Soft, low and sweet, the blackbird wakes the day,
And clearer pipes, as rosier grows the gray
Of the wide sky, far, far into whose deep
The rath lark soars, and scatters down the steep
His runnel song, that skyey roundelay.
Earth with a sigh awakes; and tremors play,
Coy in her leafy trees, and falt'ring creep
Across the daisy lawn and whisper, "Well-a-day,"
Soft, low and sweet.
From violet-banks the scent-clouds float away
And spread around their fragrance, as of sleep:
From ev'ry mossy nook the blossoms peep;
From ev'ry blossom comes one little ray
That makes the world-wealth one with Spring, alway
Soft, low and sweet.
He was born in San Luis Potosi (Bolivia), and he has been living in Xalapa, Veracruz (Mexico). Author of novels (The founders of dawn, LongTime, The Vigil, The Last Edge), story books (Nobody expects the man with Orgalia Night, Through hole, The Crib) and books of Analysis and Hermeneutic literary.
In Literature and Society proposed as starting point, a 'socio cultural reality "(Berger and Luckman): reality is not only alien to the human or also as a con-social construction, it is always within a given culture. The man-like King Midas-transforms everything it touches: the effect is the territory of men. Prada Oropeza takes up the Marxist proposal humanization of the world through human praxis to discuss the provision meaningless or semiosis. He states that "the practice human gives meaning to the world, builds the social world"(p. 19). We speak, then, of an interaction between the social and the man-world-culture which corresponds to a constant dialectical: the man is eminently social as their world and at same time, it is in this process.
Everyday language has meaning literal, consists signs whose function is to communicate. Reiterates, in the second chapter, the literature and cannot really understood as hierarchical terms, therefore, the verosimilitude of literary discourse cannot be reduced to a relationship with the actually, in principle, does not represent unified and preexisting human praxis.
Julia Kristeva, was born in June 24, 1941 in Sliven, Bulgaria. She is a philosopher, theorist of literature and feminism, psychoanalyst and Bulgarian-born French writer. She was educated at a French school and then studied linguistics at the University of Sofia. In 1965, at the age of 24, she moved to Paris, studied at the University of Paris and the Ecole Pratique des Hautes Etudes, while publishing articles in journals such as Tel Quel, Critique and Langages. From 1970-1983, she joined the editorial staff of Tel Quel. Currently, she teachesSemiotics in New York State University and the University of Paris VII "Denis Diderot". Her work, of great complexity, usually falls in the critique of structuralism (neo-structuralism and post-structuralism), influenced by Claude Levi-Strauss, Roland Barthes, Michel Foucault, Sigmund Freud and, above all, Jacques Lacan. She is married to the French writer Philippe Sollers.
"Death lives a human life, said Hegel. This is true when we are not in love or analysis." Julia Kristeva make the crossing of structuralism and semiotics. She was influenced by the May of 1968 and Maoism. With that spirit, she spoke at the French Institute in Madrid: “who is not in love nor psychoanalyze or write, is dead."
Julia Kristeva is now far from the major models and paradigms of the social sciences and literary theory that shook the university scene of the sixties and seventies. The abjection, love, melancholy, take their classes and their reflections. And for about seven or eight years everything revolves around his work as a psychoanalyst, consultation and their patients, including the topics she chooses for your university seminars. She was in Madrid to discuss the love-theme of her latest book, and mainly attracted an audience of psychoanalysts, not always satisfied with her original certainly unorthodox approaches. Explain that, indeed, who is not in love nor psychoanalyze or write, is dead.
Love stories Kristeva explains are woven myths and literary figures, in which the writer studied shows its semiotic and psychoanalytic wisdom: Narciso, Don Juan, Romeo and Juliet, the Virgin, the Troubadours, Stendhal, Baudelaire, Bataille, and Freud. In these books about love also becomes especially their theological knowledge density. Julia Kristeva says that she cares deeply the evocations of Karol Wojtyla, performing in her travels or in her speeches at the Vatican. A purpose of individualism, says without the slightest trace of irony: "After all, the need to accept yourself is a commandment of God in the Old Testament: Love yourself."
When asked if Julia Kristeva feels even radical, nods, but not grand gestures and a lot of passion, and the radical claims that her work is precisely the impact on people's lives through the "modest commitment psychoanalysis ", something like an absolutely microscopic and nothing momentous life change, to transform the world by reconciling people to themselves.
