Din ceas, dedus: различия между версиями

Материал из Wikilivres.ru
Перейти к навигацииПерейти к поиску
Строка 38: Строка 38:
 
|}}
 
|}}
  
−
Написанное в 1929 году, и впервые опубликованое в сб. «Joc second», 1930, с  использованием материалов датируемых 1920 годом. Первоначально без названия, это стихотворение часто называют «Joc secund» (Вторая игра), но из текстовых заметок Барбу можно предположить, что он предпочитал либо называть его по первой  строке «Din ceas, dedus...»  либо оставлять его без названия. Сохранилось несколько более ранних версий этого стихотворения, значительно отличающиеся от основного варианта. В отличие от большинства других, это стихотворение было переведено на английский язык несколько раз.<ref>Written in 1929 and first published in Joc secund 1930, using material dating from 1920. Originally untitled, this poem is often titled “Joc secund”, see for example Rosetti and Calin’s 1966 edition: Barbu, Joc secund, 63. But Barbu’s textual notes suggest that he preferred either the first-line title “Din ceas, dedus…” or to leave it untitled. Several earlier versions of this poem, with substantive alternatives, survive: Barbu, Poezii, 154, Vulpescu notes. Unlike most, this poem has been translated into English several times.  
+
{|width=100%
 +
|-
 +
|bgcolor= valign=top width=49%|
 +
Написанное в 1929 году, и впервые опубликованое в сб. «Joc second», 1930, с  использованием материалов датируемых 1920 годом. Первоначально без названия, это стихотворение часто называют «Joc secund» (Вторая игра), но из текстовых заметок Барбу можно предположить, что он предпочитал либо называть его по первой  строке «Din ceas, dedus...»  либо оставлять его без названия. Сохранилось несколько более ранних версий этого стихотворения, значительно отличающиеся от основного варианта. В отличие от большинства других, это стихотворение было переведено на английский язык несколько раз.  
  
−
“Din ceas, dedus …” is the originally untitled poem that opens Joc secund. It describes Barbu’s attempt to reach a ‘second game’ or alternative and transcendent reality, through a summation of images. The attempt is ultimately unsuccessful, as acknowledged by Barbilian of his overall theory of a mathematical poetics, since the poet’s music and songs are lost and dispersed in the ocean’s depths and under the weight of water, but there nonetheless remains a very strong suggestion of the heights to which the poet was trying to reach.658 The images of water are important, and they are a common feature of many of Barbu’s other poems, suggesting weight and drowning, but also in some instances light, reflection and diffraction. For him, water represents sight – or vision, in its many senses – enhanced and enriched, even if ultimately distorted.659 These are all central concepts in Barbilian’s understanding of mathematics, but in addition he also uses overtly mathematical imagery. The ‘summation’ of images I have mentioned already; the opening reference to time is evocative, since its simple translation ‘from time’ (din ceas), carries in Romanian not only connotations of ‘from time to time’, or occasionality, but also a moving out from within time. Like the references to light and optics, time in the 1920s immediately brings to mind Einstein’s relativity and his rejection of time as an invariable. This poem is doing the same, suggesting Barbu’s ultimate aim of reaching a state of transcendence, beyond time. The mathematical connotation is further emphasised by the immediately succeeding reference to deduction. Einstein drew heavily on the work of the Göttingen mathematicians in his construction of a new space-time continuum, and in this poem, the most obvious Göttingen mathematical reference is of course the ‘group’. Group theory is central to modern algebra, and it is a central concept in ad lived in New Yokr, since it represents precisely the combination of elements (or images) that come together and interact together, leaving some features invariant, such as transcendence, purity and a second reality. It also alludes to the images of water since reflections are a strong feature of group theory, and likewise the various opposites, as symmetry is central to group theory. Barbu uses this concept in several of his poems, not least in the eponymous “Grup”: 658 This juxtaposition of height and depth has been noted in Barbu’s poetry since Vianu’s first monograph in 1935 (see note 478). In the chapter “Perspectivă” (Perspectives), for example, Vianu remarks that in striving ‘for the peace of the non-created being or for the incipient, innocent life’, Barbu moves from the ‘summits of conception’ to the ‘depths of its most hidden meanings’. (Pacea ființei necreate sau către viața începătoare și nevinovată […] Înălțimile concepției […] adîncimea sensurilor ei mai ascunse, Vianu, Ion Barbu, 85–89. English translation from Vianu, “Ion Barbu’s Poetry: The Degrees of the Vision,” 67–68.) 659 Barbu himself initially wanted to call his collection Ochean (spyglass) in place of Joc secund, with the idea to create a parallel, higher, world that relies on personal, transforming, metaphors: Cornis-Pope, “Ion Barbu (Dan Barbilian).” Images of sight, light, and of the sea (a spyglass is used in particular in the nautical context) are prevalent in the poems themselves.
+
|bgcolor= valign=top width=6%|
 +
|bgcolor= valign=top width=43%|
 +
Written in 1929 and first published in Joc secund 1930, using material dating from 1920. Originally untitled, this poem is often titled “Joc secund”, see for example Rosetti and Calin’s 1966 edition: Barbu, Joc secund, 63. But Barbu’s textual notes suggest that he preferred either the first-line title “Din ceas, dedus…” or to leave it untitled. Several earlier versions of this poem, with substantive alternatives, survive: Barbu, Poezii, 154, Vulpescu notes. Unlike most, this poem has been translated into English several times.  
  
