var g_txt=[
{t:"Diversions",p:2,x:354,y:197,w:283,h:71},
{t:"Colin John Holcombe",p:2,x:302,y:288,w:386,h:43},
{t:"Ocaso Press 2008",p:2,x:357,y:351,w:276,h:39},
{t:"Diversions: A ",p:3,x:94,y:128,w:172,h:31},
{t:"Book of ",p:3,x:290,y:128,w:104,h:31},
{t:"Occasional ",p:3,x:411,y:128,w:160,h:31},
{t:"Translati",p:3,x:592,y:128,w:102,h:31},
{t:"ons",p:3,x:714,y:128,w:44,h:31},
{t:"by Col",p:3,x:94,y:208,w:84,h:31},
{t:"in John Hol",p:3,x:191,y:208,w:143,h:31},
{t:"combe",p:3,x:356,y:208,w:95,h:31},
{t:"To Sukanya Dutta in fond admiration of her work.",p:3,x:94,y:321,w:542,h:26},
{t:"© Ocaso Press 2008",p:3,x:94,y:425,w:222,h:26},
{t:"Published by Ocaso Press Ltda.",p:3,x:94,y:476,w:338,h:26},
{t:"Santiago, Chile. All rights reserved.",p:3,x:94,y:528,w:386,h:26},
{t:"Pieces may be freely used for non-commercial purposes if properly credited",p:3,x:94,y:631,w:803,h:26},
{t:"to the translator.",p:3,x:94,y:663,w:184,h:26},
{t:"Translations",p:4,x:94,y:121,w:173,h:37},
{t:"Introduction",p:4,x:94,y:201,w:147,h:30},
{t:"1",p:4,x:754,y:204,w:13,h:26},
{t:"From the French",p:4,x:94,y:266,w:197,h:30},
{t:"Hugo: Boöz Endormi",p:4,x:117,y:319,w:224,h:26},
{t:"2",p:4,x:754,y:319,w:13,h:26},
{t:"   Verlaine: Chanson d'Automne",p:4,x:94,y:350,w:346,h:26},
{t:"6",p:4,x:754,y:350,w:13,h:26},
{t:"Le ciel est, par dessus le toit",p:4,x:231,y:382,w:311,h:26},
{t:"7",p:4,x:754,y:382,w:13,h:26},
{t:"Rimbaud: Mémoire",p:4,x:117,y:414,w:206,h:26},
{t:"8",p:4,x:754,y:414,w:13,h:26},
{t:"Mallarmé: Le vierge, le vivace et le bel aujoud'hui",p:4,x:117,y:445,w:543,h:26},
{t:"10",p:4,x:754,y:445,w:27,h:26},
{t:"Valéry: Le Cimetière marin",p:4,x:117,y:477,w:293,h:26},
{t:"11",p:4,x:754,y:477,w:27,h:26},
{t:"Jammes: Clara d’Ellébeuse",p:4,x:117,y:509,w:292,h:26},
{t:"16",p:4,x:754,y:509,w:27,h:26},
{t:"Apollinaire: La Chanson du Mal-Aimé",p:4,x:117,y:540,w:400,h:26},
{t:"17",p:4,x:754,y:540,w:27,h:26},
{t:"From the Spanish",p:4,x:94,y:603,w:206,h:30},
{t:"Darío: A Margarita Debayle",p:4,x:117,y:655,w:296,h:26},
{t:"27",p:4,x:754,y:655,w:27,h:26},
{t:"Cancíon de Otoño en Primavera",p:4,x:193,y:687,w:344,h:26},
{t:"30",p:4,x:754,y:687,w:27,h:26},
{t:"Poema del Otoño",p:4,x:193,y:719,w:186,h:26},
{t:"33",p:4,x:754,y:719,w:27,h:26},
{t:"Marcha Triunfal",p:4,x:193,y:750,w:167,h:26},
{t:"39",p:4,x:754,y:750,w:27,h:26},
{t:"LePera: Mi Buenos Aires Querido",p:4,x:124,y:782,w:356,h:26},
{t:"41",p:4,x:754,y:782,w:27,h:26},
{t:" From the Italian",p:4,x:94,y:844,w:195,h:30},
{t:"Leopardi: Infinito",p:4,x:124,y:897,w:188,h:26},
{t:"42",p:4,x:754,y:897,w:27,h:26},
{t:"From the German",p:4,x:94,y:959,w:216,h:30},
{t:"Heine: Ein Fichtenbaum Steht Einsam",p:4,x:117,y:1012,w:411,h:26},
{t:"43",p:4,x:754,y:1012,w:27,h:26},
{t:"Rilke: Herbsttag",p:4,x:117,y:1044,w:176,h:26},
{t:"44",p:4,x:754,y:1044,w:27,h:26},
{t:"Trakl: Grodek",p:4,x:117,y:1075,w:150,h:26},
{t:"45",p:4,x:754,y:1075,w:27,h:26},
{t:"From the Sanskrit",p:4,x:94,y:1137,w:202,h:30},
{t:"Bhartrihari: Vairagya 50",p:4,x:117,y:1190,w:263,h:26},
{t:"46",p:4,x:754,y:1190,w:27,h:26},
{t:"Níti Shataka 100",p:4,x:253,y:1222,w:180,h:26},
{t:"47",p:4,x:754,y:1222,w:27,h:26},
{t:"From the Greek",p:5,x:89,y:137,w:188,h:30},
{t:"Sophocles: Choral Ode to Colonus",p:5,x:112,y:190,w:371,h:26},
{t:"48",p:5,x:749,y:190,w:27,h:26},
{t:"                  :",p:5,x:89,y:222,w:146,h:26},
{t:"Chorus from Oedipus at Colonus",p:5,x:243,y:222,w:353,h:26},
{t:"50",p:5,x:749,y:222,w:27,h:26},
{t:"                  :",p:5,x:89,y:254,w:146,h:26},
{t:"Chorus from Antigone",p:5,x:243,y:254,w:238,h:26},
{t:"50",p:5,x:749,y:254,w:27,h:26},
