(Thank you, Fog - 1974)
Thank
You, Fog
Grown used to New York weather,
all too familiar with Smog,
You, Her unsullied Sister,
I'd quite forgotten and what
You bring to British winters:
now native knowledge returns.
Sworn foe to festination,
daunter of drivers and planes,
volants, of course, will cause You,
but how delighted I am
that You've been lured to visit
Wiltshire's witching countryside
for a whole week at Christmas,
that no one can scurry where
my cosmos is contracted
to an ancient manor-house
and four Selves, joined in friendship,
Jimmy, Tania, Sonia, Me.
Outdoors a shapeless silence,
for even then birds whose blood
is brisk enough to bid them
abide here all the year round,
like the merle and the mavis,
at Your cajoling refrain
their jocund interjections,
no cock considers a scream,
vaguely visible, tree-tops
rustle not but stay there, so
efficiently condensing
Your damp to definite drops.
Indoors specific spaces,
cosy, accommodate to
reminiscence and reading,
crosswords, affinities, fun:
refected by a sapid
supper and regaled by wine,
we sit in a glad circle,
each unaware of our own
nose but alert to the others,
making the most of it, for
how soon we must re-enter,
when lenient days are done,
the world of the work and money
and minding our p's and q's.
No summer sun will ever
dismantle the global gloom
cast by the Daily Papers,
vomiting in slip-shod prose
the facts of filth and violence
that we're too dumb to present:
our earth's a sorry spot, but
for this special interim,
so restful yet so festive,
Thank You, Thank You, Thank You, Fog.
"A poet is, before anything else, a person who is passionately in love with language."
Grown used to New York weather,
all too familiar with Smog,
You, Her unsullied Sister,
I'd quite forgotten and what
You bring to British winters:
now native knowledge returns.
Sworn foe to festination,
daunter of drivers and planes,
volants, of course, will cause You,
but how delighted I am
that You've been lured to visit
Wiltshire's witching countryside
for a whole week at Christmas,
that no one can scurry where
my cosmos is contracted
to an ancient manor-house
and four Selves, joined in friendship,
Jimmy, Tania, Sonia, Me.
Outdoors a shapeless silence,
for even then birds whose blood
is brisk enough to bid them
abide here all the year round,
like the merle and the mavis,
at Your cajoling refrain
their jocund interjections,
no cock considers a scream,
vaguely visible, tree-tops
rustle not but stay there, so
efficiently condensing
Your damp to definite drops.
Indoors specific spaces,
cosy, accommodate to
reminiscence and reading,
crosswords, affinities, fun:
refected by a sapid
supper and regaled by wine,
we sit in a glad circle,
each unaware of our own
nose but alert to the others,
making the most of it, for
how soon we must re-enter,
when lenient days are done,
the world of the work and money
and minding our p's and q's.
No summer sun will ever
dismantle the global gloom
cast by the Daily Papers,
vomiting in slip-shod prose
the facts of filth and violence
that we're too dumb to present:
our earth's a sorry spot, but
for this special interim,
so restful yet so festive,
Thank You, Thank You, Thank You, Fog.
Grazie, Nebbia – Wystan Hugh Auden
Abituato al clima newyorkese,
conoscendo lo Smog fin troppo bene,
mi ero dimenticato
di Te, la Sua Sorella immacolata,
di ciò che porti ai nostri inverni inglesi:
conoscenze native si risvegliano.
Acerrima nemica della fretta,
spauracchio di aerei e guidatori,
certo Ti maledice ogni volatile,
ma io sono felicissimo,
perché Ti sei convinta a visitare
le campagne incantevoli del Wiltshire
l’intera settimana di Natale,
e nessuno può correre
nel mio cosmo, ridotto
ad una villa antica e a quattro Monadi
legate da amicizia:
Io, Sonia, Jimmy e Tania.
Fuori un silenzio informe:
persino quegli uccelli spinti a stare
dal loro sangue caldo
qui intorno tutto l’anno,
come il bottaccio e il merlo,
da Te allettati frenano
il loro verso allegro,
nessun gallo si azzarda a strepitare,
e le cime degli alberi, visibili
appena, non stormiscono ma restano
immobili e condensano efficienti
in gocce esatte la Tua umidità.