Literary history is largely dominated by an individualistic psychologist that has replaced the literary problems and reducing the literary richness with the psychology of the author. Also, this point of views psychologist was applied to problems like evolution or genesis literary.
Literary history must meet the requirements of authenticity if want to become a science. All terms and foremost the term "literary history", should be examined. Literary history is taken from two points of view: the study of the genesis and the evolution of the literary series. According to what be analyzed will be how it is analyzed. The study of evolution must avoid the confusion of taking data from one system and used it for analysis in another system, avoid the subjective flavor.
The consideration of the work as a system can be linked with formal theories to understand the history of literature from the formal theory. The study of isolated elements (rhythm, syntax, work, theme, in prose and poetry) is helpful and thanks to this the structural hypothesis could isolate: the elements could be mingled and interact enter them in an constructive form.
Constructive function is the ability of an element to enter in correlation with another belonging to system and outside the system. We must not fall into the comparison of elements in a system with another system without considering the constructive role.
What is a "literary event" for a time may be a only a linguistic element at another, according to the literary system in which it is situated. Isolated study of a work does not give us certainty about its construction. The autonomous function is the necessary condition for discover the literary functions and its constructive role in a particular culture.
Carnival and carnivalesque: the vision of Mijail Bajtin
For the Russian theorist Mijail Bajtin, the carnival could be read like a book. It creates an alternative social space, characterized by freedom, equality and abundance. During carnival, rank (otherwise pervasive in medieval society) is abolished and everyone is equal. People were reborn into truly human relations, which were not simply imagined but experienced. The body is here figured not as the individual or ‘bourgeois ego’ but as a growing, constantly renewed collective which is exaggerated and immeasurable. Life manifests itself not as isolated individuals but as a collective ancestral body. This is not, however, a collective order, since it is also continually in change and renewal. The self is also transgressed through practices such as masking.
Carnival is a kind of syncretic and ritualised pageantry which displays a particular perspective. It is a brief moment in which life escapes its official furrows and enacts utopian freedom. It is a form of life at once real and ideal, universal and without remainder. Its defining feature is festivity – life lived as festive. It is also sanctioned by the highest ideal aims of human existence, not by the world of practical conditions. Reading this in a contemporary way, we might say that carnival is expressive rather than instrumental. It involves the expression of latent aspects of humanity, direct contact among people (as opposed to alienation), and an eccentric refusal of social roles. It brings together groups and categories which are usually exclusive. Time and space are rearranged in ways which show their contingency and indissolubility. All of this is done in a mood of celebration and laughter.
Bajtin suggests that it took the social changed of the Renaissance era (the 15th-16th centuries) for carnival to expand into the whole of social life. The awareness of contingency and natural cycles expanded into a historical view of time. This occurred because social changes undermined established hierarchies and put contingency on display. Medieval folk culture prepared the way for this Cultural Revolution.
Bajtin almost portrays this as a recuperation of carnivalesque: it was separated from folk culture, formalized, and made available for other uses. Yet Bajtin portrays this as a positive, creative process which continues to carry the creative spirit. Bajtin suggests that carnival and folk culture have been in decline since the eighteenth century.
Carnivals have turned into state-controlled parades or privatized holidays, humour and swearing have become merely negative, and the people’s ‘second life’ has almost ceased. However, Bajtin believes that the carnival principle is indestructible. It continues to reappear as the inspiration for areas of life and culture. Carnival contains a utopian promise for human emancipation through the free expression of thought and creativity. Rabelais stands out here for a style which is irreducibly unofficial and unserious, and irrecoverable by authoritarianism.
The Poetics of Aristotle is a treatise by the Greek philosopher Aristotle (384-322 B.C.) on the nature of poetic art and the relation of poetry to reality. He work consists of 26 chapters. Apparently, the work was originally composed of two parts: a first book on the tragedy and epic, and a second on comedy and iambic poetry that has been lost. The fundamental principle of the poetics is that a poem is a mimesis, that is, an imitation. A tragedy, in particular, is an imitation of an action.