{t:"From the Latin",p:5,x:89,y:316,w:172,h:30},
{t:"Ovid: Tristia (excerpt)",p:5,x:112,y:369,w:242,h:26},
{t:"51",p:5,x:749,y:369,w:27,h:26},
{t:"Propertius: Love’s Madness",p:5,x:112,y:400,w:297,h:26},
{t:"52",p:5,x:749,y:400,w:27,h:26},
{t:"From the Persian",p:5,x:89,y:463,w:200,h:30},
{t:"Hafez: Ghazal 1",p:5,x:112,y:515,w:173,h:26},
{t:"54",p:5,x:749,y:515,w:27,h:26},
{t:"Ghazal 97",p:5,x:195,y:547,w:108,h:26},
{t:"55",p:5,x:749,y:547,w:27,h:26},
{t:"Irâqî: Except in Love of You",p:5,x:112,y:579,w:302,h:26},
{t:"56",p:5,x:749,y:579,w:27,h:26},
{t:"Amîr Khusraw: Envious are Azar’s Idols",p:5,x:112,y:610,w:429,h:26},
{t:"57",p:5,x:749,y:610,w:27,h:26},
{t:"The Cloud Rains",p:5,x:279,y:642,w:175,h:26},
{t:"58",p:5,x:749,y:642,w:27,h:26},
{t:"From the Chinese",p:5,x:89,y:704,w:213,h:30},
{t:"Wang Wei: Deer Stockade",p:5,x:112,y:757,w:285,h:26},
{t:"59",p:5,x:749,y:757,w:27,h:26},
{t:"Du Fu: Into My Room",p:5,x:112,y:789,w:234,h:26},
{t:"60",p:5,x:749,y:789,w:27,h:26},
{t:"Ballad of Beautiful Ladies",p:5,x:195,y:820,w:273,h:26},
{t:"61",p:5,x:749,y:820,w:27,h:26},
{t:" Li Bai: The River Merchant’s Wife: A Letter",p:5,x:104,y:852,w:471,h:26},
{t:"64",p:5,x:749,y:852,w:27,h:26},
{t:"1",p:6,x:488,y:1315,w:10,h:21},
{t:"INTRODUCTION",p:6,x:89,y:121,w:231,h:37},
{t:"As far as is possible, these pieces are close renderings, respecting the",p:6,x:89,y:204,w:802,h:26},
{t:"form, content and rhyme schemes of the original. The few free",p:6,x:89,y:235,w:806,h:26},
{t:"translations are indicated by ‘After the . . .’ in the footnote. Many of the",p:6,x:89,y:267,w:806,h:26},
{t:"pieces first appeared on the www.textetc.com site, where workshop notes",p:6,x:89,y:299,w:808,h:26},
{t:"and text sources can be found. As the title of the collection suggests,",p:6,x:89,y:330,w:805,h:26},
{t:"these  are simply poems that captured my interest at one time or",p:6,x:89,y:362,w:799,h:26},
{t:"another.",p:6,x:89,y:394,w:91,h:26},
{t:"There are many views on translation. Some readers feel that, whatever else",p:6,x:89,y:445,w:808,h:26},
{t:"a translation achieves, it must be poetry. Ideally, the translation should",p:6,x:89,y:477,w:808,h:26},
{t:"have the same appeal in the translated language as the original enjoyed in",p:6,x:89,y:509,w:807,h:26},
{t:"its own language. If new words have to be introduced, or original words left",p:6,x:89,y:540,w:808,h:26},
{t:"out, then so be it. Yet for others, such an approach is anathema. They wish",p:6,x:89,y:572,w:808,h:26},
{t:"to read the poem in the original language and look to the translation to help",p:6,x:89,y:604,w:808,h:26},
{t:"that process — when the plainer the rendering the better.",p:6,x:89,y:635,w:629,h:26},
{t:"I have tried to bring these views together, and show it’s possible to create",p:6,x:89,y:687,w:808,h:26},
{t:"faithful renderings that read as acceptable poetry if the full resources of",p:6,x:89,y:719,w:808,h:26},
{t:"English verse are deployed. Accordingly — but for Trakl’s Grodek, where the",p:6,x:89,y:750,w:812,h:26},
{t:"original is written in lines of unequal length — I have adopted strict forms",p:6,x:89,y:782,w:808,h:26},
{t:"throughout. Theoretical arguments for and against free verse are pointless",p:6,x:89,y:814,w:808,h:26},
{t:"when what matters is the quality of the end result, but it has to be said that",p:6,x:89,y:845,w:808,h:26},
{t:"contemporary styles do not generally have the techniques needed to bring",p:6,x:89,y:877,w:807,h:26},
{t:"over the form and beauty of the originals, particularly in the Persian and",p:6,x:89,y:909,w:807,h:26},