Dentro, spazi accoglienti ben precisi
rendono confortevole
la lettura e il ricordo, i cruciverba,
le affinità, le risa:
ristorati da sapide cenette
e allietati dal vino,
sediamo lieti in cerchio,
ignari di noi stessi ma solerti
nei confronti degli altri,
cercando quanto più di approfittarne,
perché ben presto occorrerà rientrare,
finiti questi giorni di clemenza,
nel mondo del denaro e del lavoro,
dove si è attenti ad ogni punto e virgola.
Nessun sole d’estate potrà mai
dissolvere le tenebre totali
diffuse dai Giornali,
che vomitano in prosa trasandata
fatti violenti e sordidi
che non riusciamo, sciocchi, ad impedire:
la terra è un brutto posto,
eppure, per quest’attimo speciale,
così tranquillo ma così festoso,
ti rendo Grazie: Grazie, Grazie, Nebbia.
Bellissima raccolta postuma, che raccoglie ciò che Auden scrisse negli ultimi sei mesi di vita, nel pieno della maturità artistica e perfezione compositiva. Giù il cappello, signori: siamo davanti ad un Grande.
Voglio riportare la dedica:
A Michael e Marny Yates
Nessuno di noi è più giovane
Come una volta. E allora?
L'amicizia non invecchia.
"A poet is, before anything else, a person who is passionately in love with language."
Wystan Hugh Auden (England 1907-1973)
Davvero un grande sapiente, come si dice nella quarta di copertina. Voglio riportare alcuni brevissimi shorts del libro, il primo è un haiku:
RispondiElimina"L'uomo deve infatuarsi
di Qualcuno o Qualcosa,
altrimenti si ammala."
(Man must either fall in love
with Someone or Something,
or else fall ill.)
Insomma, o cade di qua o cade di là.
Il secondo sconcerterebbe molti credenti, per cui ne riporto solo i versi finali, che condivido in pieno:
"...Ma resta la Domanda:
dove l'ha preso Cristo
quell'altro cromosoma?"
(But the Question remains:
from where did Christ get
that extra chromosome?)
perché Auden la pensa così:
"Qualunque sia la fede personale,
tutti i poeti, per definizione,
sono politeisti."
(Whatever their personal faith,
all poets, as such,
are polytheists.)
What is the good life??? qual è la vita giusta ?
EliminaLa bontà è senza tempo!!
L'ansia di Auden è quella di chi vede la nostra eistenza infelice in un Mondo a cui nulla può essere aggiunto da coloro che vi abitano, ma nel contempo, passa un discorso più etico che religioso,che gli affetti,le relazioni,le cose speciali della vita donano consolazione giustificando azioni e virtù.
Science, like Art, is fun, a playing with truths, and no game
Eliminashould ever pretend to slay the heavy-lidden riddle,
What is the Good Life?
Common Sense warns me of course to buy
neither but, when I compare their rival Myths of Being,
bewigged Descartes looks more outrè
than the painted wizard.
(from Unpredictable but Providential - for Loren Eiseley)
La Scienza, come l'arte è divertente,
è un baloccarsi con le verità,
e nessun gioco deve mai aspirare
ad uccidere l'enigma sonnecchiante:
Qual è la vita giusta?
Il mio Buon Senso
ovviamente, mi avverte di non credere
a nessuno dei due; se però metto
i due Miti dell'Essere a confronto,
Descartes sembra più eccentrico, in parrucca,
dello stregone dalla faccia tinta.
(da Imprevedibile ma provvidenziale, W.H.Auden)
Quattro amici,le risate,le cene,il fuoco,un vecchio cottege nella campagna del Wiltshire e la nebbia tutta intorno ,che rievoca vecchi ricordi.Questa poesia è il congedo del poeta,la sua ultima opera,che anche se pessimista trova consolazione ricordanto attimi speciali
RispondiEliminaEgli riesce a dare una visione altamente ironica e stranamente familiare delle sue passioni ,diventa sapiente senza cadere nella retorica e nella banalità.
