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Tomas Tranströmer in Spanje

2013/02/17 in Uncategorized

Goya: Capricho № 37: ¿Si sabra más el discípulo? (Might not the pupil know more?).

 

Uit hemligheter på vägen 1958  p 65

Caprichos

Tomas Tranströmer

Dit word donker in Huelva: roetbedekte palms
en die treinfluit se ylingse
silwerwit vlermuise.

Die strate het vol mense geword.
En die vrou wat deur die gewoel haas, weeg versigtig
die laaste daglig op die skaal van haar oë.

Kantoorvensters gaan oop. Jy kan nog steeds
hoor hoe die perd daarbinne stommel.
Die ou perd met stempelhoewe.

Eers na midderna gis die strate leeg.
Uiteindelik is dit blou in al die kantore.

Daar bo in die lug:
stil aan’t draf, glinsterend en swart,
ongesiens en ongebonde,
met sy ruiter afgegooi:
‘n nuwe sterrebeeld wat ek “Die Perd” noem.

uit Spaans vertaal deur De Waal Venter

‘n Jong Tomas Tranströmer

Caprichos

Det mörknar i Huelva: sotiga palmer
och tågvisslingens ilande
silvervita fladdermöss.

Capricho № 37: ¿Si sabra más el discípulo? (Might not the pupil know more?)

Uit:  Fronteread revista digital
Notas sobre Tomas Tranströmer
Eduardo Jordá – 13-10-2011
1.    Eduardo Jordá  skryf: Een aand in die 50′s, in Huelva, het Tranströmer opgekyk in die lug en ‘n groep sterre  gesien wat die beeld gevorm het van ‘n perd: “stil aan’t draf”,’n perd wat sy ruiter afgegooi het en nou vry ronddwaal in die lugruim.

Tranströmer besluit toe om die groep sterre ‘n naam te gee: “Die Perd”.  Hy was ‘n jong man in sy vroeë twintigerjare, besig om sy studies in sielkunde af te rond. Hy was in diens van ‘n instituut vir jong wetsoortreders. Ek dink Tranströmer wou die jongmense verby die mure, verby die tralies laat kyk na ‘n perd wat daar buite vry galop het.

2.    Wikipedia: Huelva (Spanish pronunciation: [ˈwelβa]) is a city in southwestern Spain, the capital of the province of Huelva in the autonomous region of Andalusia. It is located along the Gulf of Cadiz coast, at the confluence of the Odiel and Tinto rivers.

3.    Wikipedia: Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya’s condemnation of the universal follies and foolishness in the Spanish society in which he lived. The criticisms are far-ranging and acidic; he speaks against the predominance of superstition, the ignorance and inabilities of the various members of the ruling class, pedagogical short-comings, marital mistakes and the decline of rationality. Some of the prints have anticlerical themes. Goya described the series as depicting “the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual”.[1]

The work was an Enlightened, tour-de-force critique of 18th-century Spain, and humanity in general. The informal style, as well as the depiction of contemporary society found in Caprichos, makes them (and Goya himself) a precursor to the Modernist movement almost a century later. The Sleep of Reason Produces Monsters in particular has attained an iconic status.

2 responses to Tomas Tranströmer in Spanje

  1. So bietjie by jou kom lees:)

    • Jy’s besonder welkom, Jeanius. Die volgende gedig het te doen met ‘n droom! Maar dis waarskynlik nie wat jy verwag nie :)

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