{t:"Chinese traditions, where complex conventions are an essential part of the",p:6,x:89,y:940,w:808,h:26},
{t:"poetry.",p:6,x:89,y:972,w:77,h:26},
{t:"Writing in Dedication of the Aeneid, Dryden remarked that: On the whole I",p:6,x:89,y:1024,w:807,h:26},
{t:"thought it fit to steer between the two extremes of paraphrase and literal",p:6,x:89,y:1055,w:808,h:26},
{t:"translation; to keep as near to the author as I could, without losing all his",p:6,x:89,y:1087,w:809,h:26},
{t:"graces. . . I have endeavoured to make Virgil speak such English as he",p:6,x:89,y:1119,w:808,h:26},
{t:"would himself have spoken if he had been born in England, and in the",p:6,x:89,y:1150,w:808,h:26},
{t:"present age. Such has also been my intention, aiming for a middle style that",p:6,x:89,y:1182,w:808,h:26},
{t:"is not hopelessly antiquated nor cheapened with street slang.  What is",p:6,x:89,y:1214,w:807,h:26},
{t:"moving, powerful and beautiful in the original should at least have an echo",p:6,x:89,y:1245,w:808,h:26},
{t:"of those qualities in the translation.",p:6,x:89,y:1277,w:386,h:26},
{t:"2",p:7,x:493,y:1315,w:10,h:21},
{t:"FROM THE FRENCH",p:7,x:94,y:121,w:283,h:37},
{t:"Boa z S",p:7,x:94,y:234,w:89,h:31},
{t:"leepi ng",p:7,x:189,y:234,w:109,h:31},
{t:"Overcome with weariness, he kept",p:7,x:94,y:284,w:375,h:26},
{t:"to the same rough quarters as before:",p:7,x:94,y:315,w:417,h:26},
{t:"all day had seen him on the threshing floor",p:7,x:94,y:347,w:468,h:26},
{t:"and now, by sacks of wheat, tired Boaz slept.",p:7,x:94,y:379,w:494,h:26},
{t:"He possessed, this good old man, large fields of wheat,",p:7,x:94,y:430,w:603,h:26},
{t:"and barley too: was just, and passing rich.",p:7,x:94,y:462,w:465,h:26},
{t:"His mill ran cleanly, fairly; he didn't switch",p:7,x:94,y:494,w:464,h:26},
{t:"a neighbour's castings from the furnace heat.",p:7,x:94,y:525,w:495,h:26},
{t:"His beard was silvered as an April stream;",p:7,x:94,y:577,w:461,h:26},
{t:"his sheaves lay broad and open as the day.",p:7,x:94,y:609,w:472,h:26},
{t:"Leave this or that to gleaners he would say.",p:7,x:94,y:640,w:477,h:26},
{t:"Thoughtful this old man: a kind regime.",p:7,x:94,y:672,w:433,h:26},
{t:"Far from him was any crooked road.",p:7,x:94,y:735,w:395,h:26},
{t:"He walked through guiless probity in white:",p:7,x:94,y:767,w:474,h:26},
{t:"he backed the poor in dispute, and for their plight",p:7,x:94,y:799,w:543,h:26},
{t:"from his own granaries the fountains flowed.",p:7,x:94,y:830,w:486,h:26},
{t:"To labourers and family, though not in sight,",p:7,x:94,y:882,w:487,h:26},
{t:"Boaz was faithful, generous, if cautious too.",p:7,x:94,y:914,w:477,h:26},
{t:"Girls gazed more favourably than age has due,",p:7,x:94,y:945,w:511,h:26},
{t:"for if youth has beauty, age has might.",p:7,x:94,y:977,w:425,h:26},
{t:"The old return beyond the alteration",p:7,x:94,y:1040,w:394,h:26},
{t:"of days about them to the source of truth.",p:7,x:94,y:1072,w:460,h:26},
{t:"With fires of passion blaze the eyes in youth",p:7,x:94,y:1104,w:482,h:26},
{t:"but to the old there comes illumination.",p:7,x:94,y:1135,w:430,h:26},
{t:"             *   *   *",p:7,x:94,y:1187,w:185,h:26},
{t:"3",p:8,x:488,y:1315,w:10,h:21},
{t:"So, Boaz slept that night among his own,",p:8,x:89,y:84,w:449,h:26},
{t:"beside the millstones, rubble, darkened rows",p:8,x:89,y:115,w:489,h:26},
{t:"of stretched-out harvesters whose heaps were those",p:8,x:89,y:147,w:572,h:26},
{t:"of ancient custom, kept to, cast in stone.",p:8,x:89,y:179,w:447,h:26},
{t:"From their days in tents, beyond the flood,",p:8,x:89,y:230,w:467,h:26},
{t:"the tribes of Israel took as chief their law:",p:8,x:89,y:262,w:458,h:26},