Aristotle's Poetics seeks to address the different kinds of poetry, the structure of a good poem, and the division of a poem into its component parts. Aristotle defines poetry very broadly, including the types such as epic poetry, tragedy, comedy, dithyrambic poetry, and even some kinds of music. According to Aristotle, the origin of poetry has two causes of connatural order: the first is that imitation is natural to man from childhood, acquiring their first knowledge through this; the second is about the joy that occurs by learning. He also lays out six elements of tragedy: plot, character, diction, thought, spectacle, and song. Plot is 'the soul' of tragedy, because action is paramount to the significance of a drama. A plot must have a beginning, middle, and end; it must also be universal in significance, have a determinate structure, and maintain a unity of theme and purpose.
Other important point is that the poetry was originated because of the existence of two factors or natural causes in man: first, the capacity and tendency to imitate and enjoy with imitations, and second, the ability of harmony and rhythm. He mentions that every work of art is a likeness or reproduction of an original is consistently maintained throughout the Aristotelian system of philosophy, and in the Poetics poetry is shown to be the highest form of reproductive art. The emotional catharsis which Aristotle attributes to the impact of tragedy is contrived by the spectacle, the structure, and the incidents of the play.
To sum up, Aristotle concludes that Epic poetry is like tragedy in that it reveals man to be better than he is but it is narrative in form, depending either on an omniscient first-person narrator, a third-person narrator, or a first-person narrating hero. A tragedy, meanwhile, involves the dialogue of two or more characters. Additionally, tragedy and epic poetry differ in length tragedy is confined usually to a single day, in the efforts to reveal a quick devolution of the hero. Epic poetry, meanwhile, often continues for a man's full lifetime.
Fray Luis de León (1527-1591). He was born Luis Ponce de León in Belmonte, in the Province of Cuenca, in 1527 or 1528. His parents were Lope de León and Inés de Varela. His father practiced laws, and the family moved to Madrid in 1534. Both of his parents had Jewish ancestry, so he would have been considered to be of convert lineage.
Fray Luis entered the University of Salamanca at the age of fourteen, in 1541, to study Canon Law under the care of his uncle Francisco. In 1543 or 1544 he joined the Augustinian Order, and was professed as a friar at the Priory of San Pedro. In 1552, Fray Luis graduated with a bachelor’s degree in theology from the University of Toledo and continued his education as a student of Hebrew and Biblical interpretation at the University of Alcala de Henares.
In 1560 he graduated from the University of Salamanca as bachelor and Master of Theology, and in the following year he obtained a chair in Theology at the same university; in 1571 he attained the Chair of Sacred Letters. While at the University, he translated classical and biblical literature and wrote on religious themes.
He returned to the academic environment of the University of Salamanca as a professor of Biblical exegesis and held the chairs of Moral Philosophy and Biblical Studies. He was elected to the chair of Holy Scripture at the University of Salamanca in 1579, and went on to earn a Master of the Arts degree from the University of Sahagún.
Fray Luis did not pay heed to the cautionary admonishments of the Inquisitorial committee after his earlier imprisonment. In 1582, he had another Inquisitional run-in, but was not this time imprisoned. He was absolved two years later.
He died at the age of 64 on 23 August, 1591, in Madrigal de las Altas Torres, Avila, and is buried in Salamanca in the Priory of San Agustin. Ten days before his death he was elected Vicar General of the Augustinian Order.
Fray Luis was a great connoisseur of theology, especially the Bible, and wrote several commentaries in Latin to different books of the Bible. His knowledge of the biblical languages (Greek and Hebrew) gave him access to the original texts. Along with other intellectuals, Fray Luis criticized the Latin translations of the Bible, which respected little texts the Hebrew version. In addition to these theological works written in Latin, Fray Luis de León wrote prose and verse in Castilian.
The poetry of Fray Luis has three main sources: the Bible, Renaissance humanism and classicism. As Professor of Sacred Scripture, knows the Bible as the revealed message of divine origin, and as an artistic work. From the Bible comes the search for inner peace and harmony in union with the divine. As Renaissance man knows the new formal resources within the Italian poetic tradition of Petrarch, Bembo, Tasso. Fray Luis choose one verse of that poetic stream the lyre to express his poetic thought. As a humanist, drink in the classic tradition from several sources: the neo-Platonism and Stoicism. Classical authors also influence, especially Horace, whose shape the poetic translations of his original poems. The most influential work was the “Beatus ille” of Horacio. His translation of commentary of “Song of songs”, by Salomon, is a masterpiece of criticism literary, because in it Luis de Leon explores the text in its external and deepest meaning.
