Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Heteroclitus separata

Cathay. Ezra Pound. Susa, 2018
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

In these pages we also said in the last comment: The World Poetry of the Susacos was to reach the Kaie Collection (Hailey, Idaho, 1885–Venice, 1972). But the second surprise that Luigi Anselmo has prepared for us is one of those few. Cathay, a translation work published in 1915 by Pound on the Japanese anthology of Chinese poems. Ernest Fenollosa started from notes from the orientalist. Fenollosa thoroughly picked up the Chinese ideograms and poems, examined them and translated them, and his incomplete notebook led Poundi to his wife to finish her job. Unaware of Chino, which cannot be translated into half of invention, Pound revolutionized translation and even poetics. Since then, we, born in rhetoric, have been thrilled by narrative laonism: “Areas, devastated camps/ And upon them no child of war/ No man attacking or defending./ Oh, if you knew the misfortune of the North Gate!/ Already forgetting the name of Riboku,/ And we, the guards, the grass of the tigers.”

Cathay is at the base of all the other poems of Ezra Pound. He found an honest way to say things, to do lyricism without realizing it. “Fenix birds play on their terrace./ The phoenix have left, the river only joins its path./ The lilas and herbs/ cover the dark road;/ there is the dynamic house of the Go”.

More than with rhyme and spiral, it goes more directly to the classic forms of the unconscious poet without metaphors. I had conceived a conception that often turns into a strange feeling, because it would often seem that I had found the only way to say something, that there is no better way to say something like that, like when Rihaku brings the story of the decantation of Chinese poetry from a thousand years old: “And I looked at the moon through the transparent pantry.” I cried and didn't know exactly why. For tenderness. Perfectly. By smell. After all, Cathay is a delicious book to enjoy the difficulty of simple poem. Metafora is a complete collection of poems, the book itself. How the East flourished and settled forever amid the Victorian taste of the West.


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