{t:"it guided and supported when they saw",p:8,x:89,y:294,w:430,h:26},
{t:"still fresh the prints of giants on the mud.",p:8,x:89,y:325,w:454,h:26},
{t:"            *   *   *",p:8,x:89,y:377,w:178,h:26},
{t:"As Jacob slept, so did Judith. Spread",p:8,x:89,y:429,w:400,h:26},
{t:"out, with eyes fast shut, was Boaz. Far",p:8,x:89,y:460,w:422,h:26},
{t:"above him, falling from a door ajar",p:8,x:89,y:492,w:380,h:26},
{t:"in the heavens, a dream took up his head.",p:8,x:89,y:524,w:461,h:26},
{t:"And in that dream he saw an oak tree climb",p:8,x:89,y:575,w:476,h:26},
{t:"as from his loins into the very sky:",p:8,x:89,y:607,w:379,h:26},
{t:"a chain, a line of people, to whom in time",p:8,x:89,y:639,w:453,h:26},
{t:"a king would come with psalms, and a god die.",p:8,x:89,y:670,w:512,h:26},
{t:"How can that be, within the inner house",p:8,x:89,y:722,w:436,h:26},
{t:"of soul, the old man murmured, since the sum",p:8,x:89,y:754,w:507,h:26},
{t:"of eighty years is come upon me, come",p:8,x:89,y:785,w:429,h:26},
{t:"and gone: no sons are left me, or a spouse.",p:8,x:89,y:817,w:478,h:26},
{t:"How long ago it seems the one I wed",p:8,x:89,y:869,w:405,h:26},
{t:"has gone and left my couch for yours, Yehova:",p:8,x:89,y:900,w:509,h:26},
{t:"but what she was, she is, as though carried over",p:8,x:89,y:932,w:529,h:26},
{t:"by one half living still to one half dead.",p:8,x:89,y:964,w:424,h:26},
{t:"A race from out my blood: how can that be?",p:8,x:89,y:1015,w:483,h:26},
{t:"How shall I glory with the dawn's first ray",p:8,x:89,y:1047,w:454,h:26},
{t:"if none of mine are with me through the day?",p:8,x:89,y:1079,w:496,h:26},
{t:"Mine is survival and longevity.",p:8,x:89,y:1110,w:329,h:26},
{t:"I am as trees stripped in the winter, think",p:8,x:89,y:1162,w:455,h:26},
{t:"at evening, soberly, on what has been.",p:8,x:89,y:1194,w:425,h:26},
{t:"To the tomb, continually, now I lean",p:8,x:89,y:1225,w:395,h:26},
{t:"as the ox does, heavily, down to drink.",p:8,x:89,y:1257,w:424,h:26},
{t:"4",p:9,x:493,y:1315,w:10,h:21},
{t:"So spoke old Boaz, turning, eyes betrayed",p:9,x:94,y:84,w:461,h:26},
{t:"by sleep to God and not the sudden heat.",p:9,x:94,y:115,w:452,h:26},
{t:"The cedar sees no roses in its shade,",p:9,x:94,y:147,w:401,h:26},
{t:"nor he the woman stretched out at his feet.",p:9,x:94,y:179,w:476,h:26},
{t:"            *   *   *",p:9,x:94,y:230,w:178,h:26},
{t:"As she slumbered, Ruth, a Moabite,",p:9,x:94,y:282,w:388,h:26},
{t:"was still near Boaz with her breasts undone,",p:9,x:94,y:314,w:483,h:26},
{t:"hoping, who can say, some half-begun",p:9,x:94,y:345,w:422,h:26},
{t:"glance would open into morning light.",p:9,x:94,y:377,w:412,h:26},
{t:"Boaz did not know that Ruth was there,",p:9,x:94,y:429,w:431,h:26},
{t:"nor Ruth herself what God intended. Well",p:9,x:94,y:460,w:450,h:26},
{t:"that there came the perfume of the asphodel,",p:9,x:94,y:492,w:497,h:26},
{t:"and Galgala lay within the light wind's care.",p:9,x:94,y:524,w:475,h:26},
{t:"The night was solemn, august and bridal. There flew",p:9,x:94,y:575,w:571,h:26},
{t:"or not among the shadows hesitating",p:9,x:94,y:607,w:405,h:26},
{t:"a host of angels in that hour of waiting,",p:9,x:94,y:639,w:431,h:26},
{t:"a tempest as though of wings, a flash of blue.",p:9,x:94,y:670,w:499,h:26},
{t:"The sound of Boaz breathing kept the hours:",p:9,x:94,y:722,w:488,h:26},
{t:"the water trickled quietly through the moss:",p:9,x:94,y:754,w:481,h:26},
{t:"Nature at her sweetest, when months emboss",p:9,x:94,y:785,w:500,h:26},
{t:"the summits of the hills with lily flowers.",p:9,x:94,y:817,w:441,h:26},
