“The World As Meditation”

            

Summary:

Ziua internațională a Poeziei / World Poetry Day

       Invitation

“The World As Meditation” by Wallace Stevens

Two poems about blackbirds, for World Poetry Day:

            WALLACE STEVENS:

            A Blackbird Singing ;

            Thirteen Blackbirds Look at a Man

BILHANA:

Vikramankadeva Caritam

GEORGE  ANCA

            Meditation on an Imaginary Anthology

            Jean Racine  à Sibiu

                   “The World As Meditation” by Wallace Stevens

The World As Meditation

J’ai passé trop de temps à travailler mon violon, à voyager. Mais l’exercice essentiel du compositeur — la médiatation — rien ne l’a jamais suspendu en moi … Je vis un rêve permanent, qui ne s’arrête ni nuit ni jour. — Georges Enesco

Is it Ulysses that approaches from the east,

The interminable adventurer? The trees are mended.

That winter is washed away. Someone is moving

On the horizon and lifting himself up above it.

A form of fire approaches the cretonnes of Penelope,

Whose mere savage presence awakens the world in which she dwells.

She has composed, so long, a self with which to welcome him,

Companion to his self for her, which she imagined,

Two in a deep-founded sheltering, friend and dear friend.

The trees had been mended, as an essential exercise

In an inhuman meditation, larger than her own.

No winds like dogs watched over her at night.

She wanted nothing he could not bring her by coming alone.

She wanted no fetchings. His arms would be her necklace

And her belt, the final fortune of their desire.

But was it Ulysses? Or was it only the warmth of the sun

On her pillow? The thought kept beating in her like her heart.

The two kept beating together. It was only day.

It was Ulysses and it was not. Yet they had met,

Friend and dear friend and a planet’s encouragement.

The barbarous strength within her would never fail.

She would talk a little to herself as she combed her hair,

Repeating his name with its patient syllables,

Never forgetting him that kept coming constantly so near.

Wallace Stevens, 1879-1955

               Two poems about blackbirds, for World Poetry Day

Posted on 21 March 2014  

“Little Blackbird,” by Randy Aquilizan

WALLACE STEVENS

A Blackbird Singing

It seems wrong that out of this bird, Black, bold, a suggestion of dark
Places about it, there yet should come Such rich music, as though the notes’
Ore were changed to a rare metal
At one touch of that bright bill.

You have heard it often, alone at your desk
In a green April, your mind drawn
Away from its work by sweet disturbance
Of the mild evening outside your room.

A slow singer, but loading each phrase
With history’s overtones, love, joy
And grief learned by his dark tribe
In other orchards and passed on
Instinctively as they are now,
But fresh always with new tears.

“Blackbirds flying,” by Kathleen Westkaemper

Thirteen Blackbirds Look at a Man

1

It is calm.

It is as though

we lived in a garden

that had not yet arrived

at the knowledge of

good and evil.

But there is a man in it.

2

There will be

rain falling vertically

from an indifferent

sky. There will stare out

from behind its

bars the face of the man

who is not enjoying it.

3

Nothing higher

than a blackberry

bush. As the sun comes up

fresh, what is the darkness

stretching from horizon

to horizon? It is the shadow

here of the forked man.

4

We have eaten

the blackberries and spat out

the seeds, but they lie

glittering like the eyes of a man.

5

After we have stopped

singing, the garden is disturbed

by echoes; it is

the man whistling, expecting

everything to come to him.

6

We wipe our beaks

on the branches

wasting the dawn’s

jewellery to get rid

of the taste of a man.

7

Neverthless,

which is not the case

with a man, our

bills give us no trouble.

8

Who said the

number was unlucky?

It was a man, who,

trying to pass us,

had his licence endorsed

thirteen times.

9

In the cool

of the day the garden

seems given over

to blackbirds. Yet

we know also that somewhere

there is a man in hiding.

10

To us there are

eggs and there are

blackbirds. But there is the man,

too, trying without feathers

to incubate a solution.

11

We spread our

wings, reticulating

our air-space. A man stands

under us and worries
at his ability to do the same.

12

When night comes

like a visitor

from outer space

we stop our ears

lest we should hear tell

of the man in the moon.

13

Summer is

at an end. The migrants

depart. When they return

in spring to the garden,

will there be a man among them?

BILHANA

 din  Vikramankadeva Caritam (nici de apă stinsă, nici de papgali citită).

Candralekha (buric adânc, fin sân, față nepătată, glezne zvelte, buci-tron zeității): cristalul alb al minții regelui se înroși, ea era țărmul oceanului-sentiment erotic, lui îi bătea toba.

            Cânt 1: Fata domnului munților, purtând jumătatea trupului iubitului ei, un sân înălțându-i-se către față să întrebe despre celălalt (Ardhanariswara).

            Înotătoarele (VII) Papagalii îngânând din încânt cântecul cucilor au fost alungați din casă de femeile singure... (32)

            Vântul din muntele Malaya, parfumat de fețele femeilor din insula Ceylon, încetinit de bucile tinerelor învățătoare din Dravida, se oferă plăcerii.(30)

            (IX)... Tăcând, sfetnicii stăteau ca-ntr-o pictură, o vorbă nu mai ieșea nici din gâturile papagalilor speriați... ulei persian, foc pe săgețile iubirii. (18)

            Dormind doar o clipă în noapte, el o vedea singură, pe cea cu față de lotus, parcă prinsă de trupul său, pictată dinainte-i și învârtindu-i-se în jur.(23)

            Ea se duce de la fereastră în camera împodobită cu icoane, de aici la marginea pădurii și înapoi în casă (35)

            Svayambara, podeaua cu dale roșii. Regii - ocean agitat de pasiuni, gesticulație (76) piept ridicat, ornamente mai de preț (77) prefiră perle (78) lotus de jucărie în coroană, râzând la doamnele cetății (79) un paloș (80) praf de camfor fără nădușeală și mutându-și cercelul de la o ureche la alta (81) lovind cu mâna zornăind de brățări pe aducătorul de betel și strivind cu unghia o foaie (82) vorbind de unul singur luând camforul din cutia de betel și împărțindu-l celorlalți (83) imberb își scoate veșmântul de aur și calcă pe el (84) se aruncă în spatele aducătorului cutiei de betel ridicând sprânceana; își răsfiră degetele căscând și se prăvăle-n scaun înfierbântat; îi vibrează gâtul de nota a cincea și surâde, spune câteva vorbe cu dar poetic...

            Alegerea... Logodnica nici nu se uită la el și mai și scuipă foaia de betel din fața ei de lotus

            un râu și mutat pe cale de oceanul impetuos nu-și părăsește cursul dinainte

            (147) Fata pune ghirlanda alegerii pe gâtul lui Vikramanka

(X) Grădina plăcerilor (haremul) – martori dansului femeilor – iederi (24) Acest arbor Ashoka strivit de talpa ta e binecuvântat (Culesul florilor) – femeile din harem – (primăvara) din multe, numai cinci flori lui Kama; (40) arborele Bakula încovoiat sub bucile ei; (41) ochii plini de polen, o îmbrățișare regelui; Ashoka bate cu frunza-palmă o soție a regelui culegând flori; (43) cu buci grele în arbore, își dă drumul pe tulpină până la rădăcină cu picioare-lotus nădușite (44) copacii se ușurează de flori sub povara bucilor haremului; (46) trupurile trupurilor tot sudoare și polenuri; (47) lacurile buricelor femeilor cu ochi frumoși supte de polen (48) albinele (49) aruncând polen în ochii co-soției îl sărută pe rege; (50) una furioasă numără numai zgârieturile de unghie în subțiorile celorlalte; (51) ramura unui copac oferită de rege se lasă sub bucile femeii odată cu inima rivalelor (52) pe una o împodobește (54) una cu veșmântul smuls de o maimuță îl îmbrățișează pe rege; una rupe, cu bucile grele, creanga unde aștepta, și cade peste rege; (57) soțiile regelui Kuntalei, parcă prefăcute de Kama în dansatoare în dramele bravurii brațelor lui, arătau frumos cu picturi de grămezi de polenuri de flori; (58) flori și albine, pe față mâini, după femei; (60) sudoare amestecată cu polenuri de flori; (63) baia-bazinul; (65) soțiile regelui nu vedeau pământul de prea grelele țâțe; lebede speriate de sunetul brățărilor (70) regele, cu femeile, în bazinul plăcerii (71) femeile plivesc geloase lotușii, ca pe propriii ochi; (72) din atingerea buzelor roșii ca de bimba ale femeilor și a multului lor collyrium, se petrece o răsturnare: lotușii albaștri se înroșiră, cei roșii se albăstriră; (73) de joaca muierilor cu buci grele toți lotușii erau rupți (76) când femeile regelui intră în bazin, lacul de pe picoare, mișcând de albine, decolorându-se de picuri de sudoare, se spulberă; (78) regele îmbrâncește pe una în apă adâncă; (79) lotuși doar sălașuri de albine acoperite de polen precum drumeții de praf; (81) bucile ca de piatră ale muierilor, scufundându-se, undele au crescut ca de apa farmecului lor; (82) fețele-lună ale femeilor regelui Calukya văzute, albinele nu intrau în lotușii deschiși de teamă să nu se închidă (83); (84-86) regele le stropește pe țâțe-tâmple-de-elefant, pe cercei, pe urcioarle reginei; (89) bazinul cu apă amestecată cu santalul de pe sânii lor păli ca de despărțirea de muierile cu ochii-cerbi; (90) schimbarea veșmintelor.