Elogia la nebbia "acerrima nemica della fretta che accarezza il mondo" e trasporta il Mondo stesso lontano dalle logiche della produzione laddove"si è attenti ad ogni punto e virgola"
Arrivato per caso, aggiungo due versi di questo bel libro, piuttosto attuali, ringrazio per l'ospitalità e adesso che so la strada tornerò! Prima l'inglese poi l'italiano. Marco B12
RispondiEliminaPolicy ought to conform to Liberty, Law and Compassion,
but, as a rule, It Obeys Selfishness, Vanity, Funk.
La politica dovrebbe adeguarsi a Libertà, Legge e Compassione,
ma di regola Essa Obbedisce a Vanità, Egoismo e Tremarella.
Premetto che non l'ho ancora letto, ma, prescindendo da questo, Auden mi piace in assoluto. Trovo splendida l'immagine della nebbia ovattata che in campagna ci isola dal mondo, rendendoci intimamente felici, lontani per un poco dalle brutture quotidiane della città che ci rendono sciocchi e impotenti.
RispondiEliminaGrande poeta e grande uomo. Mi piace tutto di lui, perché la lucidità umana, sociale, politica e morale siano di esempio a chiunque.
RispondiEliminaMi piace assai:
RispondiEliminaRECITATIVE BY DEATH – W.H. AUDEN
Ladies and gentlemen, you have made most remarkable
Progress, and progress I agree, is a boon;
You have built more automobiles then are parkable,
Crashed the sound-barrier, and may very soon
Be setting up juke-boxes on the Moon:
But I beg to remind you that, despite all that,
I, Death, still am and will always be Cosmocrat.
Still I sport with the young and daring; at my whim,
The climber steps upon the rotten boulder,
The undertow catches the boys as they swim,
The speeder steers onto the slippery shoulder:
With others I wait until they are older
Before assigning, according to my humor,
To one a coronary, to one a tumor.
Liberal my views upon religion and race;
Tax-posture, credit-rating, social ambition
Cut no ice with me. We shall meet face to face,
Despite the drugs and lies of your physician,
The costly euphemisms of the mortician:
Westchester matron and Bowery bum,
Both shall dance with me when I rattle my drum.
RECITATIVO SULLA MORTE – W.H. AUDEN
Signore e signori, siete stati artefici di un incredibile
progresso – e il progresso, concordo anch’io – è una gran fortuna;
avete costruito più auto di quanto sia possibile
parcheggiarne, infranto la barriera del suono e senza alcuna
esitazione installerete presto juke-box sulla Luna.
Ma io vi prego di ricordare che io, la Morte, sono e resto
sempre Cosmocrate, nonostante tutto questo.
Mi trastullo ancora con i giovani e gli audaci; secondo
Il mio capriccio, lo scalatore mette il piede su una roccia dissestata,
i ragazzi che nuotano vengono tirati giù dalle correnti di fondo
e chi accelera slitta su una strada gelata:
con gli altri attendo, che raggiungano un’età avanzata
prima di assegnare, a seconda dell’umore,
a chi un infarto, a chi un tumore.
Quanto a razza e religione sono assai tollerante;
ambizioni sociali, fasce di reddito e asset finanziari
con me servono a poco. Ci incontreremo di persona, nonostante
le medicine e le bugie di medici e sanitari
e i costosi eufemismi degli agenti funerari:
la signora del Westchester e il barbone del Bowery al rullare
del mio tamburo si metteranno entrambi, insieme, a danzare.
Mentre in Funeral Blues Auden affrontava la Morte in tutta la tragica negatività, in questa ballata la trasforma in una Totentanz quasi festosa!
EliminaI love it when individuals get together and share views. Great blog, continue the good work!
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Eliminae così lo abbiamo comprato: non lo avevamo e lo volevamo. E' sempre un piacere leggere Auden. Bellissima la poesia di apertura, Grazie Nebbia, e fulminanti gli shorts. E mi è piaciuta moltissimo anche questa, di cui trascrivo il finale:
RispondiEliminaArcheologia - CODA (Wynstan Hugh Auden)
Dall'Archeologia
possiamo trarre almeno una morale:
cioè che tutti i nostri
libri di scuola mentono.