 +
“Din ceas, dedus …” is the originally untitled poem that opens Joc secund. It describes Barbu’s attempt to reach a ‘second game’ or alternative and transcendent reality, through a summation of images. The attempt is ultimately unsuccessful, as acknowledged by Barbilian of his overall theory of a mathematical poetics, since the poet’s music and songs are lost and dispersed in the ocean’s depths and under the weight of water, but there nonetheless remains a very strong suggestion of the heights to which the poet was trying to reach.658 The images of water are important, and they are a common feature of many of Barbu’s other poems, suggesting weight and drowning, but also in some instances light, reflection and diffraction. For him, water represents sight – or vision, in its many senses – enhanced and enriched, even if ultimately distorted.659
 +
 +
These are all central concepts in Barbilian’s understanding of mathematics, but in addition he also uses overtly mathematical imagery. The ‘summation’ of images I have mentioned already; the opening reference to time is evocative, since its simple translation ‘from time’ (din ceas), carries in Romanian not only connotations of ‘from time to time’, or occasionality, but also a moving out from within time. Like the references to light and optics, time in the 1920s immediately brings to mind Einstein’s relativity and his rejection of time as an invariable. This poem is doing the same, suggesting Barbu’s ultimate aim of reaching a state of transcendence, beyond time. The mathematical connotation is further emphasised by the immediately succeeding reference to deduction. Einstein drew heavily on the work of the Göttingen mathematicians in his construction of a new space-time continuum, and in this poem, the most obvious Göttingen mathematical reference is of course the ‘group’. Group theory is central to modern algebra, and it is a central concept in ad lived in New Yokr, since it represents precisely the combination of elements (or images) that come together and interact together, leaving some features invariant, such as transcendence, purity and a second reality. It also alludes to the images of water since reflections are a strong feature of group theory, and likewise the various opposites, as symmetry is central to group theory. Barbu uses this concept in several of his poems, not least in the eponymous “Grup”: 658
 +
 +
This juxtaposition of height and depth has been noted in Barbu’s poetry since Vianu’s first monograph in 1935 (see note 478). In the chapter “Perspectivă” (Perspectives), for example, Vianu remarks that in striving ‘for the peace of the non-created being or for the incipient, innocent life’, Barbu moves from the ‘summits of conception’ to the ‘depths of its most hidden meanings’. (Pacea ființei necreate sau către viața începătoare și nevinovată […] Înălțimile concepției […] adîncimea sensurilor ei mai ascunse, Vianu, Ion Barbu, 85–89. English translation from Vianu, “Ion Barbu’s Poetry: The Degrees of the Vision,” 67–68.) 659
 +
 +
Barbu himself initially wanted to call his collection Ochean (spyglass) in place of Joc secund, with the idea to create a parallel, higher, world that relies on personal, transforming, metaphors: Cornis-Pope, “Ion Barbu (Dan Barbilian).” Images of sight, light, and of the sea (a spyglass is used in particular in the nautical context) are prevalent in the poems themselves.<ref>[http://researcharchive.vuw.ac.nz/xmlui/bitstream/handle/10063/4274/thesis.pdf?sequence=2 Relations between Modern Mathematics and Poetry: Czesław Miłosz; Zbigniew Herbert; Ion Barbu/Dan Barbilian] by Loveday Jane Anastasia Kempthorne</ref>
 +
 +
|bgcolor= valign=top width=6%|
 +
|}
  