            (XI)

            Speranța soarelui scufundându-se în ocean?

            De-acolo are Indra caii cei mai iuți;

            odată și odată îmi va da unul și mie. (8)

            O, cerb, nu-s crin -

            Ce-mi vii în vin?

            Colir din ochi Rohini

            pătându-te nu ți-e rușine? (56)

            Amant al nopții bându-te cu vinul

            neam de femei-mânii azi rupe-oi spinul (57)

            cupa de-mi atingi, regele nu te lasă

            Rohini s-o face furioasă (58)

            Sfârâind după vreuna te-ai subțiat ață

            nerușinatule adevărul e pe față. (59)

            De nestatornic fuși zvârlit în sări de mări,

            n-ai altfel raze reci și cum ți-e cald în cer? (60)

            Te știe soața flușturatic după fete

            Vin stele după tine nu vin să mă îmbete (61)

            Amant luminii lumii te-a păcălit vreuna

            că-n fiecare noapte pe cer treci spre Varuna. (62)

            O domn al nopții la ce-mi tulburi inima cu dragul

            din vinu-mi du-te giuvaer-pahar sari pragul (63)

            Cum bate vântul pâlpâi și te uiți

            după vreuna s-o săruți (64)

            stă bolta trează nu închide nicio stea

            prea ai umblat la multe dragostea (65)

            soțiile barzilor, în rostiri de nectar, spun cântecul

            dimineții augural, frumos, mai frumos de nota

            Șadja plăcută și lungă (73)

            Flăcările lămpilor dragi doamnelor cu ochi căprii

            scriindu-și scrisorile de dragoste... (76)

            O, poet între poeți, fără seamăn poezia pulsează;

            până și operele nepoeților își vădesc frumusețile;

            e timp de nespus pentru Sarasvati. Cu mintea

            concentrată, gândește-te o clipă a compune

            poezii (81)

            (XIII)

            Dealurile parcă prefăcute în ascetici... palide

            de cenușa pădurilor arse (3)

            șiruri de gâște sălbatice gârâind păreau

            cingători căzute coapsele râurilor

            subțiate de vară (4)

            zilele mari la trup de-au băut apa

            toată a pământului încet se lungiră parcă

            de greul soarelui pe cai înceți (5)

            numai râurile născute de Himalaya se

            bucurau de îmbrățișarea oceanului

            alte râuri mereu mai firave nu puteau face un pas (6)

            râurile din tărâmul nordic strânseseră apa căderilor

            din Himalayas ca pentru o baie rece oceanului

            aprins de despărțirea atâtor râuri (7)

            râurile cu firul pierzându-se înșirând

            petale de lotus înnoroite neîmpreunându-

            se cu oceanul erau lungi despărțiri (8)

            drumețul își anina ochii de sânii femeii

            împărțind apă gândindu-i urcioare nu mai

            știa de unda răcoroasă din urcior (9)

            drumeți poftind sărutul buzelor ca limba ale

            femeii ce apă împarte o băură pe gânduri înmiresmată

            de flori patala de ea dăruite (10)

(17-90 Kama descrie iubitei sale anotimpul ploilor – râurile, apoi Meghaduta)

            de bună seamă râurile s-au supărat de-o

            vorbă a mării și de duca norilor că noroioase

            și cu valuri țipătoare deodată o pornesc spre ocean

râurile bărbați-femei (46) – norii asemeni lutului înghițit de femei să nască (54) – asu-kavi versuri răspuns la ghicitori (68) – tu nor... n-ai egal ca... vestitor... celor despărțiți (60)

            lasă norule nefericite femei cu ochi

            de căprioară departe încă de iubiții lor chiar

            când te văd cine pictează pe unde ziduri nu-s? (74)

 Raze de lună intrau pe fereastră nu hoți

GEORGE  ANCA

MEDITATION  ON  AN  IMAGINARY  ANTHOLOGY

3. 07. 83. București

La Delhi pe iarnă moartea mi se uita în gât

ieri în centrul Bucureștiului mi s-a uitat gâtul la moarte

am revăzut-o și eu de nemaivzut o tristețe în picioare

încă nu cădeam m-au dus Nana și Nansi de colo colo

ori în care loc aș fi căzut putea fi cruce

schimbarea climei zice înfocată Mariana

anghina pulcelată pe același fond nu

e nicio problemă și nu se moare așa

dar dacă eu le-am cerut iertare și le-am spus că

le-am iubit și am călătorit împreună și

prin subteran nu puteam altfel traversa

simțind că n-o să mai pot urca de acolo

ieșisem în oraș cu 40 de grade pentru Mahabharata

1. 11. 83. Delhi (D5)

            I play chess with Vasile

            wolves dream a drink

             you play piano alone

2. 11. 83. Delhi

           

            the wives'minds rejuvenated

            beyond tragic purification

            when forgetting the sins of game

            in dream you had arrived at down

            with other appearance mounted

            on the white ants tree

            laughing from lungs halving

            the pay of sitar illusion not

            knowing the ten adventures

            and who singing other music

            had pushed us in the sin

            of riverside coppices

            I quote negations from the gallows

            over a woman in the ghost

            replacing the nonsense

            it rings with an invitation

            three days after in Hanuman

            Mandir at his daughter shadi

            since yesterday no more distant pallor

            since today morning contributing

            to my sin with the birth

            distinguishing the mogul

            from Turk I retired

            in the nearness of  Kublai

            I was distinguishing the love from death

            Radha loving only in the meaning

            that she will lose will lose Krishna

            I'll not transcribe the trembling

            in the abyss of awakening

            to not lose Radha not lose Radha

            the alley slips under monkeys

            thoughts shadow up to the tower

            palm-tree growing me green

            guarded by her child

            this untouchable woman

            is looking into the mirror

            the child sees me sees me

            and I see both covering with touches

            the matter of white mirror

            a paisa for  Dusshera a paisa for

            puja jae mata immaculata

            harijan gone in the mirror

            now that it came the time

            of quiet word jiu-jitsu

            how without irmi and judo

            in tempo of kempo tae kwan-do

            tang soo-do aike-do

            karate kung fu

            you were painting annunciation

            saying lalat netra agun basan

            from Rabindranath ashes-eyes

            and again ma bole dakis nore mon

            n-o chema-n minte pe maica ta

            run like the calf after the cow

6. 11. 83. Delhi

            non sono sola

            jae jagadisha hari

            accompanied at piano-forte

            say something before

             next concerto for credibility

            of yaksha's meghaduta

7. 11. 83. Delhi

            Confused I am by all snake's symbols – Achilles died in the Island of Snakes, Leuke by name, and the island went some while ago unnoticed to Yama. A letter I red in red ink from madness to madness, then once again I met you within confusion and Monday morning in a kind cosmos.

            It's black ink over a page and a half. The empty white half doesn't help. The child hadn't time after falling for the second time. No color. It is written   „nu s-a împiedicat”. Free fall. Past. Three weeks plus two weeks and now, similarly postponed.

            Said, you understand. Other colors. Walk. The unseen garden. Said, you saw. Left the same. Seen nothing. Second time, at night, laughs over any face and a half. Loved the white cow. Disturbing. Killing kidneys. Economy, phallus and belonging. Jacket, urine, jacket. Commercial name Rivatril, nothing in India, understand Kamla.

             „Nine years ago on a November afternoon, two weeks later, I was sitting on the same verandah, on the same chair turning my back  half to the sun, with half of my senses turning towards the child on the other verandah.

            We were trying to make out the sense of English sentences, hearing the crows, feeling the coming noise of nature. Another subtle voice of birds, same feeling like under painted plantains. The child walking in the dark, green shadows (with lures of brown, yellow and red) of a late afternoon – it should last forever. The child now ten years old is watching intensely Juliette and Hermione who I am not. My brain is touched. We are going to explore it.”

            God, take my life, make two for my child, let him old in me and grown up in him, a girl, a boy, unaware of us all. The night you did passed, and a beautiful Indian November also today and all children and you and me.

            The dream you gave me not long nights ago wasn't true, wasn't untrue, like you an me, and a few troubles, not more sins. Cursed be you for my enjoyment of being. You push me to those prints of child's fall.

            I thank to first mother immolated, burned like a sati, in my very place and of child's. It happens with no why, maharaj, good Bhagavan. There was a story of stories you'll bitterly remember, giving a wind and a rain with no why.

             „I should understand. But with anger and longing, I don't. I regret the steps, the same steps I walk down through the same roadside, pebbles and known and unknown stones, faces watching, everything in alert dressing to meet the acquaintances.

            I need to hold your hand, feel you for long, long time, so long that I could forget about everything, the noise outside, phalwala shouting, waiting whores and raven crowing the hour of our death, drown around my mouth, eyes, palms of my hands.

            On a nice worm Delhi winter evening, I was surrounded by nice, polished young men. Then I could have told you and myself the truth about you, about myself – half open windows, half drunk coffee, abandoned books, type-writer half-filled with dust, my mother opening the empty letter-box, Luiza in a guise of patience at the entrance, Vijay and Terry playing a big game of scrabble.

            And the children loving being incarnations of all who have once been and loved India, great possibilities of life and disappointment. I always dreamt about reaching here, walking in the dust in the footsteps of many, going with books in my hand, in a (cold) November morning, smelling the fresh stark and crowning on my saree forever and of course dying here, my ashes thrown into the Yamuna.

            And I find you here from the same and alien stock with all the middle-European complexes, frailty, self-destroying depressions, fears from being in the patch, Freudian complexes – we are doomed. It is all fatal, too heavy for me.”