{t:"               *   *   *",p:9,x:94,y:869,w:200,h:26},
{t:"Ruth now pondered; Boaz slept. The clink",p:9,x:94,y:920,w:454,h:26},
{t:"of sheepbells carried: darkness innocent.",p:9,x:94,y:952,w:447,h:26},
{t:"An immense blessing fell from the firmament.",p:9,x:94,y:984,w:500,h:26},
{t:"It was the hour of quiet, when lions drink.",p:9,x:94,y:1015,w:458,h:26},
{t:"Rest in Ur and Jerimadeth. The flowers",p:9,x:94,y:1067,w:423,h:26},
{t:"of darkness enamelled their sombre rest",p:9,x:94,y:1099,w:440,h:26},
{t:"and a crescent, thin and clear, lit up the west",p:9,x:94,y:1130,w:494,h:26},
{t:"as Ruth, unmoving, wondered through the hours:",p:9,x:94,y:1162,w:541,h:26},
{t:"5",p:10,x:488,y:1315,w:10,h:21},
{t:"What god — her look half lifting through its bars —",p:10,x:89,y:84,w:555,h:26},
{t:"what summer reaper out of times unknown,",p:10,x:89,y:115,w:479,h:26},
{t:"in leaving her so carelessly had thrown",p:10,x:89,y:147,w:425,h:26},
{t:"that golden sickle in the field of stars?",p:10,x:89,y:179,w:415,h:26},
{t:"Boöz Endormi  from Légends des Siècles (1859) by Victor Hugo.",p:10,x:89,y:262,w:700,h:26},
{t:"Victor-Marie Hugo (1802-85) was the greatest of the French Romantics,",p:10,x:89,y:345,w:808,h:26},
{t:"writing a prodigious quantity of poetry, plays, essays and novels, creating",p:10,x:89,y:377,w:808,h:26},
{t:"some 4,000 drawings, and taking a prominent part in Republican politics.",p:10,x:89,y:409,w:807,h:26},
{t:"Much of modern poetry is founded on his work, which dealt with the great",p:10,x:89,y:440,w:809,h:26},
{t:"social, artistic and political issues of the day. His productions were well",p:10,x:89,y:472,w:807,h:26},
{t:"known and respected: over two million joined his funeral procession from",p:10,x:89,y:504,w:807,h:26},
{t:"the Arc de Triomphe to the Panthéon where he was buried.",p:10,x:89,y:535,w:637,h:26},
{t:"Hugo’s work encompassed the careers of Nerval, Baudelaire, Rimbaud and",p:10,x:89,y:587,w:808,h:26},
{t:"Mallarmé, and passed in style from the narcissistic Rousseau, through the",p:10,x:89,y:619,w:809,h:26},
{t:"exiled wanderings of Chateaubriand and Lamartine, and the distant",p:10,x:89,y:650,w:808,h:26},
{t:"splendour of Vigny to an individual and vigorous pantheism. Man was but",p:10,x:89,y:682,w:807,h:26},
{t:"an element of external nature manifest in occult forces and divinity.",p:10,x:89,y:714,w:738,h:26},
{t:"Boöz Endormi retells the biblical story of Ruth and Boaz: while Ruth sleeps",p:10,x:89,y:765,w:808,h:26},
{t:"at his feet, Boaz dreams that a tree grows out of his body, a revelation that",p:10,x:89,y:797,w:809,h:26},
{t:"he is to be the founder of a new race. It is a typical piece — vigorous and",p:10,x:89,y:829,w:808,h:26},
{t:"strongly modelled — which also contains several of his most celebrated",p:10,x:89,y:860,w:808,h:26},
{t:"lines, notably L'ombre était nuptiale, auguste et solennelle andCette faucille",p:10,x:89,y:892,w:810,h:26},
{t:"d'or dans le champ des étoiles. The Jerimadeth was Hugo’s invention, to",p:10,x:89,y:924,w:807,h:26},
{t:"meet the rhyme, and I have similarly been forced to replace what is veils in",p:10,x:89,y:955,w:807,h:26},
{t:"the original’s last stanza with bars.",p:10,x:89,y:987,w:379,h:26},
{t:"6",p:11,x:493,y:1315,w:10,h:21},
{t:"Autumn S ong",p:11,x:94,y:114,w:190,h:31},
{t:"Inconsolable winds",p:11,x:94,y:164,w:205,h:26},
{t:"bring violins,",p:11,x:94,y:195,w:140,h:26},
{t:"and autumn's part",p:11,x:94,y:227,w:199,h:26},
{t:"is monotonous",p:11,x:94,y:259,w:159,h:26},
{t:"and languorous,",p:11,x:94,y:290,w:175,h:26},
{t:"pain to the heart.",p:11,x:94,y:322,w:190,h:26},
