light that surrounds us is all from within;
Oh 'tis not, believe me, in that happy time
We can love, as in hours of less transport we may; --
Of our smiles, of our hopes, 'tis the gay sunny prime,
But affection is truest when these fade away.

When we see the first glory of youth pass us by,
Like a leaf on the stream that will never return,
When our cup, which had sparkled with pleasure so high,
First tastes of the other, the dark-flowing urn;
Then, then in the time when affection holds sway
With a depth and a tenderness joy never knew;
Love, nursed among pleasures, is faithless as they,
But the love born of Sorrow, like Sorrow, is true.

In climes full of sunshine, though splendid the flowers,
Their sighs have no freshness, their odour no worth;
'Tis the cloud and the mist of our own Isle of showers
That call the rich spirit of fragrancy forth.
So it is not 'mid splendour, prosperity, mirth,
That the depth of Love's generous spirit appears;
To the sunshine of smiles it may first owe its birth,
But the soul of its sweetness is drawn out by tears.

Thomas Moore
(1779 - 1852 / Dublin / Ireland)

Come O'er the Sea

Come o'er the sea,
Maiden with me,
Mine through sunshine, storm, and snows;
Seasons may roll,
But the true soul
Burns the same, where'er it goes.
Let fate frown on, so we love and part not;
'Tis life where thou art, 'tis death were thou are not.
Then come o'er the sea,
Maiden with me,
Come wherever the wild wind blows;
Seasons may roll,
But the true soul
Burns the same, where'er it goes.

Was not the sea
Made for the Free,
Land for courts and chains alone?
Here we are slaves,
But, on the waves,
Love and Liberty's all our own.
No eye to watch, and no tongue to wound us
All earth forgot, and all heaven around us --
Then come o'er the sea,
Maiden, with me,
Mine through sunshine, storms, and snows
Seasons may roll,
But the true soul
Burns the same, where'er it goes.


Thomas Moore
(1779 - 1852 / Dublin / Ireland)

''At the Mid Hour of Night''

AT the mid hour of night, when stars are weeping, I fly
To the lone vale we loved, when life shone warm in thine eye;
And I think oft, if spirits can steal from the regions of air
To revisit past scenes of delight, thou wilt come to me there,
And tell me our love is remember'd even in the sky.

Then I sing the wild song it once was rapture to hear,
When our voices commingling breathed like one on the ear;
And as Echo far off through the vale my sad orison rolls,
I think, O my love! 'tis thy voice from the Kingdom of Souls
Faintly answering still the notes that once were so dear.


Thomas Moore.
(1779–1852)
(Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250–1900.)

The Spring of the Year

Gone were but the winter cold,
And gone were but the snow,
I could sleep in the wild woods
Where primroses blow.

Cold 's the snow at my head,

And cold at my feet;
And the finger of death 's at my e'en,
Closing them to sleep.

Let none tell my father
Or my mother so dear,
I'll meet them both in heaven
At the spring of the year.


Allan Cunningham
(1784–1842)
(Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250–1900.)

'The Grave of Love'

I DUG, beneath the cypress shade,
What well might seem an elfin's grave;
And every pledge in earth I laid,
That erst thy false affection gave.

I press'd them down the sod beneath;
I placed one mossy stone above;
And twined the rose's fading wreath
Around the sepulchre of love.

Frail as thy love, the flowers were dead
Ere yet the evening sun was set:
But years shall see the cypress spread,
Immutable as my regret.


Thomas Love Peacock.
( 1785–1866)
9Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250–1900)

When we Two parted

[...]

In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee?
With silence and tears.


George Gordon Byron,
(Lord Byron. 1788–1824)

'We'll go no more a-roving'

SO, we'll go no more a-roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.

For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.

Though the night was made for loving,
And the day returns too soon,
Yet we'll go no more a-roving
By the light of the moon.


Lord Byron.
(1788–1824)
(Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250–1900.)

É Outono

Faço um barco de papel e embarco, rumo às cenas
baralhadas de um sonho qualquer.
É outono e não sei dizer quem sou ou o que quero ser.
Os meus olhos são rios de palavras afogadas,
onde só posso ver a minha imagem disfarçada de mim.
Percorro então, uma a uma, as horas por viver
e descubro um arco-íris na minha boca
a gritar uma insónia íntima.

Dentro do meu sono ainda me perturba
a tua imagem, miragem do meu deserto
vencido, demora da minha espera.
Era feito de mármore o silêncio
dos teus olhos e por ele escorriam
as palavras que eu dizia, como se fossem água.
Esse silêncio doeu na minha voz,
quando as minhas mãos violaram os gestos
e, entre nós, ficou intacto o diálogo.
Sei agora a cor exacta do vinho
com que brindei à primavera em nome
da presença que tu eras e hoje, ao recordar-te,
sublinhei o sentido dos sonhos e do vento.
Foi o tempo em que a neve presente no teu rosto
gelou os meus lábios até à transparência.

Graça Pires
De Outono: lugar fragil, 1993

Le mimosa

Sur fond d'azur le voici, comme un personnage de la comédie italienne, avec un rien d'histrionisme saugrenu, poudré comme Pierrot, dans son costume à pois jaunes, le mimosa.
Mais ce n'est pas un arbuste lunaire : plutôt solaire, multisolaire…
Un caractère d'une naïve gloriole, vite découragé.
Chaque grain n'est aucunement lisse, mais formé de poils soyeux, un astre si l'on veut, étoilé au maximum.
Les feuilles ont l'air de grandes plumes, très légères et cependant très accablées d'elles-mêmes ; plus attendrissantes dès lors que d'autres palmes, par là aussi très distinguées. Et pourtant, il ya quelque chose actuellement vulgaire dans l'idée du mimosa ; c'est une fleur qui vient d'être vulgarisée.
… Comme dans tamaris il y a tamis, dans mimosa il y a mima.


Francis Ponge, La Rage de l'expression, 1952
(Extrait du livre)

Pássaros

(Foto by Fernando Campanella)

A primavera de New England
não traz seus pássaros à minha janela.
Mas por que penso naqueles cantos
se nem os pássaros de meu velho rio
ou de minhas conhecidas árvores
vêm ao meu jardim cantar?


Só cantam para si próprios,
o martim- pescador, a corrila ,
o joão-de-barro atribulado.


Pensando melhor, nem mesmo pardais,
nenhum pio, nenhum bemol acasalado
conseguem meu dia despertar.
Ficam por si, longínquos, os canários
e os bem-te-vis nas cercanias .


Como é triste acordar
daquelas ternuras surdo, descantado.
como é áspero raspar do dia o aço.
ranger roldanas de hábitos e ossos.


Cantem para si, para Deus
ou para quem os consiga ouvir
o exótico robin , o cuco e a cotovia.
Nenhum trinado, nenhum grasnar,
vêm alcançar meus ouvidos ruidosos.


Ah, vejam, sou mesmo um rei nu,
um moedor de pedras,
sou aquele imperador da China
que tão pobre era sem seu pássaro -
aquele pobre mandarim ,
a solidão, meu triste rabicho,
a ausência, esta enorme vassala de mim.


Fernando Campanella, 1987

DISAGREEMENT

Steps with no return
inflame memory´s homelessness:
streets in silence
ignore you and resign
from immune photographs

What remains
is an ironic truce with the past
a vague poem
awake nonetheless
against the day´s edges


Júlio Castañon Guimarães
Translation by Steven White