            Did you find Rivatril? - I didn't understand description of it. - Bad E.E.G. How are your children? - Loving incarnations like ever. - I eave the place to try again, Margaret, snake is wise indeed, no time to be on one's way.

            I like it, after all. - Understanding another description. - Middle... - That's. - For us. - Over -

And now? - Rivatril. - American? - The doctor thinks also British, he was furious when I said German. Why cannot God make myself Rivatril for my child?

            I take profit in it (dear she), while,  „stately, plump  came Buck Mulligan” „at work with syllables to submit language as living” „and delighting proof of” his „gregariousness”, and far from the middle your Dumrul, „not I”, „MOUTH: ... out... into this world...”, well, Billie, L R(omanian), left, right,  „M: Mother”, „It all”, „Nothing to be done”, „Yes, let's go”, „about fifty”, our children know November, our children take awards. „You love me so!”, „Birth was the death of him”, I tried to start as SPEAKER, ending „the sad tale a last time told” through „The globe alone, alone gone”, „Prematurely old” „rock her off” as reader, „Little is left to tell”, a little more, „Ah!” (Krapp), „No, I wouldn't want them back”, „On” (Henry), „Not a sound”, „Finished”, „You remain”, „Desert”, „He looks at his hands”, „pick it up”, „what time you went back”, „and gone in no time gone in no time”, „Good-evening” (Female voice), „Repeat”, „When I thought of her it was always night”, „among the deepening shades”, „A penny for a poor old man”, „Eh, Billie?”, „Well” (B), „Well I'll be...!”, „Madam” (HE), „Tomorrow... noon...”, „Ready, miss?”, „Tomorrow, who knows, we may be free”.

            At superbazar I was advised to visit, not to see, Chondni Chowk, that is Medical Bureau, opposite Chatne Wale Sweet Shop. I dropped in Young Friends Chemist, knowing that no drugs are being imported in India.

            And so in The New Book Depot, I got the following imports: The Book of Dede Korkut, for our rivatril; for mine, by Beckett:  „Ends and Odds”, Endgame, Occasional Pieces, Happy Days, Waiting for Godot, Foot falls, Not I. But for my wife's rivatril, Joyce's Ulysses, as you already saw through the beginnings and endings, remaining all alien in the middle in search of the needed rivatril.

            Please do say your sincere thoughts and impressions in the last 24 hours since I am searching for RIVATRIL (bad EEG, two falls on the street OF THE CHILD – the theme already arisen. Do not agree again be Kafka's avatar, past are those times.

            Yes, how much can he tell. The last 24 hours – one had a long walk with one, bumping up and down on the pavement all the known buildings of the university all different now with one, one's knees still trembling, shoulders, elbows, hands touching just a bit – once on four steps.

            Why they don't walk to the end of world? No, let they go to Pondicherry, lie down on the rock, put one's head on one's belly, listen to the sea and one's body working. They appreciate all what they miss in life. Long paths leading to unknown houses. Wild roses on the window frames.

            Oh, no that is the end of romantics. Shops, business to be done, this is the travel one has to take up alone. Never should admit when one con-fused, wandering looks here and there, and immediately comes some one.

            One is with the child, all the child's life, longer than their sum. Laughing at roses. Little same dukha. Nothing of the middle park, with a French mother carrying her Walachian Christ. Could be a movie at Batta shouses.

            Tantric answers from Asian Southern hemisphere. Paise. See a skin cut by dance of hastened desertion of the last darkness before the first half. God listened one's prayer, as for an end of one's life for nothing.

            The child came from the tutor. Went to tutoriality. If you'd written more, half of a half more. Their listener from Cismigiu-Musoori plantains didn't bother, you think, for the child's illness. Like many other trees did. And difference between day and night at birth, etc.

            The half empty white repeated in your friend's letter as for Rivatril. Canceled visit and journey near Interstate Bus Stand, I love the earth-goddess, feeling her help to the remained incarnations.

            Cold night. Joking knee. Morning Hindu-Muslim prayers. And that bottle of perfect form. You are that. I always drink you like for the first time, and you keep not only my thirst. Looked to child nose to nose to parrot. Our children know November, our children are in good health.

             „E-n zadar, copile”. Isn't in vain, nu e-n zadar, copile,  „copii eram noi amandoi” -  „When I was little tiny boy”. Nobody learned about rivatril in India. There's colder than in child's winters here. Could be also the pre-puberty.

            No scandal by Amita-Calamita moves me by now. Bibi speaks on Romanian rugby team, to go there. I'll fall in your place. Fist my nose. You, falling woman. The newly married couple was not in that bus – Andhra. Pendant que des parfums de roses viendront embaumer nos vingt ans!

            Sconosciuto. Chiar? After all seas begin to boil on the main road. It returned the eggs to be broken in its own memory. Only answer. Proof of dialogue. And orgy. Who is the thief? One started dancing. God, says the whore. Bones as ivory, well, respect the doctor, don't be like that with me.

            I need only rivatril. I cannot kill myself. Spring isn't for me any more. Only sweet November. With sins full of graves. Sorry saying doctor is god. Has no idea. The people look through window. Fools. Something more than thieves. Confusion of lost senses.

            After, the whore said, for the third time, pray to god. Precising she is a bachelor. Rhythmically: I pray for your child. Saint god is only one. God is love and love is god. The sister of the flower-dealer saw privately the Pope on 20^th October, in the fifth Room in Rome's Vatican.

            It was a November morning in Delhi. A cold nip, mist around leaves and branches, child's knees shivering in the air.  „Hurry, we may be late for the school bus. And don't fall into the wholes dug in the middle of the road”. On child's legs – what's there, snow or smell of wet leave?

            Each morning is full of anticipation. I understand it only now. How miserable. I was a wife. How much fuller of happiness one's life is setting out every day for a new adventure. It's no moral, no feminist teaching. I can't sum up my situation as: I am happier than any wife. Perhaps, only luckier: to be able to manage on my own.

            To see the children from far away is a relief. To reach bus stop. To feel I fulfilled for this morning my duty as a mother. Prepare to meet the students. My inspiration must work. I have ready in my mind what I thought till now. And still there is a little hope – they may not come today.

            As I think just now: what if you come? I turn my face and you are there. But, as you never come, they always come. Some very faithfully. Some just a bit late. A bit not there in thought with their thoughts.

            Why did you come to love women in blood? Jerusalem seen by Jeremiah like a whore. And so seen Canterbury by Passolini. Rivatril was the theme. Letter to brain-surgeon. Even you, Falstaff, don't drink, say, because of Mallory.

            When I wanted to jump from the top o Jantar Mantar, repeat, I saw the water down there was dirty. I renounced also to don't regret in the air. Dear Falstaff, you think one cannot try everything. I played it all. I do everything. Anything. But...

            We have the freedom to do anything. Become painters and paint, spoil colors. Children started crying at gate. Loving Falstaff was not compulsion, but applications. Yet yesterday, an understatement: don't embarrass one's agony.

16. 11. 83. Delhi

            Ajung acasă la ora șase. Acum e șapte. Mi-e foame. Am avut o zi grea. De dimineață, am fost la ora de română. Ultima lecție: La teatru. Ce teatru, domnule? Că apoi am mers la serviciu. Am probleme personale.

            Vreau să mă însor, dacă sunt masculin. Dacă sunt fată, mă mărit. Îmi trebuie ceva bani și câte și mai câte. Teatru? O scrisoare pierdută? Eu cu cine votez? Curat examen. „Să-le spui curat / Că m-am însurat”. E din Miorița, fără niciun măritat.

            Ba da. Că  „a lumii mireasă” asta face. Votez cu ea, domnule profesor. Altfel știi că îți vorbesc cu dumneavoastră. Mai știm  că nu se poate preciza asta pe englezește, și facem o traducere  pe cinste, liberă.

            Nu am înțeles floarea albastră chiar atunci, în grădină. Ați spus de două ori Eminescu și încă o dată floare albastră. Nu știu la ce vă gândeați. A, da, ne-ați pus în temă cu structuralismul de la Panini la Saussure. Și alte nume.

            De ce nu ne-a mai vizitat și anul ăsta Sergiu Al-George? Mă gândesc să mă gândesc, am de tradus ce mă gândesc. Nu ne mai dați proverbe. Nici latini. Păi da, anul trecut studenții tăi au învățat latina serios, de-au înțeles româna în istorie.

            V-ați ocupat cu știința, știm noi. Dar nici cu teatrul nu mi-e rușine. Am început jocul cu vorbe. Am întâlnit substantivele pe drum, la sărbători naționale și în expoziții. Astea sunt propoziții, din câte înțeleg. A mai trecut, totuși, timp. Uitați-vă la ceas – certificat de română, 1984, trei ore. Traduc titlurile lecțiilor din cursul Cazacu.

20. 11. 83. Delhi

            The jamadarnis came in a long line. They filled up the path where I wanted to come to you. In rags, the brest of some hanging out from under blouses. Darkness fell and they passed by me giggling and anticipating the pleasures after day work. And you went by with jamadarnis. I saw you making love with them. It stroke me it wasn't literature. It was you with same hands taking their measured but love for 10 rupees.

            20 steps more. I reach the steps. Nobody there. But the lock. The light is deceit just your words to me, to put me to a good night's sleep. There is not hesitation. Away from the closed door, from the lock whose key is not in my hand. Away with all rhetoric of sailing ships from island of cannibals. Away to listen to the palpitation of our hearts.