{t:"Suffocating, pale",p:11,x:94,y:374,w:183,h:26},
{t:"halting and stale,",p:11,x:94,y:405,w:188,h:26},
{t:"slowly hours creep,",p:11,x:94,y:437,w:210,h:26},
{t:"gather and fall.",p:11,x:94,y:469,w:165,h:26},
{t:"So I recall",p:11,x:94,y:500,w:110,h:26},
{t:"past days and weep.",p:11,x:94,y:532,w:223,h:26},
{t:"Tossed this way",p:11,x:94,y:584,w:173,h:26},
{t:"and that as winds may,",p:11,x:94,y:615,w:254,h:26},
{t:"one with the grief.",p:11,x:94,y:647,w:199,h:26},
{t:"Hither and yon,",p:11,x:94,y:679,w:169,h:26},
{t:"carried and gone:",p:11,x:94,y:710,w:193,h:26},
{t:"dead the leaf.",p:11,x:94,y:742,w:150,h:26},
{t:"Chanson d'Automne from Paul Verlaine's Poèmes saturniens (1867)",p:11,x:94,y:794,w:737,h:26},
{t:"Paul Verlaine’s (1844-96) Poèmes saturniens was well received, and in 1870",p:11,x:94,y:877,w:814,h:26},
{t:"he married Mathilde Mauté, sharing the apartment with his in-laws and the",p:11,x:94,y:909,w:808,h:26},
{t:"young poet Arthur Rimbaud. An affair with Rimbaud broke the marriage,",p:11,x:94,y:940,w:807,h:26},
{t:"however, and Verlaine then led a Bohemian life in London and Brussels. The",p:11,x:94,y:972,w:808,h:26},
{t:"affair ended in 1873 when Verlaine tried to shoot his friend in a drunken",p:11,x:94,y:1004,w:808,h:26},
{t:"quarrel. He was jailed for 18 months and wrote Romance sans paroles",p:11,x:94,y:1035,w:808,h:26},
{t:"(1874). Thereafter, life was more difficult: homosexual affairs, excellent",p:11,x:94,y:1067,w:808,h:26},
{t:"poetry but also long periods of drinking and hospitalisation. Verlaine’s",p:11,x:94,y:1099,w:807,h:26},
{t:"funeral was a public event, but the man died destitute.",p:11,x:94,y:1130,w:598,h:26},
{t:"Chanson d'Automne places music above content, and achieves vowel",p:11,x:94,y:1182,w:809,h:26},
{t:"harmonies impossible to convey fully in English (the closed, dead sounds of",p:11,x:94,y:1214,w:807,h:26},
{t:"feuille morte, the reverberation of",p:11,x:94,y:1245,w:390,h:26},
{t:"l'automne, etc., emphasised by the",p:11,x:497,y:1245,w:404,h:26},
{t:"delicate interlacing of single and feminine rhymes.)",p:11,x:94,y:1277,w:558,h:26},
{t:"7",p:12,x:488,y:1315,w:10,h:21},
{t:"The S ky is Here",p:12,x:89,y:114,w:196,h:31},
{t:"The sky is here above the roof,",p:12,x:89,y:195,w:339,h:26},
{t:"so blue, so soft.",p:12,x:89,y:227,w:173,h:26},
{t:"A palm here sways above the roof",p:12,x:89,y:259,w:371,h:26},
{t:"soaring aloft.",p:12,x:89,y:290,w:142,h:26},
{t:"A clock-tower in the sky we see",p:12,x:89,y:342,w:345,h:26},
{t:"chimes low and faint.",p:12,x:89,y:374,w:232,h:26},
{t:"A bird that’s calling from a tree",p:12,x:89,y:405,w:339,h:26},
{t:"echoes its plaint.",p:12,x:89,y:437,w:184,h:26},
{t:"My God, my God, how life is here",p:12,x:89,y:489,w:364,h:26},
{t:"calm and sweet.",p:12,x:89,y:520,w:177,h:26},
{t:"How murmuring the sounds we hear",p:12,x:89,y:552,w:396,h:26},
{t:"far from the street.",p:12,x:89,y:584,w:209,h:26},
{t:"What have you done, you who are known",p:12,x:89,y:635,w:452,h:26},
{t:"weeping each day?",p:12,x:89,y:667,w:206,h:26},
{t:"Tell us what you have done to have thrown",p:12,x:89,y:699,w:471,h:26},
{t:"your youth away.",p:12,x:89,y:730,w:190,h:26},
{t:"After Le Ciel est, par-dessus le toit in Sagesse (1881) by Paul Verlaine.",p:12,x:89,y:814,w:774,h:26},
{t:"A simple poem of sentiment, which may reflect Verlaine’s thoughts on a",p:12,x:89,y:897,w:809,h:26},
{t:"tranquil family life he left behind. As in the previous poem, Le Ceil est, par-",p:12,x:89,y:929,w:807,h:26},
{t:"dessus le toit represents a moment of exquisite sensation, and shows",p:12,x:89,y:960,w:808,h:26},