En su Vida de Apolonio, refiere Filostrato que un mancebo de veinticinco años, Menipio Licio, encontró en el camino de Corinto a una hermosa mujer, que tomándolo de la mano, lo llevó a su casa y le dijo que era fenicia de origen y que si él se demoraba con ella, la vería bailar y cantar y que beberían un vino incomparable y que nadie estorbaría su amor. Asimismo le dijo que siendo ella placentera y hermosa, como lo era él, vivirían y morirían juntos. El mancebo, que era un filósofo, sabía moderar sus pasiones, pero no ésta del amor, y se quedó con la fenicia y por último se casaron. Entre los invitados a la boda estaba Apolonio de Tiana, que comprendió en el acto que la mujer era una serpiente, una lamia, y que su palacio y sus muebles no eran más que ilusiones. Al verse descubierta, ella se echó a llorar y le rogó a Apolonio que no revelara el secreto. Apolonio habló; ella y el palacio desaparecieron.
FIN
An umpire Robert Burton
In his Life of Apollonius, Philostratus relates that a young man of twenty-MenipioLicio, found on the road from Corinth to a beautiful woman, who took him by the hand, led him to his house and told him it was Phoenician origin and if he lingered with her, would dance and sing and who would drink a wine unique and that no one would interfere with His love. It also said that when she was pleasant and beautiful as he was, would live and die together. The youth, who was a philosopher, knew moderate their passions, but not love it, and stayed with the Phoenician and finally got married. Among the wedding guests was Apollonius of Tyana, who understood at once that the woman was a serpent, a lamia, and its palace and furniture were just illusions. To be discovered, she began to mourn and Apollonius begged not to reveal the secret. Apollonius spoke, she and the palace disappeared. END
-Ahora está soñando. ¿Con quién sueña? ¿Lo sabes?
-Nadie lo sabe.
-Sueña contigo. Y si dejara de soñar, ¿qué sería de ti?
-No lo sé.
-Desaparecerías. Eres una figura de su sueño. Si se despertara ese Rey te apagarías como una vela.
FIN
KING´S DREAM -Now he is dreaming. Who dreams? Do you know? 'Nobody knows. -Dreams about you. And if you stop dreaming, what would you be? I do not know. -Poof and disappear. Already a figure of your dream. If you woke up this King you would turn off like a candle. END
Chuang Tzu soñó que era una mariposa. Al despertar ignoraba si era Tzu que había soñado que era una mariposa o si era una mariposa y estaba soñando que era Tzu.
FIN
Butterfly Dream
Chuang Tzu
Chuang Tzu dreamed he was a butterfly. Waking know whether it was Tzu who had dreamed he was a butterfly or was a butterfly and was dreaming that he was Tzu.
DISCUSSION Topic: How to Teach Literature to College Students?
I believe the literature is a tool where students can enjoys the reading in class, and so as in the study of algebra and calculus, the study of literature builds thinking skills, offers students the opportunity to discover, think, evaluate, and analyze the world around them in broader. Furthermore, it allows us to develop better a composition when we write. However, teaching literature not only improves reading fluency through the expansion of vocabulary, but also increases students' reading comprehension skills. So, it’s essential to students.
According to the points or steps that is shown in the lecture about How to Teach Literature to College Students are very important because help us how we should teach literature of the best way.
Keny Baruch García
I strongly believe that is very important to learn literature because the study of literature allows people to develop new ideas and ethical standpoints, and can help people to stand as educated members of society. Studying literature can be something enriching and revealing.
English literature allows us to understand the philosophical movements and ideas that permeated to a particular culture at a particular time. For example, "Frankenstein", by Mary Shelley, shows the ambivalence felt about the British empiricism.
English literature gives us a new way of thinking about the world. For example, Mary Wollstonecraft introduces the idea that women should not have a servile attitude toward men, giving rise to the modern feminist theory.
In conlusion literature is an art form that helps us express: knowledge and feelings of every human being with the help of philosophy, since I gather that philosophy is not learned but simply we think philosophically.
Un hombre pobre se encontró en su camino a un antiguo amigo. Éste tenía un poder sobrenatural que le permitía hacer milagros. Como el hombre pobre se quejara de las dificultades de su vida, su amigo tocó con el dedo un ladrillo que de inmediato se convirtió en oro. Se lo ofreció al pobre, pero éste se lamentó de que eso era muy poco. El amigo tocó un león de piedra que se convirtió en un león de oro macizo y lo agregó al ladrillo de oro. El amigo insistió en que ambos regalos eran poca cosa.