            Delhi, Delhi at night, I never loved you so much. Love to stand on street. I never knew one can stand so at night, waiting and watching the cars which turn up and disappears in their own rhythm. I never new Probyn Road so urban. Waiting for the prince, after his battles, on stage and in life. Delhi on night, uncover me not, hold my hand, I have a long way to go.

            The time was over, Nothing to do but smoking, running, hallucinating, laughing, regretting, trying, remembering, writing, asking, keeping, opening, drinking, listening, booking, breathing, chattering, provoking, embracing, kissing, worrying, smelling, forgetting.

            All already in the great game. No able to reach his mother breast, to say the word I. Closed up in the darkest square of the carpet. Lives based on half truths. Daring not to say a sentence. Exaggerating murderous wishes. I am the child, I played in all my orifices, let me listen to God.

            I wouldn't say you are conventional – not exactly conventional, but sometimes – value of official marriage, child having to love his mother best, grimace when speaking about Mircea fucking Stella, if daughter would fuck a black man. Appreciating people who would just devour everybody just because they are a family. Or am I unjust?

            Uncle Billie, now, on top of Jantar Mantar. Sorry, son, do not suffer. I do it for you. I did it immediately. Jumped by mistake. Even saint fathers. I wanted simply to play with you. Looking in no mirror. In no eye. Awfully burning sun.

            I moved into void under your conventional protection and love. Bad looking uncle after fall. Say your mother why didn't she take care. There is water in front of you, think of fishes. Can swim by my fatty being and no-being.

            Kid, I didn't it to can say I did it. Happy your mother when given birth to you. I give you this my death. The birth of my I. As I am not a family and can jump alone. No, in the air, I wish I fly. But I want you to see me among invented fishes.

            I don't know swimming. Water almost doesn't exist. Some dirty liquid. I did it for so little water. With fire in it. With you following me by camera, never realizing where I was, where I am, where I will be. You click and turn playing: I pay homage to the Translator.

            You know no one of my ten professions: Killing, stealing, adultery, cheating, double-talk, coarse language, talking nonsense, covetousness, anger and perverted views. Young people of misery adventure, connoisseur of real India killed himself, said the story teller.

10. 12. 83. Delhi.

            Within modern Indianity and Indian modernity, condition of poetry surpass condition of poet. As today revolt is universal, freedom of poetry is limited. An anthology of underground poetry will be not published anywhere, it can appear as an interference into internal affairs of poetry, an unpublishable manuscript. A sclerotic idea of both poetry and its belonging are making the job at least unpleasant if not impossible.

            There is a great country of India, with poetry in different languages, with poets feeling individually as everywhere, greatly concerned with symbols and liberties of general hope. The feast of old aesthetics passed through alankara science. Genuine subjectivity within undivided inspiration of consciousness may preferable destroy before building. 

            One has indeed to feel loosing from one's hypocrisy. There is a softness in the strong voices, a silent strength in the mystic melodies of delicate singers. An ambition of modern poetry in India appears to be the expression  of Kali Yuga survival on one hand, on another, the rediscovery of ancient perfection, like in any renaissance.

            Translating Indian poems, one feels getting indianized, using quiet virtual Sanskrit, Bengali, Malayalam, Hindi, actually renouncing to translate. Foreign poems written in India are still Indian. Religious pressing on secular minds, the disregard of sympathy, shock carried by crisis, entropy can be easier accommodated in a translation than in the original. But for what use?

            Theories of poetry and poetics are all of a sudden forgotten, a new poem comes into existence. With end or new beginning in translation, under primordial attractive originality. To which extent the metaphor is free of language and the language is a metaphor? Is poetry a morphology?

            Is the society co-author with an individual poet against its progress? India of poets and poets of India are in logic connection. Human mankind is shaped in a considerable measure by poetry. Normal decadence doesn't fit political pretensions of advancement.

            What is truth on poetry-lie? To translate is to create again a creation, killing original author or killing self. If poets don't read poetry to be not influenced, do readers read it to be influenced? Posthumous reading of a poet is nobody's job?

            Nobody likes anthologies. Anyone knows poetry through own itinerary from poet to poet. The few occasion of revelation could have come from poetry, be it a prayer or a curse. Somehow poetics kills poetry as poetry kills poet. The show excites less young imaginations busy with reopening generation's eye, nourishing philosophies and children.

           

11. 12. 83. Delhi, D5.

            Remembering of Romanian poetry while reading an Indian poet, a commercial optimism is as if doubled in divergent mirrors. Gone are the times of bhakti poetry everywhere but not entirely here. Sad and silent are revolutionary voices. Even anti-poetry age speaks metaphorically. Crust of study doesn't cover crest of poetry. One chats easier with Kalidasa.

            Poetry as personal experience and translation brings an utter impression mixing lost impressions with received enthusiasms, sorrows and rejection. Linguistics of translations have nothing to do with poetry. Frankly speaking, linguists can work properly only on generative errors with Wittgenstein and Jacobson. Let everybody learn renunciation.

            Poets love each other most in occasion of one's death. Those poems written as acknowledgment are worth to be not rewritten in a translation, but slightly reshaped through metaphors and diction according to a different colorfulness.

            Poems dedicated to critics will be most commented by fellow-critics. Poems dedicated to poor and heroic require a messianic good-sense in front of Babel ideologies and historical assassinating tragedy.  Same about contradictory god, hypocritical tolerance, Lucifer's atheism.

            In the beginning, translations were Greek-Latin. For Sanskrit alankarikas, realizations were only samples. Unless religious ones, the bodies of poetry are left. The Logos-Brahma resisted. Golden pages share poverty of translator if not greatness of a Marpa, of a Luther. Somehow, smallest translate greatest and vice-versa. There are more anonymous translators of Shakespeare than better known translators and original authors.

            Translation is most censurable work, firs by translator – most refined censorship. Convention is of special omniscient criticism, applicable to any other „introduction”. Destroyers of anthologies are practically endless, translator included.

            Readers aren't programmable. They have not only last word, but also first stimulation. Don't wait for writer of other culture – the code will be bot rejected and completed by their share. A translator is a reader of or for readers, a re-writer. After all, reader isn't angel, not easy acceptor of eternity.

            Eminescu refined Romanian poetry, also through his reader, to the extent of dangerous universality. Coșbuc made a still more Romanian Sanskrit Anthology. Blaga reopened  mono logically the gate. Anti-poetical 20^th century contributed to cold literary war. Let next century to give a new chance.

            Teaching in hell of paradise, the heavy truthfulness of poetry comes from outside, not from inside of poet. Poet's dream-negation-dream language is to be translated, retold, as an outside work. It is enough for a Romanian to know he exists in Punjabi under Mrs. Pritam signature and in her magazine. While she confessed she was forgotten in Romania.

            That can not happen after all. Be seen her poetry as gurdwara did. As happened to Baudelaire from his contemporary judges, and later from Sartre. Who Sartre was himself well fined in similar manner. Largest way of remembrance-forgetfulness is still an anthology.

            From Tagore without Tagore, down Ghalib, preference to  Walathol, free underground poet, measured university one, traditionally musical Sanskrit modern kavi as saint in speech as political father. Gurudev's Child Christ. Aurobindo Greek-Latin involvements. Bharati's many religions also out of religion's idiom.

            If poetry belongs to a higher order, the crisis of it is a good thing. The poetic rights will be not claimed like human rights. Poetry of eating, surviving, thinking, poetry of generations or generations of poetry. Stories in process of translating are different than  previous ones. A translator transforms intellectually the feelings. A translator seeing Jamuna thinks of poems on Jamuna.

            Poet is most unhappy being. Poetic being isn't human or divine only. Kalidasa's Cloud Messenger became symbol of  jails. Vergil's and Horace's propaganda poetry for emperor and empire knows, within greatness of Greek like perfection, the opposite dimension, sometimes in the myth of India.

            Rationed  translation-poetry doesn't damage poetry. Vastness of another poetry comes to intensity of translation during hard times in one's own country, or of his exile in country of which poetry he tries to translate. Hardly can one speak of a free translator. Pity for unpopularity of translations with writers and literature – readers like them more.

            Inhibiting craft of excellence in another language isn't easily connected – almost imaginatively – with original's quality. Sound is and isn't too much. Meaning is and isn't too obvious even for reader of the original. Inspired expression will be out of canons of poetry itself.

            When one starts to feel poet, who and how does one remain a poet while translating, and if so, what kind of a relation exists between himself and original authors? I met a Jewish old gentleman preferring to read Solomon Song of Songs in Latin – Cantica Canticorum.

            No matter of translator, but of translation, of language. If not a poet, translator talks as an avatar or sacrilege through poetry, on behalf of another creator. On the other hand, more than one complete version, direct from Sanskrit, Rig Veda will not shadow Eminescu's Roamian replies to it. On the contrary, will increase its singularity, as well as mystery of poetical creation, poetical stand against senseless time of history.

            If something can be free of provincialism, language considered, poetry comes in mind together with music. Orchestras of translators can color differently, age after age, bibles in version. Religious beauty will separate again and again accordingly sacred and profane, tot use preferred terms in Mircea Eliade's Hermeneutics.

            But quiet translatable religion isn't as much tied with quiet untranslatable poetry. Not only poets appeal, sometimes, to god, but also god turns to be a gnostic poet. Time by time, and almost always in translation. Are they not first translations Brahma's words in Sanskrit, Buddha's in Pali, Jehovah's in Hebraic, Christ in Aramaic and Greek, Allah's in Arabian, Zarathustra in Persian?