Ciò che chiamiamo Storia non è nulla
di cui poter vantarsi,
in quanto è stata fatta
dal criminale in noi:
la bontà è senza tempo.
Archaeology - CODA (W.H. Auden)
From Archaeology
one moral, at least, may be drawn,
to wit, that all
our school text-books lie.
What they call History
is nothing to vaunt of,
being made, as it is,
by the criminal in us:
goodness is timeless.
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Elimina"Chi ci viene a negare che le "dolorose" realtà come l'atomica, la violenza e la droga non saranno più attuali fra un secolo e fra due? E che il rapporto fra gli uomini per quel tempo si sarà modificato? "Legati a noi stessi per la vita, dobbiamo apprendere come sopportarci a vicenda" (The Dyer's Hand - W.H.Auden)
RispondiElimina"Ama il tuo cattivo vicino con il tuo cattivo cuore, ma ama il tuo buon vicino con il tuo buon cuore" W.H.Auden
RispondiEliminaquello che mi diceva mia nonna: educata con gli educati, ignoranta con gli ignoranti
EliminaUn altro mondo, un poeta unico e da leggere, meditare, rileggere e assaporare verso su verso. Mi fa piacere che siate in tanti a pensarla come me, ci ha lasciato pagine indimenticabili, eredità universale per tutti quelli che forse non sapranno scrivere come lui, ma certamente fanno tesoro dei suoi pensieri.
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RispondiEliminaPROGRESS? - WYSTAN HUGH AUDEN
RispondiEliminaSessile, unseeing,
the Plant is wholly content
with the Adjacent.
Mobilised, sighted,
the Beast can tell Here from There
and Now from Not-Yet.
Talkative, anxious
Man can picture the Absent
and Not-Existent.
PROGRESSO? - WYSTAN HUGH AUDEN
Sessile, non vedente,
la Pianta è totalmente soddisfatta
di Ciò che le è Adiacente.
Mobile e vedente,
la Bestia sa distinguere il Qua e il Là
e l'Ora e il Non-Ancora.
Loquace e ansioso,
l'Uomo può immaginare Ciò che è Assente
e il Non-Esistente.
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RispondiEliminaregalo di Natale da parte di Auden. Questo brano è tratto dal "Religious Drama", non da Thank you, Fog.
RispondiEliminaAT THE MANGER - WYSTAN HUGH AUDEN
MARY:
O shut your bright eyes that mine must endanger
With their watchfulness; protected by its shade
Escape from my care: what can you discover
From my tender look but how to be afraid?
Love can but confirm the more it would deny.
Close your bright eye.
Sleep. What have you learned from the womb that bore you
But an anxiety your Father cannot feel?
Sleep. What will the flesh that I gave do for you,
Or my mother love, but tempt you from His will?
Why was I chosen to teach His Son to weep?
Little One, sleep.
Dream. In human dreams earth ascends to Heaven
Where no one need pray nor ever feel alone.
In your first few hours of life here, O have you
Chosen already what death must be your own?
AL PRESEPE – WYSTAN HUGH AUDEN
Elimina(traduzione di Aurora Ciliberti)
MARIA
Chiudi i tuoi occhi splendenti, che i miei possono mettere in pericolo
con la loro vigilanza; protetti dalle palpebre
sfuggono alla mia cura: cosa potresti scoprire
nel mio tenero sguardo se non il timore?
L’amore solo può confermare quanto più vorrebbe negare.
Chiudi i tuoi occhi splendenti.
Dormi. Cosa hai appreso dal grembo che ti ha portato
se non l’ansietà che tuo Padre non può sentire?
Dormi. Cosa farà per te la carne che ti ho dato
o il mio amore di madre, se non tentarti dal Suo volere?
Perché sono stata scelta per insegnare a Suo figlio il pianto?
Mio piccolo, dormi.