{t:"Verlaine’s superb craftsmanship in controlling the delicacy, imprecision and",p:12,x:89,y:992,w:808,h:26},
{t:"soft shading of the stanzas.",p:12,x:89,y:1024,w:300,h:26},
{t:"A free translation: the original says ‘town’ rather than ‘street’, and simply",p:12,x:89,y:1075,w:807,h:26},
{t:"asks what has happened to youth, rather than why it has been thrown",p:12,x:89,y:1107,w:808,h:26},
{t:"away.",p:12,x:89,y:1139,w:64,h:26},
{t:"8",p:13,x:493,y:1315,w:10,h:21},
{t:"Memory",p:13,x:94,y:114,w:109,h:31},
{t:"I",p:13,x:94,y:195,w:9,h:26},
{t:"Clear water, like the salt of childhood tears:",p:13,x:94,y:247,w:478,h:26},
{t:"the white of women's bodies opened in the sun,",p:13,x:94,y:279,w:521,h:26},
{t:"and truth, beyond walls or the silk oriflammes, won",p:13,x:94,y:310,w:561,h:26},
{t:"out with the valour of a maid pure in her years.",p:13,x:94,y:342,w:518,h:26},
{t:"The frolic of angels in their moving blaze of gold,",p:13,x:94,y:394,w:533,h:26},
{t:"imponderable arms sparkling with the coolness of the grass,",p:13,x:94,y:425,w:657,h:26},
{t:"having the blues of heaven as the sky's bed to pass",p:13,x:94,y:457,w:562,h:26},
{t:"under the canopy of shade into the arch and hill's fold.",p:13,x:94,y:489,w:595,h:26},
{t:"II",p:13,x:94,y:540,w:18,h:26},
{t:"The stones, under the water, extend as in a clear broth,",p:13,x:94,y:592,w:610,h:26},
{t:"and depths, freckled in prepared beds of pale gold,",p:13,x:94,y:624,w:556,h:26},
{t:"and frocks of girls are there, faded, green as mould,",p:13,x:94,y:655,w:569,h:26},
{t:"and willows, and unhampered birds, in the day's cloth.",p:13,x:94,y:687,w:595,h:26},
{t:"Round as the eyelid, with the warmth of a gold louis,",p:13,x:94,y:739,w:576,h:26},
{t:"jets the marsh marigold, fresh in its wedding vows.",p:13,x:94,y:770,w:560,h:26},
{t:"The mirror at prompt noon, jealous of the day's drowse",p:13,x:94,y:802,w:604,h:26},
{t:"tarnishes into a sphere, heat-flecked but dear to us.",p:13,x:94,y:834,w:567,h:26},
{t:"III",p:13,x:94,y:885,w:27,h:26},
{t:"Too upright is Madam in the meadow's prairie scene.",p:13,x:94,y:937,w:576,h:26},
{t:"The sons of toil are in the cotton-fields, settled as white cloud.",p:13,x:94,y:969,w:680,h:26},
{t:"In her fingers she twirls her parasol, tramples it, too proud",p:13,x:94,y:1000,w:642,h:26},
{t:"to watch her children reading in the flowering green,",p:13,x:94,y:1032,w:573,h:26},
{t:"Their books in red morocco. Of what they think or dream —",p:13,x:94,y:1115,w:651,h:26},
{t:"as on all paths a thousand angels flare upon the day —",p:13,x:94,y:1147,w:600,h:26},
{t:"of hopes lost in high mountains, she cannot follow; her way",p:13,x:94,y:1179,w:651,h:26},
{t:"is glistening dark and cold, as is the shadowed stream.",p:13,x:94,y:1210,w:598,h:26},
{t:"9",p:14,x:488,y:1315,w:10,h:21},
{t:"IV",p:14,x:89,y:84,w:23,h:26},
{t:"Regret of arms satiated and celibate,",p:14,x:89,y:129,w:402,h:26},
{t:"beds as those of saints on moonlit April nights,",p:14,x:89,y:160,w:511,h:26},
{t:"and the tear-wet joy falling on abandoned river sites,",p:14,x:89,y:192,w:580,h:26},
{t:"and the rotting evenings in August that these germinate.",p:14,x:89,y:224,w:619,h:26},
{t:"Under walls let her weep now: the winds possess",p:14,x:89,y:269,w:534,h:26},
{t:"only the high poplars, tremulously blown.",p:14,x:89,y:300,w:452,h:26},
{t:"Underneath in lead, unglinting, weighed in stone,",p:14,x:89,y:332,w:537,h:26},
{t:"an old dredger labours, the small boat motionless.",p:14,x:89,y:364,w:549,h:26},
{t:"V",p:14,x:89,y:409,w:14,h:26},
{t:"Flotsam, plaything of these waters that nothing hinders,",p:14,x:89,y:454,w:611,h:26},