            Unknown writers in their own literature happen to be recognized by translation.  „That is not poet at all”, one can learn of a dear representative already translated.   „This is not publishable with us” is suggested in other bank. „This cannot publish us in exchange” things almost everybody.

            Does ghazal answer some European form? Was Michel Madhusudan sure enough about chances of sonnet in Indian languages? Is fashion of kai-ku a western sign in Indian poetry, or remains a seventeen syllable Sanskrit mandakranta meter? Daring innovators of forms are showing solidarity in decadence too.

            Page on which a poet wrote his poem is it white again in translator's imagination? Does it matter if the first wrote with left hand and the second transcribes it with right hand? Are beliefs and morals of translated author stimulating energy and choice of translators? What the reader will say? Is cultural sclerosis blocking the way from poetry to poetry?

            The confession beyond translation is of a third author. The voice of silence from which both sound and echo play truest lie, most promising illusion. Objectivity seems to be with founders, currents, involvements in progress revolution, etc. How much a poet translated, translator and reader belong to subjectivity, reducing full mystery of imaginary India to a short black verse? Or, by contrast, encountering revelation.

            Poetical myth in modern Indian poetry may be less myth, actual sensibility being recognized  in terms of general humanism and specific tradition. Greater poet not lesser Indian, lesser Indian not greater poet. Poetry isn't only creation of poet, but an appointment, a marriage. Ubiquitous feelings are expressed and re-expressed as for first, as for last. Poetry outside poet, poet inside poetry, poetry inside poet.

            Poetry is only beautiful death-misery-sin together with love-life-purity. Discussion with a poet, translation of a poem, thinking of its making, according to author's talent inspiration mean appointment, never disappointment.

            How translatable are politics, morals, superstitions? Is mystical readership of poetry equal to non-riding it? Is poetry a recital of language in poet's interpretation? Is it remembrance, prophecy, rehearsal of reality through illusory illusion?

            Absolute blackness of Kali  provides poetry daemon in poet's speech, apparently one with that of reader, listener. Silent secret  of poetry is unknown to poet himself in other language than that invented and simultaneously forgotten of his poetry. Poetical inspiration doesn't belong to cosmos, nor cosmos to its projections.

            Sever game of objectivity leaves to object only professional rejection if not interested acceptance of its re-inspiration. Through mechanical categories of comparative literature as body of methods, a translator can check themes, guess influences, open ways to affirmative readings. A formulation like  „India in Romanian”, i.e. Romanian poems of Indian inspiration, try to accede sphere of poetical awareness.

            The proof an anthology could  make isn't of an experience of changing principles described in this attempt, but  extensive super-cultural mythological India. Poetic civilization doesn't rebuild surroundings, but contemplate and attack the ever existing ones. Practical love reform by Tulsidas or Francisco d'Assisi, series published by Sahitya Academi are seducing the anthologizer. South American analogy crosses interest for African voices.

            With Tagore, in Bucharest and on Black Sea bank, we have infinitely more than whitest beard in view. Reasserting poetry sacrifice is a lead to sculptural abstraction re-imagined by Brancusi in Indore. With Eminescu, Blaga, Arghezi, Eliade, other less famous but not less poets, we have some real and imaginary Indian new mantras.

            Brotherhood poetry slows self alienation. Poetry of self increases need for brotherhood. Color of tropic can get richer  through diminutive mountain-verse, less monumental for eye than Himalaya. Adaptation up to renunciation. Renounced anthology suits still be tribute payed to  poetry expectations of worshiper.

            Artifice-creation as worship seems revenged. Critical job is by far other job than for an anthology. Critical instrumentation, tired for imposing and destroying, will stop working, at best. Poet's choice will be also crushed by unemployed critics. Better a reader, a teller of those, say, interesting poets of twentieth century.

            Who is poet's India, who is India's Poet? Selfishness but freedom before getting it. Freedom of country, freedom of poetry. God has a temple in poetry. Modernity self is to be seen with third eye. Felt with sixth sense. Regretted nostalgia of lost paradises and hells.

            Older clarity of systematic perfection makes place to clear disintegration of former patterns. Universal entropy by natural balance its poetry fascination. Poets repeat the former creator playing his last sound. The first and the last young poet aren't unknown to each other. Old modern Indian poet, a father.

            You know poetry anthologies published here. If you don't find there a poem known everywhere, please share some to present intended translator. Between poetry sonority and hearing there is a space of imaginary reconstruction of human consciences, a living poetical opportunity.

            An imaginary anthology would mix primordial language with modernity, be it in terms of Bremond and Tagore. Let lose intention, take methodological ignorance or irony making Peguy to write a thesis in verse, like Sanskrit treaties. Physician poet Vasile Voiculescu, who applied a versified application to Health Ministry, actually rewrote Kalidasa's Sakuntala in Carpathians.

            Histories of literature are spoiled anthologies as anthologies are renounced histories. Unlike poet, the poetry faces victoriously the history. Poets' biographies include personal epitaphs full of not so black humor like philosophies, reconstructions, enthusiasms, dandy poses, revolutionary calls. Let out age, audience, glory, suspicion as negative stimulation.

            From Latin neoteric to Indo-Anglian bard we see reversed dispositions for fashion in different times, geographies and cultures. Neoteric liked finer Greek pattern differently from Indo-Anglian face to poetical European  English. Indian muse may have adapted to that language which is not any more foreign.

            In a general anti-fiction age, non-poetry, essays or poems on poetry are rather fashionable. For publisher, poetry is loss. Poetry of censorship and censorship of poetry thrones on Nobel convenient winners, schizophrenic realism, poetry of recovery in asymmetry to poetry of improvement.

            The few changes in poetry during centuries, poet's eternal necessary poverty are encouraging and educating facts for readers and society. Transformations could even be balanced by return to poetical mysterious depth, beauty and soundness beyond exemplary sufferance.

            So many members of anthology, or absents mentioned afterward are moving. Is it worth to translate children, thinking to children of next century? Long centuries after, like now in their choices in return to old masters thinking to us not like children.

            Children weren't so popular with Sanskrit poet. Not so in aesthetic codes for modern children, grown-ups, old, dead. Poetry life, life poetry. Is middle class kind of middle-poetry class? Solar system, poetic system.

            Beautiful conclusion to death, fear of ambiguous ends, Archimede's invading disorder of circles, dear disorders – poetry of disorder, still order? Aestheticians may be happy with broken patterns, reminding, rebuilding, saving. Likewise, administrators could find consolation for small interest to writing from ivory tower.

            With much more questions for a single unsure answer – what is to be poetry itself – one can wonder, after a few years, what one's indianization may mean? It's better to clarify it in India with no regard how he will play a fool. Than to be confused in his own play with prohibited corrupter of the  right. Worship disposition clears verse directness of negation.

            Avoided influences are at work. Open dissidence puts together tradition and literary denial. With a new poet, poetry re-finds its origin which cannot be younger than god. Remaining young, patriarch poet may be rather god's father than his son.

            Perfect happy poet, like Milarepa, would be also stoned or poisoned like Socrates, Dante and so many moderns. Unaccepted poet makes his poetry silently accepted – only poetry isn't conspirator, on the contrary is a reply to power brutalities. Poetry power: unchallengeable by other powers. Poet-poetry challenge Sanskrit Ardhaniswara, Plato's androgynous.

            Anthology retains poems in an adventurous way of choice. Some poems having to be present are unknown to translator. He may translate masterpieces in the picture, jumping from peak to peak under an illusion of essences. What other image than a summary, beyond preimage if not prejudice?

            Answerable anthology connoting Asian spirit can attract a better judgment of own tradition. Birth and rebirth of poetic meaning repeats samskara. Like eggs double, birds songs mix with human love songs. Orpheus knows all other beings than his. Birds aren't consoled by Ramayana inspired by their sorrow.

            Poetry as an integrated, sonorous soul of all beings chose the poet and gives him a secret of novelty within permanence. Modern distortions confirm perennial beauty of contraries. God and devil play episodic roles in poetry like in a Mozart opera a king, singing very little if at all.

17. 12. 83. Delhi, D5

            True way to love and hate is poetry, through Radha, or, otherwise, through modern verse pushed by politicians. Some answering ghost-compassion  to previous meditations in surplus. Poetry-contemplation, poetry-action. Different from earthly muddy conflicts.

            Avoidance of poetry – hate for poet. Pretensions of tensions. Rimbaud, isn't enough excellency to be free to see a movie? Hunter of poets, poetry murder keeling a poet-two, many-all. Logic of poetry and killing isn't unknown. Lyrical explosions are opposed to killing explosions.

21. 12. 83, D5, Delhi

            Hearing about death of a poet, the language of thought returns to ritual of powerful silence. On 13 December 1983, poet Nichita Staneascu passed away. We evoked his poetry in our class of Romanian language. We translated his last poem signed by him, Towards Peace. It is more shanti than pax.

            Translator translates poet as wood-cutter. Forest of symbols correspond with forest of non-symbols. Wood-cutter thinks to Savitry without translation. How silent Yama is taking-giving life there.