Sogna. Nei sogni umani la terra ascende al Cielo
dove nessuno ha bisogno di pregare né ha da sentirsi solo.
Nelle tue prime ore di vita, qui, hai tu
già scelto quale sarà la tua morte?
Quanto presto inizierai la Via del Dolore?
Sogna mentre lo puoi.
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RispondiElimina"The Novelist" by W.H. Auden
RispondiEliminaEncased in talent like a uniform,
The rank of every poet is well known;
They can amaze us like a thunderstorm,
Or die so young, or live for years alone.
They can dash forward like hussars: but he
Must struggle out of his boyish gift and learn
How to be plain and awkward, how to be
One after whom none think it worth to turn.
For, to achieve his lightest wish, he must
Become the whole of boredom, subject to
Vulgar complaints like love, among the Just
Be just, among the Filthy filthy too,
And in his own weak person, if he can,
Must suffer dully all the wrongs of Man.
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RispondiElimina"Are You There?" by W.H. Auden
RispondiElimina"Each lover has some theory of his own
About the difference between the ache
Of being with his love, and being alone:
Why what, when dreaming, is dear flesh and bone
That really stirs the senses, when awake,
Appears a simulacrum of his own.
Narcissus disbelieves in the unknown;
He cannot join his image in the lake
So long as he assumes he is alone.
The child, the waterfall, the fire, the stone,
Are always up to mischief, though, and take
The universe for granted as their own.
The elderly, like Proust, are always prone
To think of love as a subjective fake;
The more they love, the more they feel alone.
Whatever view we hold, it must be shown
Why every lover has a wish to make
Some kind of otherness his own:
Perhaps, in fact, we never are alone."
"Epitaph on a Tyrant" by W.H. Auden (1907 - 1973)
RispondiEliminaPerfection, of a kind, was what he was after,
And the poetry he invented was easy to understand;
He knew human folly like the back of his hand,
And was greatly interested in armies and fleets;
When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets.
"A New Age" by W.H. Auden
RispondiElimina"So an age ended, and its last deliverer died
In bed, grown idle and unhappy; they were safe:
The sudden shadow of a giant's enormous calf
Would fall no more at dusk across their lawns outside.
They slept in peace: in marshes here and there no doubt
A sterile dragon lingered to a natural death,
But in a year the spoor had vanished from the heath:
A kobold's knocking in the mountain petered out.
Only the scupltors and the poets were half sad,
And the pert retinue from the magician's house
Grumbled and went elsewhere. The vanished powers were glad
To be invisible and free; without remorse
Struck down the sons who strayed in their course,
And ravished the daughters, and drove the fathers mad."
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RispondiElimina"The Watershed" by W.H. Auden
RispondiEliminaWho stands, the crux left of the watershed,
On the wet road between the chafing grass
Below him sees dismantled washing-floors,
Snatches of tramline running to a wood,
An industry already comatose,
Yet sparsely living. A ramshackle engine
At Cashwell raises water; for ten years
It lay in flooded workings until this,
Its latter office, grudgingly performed.
And, further, here and there, though many dead
Lie under the poor soil, some acts are chosen,
Taken from recent winters; two there were
Cleaned out a damaged shaft by hand, clutching
The winch a gale would tear them from; one died
During a storm, the fells impassable,
Not at his village, but in wooden shape
Through long abandoned levels nosed his way
And in his final valley went to ground.
Go home, now, stranger, proud of your young stock,
Stranger, turn back again, frustrate and vexed:
This land, cut off, will not communicate,
Be no accessory content to one
Aimless for faces rather there than here.
Beams from your car may cross a bedroom wall,
They wake no sleeper; you may hear the wind
Arriving driven from the ignorant sea
To hurt itself on pane, on bark of elm
Where sap unbaffled rises, being spring;
But seldom this. Near you, taller than the grass,
Ears poise before decision, scenting danger.
August 1927
‘If I could tell you’ by Wystan Hugh Auden
RispondiEliminaTime will say nothing but I told you so,
Time only knows the price we have to pay;
If I could tell you I would let you know.
