Professional Documents
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aigada
adagia
wallace stevens
traducción
patricio grinberg
Stevens, Wallance.
Adagia. - 1a ed. - Buenos Aires:
Zindo & Gafuri, 2014.
68p. ; 20x14 cm.
ISBN 978-987-450xx-x-x
zindo.gafuri@gmail.com
Impreso en Argentina
“no todos los días el mundo se ordena en un poema”
(una poética en pedacitos de papel que deberían haber
terminado en la basura)
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Ya en las anotaciones de esa época puede rastrearse su fas-
cinación por las sentencias y los aforismos. Desde constantes
citas y breves reflexiones sobre fragmentos de Pascal, La Ro-
chefoucauld, Leopardi o Schopenhauer hasta la confesión de
que los proverbios de Erasmo de Rotterdam eran la síntesis
perfecta del tipo de escritura que perseguía. Todo en Adagia,
las ideas recurrentes sobre las que se mueve el pensamiento
de Stevens, su forma aforística, incluso su título -igual a como
Erasmo había titulado sus proverbios-, parece haber sido algo
silenciosamente planeado mucho tiempo antes, 20 años antes
de publicar su primer libro por insistencia de Marianne Moore y
William Carlos Wiliams, y casi 40 años antes de que decidiera
empezar a esbozar en esos tres cuadernos sus ideas sobre la
función de la poesía.
Happiness is an acquisition.
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The public of the poet. The public of the organist is the church
in which he improvises.
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Art, broadly, is the form of life or the sound and colour of life.
Considered as form (in the abstract) it is often indistinguishable
from life itself.
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A poem is a meteor.
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Un poema es un meteoro.
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La poesía no es personal.
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Not all objects are equal. The vice of imagism was not to rec-
ognize this.
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The poet must put the same degree of intentness into his poet-
ry, as, for example, the traveller into his adventure, the painter
into his painting.
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The bare image and the image as a symbol are the contrast:
the image without meaning and the image as meaning. When
the image is used to suggest something else, it is secondary.
Poetry, as an imaginative thing, consists of more than lies on
the surface.
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In poetry, you must love the word, the ideas and images and
rhythms with all your capacity to love anything at all.
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Las cosas vistas son cosas así como son vistas. Absoluta-
mente reales.
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The poet is the intermediary between the people and the world
in which they live and also, between the people as between
themselves; but not between the people and some other world
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La imaginación es lo romántico.
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Wine and music are not good until afternoon. But poetry is like
prayer in that it is most effective in solitude and in the times of
solitude as, for example, in the earliest morning.
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The great objective is the truth not only of the poem but of
poetry.
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That part of the truth of the world that has its origin in the feel-
ings
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La poesía es una concepción específica, de cualquier forma
que sea expresada. Un poema es una poesía expresada con
palabras. Pero en un poema hay una poesía de las palabras.
Evidentemente, un poema puede estar compuesto por varias
poesías.
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Vivimos en la mente.
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Son las explicaciones que nos damos de las cosas las que revelan
nuestro carácter: los temas de nuestros poemas son los símbolos
de nosotros mismos o de uno de nuestros nosotros mismos.
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It is not every day that the world arranges itself into a poem.
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The thing said must be the poem not the language used in say-
ing it. At its best the poem consists of both elements.
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The aesthetic order includes all other orders but is not limited
to them.
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I don’t think we should insist that the poet is normal or, for that
matter, that anybody is.
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The thing seen becomes the thing unseen. The opposite is, or
seems to be, impossible.
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Hermit of poetry.
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Ermitaño de la poesía.
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The most beautiful thing in the world is, of course, the world
itself. This is not only logically but categorically.
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God is a symbol for something that can well take other forms,
as, for example, the form of high poetry.
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The time will come when poems like Paradise will seem very
triste contraptions.
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La lengua es un ojo.
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A poem is a pheasant.
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How has the human spirit ever survived the terrific literature
which it has had to contend?
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Reality is a vacuum.
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Un poema es un faisán.
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La realidad es un vacío.
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Aristotle is a skeleton
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Aristóteles es un esqueleto.
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Society is a sea.
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La sociedad es un mar.
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The transition from make believe for one’s self to make believe
for others is the beginning, or the end, of poetry in the individual.
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The eye sees less than the tongue says. The tongues says less
than the mind thinks.
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The poet must not adapt his experience to that of the philos-
opher.
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La realidad es el motivo.
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Since man made the world, the inevitable god is the beggar.
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The feeling or the insight is that which quickens the words, not
the other way round.
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In children it is not the imitation that pleases us, but our percep-
tion of it. In later life, the pejorative aspect of imitation discloses
its inherent unpleasantness. To give pleasure an imitation must
have been studied as an imitation and then it pleases us as art.
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La pérdida de fe es un crecimiento.
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Thought is life.
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El pensamiento es vida.
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The poet is a god, or, the young poet is a god. The old poet is
tramp.
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If the mind is the most terrible force in the world, it is also the
only force that defends us against terror. Or, the mind is the
most terrible force in the world principally in this, that it is the
only force that can defend us again itself, the modern world is
based on this pensée.
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The poetic view of life is larger than any of its poems (a larger
thing than any poem); and to recognize this is the beginning of
the recognition of the poetic spirit.
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To sit in a park and listen to the locusts; to sit in a park and hear
church-bells---two pasts or one present and one past?
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One cannot spend one’s time in being modern when there are
so many more important things to be.
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The man who asks questions seeks only to reach a point where
it will no longer be necessary for him to ask questions.
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The more intensely one feels something that one likes the more
one is willing for it to be what it is.
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The world of the poet depends on the world that he has con-
templated.
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Poetry is a health.
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La poesía es salud.
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The mind that in heaven created the earth and the mind that on
earth created the heaven were, as it happened, one.
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A poem need not have a meaning and like most things in nature
often does not have.
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Feed my lambs (on the bread of living)... The glory of god is the
glory of the world... To find the spiritual in reality...To be concern
with reality.
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The second equals the thing imagined and the imaginer are
one. Hence, I suppose, the Imaginer is God.
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Poetry is (and should be) for the poet a source of pleasure and
satisfaction, not a source of honours.
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The imagination is the liberty of the mind and hence the liberty
of reality.
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Suppose any man whose spirit has survived has consulted his
contemporaries as t what to do, or what to think, or what music
to write, and so on.
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