JEAN RACINE à SIBIU

            bas de jupe de flamenco au goût de noyer Micesco

                      au tir en palissade les cajuns

                      mourir au filet de qui

                      du peuple poisson qui te laisse

            oui puisque je retrouve un ami si fidèle

            oui je viens dans son temple adorer l’Eternel

            quoi tandis que Néron s’abandonne

                        au soleil racinien sans en lire

            Sibiu gardé par Tolstoï l’enfant tout demandant

détails sur Jean Racine au roi Alexandre lorsque

                  le blanc des abricotiers

                  le jaune des cornouillers

                  la pantomime de l’avatar 

                 vendre de l’eau de vie au gardien

                ressemblant à Nicu Steinhard

                il ne donnait pas l’impression d’avoir bu

               peut-être la famille peut-être Sibiu

               je ne vais pas demander d’autres endommagements

               nullement maman et le gardien

                     refaire le marché

               nous demander aussi d’autres choses

                       maman c’était Elisabeta

               sœurs d’occasion sortie de la solitude

               Tavi Ghibu ayant perdu sa voix me prit

                lui parler non de kaïros nous nous en sommes allés            

                à Plamadeala le gardien des religieuses

                 à Horia Stamatu l’empire donné

                voulez-vous encore le journal Tolstoï pour rien

                que de Russes à Sinaïa Benedetto

                 la Société Tolstoï ne s’est plus présentée

                     ni dans la maison Micescu ni au sous-sol

                 portant vers le Pont des Menteurs

                  concevoir la ville telle une guerre

                 c’est là que vous vouliez mais vous y cuiiez

                 le gardien fouille des yeux

                 un kaïros depuis ma disparition

                 ou bien je ne me permettais plus être

                nous tous nous occupons des mêmes choses

                les filles seraient-elles du patrimoine

                Roumaines au Japon se sont querellées

                avec les Russes ne faut-il détruire tout ce qu’on a

                là-haut des eaux limpides de Gange

                maman à l’hospice Tolstoï à Rome

                le gardien cul au cul avec Tolstoï

                qui avec qui Gheorghieni

                un bonjour du gardien contrôleur

                un peu exhibitionniste si je n’ai pas raté

               maman ne pas lui parlant d’une vie

                racontée même sans Chine

               moins 29 si chaud aux halles des housses de guerre           

               les femmes plus sensibles mais qui avaient soins

               venaient avec des marmites au thé et elles

               y mettaient leurs mains se réchauffer

              de la solitude forcée dans la

              non reconnaissance de l’harmonique 

              d’où donc t’édifier toi laurier

              à non vert qui ne te perd

             le troisième tunnel et je chercherais encore

             les plumes de la mort dans une écriture

             toi tu avais monté maintenant tu

             vas descendre dans la vallée

             tu n’est pas le chemin vers Bergen    

             des lacs ne sont plus lacrimae rerum

             depuis longtemps je n’avais plus envié les arbres

             non bâtie queue de Transylvanie

             le laid voyageur dans ma personne

             je vais écrire au dos des patrimoines

            

             si loin tu étais de l’autre côté

             d’où nous étions venus tous les deux maintenant tout seul

             le gardien au centre des paysans

             les connaissant on les use avec la ville

             Fagaras sur l’Olt et Radu Negru

             au cinéma avec Valach      

            c’était l’été ou bien l’écouteuse

           éloge à la puissante corporalité transylvane

           download les rons colorature va-t-en

           pour y rentrer brosse à badigeonner les murs

           Rica te chante te fait des incantations

           le sommeil du gardien Tolstoï

           à Sibiu une nuit d’antan

           sur la couche de la bande de flics

           égratignure de buste

           l’archiprêtre Cioran

          système d’alarme

          à la maison Goga

          toujours en haut

          il faut qu’il vienne

          oh là toi foule-toi

          j’ai attrapé une

          sur la Vallée des Maisons des Seines

          taillis de la mère du sommeil

             malaria d’une autre vie

           ne fais plus tant de poussière

          Oiseau bleu de Brancusi l’avait épouvanté

                et mes Indes de sept années

                   j’aurais dit ce que j’aurais dit

                   au gardien stratégique

           écriture musée visibilité aveugle

                  le gardien Nitelostoi muséologue

      un million de gens un million d’arbres

           je suis fier du gardien personnage

            notre destin à nous celui  

          d’énerver notre préopinent lorsqu’on

          n’aurait besoin l’un de l’autre

     rien que de nous coaliser contre nous

                   ni au hasard

                   ni aux Indes

                   gardien à cheval

                  impulsion

                 des morts

                  opposants

                  gardien

                  ennui

                  du lecteur

                  externe

                  culturel

                   texte

                 de l’allemand

                      sans

                     Cioran

                  froid lumineux

                   nulle des toiles

                    bastions

                    au dessus du Cibin

         l’histoire du gardien Tolstoï

                 mort et ressuscité mère

          ïéhoviste au semblant

            du train en ambigenre

        Georges de Rennes reins

            femme de Pitesti l’air étouffé

        trophées ma masque a verdi là-haut

        horloge blanchi en fleur

        combien en saisir et qui

        aujourd’hui échappons-en

        englouti braconné

        du dos ubiquités nous voulons

        mourir chassés pour notre

        louange celle de l’œil

         et de la plume mélange de crime

         et libération au choix

         nous n’aurions pas chassé depuis la naissance

         nous nous chasserons nous usurperons

         les bêtes les biches sous

         masque polygone nous nous pesons

         sous Fuji à travers Sibiu

         après le départ des chasseurs

          j’ai délégué certains de nous

          pour en finir nous

          nous sommes décimés nous-mêmes car

          on ne dit pas nations celles

          élues à jury gaulois

           comme nous ne désirons que

          d’être chassés hors la tour

           échapper à l’injustice

           seule la chasse

           fusillés par les besonniers

           laissés en vie hélas            

           juste pour les croquer

          simple instinct de te laisser achevé

          achevé petit à petit si on te redistribue

            dans un autre animal avatar

         engloutis loquets qu’en diriez-vous

         musique connue l’ennui je le vois

         à ma droite je vais

         à la cathédrale j’avance vers les saints

         je vais y entrer l’iconostase

         va me fusiller en jeûne préparé

              le sucré aux ventres

         le ciel nous chasse en lui

        nous éteignant un ballet

          je pourchasse des animaux

        tout en chassant des masques aux hommes

        dompteurs non masqués

                       vous quelle âme

                       tourmentez

                       vers Tirésias

                       entre des colonnes

                       les gardiens

                       alignés

                       à la base

                        de la chasse

                        pelle

                       les cadavres

                       des masques

                       toi garoï

                       lorsque les

                       ibséniens

                      feignent

                      périr

                   seul le gardien

                    maintenant  à Astra

                    que lui aussi monsieur

                            le président

                         au milieu

                           de la journée

                         demeurer

                           restauration

                          dharma

                             lenteur

                           de la contemplation

                           de gardien

                            reconnaissance

                            depuis la jeunesse

                               aux Indes

                               et rétro

                               descends

                               avatar

                               montagnes

                               plus vite encore

                              maman

                              et le gardien

                           nous pouvons encore

                           nous perdre

                             l’homme

                          s’élève

                             aux pointes

                          pour rien

                           le gardien

                           son ancien

                           client

                          de l’eau de vie

                        la mouche

                      contre le mur

                         garçons

                         et fillettes

                        passés

                        rentrés

                        brancusiens

                        à Gorj

                        gardien

                        Tolstoï

                        eau de vie

                      en buduroï

                   lémurien

                  alexandrin

                     Jean

                     Racine

                sur les tales à huduroï

                devenir trois de deux

                       

           

          Anca1944

               From Wikipedia, the free encyclopedia

George Anca (writer and Indologist)

George Anca Birth name: Gheorghe Anca Born: 12 April 1944 Ruda, Vâlcea, Romania Married: to Rodica Anca (1966), one daughter, Alexandra-Maria (born 1973) Occupation: Writer Founder: International Academy Mihai Eminescu

George Anca (born 12 April 1944) is a Romanian writer and Indologist. After publishing three books and getting his PhD in Bucharest, he went to Delhi University as first teacher of Romanian studies (1977-1984), in exchange with an Indian teacher to Bucharest University, under Romanin-Indian Cultural Agreement. In India, issued over 30 titles of publications (books, brochures, courses, magazines), and founded, with Amrita Pritam and Vinod Seth, the International Academy “Mihai Eminescu” (1981). Member of Romanian Writers Union, Authors Guild of India, International Union of Anthropological and Ethnological Sciences. Honors (1): British Council and Government of India Grants for congresses, honorary citizen of Râmnicu Vâlcea, Literary award Ronal Gasparic for poetry.

Early years Anca was born in Ruda village, Valcea county, from parents Elisaveta, housewife, and Ion, church singer and accountant, temporarily mayor of Bercioiu-Ruda commune. He is the third child, after sisters Maria, who died at 3 months, and Ioana. By his parents divorce, at nine years, he followed, by sentence, the father, remarried in Gaesti town. Here he passed gymnasium and lyceum, having among professors, Ion Minculescu, collaborator of Nicolae Iorga, and among elder colleagues, Gheorghe Zamfir. Between 1961-1966 he was student of Faculty of Letters in Bucharest University. He married Rodica Geoaba, student in Fine Arts University, ceramics. After 6 months of military service, he became, for two years, reporter at Romanian Broadcasting, transferred, for other two years at Colocvii/Colloquiums magazine, then in Ministry of Education for relations with the press, six years, during which he obtained a four months scholarship at Rome University, and also got a PhD from Bucharest University, conducted by Zoe Dumitrescu-Busulenga, with a dissertation on Baudelaire and Romanian Poets. In 1973, daughter Alexandra-Maria was born. He met periodically with Dumitru Stăniloae, Constantin Noica, and Grigore Popa, also in connection with doctoral disertation. At Libraries direction, he has as direct chief, Mihai Sora. At a restructuring of ministry, he started teaching in Faculty of Journalism, and in 1977 flown to Delhi, India, as visiting lecturer in Delhi University, Modern European Languages Dept., in present, German and Romance Studies.