−
[http://researcharchive.vuw.ac.nz/xmlui/bitstream/handle/10063/4274/thesis.pdf?sequence=2 Relations between Modern Mathematics and Poetry: Czesław Miłosz; Zbigniew Herbert; Ion Barbu/Dan Barbilian] by Loveday Jane Anastasia Kempthorne</ref>
 
  
  

Версия 09:48, 4 августа 2015

«Din ceas, dedus...»
автор Ион Барбу, пер. разные
Язык оригинала: румынский. Название в оригинале: Din ceas, dedus.... — Из цикла «Joc secund».



[Din ceas, dedus...]


Din ceas, dedus adâncul acestei calme creste,
Intrată prin oglindă în mântuit azur,
Tăind pe înecarea cirezilor agreste,
În grupurile apei, un joc secund, mai pur.

Nadir latent! Poetul ridică însumarea
De harfe resfirate ce-n zbor invers le pierzi
Şi cântec istoveşte: ascuns, cum numai marea
Meduzele când plimbă sub clopotele verzi.

Написанное в 1929 году, и впервые опубликованое в сб. «Joc second», 1930, с использованием материалов датируемых 1920 годом. Первоначально без названия, это стихотворение часто называют «Joc secund» (Вторая игра), но из текстовых заметок Барбу можно предположить, что он предпочитал либо называть его по первой строке «Din ceas, dedus...» либо оставлять его без названия. Сохранилось несколько более ранних версий этого стихотворения, значительно отличающиеся от основного варианта. В отличие от большинства других, это стихотворение было переведено на английский язык несколько раз.

Written in 1929 and first published in Joc secund 1930, using material dating from 1920. Originally untitled, this poem is often titled “Joc secund”, see for example Rosetti and Calin’s 1966 edition: Barbu, Joc secund, 63. But Barbu’s textual notes suggest that he preferred either the first-line title “Din ceas, dedus…” or to leave it untitled. Several earlier versions of this poem, with substantive alternatives, survive: Barbu, Poezii, 154, Vulpescu notes. Unlike most, this poem has been translated into English several times.

“Din ceas, dedus …” is the originally untitled poem that opens Joc secund. It describes Barbu’s attempt to reach a ‘second game’ or alternative and transcendent reality, through a summation of images. The attempt is ultimately unsuccessful, as acknowledged by Barbilian of his overall theory of a mathematical poetics, since the poet’s music and songs are lost and dispersed in the ocean’s depths and under the weight of water, but there nonetheless remains a very strong suggestion of the heights to which the poet was trying to reach.658 The images of water are important, and they are a common feature of many of Barbu’s other poems, suggesting weight and drowning, but also in some instances light, reflection and diffraction. For him, water represents sight – or vision, in its many senses – enhanced and enriched, even if ultimately distorted.659

