A end of January 1939, Carles Riba (Barcelona, \u200b\u200b1893-1959), poet, professor of Greek Catholic and Republican, crossed the French border into exile in a painful journey shared with Antonio Machado. That trip
border and that it reduced to the condition of exile marked a red line delineating a before and after in life and poetry of Carles Riba, which he recalled that ten years after trauma, in the preface to the second edition of his Elegies Bierville, one of the most beautiful books and more intense European poetry of the twentieth century was an experience I plunged full in the sense of exile. Entered it and in death.
And so, in that old mill Bierville, start a spiritual and literary adventure that allows you to go back from scratch to himself on a journey back in which Odysseus and Orpheus assist you on a journey inside the game fire, the superficiality of the lead to transcendence and the deep understanding of the world and themselves same. A trip, by the way, similar to that followed by European culture after the traumatic experience of two world wars.
was in Bierville where Carles Riba wrote the first five elegies and where was the first revelation of what would be the twelve that make up the book. As Rilke received the seaside gift of the first line of the Duino Elegies , Riba was the first verse of the first elegy:
secret was the cami, fables of sadness divines ...
Wonder and surprise for me was the first verse suddenly born full-armed with a renewal requirement , admired the poet explained.
a revelation whose pace adapted to the metric system of syllabic and accentual rhythm Romance quantitative statistical ancient Greek elegy. And Rilke, resonate in these texts, the internal consistency of each of them and their overall sense the voices of Hölderlin, Valéry and Eliot, of the Greek classics to which he had translated the seventeenth century English metaphysical and English mystics of the XVI.
But that's not important. The important thing is that the disclosure of that first verse and the silence which succeeded the last of the last elected in the twelve poems or unique poem taking place in twelve days, the poet takes a trip back to itself, the journey of exile child purifier, an illumination of reality and a search for meaning through words.
inner journey which begins in the void, the awareness of the dispossession and the inadequacy of the word, to become a journey of initiation and Orphic that reveals the meaning of life and death.
border and that it reduced to the condition of exile marked a red line delineating a before and after in life and poetry of Carles Riba, which he recalled that ten years after trauma, in the preface to the second edition of his Elegies Bierville, one of the most beautiful books and more intense European poetry of the twentieth century was an experience I plunged full in the sense of exile. Entered it and in death.
And so, in that old mill Bierville, start a spiritual and literary adventure that allows you to go back from scratch to himself on a journey back in which Odysseus and Orpheus assist you on a journey inside the game fire, the superficiality of the lead to transcendence and the deep understanding of the world and themselves same. A trip, by the way, similar to that followed by European culture after the traumatic experience of two world wars.
was in Bierville where Carles Riba wrote the first five elegies and where was the first revelation of what would be the twelve that make up the book. As Rilke received the seaside gift of the first line of the Duino Elegies , Riba was the first verse of the first elegy:
secret was the cami, fables of sadness divines ...
Wonder and surprise for me was the first verse suddenly born full-armed with a renewal requirement , admired the poet explained.
a revelation whose pace adapted to the metric system of syllabic and accentual rhythm Romance quantitative statistical ancient Greek elegy. And Rilke, resonate in these texts, the internal consistency of each of them and their overall sense the voices of Hölderlin, Valéry and Eliot, of the Greek classics to which he had translated the seventeenth century English metaphysical and English mystics of the XVI.
But that's not important. The important thing is that the disclosure of that first verse and the silence which succeeded the last of the last elected in the twelve poems or unique poem taking place in twelve days, the poet takes a trip back to itself, the journey of exile child purifier, an illumination of reality and a search for meaning through words.
inner journey which begins in the void, the awareness of the dispossession and the inadequacy of the word, to become a journey of initiation and Orphic that reveals the meaning of life and death.
Carles Riba When he began writing these Bierville Elegies - Marta López Vilar said in his foreword, The word transparency-known that back. Where? That answer rests solely with poetry: clear there is and is not explained, as we can not explain in a mirror. Every poem is a way back to yourself, and that was marked in the poetic voice of Carles Riba.
an operator's voice that feels like an exile from the homeland and evokes paradise and freedom from dispossession, who defended the soldiers of Salamis, the dream of an island green, the distant memory of a Greece that Catalonia is confused with the loss or the contemplation of the full light of June are some of the way stations for the trip back to the past, the lost homeland, but especially to their own identity. And so that experience of the dispossessed goes beyond their own limited painful nature, dive depths of regret for the loss to undertake a return to himself and to give new meaning to the present and reality.
So the book stems from a lament, but it contains a light in the shade, is an elegy, but also an ode in which the exile is the starting point of the back and ends up becoming funeral in momentum operator and hymnic boost saving in the memory.
In 1942, a year before returning from exile, published Carles Riba these Elegies with a false imprint in Buenos Aires. Although in part, saw the light and one of the essential books of Catalan poetry. A book that had its final edition in 1949 in Santiago de Chile, with a true imprint, with a preface to the second edition where Riba explains the process of creation and the ultimate meaning of the work, and final notes clarify the images and allusions on which each poem is structured.
In 1942, a year before returning from exile, published Carles Riba these Elegies with a false imprint in Buenos Aires. Although in part, saw the light and one of the essential books of Catalan poetry. A book that had its final edition in 1949 in Santiago de Chile, with a true imprint, with a preface to the second edition where Riba explains the process of creation and the ultimate meaning of the work, and final notes clarify the images and allusions on which each poem is structured.
Discontinued and nearly impossible to find a bilingual edition published in English March 1985 Barcelona Council and the translation of Alfonso Costafreda the year 56 and with a foreword by José Agustín Goytisolo, this new bilingual edition published Books Air with translation and foreword by Marta Vilar Lopez recovered in the English voice of one of the essential poets of the twentieth century, which he left us memorable lines such as these, the Elega II
Sounion! T'evocaré far a cry of joy,
fly you and your loyal, king of the sea and the wind:
for your record that stands to me, happy salt exalted, with
all your marble, noble old I like him.
Temple mutilated dismissive of the other columns
in the depths of your jump, laughing under the wave, sleep
Eternity! You vigils, the white floor,
the sailor who looks good for you turned your direction;
drunk by your name, through the thicket naked
comes to search now, how far the certainty of the gods;
that among the exiled dark groves t'albira
suddenly, precise oh, oh spooky! and known by thy strength
force that saves the blows of fortune,
the rich that he gave, and so pure in his ruin.
Sounion ¡! Being away from evocaré of joy with a grito,
you and your fair sun, king of the sea and the wind
by your memory that I raised, exalted salt happy,
all your marble, ancient and noble I like him. Temple
maimed, disdainful of the other columns
in the bottom of your jump, under the smiling wave sleep
eternity! You candles, white in height,
by the sailor who runs his course for you;
drunk by your name, holm naked through
comes after you, end the certainty of gods
exiled from the dark woods you suddenly
currency, need oh, oh spooky! and knows
your strength the force that saves strokes of fortune, rich
what has been his downfall and so pure.
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