Career As student, Anca made journalistic practice at Gazeta literară/Literary gazette, headed by Tiberiu Utan.. After graduation and military service, waiting for “negation” of governmental repartition as teacher to village Petrești, Anca collaborated to Apărarea patriei/Defence of Motherland journal, and afterward was employed at Romanian Radio Broadcasting (1967). In August 1968, during Soviet Russian intervention in Prague, when journalists remained days and nights in the building, interviewed personalities who commented the events. On his cultural broadcast The present time of ballad Miorița – with Dimitrie Cuclin, Zoe Dumitrescu-Bușulenga, Grigore Moisil, Ovidiu Papadima, Mihai Șora, Grigore Popa, Adrian Fochi as guests - , Florin Mugur wrote in România literară: „This time, to the collaborators – as serious as possible – of broadcast it was permited to have humor. I listened to Grigore Moisil expressing his conviction that 'only valueless works lose their value when they are better known', and adding, after a puse of a great actor in uttering: 'As well as people' “. (1) Anca left radio-broadcasting for a post of editor offered by Emil Giurgiuca, chief-editor of monthly journal Colocvii despre școlă, familie și societate/ Colloquiums on school, family and society, for two years, from where he passed at to Ministry of Education, at request of minister Mircea Malița. He worked also under following ministers, Paul-Niculescu-Mizil and Suzana Gâdea. He edited press bulletins covering Higher Education Conference of UNESCO countries, headed by Rene Maheu, and World Conference on Population. Organized, in Bucharest, press conference of Margaret Thatcher. He continued discretely his literary activity. For George Anca, Romanian Communist regime, replaced with largest democracy, India, had concurrency by Moscow and Maoist branches of quiet many members in universities. Publishing in 1983 Doina/Song by Mihai Eminescu (poem prohibited then in Romania), at its centenary, Anca was questioned in the department for disturbing Soviet Russian Embassy in Delhi, and soon resigned and returned home. In the years 1977-1984 and 2002-2003, he taught Romanian to some hundreds of Indian students, followed himself a course of Sanskrit, attended World Conference of Anthropology and Ethnology (Delhi...), Conference Literature in Translation (Aurangabad...), lectured in Bangalore Indian Institute of World Culture, Calcutta University. Back to Romania, after some time, he found a job, as director of Library of Polytechnic University, and then, for 20 years, as general manager of National Library of Education. In Politechnic, Anca brought and spread films and books on fractals, including Otto Peitgen's. Series Professors of today on professors of yesterday gathered large audiences of professors and students. Long functioning in front of National Library of Education (1988-2008) established a balanced contribution to Romanian educational librarianship, also by participation to IFLA Conferences in New Orleans, Boston, Glasgow, Moscow, Oslo, Buenos Aires, Bangkok. Along with national net of school libraries, the Romanian libraries in Chișinău, Cernowitz, Novi Sad or „Mircea Eliade” in Chicago, had an umbilical tie with the mother unit. Educational workshops were conducted by George Văideanu, Irina Petrescu, Tatiana Slama-Cazacu, Tudor Opriș, Ion Gh. Stanciu, Mihai Ghivirigă. To literary cenacles participated Ștefan Bănulescu, Costache Olăreanu, Mircea Sântimbreanu, Mihai Șora, Ion Iuga. Here activated International Academy Mihai Eminescu, presided, one by one, by Eugen Tudoran, Alexandru Surdu, Dimitrie Vatamaniuc, Ethnology Society in Romania, conducted by Romulus Vulcănescu, Romanian-Indian Cultural Association – president, George Anca. (2). Anca participated to IUAES congresses (Delhi, Williamsburg, Tokyo, Beijing, Lisbon, Florence), and International Ramayana Conference (Delhi, Durban, New York, Houston, Birmingham, Mauritius, Trinidad-Tobago) As associated professor he taught courses in universities from Bucharest, Consatnța, Oradea, Târgoviște, on comparative literature, history of Romanian literature, Indian literature, Sociology of religion, Anthropology of (non)violence, Literary journalism.

Literary imbroglio Author stated he never stoped writing, trying to transform each experience into literature, within or beyond library or anthropology professing, looking for a rasa-dhvani (tropes-suggestion), fictional, experimental message. Before 1989, he was hardly published in Romania, but in India. Prohibition turned also into fear of success, and after changing of regime, even he published many books in own country, didn't push them any how, as if with complacency face to destructive notes on his works, under accusation o f being not understandable (note). Yet local analyzes, some even calling him a creator of a new style, still considered the tiny appreciation in main stream criticism. (note). Perhaps not too late, literary critic and historian Marian Popa came, by surprise, with the monograph Anca . It may be ignored under inertia of a life perception, yet his demonstration concludes on obvious characteristics: „Anca doesn't present contexts of representation of mimesis. He is most antirealist Romanian author. (page 48)... Anca's books are dodii also through defying of some structuring conventions. (67)... La Gioia is in this sense a political novel, one of most radical written in Romanian space. (161)... It would be not bad bad if it will be introduced among ideal types the texts dodiated by Anca, the most radical producer of text in series open virtually by Eminescu, developed with Urmuz, at fulfillment of which have contributed Constantin Fântâneru the philosopher, Eugen Ionescu the absurd, Cugler-Apunake, George Dan (People of the Lands, manuscript in 1946, published in 2011), Șerban Foarță, the hologramatic. (2006) (206)... Postdemocracy creates a postliterature. One of its forms is produced by Anca at the expense of others. (207). Writing as he writes, Anca uses the largest amount of real and invented words in Romanian literature. Based on his texts it is realizable with luxe of exemplifications also a poetics or at least a dictionary of dodian proceedings, tricks refused by logic of conformized poetry. (209)... With Anca it ends symmetrically antiapoteotic a mode of Romanian literature. An opera which would correspond to would correspond to Nietzsche's claim: "Ich will mehr lesen keinen Author, den man anmerkt, wollte er ein Buch machen: Jene sondern nur ein Buch wurden unversehens Deren Gedanken" (Menschliches, allzumenschliches, II, 121)”. (210) (3)

Indoeminescology “Mihai Eminescu, Romanin nationl poet, declared himself Buddhist as an empowered Christian. During more than 15 years I had talks and letters about Mihai Eminescu, mainly in and from India, but also other continents: they make some personal and Indo-eminescological history in an epistolary novel I had honor to dedicate to your excellency, Mr. President of India, Dr. Sharma ji.” (Public address to the President of India (4). Beyond interpretation works on Eminescu – Zalmoxis in poetry of Mihai Einescu and Lucian Blaga (1966), Indoeminescology (1994), Literary Anthropology (2005), Mantra Eminescu (2011) -, there is an ubiquitous presence of the archetypal poet in Anca's works., especially in poetry and theater. “The Sanskrit correspondence with the Romanian culture and poetry culminates with Mihai Eminescu, a reader of Vedas and Upanishads in original. In Romania, it is taught at school that „The First Epistle” or „The Dacian prayer” (Nirvana) are connected with Rig-Veda. Of course the analogy is fundamental but the correspondence lies both in the common or community cosmogonic mind and particularly in the universal intuition of real life, of sat („village” in Romanian, „truth” in Sanskrit)”. Along with Indian themes,”There are not from out Eminescu’s poetic universe the concepts and anthropologies of some modern Romanian creators and thinkers, like Vasile Pârvan’s anthropomorphous creative rhythm, synrhythmy, aphrodisiac mind, Lucian Blaga’s mythosophy, stylistic bottom, metaphysical transnaturalism, George Călinescu’s real elements, Eugen Ionescu’s nu, Mircea Eliade’s genealogical myths, Hyerophanies, categories of the sacred, Dimitrie Cuclin’s ethics of expressive essence, Ştefan Odobleja’s consonantic psychology, Octav Onicescu’s cosmological mechanics, Constantin Noica’s Romanian philosophical utterance, Mircea Maliţa’s clio-mathematics, Mihai Şora’s metaphysical anthropology, Romeo Vulcănescu’s horal phenomenon.” (5). Anca persuaded Indian major poets to translate into Indian languages great poems of Indian inspiration by Eminescu: Hyperion, First Epistle, A Dacian Prayer – Satyavrat Shastri, Rafic Vihari Joshi, Urmila Rani Trikha, Sisir Kumar Das, O.M. Anujan, Margaret Chatterjee, Mahendra Dave, Usha Chaudhuri, Harbhajan Singh. At his turn, he translated great Indian poems from Sanskrit Kalidasa's Meghaduta, Jayadeva's Gitagovinda, Shankaracharya's Sundarya Lahari – and modern Indian languges – Tagore, Sumitranandan Panth, Subramanian Bharati, Valathol. Literary historian Mihai Cimpoi included Anca on the alphabetic list of main exponents of eminescology: „(G. Anca, Ilie Bădescu, Amita Bhose, Gh. Bulgăr. I. Buzași, D. Caracostea, G. Călinescu, I. Chendi, Ciopraga, Cioran, Codreanu, Rosa del Conte, Victor Crăciun, Creția, C. Cubleșan, Zoe Dumitrescu-Bușulenga, N. Georgescu, E. Ionescu, Iorga, D. Irimia, Maiorescu, Dan Mănucă, I. Miloș, G. Munteanu, D. Murărașu, Tudor Nedelcea, C. Noica, Paleologu-Matta, Edgar Papu, Perpessicius, A.Z.N. Pop, D. Popovici, E. Simion, M. Steriade, Tiutiucă, Todoran, Ungheanu. Uscătescu, Vatamaniuc, Vianu, Vuia, Vieru etc.etc.)” (6)