-¿Qué más deseas, pues? -le preguntó sorprendido el hacedor de prodigios.
-¡Quisiera tu dedo! -contestó el otro.
FIN
The finger
Feng Meng-Lung
A poor man found on his way to an old friend. This had a supernatural power that allowed him to perform miracles. As the poor man complained of the difficulties of his life, his friend touched with the finger a brick immediately became gold. He offered it to the poor, but he complained that it was too little. The friend touched a stone lion which became a solid gold lion and added it to the gold brick. The friend insisted that both gifts were little.
- What else do you want then? _He asked surprised doing wonders.
- I want your finger! Replied the other.
End
Translation by Keny Baruch Garcia
El dinosaurio
Augusto Monterroso
Cuando despertó, el dinosaurio todavía estaba allí.
The Dinosaur
Augusto Monterroso
When he woke up, the dinosaur was still there.
Translation by Erika Sibaja
El Eclipse
Augusto "Tito" Monterroso
Cuando fray Bartolomé Arrazola se sintió perdido aceptó que ya nada podría salvarlo. La selva poderosa de Guatemala lo había apresado, implacable y definitiva. Ante su ignorancia topográfica se sentó con tranquilidad a esperar la muerte. Quiso morir allí, sin ninguna esperanza, aislado, con el pensamiento fijo en la España distante, particularmente en el convento de los Abrojos, donde Carlos Quinto condescendiera una vez a bajar de su eminencia para decirle que confiaba en el celo religioso de su labor redentora.
Al despertar se encontró rodeado por un grupo de indígenas de rostro impasible que se disponían a sacrificarlo ante un altar, un altar que a Bartolomé le pareció como el lecho en que descansaría, al fin, de sus temores, de su destino, de sí mismo.
Tres años en el país le habían conferido un mediano dominio de las lenguas nativas. Intentó algo. Dijo algunas palabras que fueron comprendidas.
Entonces floreció en él una idea que tuvo por digna de su talento y de su cultura universal y de su arduo conocimiento de Aristóteles. Recordó que para ese día se esperaba un eclipse total de sol. Y dispuso, en lo más íntimo, valerse de aquel conocimiento para engañar a sus opresores y salvar la vida.
-Si me matáis -les dijo- puedo hacer que el sol se oscurezca en su altura.
Los indígenas lo miraron fijamente y Bartolomé sorprendió la incredulidad en sus ojos. Vio que se produjo un pequeño consejo, y esperó confiado, no sin cierto desdén.
Dos horas después el corazón de fray Bartolomé Arrazola chorreaba su sangre vehemente sobre la piedra de los sacrificios (brillante bajo la opaca luz de un sol eclipsado), mientras uno de los indígenas recitaba sin ninguna inflexión de voz, sin prisa, una por una, las infinitas fechas en que se producirían eclipses solares y lunares, que los astrónomos de la comunidad maya habían previsto y anotado en sus códices sin la valiosa ayuda de Aristóteles.
FIN
The Eclipse
Augusto “Tito” Monterroso
When Fray Bartolome Arrazola felt lost accepted that nothing could save him. The mighty jungle of Guatemala had taken him, implacable and definitive.
Given their topographic ignorance, he sat quietly waiting to die. He wanted to die there, without any hope, isolated, with thoughts fixed on the distant Spain, particularly in the Monastery of Abrojos, where Carlos V once time condescended to lose his eminence to say him that he has confidence in his religious zeal of his redemptive work.
When he awoke, he found himself surrounded by a group of indigenous, with impassive face, preparing to sacrifice him on a sacrificial stone, an altar which to Bartolome seemed like the bed where he would rest, at last, of his fears, of his destiny.
Three years in the country had given him moderate native language proficiency. He tried something. He said some words that were understood.
Then blossomed into him an idea of which was worthy of his talent and culture and their hard universal knowledge of Aristotle. He remembered that one of these days was expected a total solar eclipse. And arranges, in the most intimate, make use of that knowledge in order to deceive his oppressors and lifesaving.
-If you kill me, he said to them, I can make the sun go dark at its height.