These are all central concepts in Barbilian’s understanding of mathematics, but in addition he also uses overtly mathematical imagery. The ‘summation’ of images I have mentioned already; the opening reference to time is evocative, since its simple translation ‘from time’ (din ceas), carries in Romanian not only connotations of ‘from time to time’, or occasionality, but also a moving out from within time. Like the references to light and optics, time in the 1920s immediately brings to mind Einstein’s relativity and his rejection of time as an invariable. This poem is doing the same, suggesting Barbu’s ultimate aim of reaching a state of transcendence, beyond time. The mathematical connotation is further emphasised by the immediately succeeding reference to deduction. Einstein drew heavily on the work of the Göttingen mathematicians in his construction of a new space-time continuum, and in this poem, the most obvious Göttingen mathematical reference is of course the ‘group’. Group theory is central to modern algebra, and it is a central concept in ad lived in New Yokr, since it represents precisely the combination of elements (or images) that come together and interact together, leaving some features invariant, such as transcendence, purity and a second reality. It also alludes to the images of water since reflections are a strong feature of group theory, and likewise the various opposites, as symmetry is central to group theory. Barbu uses this concept in several of his poems, not least in the eponymous “Grup”: 658

This juxtaposition of height and depth has been noted in Barbu’s poetry since Vianu’s first monograph in 1935 (see note 478). In the chapter “Perspectivă” (Perspectives), for example, Vianu remarks that in striving ‘for the peace of the non-created being or for the incipient, innocent life’, Barbu moves from the ‘summits of conception’ to the ‘depths of its most hidden meanings’. (Pacea ființei necreate sau către viața începătoare și nevinovată […] Înălțimile concepției […] adîncimea sensurilor ei mai ascunse, Vianu, Ion Barbu, 85–89. English translation from Vianu, “Ion Barbu’s Poetry: The Degrees of the Vision,” 67–68.) 659

Barbu himself initially wanted to call his collection Ochean (spyglass) in place of Joc secund, with the idea to create a parallel, higher, world that relies on personal, transforming, metaphors: Cornis-Pope, “Ion Barbu (Dan Barbilian).” Images of sight, light, and of the sea (a spyglass is used in particular in the nautical context) are prevalent in the poems themselves.[1]


Английский перевод: George Băjenaru[2]


С часами, вывел ...


С часами, вывел внизу этой спокойных увеличивается,
Вступил через зеркало искупил берегу,
Резка утопающих стада Agreste,
Вода группы, вторая игра, чище.

Надир скрытая!Поэт поднимает суммирования
Resfirate арфа обратного, что они теряют в полете
И выхлоп песни: скрытый, как только большой
Медузы при ходьбе под зелеными колоколов.

Google Translator
  • Din -- из
  • ceas -- часы
  • dedus -- вывел
  • adâncul -- глубокий
  • acestei -- это
  • calme -- спокойный
  • creste -- увеличение
  • Intrată -- вводный
  • prin -- по, через
  • oglindă -- зеркало
  • în -- в
  • mântuit -- сохранённый
  • azur -- лазурь, azure, light-blue, sky-blue
  • Tăind -- резка
  • pe -- на
  • înecarea -- утопление
  • cirezilor -- стада
  • Agreste -- дикий, сельский, деревенский, rustic, rural
  • În -- в
  • grupurile -- группы
  • apei -- вода
  • un
  • joc -- игра
  • secund -- второй
  • mai -- более
  • pur -- чистый
  • resfirate -- RESFIRÁT, прил. v. рассеяны.


FROM TIME, DEDUCED


From time, deduced the depths of this calm crest
Entering through the mirror the redeemed azure,
Cutting on the sinking of the great rustic herds,
In groups of water, a second game, more pure.

Latent Nadir! The poet lifts up the sum
Of harps dispersed you lose in inverse flight
And song exhausts: hidden as only the sea hides
Medusas as they walk underneath the green chimes

Из времени, выведенные...


Из времени, выводятся глубины этого спокойного роста
Входя через зеркало искупительной лазури,
Отрезая тонущие великие деревенские стада,
В группах воды, второй игры, более чистой.