Dodii

Invocations, 1966, first poetry book published by Anca, includes already a title, „Dodii”, dedicated to V. G. Paleolog, Brancusologist. Gorjul literar magazine published in 1977 his dramatic poem Măiastra în dodii. Later on, in Ibsenienii III, a chapter is called Dodism. Ioan Ladea creates from distance (note...) an imaginary dialogue with George Anca evoking passionately the dodii, as longings, sad and discrete smiles, which dissimulate into a soft humor, into a timid uncertainty which wants to hide the intimacy of which is embarrassed. Once, the dodia animates itself, as some unknown flying insect, pretending it left native place to see the world, and that dodia would help finding the lost way of return. (January '999). Beyond such tool, the vivid actualization of home troubles makes room to a “patern of world”. (7) In monograph Anca, Marian Popa reads his entire work as a system of dodii, extended to literary and philosophical doctrines, especially to chaos at Friederich Schlegel. In first instance, „As seen, dodia is a synonym or proximate genre for dodge, dotage, whiplash, to talk wet, to talk widely, without rhyme or reason, to be out of one's wits, to play the giddy goat, quips, nonsenses, rubbish, to twaddle, and in possible relation to: “flip-flap, Maritso” (Anca)”. (p.13). “The dodii are initially limited to language; It's conceivable the extension to actions and situations involving the volitional, the existence of a tangible goal, corporal, instrumental actions.” (p.15). “In the broadest sense, it may be considered dodii any deviations from the denotative expression and from the logic of the first syllogism. There is, for example, the opinion that literature under totalitarian Communism was one of the essay and poetry, saved by Aesopism and “the speaking in dodii” (Adrian Alui Gheorghe)” (p.17) The growing dodii tacit “method” may have been noticed more or less by chance, from first book, received encouragingly but also as sibilant (note); the second one, Eres/Heresy upgraded perception to parasitism. “Absolutely undecipherable is the volume of Gheorghe Anca – Eres” (8) “It can be deciphered in the verses of George Anca a kind of exaltation in front of esoteric uttering, of unusual imagistic delirium, fascination of a game 'in dodii', out of which he tends to make, actually, a kind of personal aesthetics. His attempt to restructuring of the real into a flux of fragmentary, insinuating images results otherwise, not rarely, into a gibberish which simulate reflexion” (9). Anca found India quiet happy with the dodii, and felt, poetically, sheltered and quiet, embracing Indology. “In his sharp new voice, Anca is pungent, discordant, airs disillusional passion and brevity of human life. He is at his best in two epitaphs titled 'what can we do sergiu welcome to irk ever' and ' the parents are still oppressing the young mares our sister in the meadows by' “. (10)

   “ The concepts represented in these works by Sanskrit words indicate firstly, that they have a universal appeal and secondly, that the use of Sanskrit terms, instead of equivalents from other languages, is meant to convey this universal appeal. Personally, I feel amazed at the remarkable similarity of rhythm and tune as noticed in Dr. Trikha's rendering of a Romanian song and its Sanskrit translation” (11)  

Books published in Romania and India

Poetry Invocaţii / Invocations, 1968 Poemele părinţilor / Poems of the Parents, 1976 10 Indian Poems, 1978 Ek shanti, 1981 De rerum Aryae, 1982 Upasonhind, 1982 Ardhanariswara, 1982 Mantre / Mantras, 1982 Sonhind, 1982 Norul vestitor/The Cloud Messenger (Kalidasa), 1983 Gitagovinda (Jayadeva), 1983 Sonet, 1984 50 doine lui Ilie Ilaşcu / 50 songs to Ilie Ilascu, 1994 Doina cu variaţiuni / Doina song with variations , 1995 Doine în dodii / Doinas in dodii, 1997 Waste, 1998 Decasilab, 1999 Balada Calcuttei, Ballad of Calcutta 2000 Sonete thailandeze, 2000 Orientopoetica, 2000 Malta versus Trinidad, 2000 Mamma Trinidad, 2001 Milarepa, 2001 Dodii, 2002 Măiastra în dodii, 2003 Transbudhvana, 2004 Maroc după tată / Morocco according to father, 2004 New York Ramayana, 2004 Nefertiti & Borges, 2004 Finish Romania, 2006 A la Reine de Maillane, 2006 Cenuşa lui Eliade / Eliade's Ashes, 2007 Târgovişte – India, 2008 Partea Nimănui / Nobody's part, 2010 Paparuda, 2011 Netrecut p'afiș / Not written on poster, 2013 Dodii pe viață / Dodii on life term, 2013

Prose Eres, 1970 Parinior, 1982 India. Memorii la mijlocul vieţii / India. Memoirs at the middle of life, 1982 The Buddha, 1994 Maica Medeea la Paris, 1997 Miongdang, 1997 Sub clopot / Under bell, 1998 Pelasgos, 1999 Frica de Orient / Fear of the Orient, 2001 Buddha şi colonelul / Buddha and the coroner, 2001 Furnici albe / White ants, 2001 Poeston, 2001 Baudelaire, 2001 Sanskritikon, 2002 La Gioia, 2002 Măslinii din Uffizi / The olive trees in Uffizi, 2003 În recunoaştere / In recognition, 2003 Tangoul tigrului / The tiger's tango, 2005 Ibsenienii, 2005 Diplomă de sinucidere / Suicid diploma, 2005 Rechinuri / Sharks, 2006 Digital Kali, 2006 Zăpezi hawaiiene / Hawaiian snows, 2006 Roboam, 2007 Sfinți în Nirvana / Saints in Nievana, 2008 Barba lui Hegel / The Hegel's Beard, 2013

Theatre Good luck, Radha, 1979 Pancinci, 1982 XII by Horace Gange, 1984 Teatru sub clopot /Theater under bell, 1997 Mureşan Eminescu, 1997 Templu în elicopter / Temple in helicopter, 1997 Paparuda, 2007 Astă-seară se joacă Noica / This evening is played Noica, 2008 Scenometrie Teatrux, 2011

Essays Baudelaire şi poeţii români / Baudelaire and Romanian Poets, 1974, 2001 Indoeminescology, 1994 Articles on education, 1995 Haos, temniţă şi exil / Chaos, Prison and Exile, 1995 Lumea fără coloana lui Brâncuşi / World without Brancusi's Column, 1997 Ion Iuga în India, 1997 Beauty and Prison, 1998 From Thaivilasa to Cosmic Library, 1999 Ramayanic Ahimsa, 1999 Aesthetic Anthropology, 2000 In search of Joy, 2003 Literary Anthropology, 2005 Glose despre ahimsa / Glosses on ahimsa, 2006 Exerciţii de religiologie / Exercises on religiology, 2009 Mantra Eminescu, 2011

Translations Gianni Rodari, Grammatica della fantasia / Gramatica fanteziei, 1980 (EDP), 2005 (Humanitas) Kalidasa, Meghaduta / Norul vestitor, 1983 Jayadeva, Gitagovinda, 1983 Rajiv Dogra, Footprints in the foreign sands/ Urme pe nisip, 1999 Faust Brădescu, Le monde etrange de Ionesco / Lumea stranie a lui Eugen Ionescu, 2000 Hindu Dharma / Dharma Hindusă, 2002 Târgoviște-India, 2008 Surender Bhutani, Poems / Poeme, 2008 Rudi Jansma, Sneh Rani Jain, Introduction to Jainism / Introducere în Jainism, 2011

Periodicals edited: „The Milky Way / Akaash Ganga” (1978-1981) "Latinitas" (1982–1984); "Liber" (1990-2008); "Bibliotheca Indica" (1996-2008); “Trivium” (2004-2012).

Script writer (TV films): Constantin Brâncuşi, 1974; Gheorghe Anghel, 1974; Romul Ladea, 1974; Eminescu’s Statues, 1974; India in the European Literatures, 1979; Doine în dodii, 1997.

References 1. Florin Mugur, Miorița, in România literară, 13 ianuarie 1976. 2. Presently, the activity of the three societies is part of monthly program Tuesday Colloquiums, moderated by George Anca, within Social-Cultural Center “Jean Louis Calderon” in Bucharest 3. Marian Popa, Anca, Bibliotheca, Târgoviște, 2013; same monograph published also by TipoMoldova, Iași, 2013 4. Address by George Anca in occasion of ceremony of receiving Honorary Doctorate, Bucharest University, by H.E. Shanker Dayal Sharma, President of India 5. George Anca, Mantra Eminescu, Bibliotheca, 2011, p. 125-126, 128 6. Quoted in Eminescu, by Tudor Nedelcea, București, Fundația națională pentru Știință și Artă, 2013, p. 490 7. Ioan Ladea, Jurnal din Quito comandat de George Anca/ The Diary in Quito ordered by George Anca, A.P.P. 1999, Bucharest) 8. Literatura parazitară în România literară, 13 august 1971 9. Dana Dumitriu, Poemele părinților, in România literară, 10 iunie 1976 10. V.K. Gaur, A collection of poignant poems (on Ardhanariswara), in Sunday Herald, Delhi, 22 August, 1982, 12 September 1982 11. Harish Kumar, Mantre, Ardhanariswara, Parinior, Three volumes by Dr. George Anca, in Indian Literature, Delhi, Sahitya Akademi, May-June 1983.