Natives stared him, and Bartolome surprised disbelief in their eyes. He saw that there was a small council, and he waited confident, not without some disdain.
Two hours after the heart of Fray Bartolome Arrazola dripping its vehement blood on the Stone of Sacrifice (bright under the dim light of an eclipsed sun), while one of the natives recited, without inflection, slowly, one by one, the endless dates in what would occur solar and lunar eclipses, that the astronomers of the Maya community had anticipated and noted down in their codices, without the valuable help of Aristotle.
The literary canon is a tool to size art and culture in our society. It is a model that we need to follow when we want introduces ourselves in a particular branch of art and culture.
In literature, the canon is a brief but very selective list of classic works that even in the time we are living, are still read with a very powerful interested. This list are maintaining without variations, generation after generation. The reason of the list is not complex at all; this literary works, have been chosen because of their social prestigious and are considered as an essential element of education in the youth.
When someone teaches literature is pretty impossible not establish a canon. The canon should have a very extensive repertoire of classic works and authors that join two factors at the same time: the aesthetic interest and the pedagogical necessity. When we talk about aesthetic interest we really need to be careful to choose works of quality, which ones are the major works that might like students. And when we refer to the pedagogical necessity, we are talking about which ones worth show and be analyzed by students. Certainly, it must stimulate the mind of students and transmit them the passion for literary lecture.
The canon is necessary in any aspect. Every culture, every epoch has a list of reference.
“The cannon should be a canon of desire, as Borges proposed, where the process of canonization, for a very curious reader, should never end and be re-form a thousand times”. María del Carmen Castañeda.
It is a term used widely to refer a group of literary works that are considered the most important of a particular time period or place. Therefore, to teach literature it is inevitable to ensure a canon, a closed repertoire of works and authors in which you combine two factors: the aesthetic taste and the pedagogical need.
The central idea in the concept of literary canon arises from a double need: continually review the list of recommended reading in class and an awareness of the need to affirm the importance of this list because it must serve to promote the study of literature and to facilitate your personal enjoyment, whether in school or outside of it.
By: Arly Georgina Fuentes
_________________________________________________________________________________
The term "canon", of Greek origin, refers to the concept of "rod or standard." Within the literary system, the concept of canon underlines the existence of a model or ideal ratio when considering literary works. That amount, called the literary canon is, in broad terms, the total written and oral work that still remains. However, this potential is limited canon from the outset about the possibility of access or no access to certain works. So we can say that any fee is just one part of a whole literary chimerical.
The term "canon", of Greek origin, refers to the concept of "rod or standard." Within the literary system, the concept of canon underlines the existence of a model or ideal ratio when considering literary works. That amount, called the literary canon is, in broad terms, the total written and oral work that still remains. However, this potential is limited canon from the outset about the possibility of access or no access to certain works. So we can say that any fee is just one part of a whole literary chimerical.
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of ANNABEL LEE;
And this maiden she lived with no other thought
Than to love and be loved by me.
I was a child and she was a child,
In this kingdom by the sea;
But we loved with a love that was more than love-
I and my Annabel Lee;
With a love that the winged seraphs of heaven
Coveted her and me.
And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsman came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and me-
Yes!- that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.
But our love it was stronger by far than the love
Of those who were older than we-
Of many far wiser than we-
And neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee.
For the moon never beams without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling- my darling- my life and my bride,
In the sepulchre there by the sea,
In her tomb by the sounding sea.
If trees were candies, I'd kiss you until the end. If tomorrow was today, I'd take you to anywhere. If red was blue, I'd love you forever. If i got a penny for everytime you say no, I'd shoot you in your head. If i were honest, I'd die tomorrow. If i could grant your breath, I'd do your homework. If i could hold the fire, I'd be a superhero.
O Captain! my Captain! our fearful trip is done, The ship has weather’d every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells; Rise up—for you the flag is flung—for you the bugle trills, For you bouquets and ribbon’d wreaths—for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning; Here Captain! dear father! This arm beneath your head! It is some dream that on the deck, You’ve fallen cold and dead.
My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse nor will, The ship is anchor’d safe and sound, its voyage closed and done, From fearful trip, the victor ship comes in with object won; Exult O shores, and ring O bells! But I with mournful tread, Walk the deck my Captain lies, Fallen cold and dead.
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.
Well, now,
if little by little you stop loving me
I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.