Скрытый Надир! Поэт поднимает сумму
Рассыпанных арф, потерянных в обратном полете,
И песня исчерпана: скрытая, словно море скрывающее
Медуз, когда они гуляют под зелёными колоколами.

DS 4/8/2015

Английский перевод: Paul Doru Mugur and Alina Savin[3]

SECONDARY GAME


From time inferred, the depth of this calm peak
Through mirror crossed into redeemed azure.
The herds’ immersion cutting on the cheek
Of water groups, a second game, more pure.

Latent nadir! The poet lifts the tree
Of scattered harps that fade in reverse flight,
And song exhausts: it’s hidden like the sea
Under medusas’ drifting bells of light.

Вторичная игра...


Из времени выведенная, глубина этого спокойного пика
Сквозь зеркало перешедшее в искуплённую лазурь.
Погружение стад вырезанных на щеке
Из водных групп, вторая игра, более чистая.

Скрытый Надир! Поэт поднимает дерево
Разбросанных арф, которые исчезают в обратном полете,
И песня исчерпывается: она скрыта, как море
Под светлыми дрейфующими колоколами медуз.

DS 4/8/2015

Английский перевод: Liviu Georgescu[4]

A SECOND GAME


From time, abstracted the depth of this peaceful crest,
Gone through the mirror into redeemed azure
Engraving on the sinking flocks of rustic fest
Out of the water groups, a second game, more pure.

Latent Nadir! The poet elevates summation
Of spread out harps you lose in a reverted flight
And painfully distils a song: hidden, as only sea’s cremation
Sways its Medusas under the greenish bells of light.

Вторая игра...


От времени, отделяющего глубину этого мирного гребня,
Прошедшего через зеркало в искупительной лазури,
Гравирующего на тонущий стае деревенского прадника
Из водяных групп, вторая игра, более чистая.

Скрытый Надир! Поэт возвышает суммирование
Из распростертых арф, которые вы теряете в перевёрнутом полете
И мучительно очищается песня: скрытый, а кремации только моря
Качает своих медуз в зеленоватых колоколами света.

DS 4/8/2015

Французский перевод: Constantin Frosin[5]

Du temps conclu


Du temps, conclu, le mystère de cette crête tranquille mais leste
Pénétrant, par la glace, dans un délivré azur,
Confectionnant de la noyade des troupeaux agrestes
Dans le pullulement de l’eau, un jeu second, plus pur.

Nadir latent! Le poète assume cette élévation
De l’ensemble des harpes disséminées en vol inverse,
Ensuite s’épuise en chants secrets, dans une marine vision
Tout comme les méduses que, sous des vertes cloches, la mer berce.

Из времени, выводя...


Из времени, выводя, тайну этого пика тихого, но ловко
Проникая через стекло в голубой выданного
Вылепление утопления деревенском стада
В роя воды, второй игры, чище.

Надир скрытая!Поэт предполагает, что повышение
Из всех арф, разбросанных обратный рейс,
Затем работает в секретных песен в морской видения
Как медузы что в зеленых колокола, морские камни.


Примечания

  1. ↑ Relations between Modern Mathematics and Poetry: Czesław Miłosz; Zbigniew Herbert; Ion Barbu/Dan Barbilian by Loveday Jane Anastasia Kempthorne
  2. ↑ Băjenaru, is a US-Romanian poet, literary critic and translator. Băjenaru, “Ion Barbu or the Revelation of the Sublime,” 193.
  3. ↑ An alternative translation into English is that by Paul Doru Mugur and Alina Savin in Boskoff, Dao, and Suceavă, “From Felix Klein’s Erlangen Program to Secondary Game,” 20.
  4. ↑ And still further, another by Liviu Georgescu in Firan and Doru Mugur, Born in Utopia, 33.
  5. ↑ Traduit du roumain par Constantin Frosin. Taken from http://lyricstranslate.com/en/din-ceas-dedus-du-temps-conclu.html#ixzz3hp4DF07m
Источник — http://wikilivres.ru/index.php?title=Din_ceas,_dedus&oldid=57556