If we should weep when clowns put on their show,
If we should stumble when musicians play,
Time will say nothing but I told you so.
There are no fortunes to be told, although,
Because I love you more than I can say,
If I could tell you I would let you know.
The winds must come from somewhere when they blow,
There must be reasons why the leaves decay;
Time will say nothing but I told you so.
Perhaps the roses really want to grow,
The vision seriously intends to stay;
If I could tell you I would let you know.
Suppose all the lions get up and go,
And all the brooks and soldiers run away;
Will Time say nothing but I told you so?
If I could tell you I would let you know.
"Grub First, Then Ethics" by W.H. Auden
RispondiEliminaShould the shade of Plato
Visit us, anxious to know
how anthropos is, we could say to him: "Well,
we can read to ourselves, our use
of holy numbers would shock you, and a poet
may lament—'Where is Telford
whose bridged canals are still a Shropshire glory
where Muir who on a Douglas Spruce
rode out a storm and called an earthquake noble,
where Mr. Vynyian Board,
thanks to whose life-long fuss the hunted whale now suffers
a quicker death?'—without being
called an idiot, though none of them bore arms or
made a public splash," then "Look!"
we would point, for a dig at Athens, "Here
is the place where we cook."
Though built in Lower Austria
do-it-yourself America
prophetically blueprinted this
palace kitchen for kingdoms
where royalty would be incognito, for an age when
Courtesy might think: "From your voice
and the back of your neck I know we shall get on
but cannot tell from your thumbs
who is to give the orders." The right note is harder
to hear than in the Age of Poise
when She talked shamelessly to her maid and sang
noble lies with Him, but struck
it can be still in New Knossos where if I am
banned by a shrug it is my fault,
not Father's, as it is my taste whom
I put below the salt.
The prehistoric hearthstone,
round as a birthday-button
and sacred to Granny, is as old
stuff as the bowel-loosening
nasal war cry, but this all-electric room
where ghosts would feel uneasy,
a witch at a loss, is numinous and again
the centre of a dwelling
not, as lately it was, an abhorrent dungeon
where the warm unlaundered meiny
belched their comic prose and from a dream of which
chaste Milady awoke blushing.
House-proud, deploring labor, extolling work,
these engines politely insist
that banausics can be liberals,
a cook a pure artist
who moves Everyman
at a deeper level than
Mozart, for the subject of the verb
to-hunger is never a name:
dear Adam and Eve had different bottoms,
but the neotene who marches
upright and can subtract reveals a belly
like a serpent's with the same
vulnerable look. Jew, Gentile, or Pigmy,
he must get his calories
before he can consider her profile or
his own, attack you or play chess,
and take what there is however hard to get down:
then surely those in whose creed
God is edible may call a fine
omelet a Christian deed.
The sin of Gluttony
is ranked among the Deadly
Seven, but in murder mysteries
one can be sure the gourmet
didn't do it: children, brave warriors out of a job,
can weigh pounds more than they should
and one can dislike having to kiss them yet,
compared with the thin-lipped, they
are seldom detestable. Some waiter grieves
for the worst dead bore to be a good
trencherman, and no wonder chefs mature into
choleric types, doomed to observe
Beauty peck at a master-dish, their one reward
to behold the mutually hostile
mouth and eyes of a sinner married
at the first bite of a smile.
The houses of our City
are real enough but they lie
haphazardly scattered over the earth,
and Her vagabond forum
is any space where two of us happen to meet
who can spot a citizen
without papers. So, too, can her foes. Where the
power lies remains to be seen,
the force, though, is clearly with them: perhaps only
by falling can She become
Her own Vision, but we have sworn under four eyes
to keep Her up—all we ask for,
should the night come when comets blaze and meres break,
is a good dinner, that we
may march in high fettle, left foot first,
to hold her Thermopylae.
*
Poems: Auden is just another reminder of his exhilarating lyric power and his understanding of love and longing in all their sacred and profane guises. One of English poetry's great 20th century masters, Poems: Auden is the short collection of an exemplary champion of human wisdom in its encounter with the mysteries of experience.