{t:"in my boarding of this still boat, O arms too short!",p:14,x:89,y:485,w:549,h:26},
{t:"Not this flower or that, which is yellow, however sought,",p:14,x:89,y:517,w:614,h:26},
{t:"or the blue one, friends, in waters grey as cinders.",p:14,x:89,y:549,w:551,h:26},
{t:"Ah, for the powder of the willows, the plume of blood",p:14,x:89,y:612,w:580,h:26},
{t:"in wings, roses from the reeds dragged from time's jaws!",p:14,x:89,y:644,w:625,h:26},
{t:"The boat does not move although the chain draws",p:14,x:89,y:675,w:546,h:26},
{t:"on through a waterlogged eye, without banks, to mud!",p:14,x:89,y:707,w:596,h:26},
{t:"Mémoire from",p:14,x:89,y:784,w:152,h:26},
{t:"L’Ermitage (1892) by Arthur Rimbaud",p:14,x:249,y:784,w:411,h:26},
{t:"Arthur Rimbaud (1854-91), a brilliant but tormented soul, gave up poetry",p:14,x:89,y:867,w:808,h:26},
{t:"altogether when he was twenty-one, and this poem was probably written",p:14,x:89,y:899,w:808,h:26},
{t:"when he was eighteen. He travelled widely, but came home from trade in",p:14,x:89,y:930,w:808,h:26},
{t:"Ethiopia to die of cancer. Rimbaud’s poetry contains some of the most",p:14,x:89,y:962,w:809,h:26},
{t:"evocative images of childhood in the French language, but is often difficult",p:14,x:89,y:994,w:807,h:26},
{t:"to follow — sudden juxtapositions, unexplained characters, and ambiguities",p:14,x:89,y:1025,w:808,h:26},
{t:"of meaning. Here the poet seems to be remembering the hours when he",p:14,x:89,y:1057,w:809,h:26},
{t:"and a brother would sit in their uncle’s boat at Charleville, letting it drift",p:14,x:89,y:1089,w:808,h:26},
{t:"with the current, and which now appear as a dream of freedom run into the",p:14,x:89,y:1120,w:808,h:26},
{t:"mud. The girls are probably his sisters, and the woman his mother, the",p:14,x:89,y:1152,w:808,h:26},
{t:"tyrannical woman left to cope when her freedom-loving soldier of a husband",p:14,x:89,y:1184,w:808,h:26},
{t:"ran off leaving her with five children to bring up. The white cloud may refer",p:14,x:89,y:1215,w:809,h:26},
{t:"to the white shirts of workmen, or (as I have accepted here) an allusion to",p:14,x:89,y:1247,w:808,h:26},
{t:"slavery in the US cotton fields.",p:14,x:89,y:1279,w:333,h:26},
{t:"10",p:15,x:488,y:1315,w:20,h:21},
{t:"The vi",p:15,x:94,y:114,w:72,h:31},
{t:"rgin, vivi",p:15,x:180,y:114,w:103,h:31},
{t:"d and beaut",p:15,x:305,y:114,w:165,h:31},
{t:"iful today",p:15,x:493,y:114,w:123,h:31},
{t:"The virgin, vivid and beautiful today.",p:15,x:94,y:195,w:401,h:26},
{t:"Will a blow for us from the drunk wing break",p:15,x:94,y:227,w:486,h:26},
{t:"beneath the frost of a forgotten lake",p:15,x:94,y:259,w:396,h:26},
{t:"clear flights of glaciers not fled away!",p:15,x:94,y:290,w:407,h:26},
{t:"In past magnificence of another day",p:15,x:94,y:342,w:393,h:26},
{t:"the swan remembers its freedom, but cannot make",p:15,x:94,y:374,w:559,h:26},
{t:"a song from surroundings but only take",p:15,x:94,y:405,w:431,h:26},
{t:"on the sterile dull glint of the winter's stay.",p:15,x:94,y:437,w:469,h:26},
{t:"Out of white agony the whole neck lies",p:15,x:94,y:489,w:422,h:26},
{t:"in a space inflicted that the bird denies.",p:15,x:94,y:520,w:430,h:26},
{t:"Cold and immobile in its feathered being,",p:15,x:94,y:572,w:449,h:26},
{t:"not in horror of earth but to brightness gone:",p:15,x:94,y:604,w:494,h:26},
{t:"a dream wrapped in scorn, and a phantom, seeing",p:15,x:94,y:635,w:549,h:26},
{t:"how futile is exile for the Swan.",p:15,x:94,y:667,w:344,h:26},
{t:"Le vierge, le vivace et le bel aujoud'hui from Poésies (1887) by Stéphane",p:15,x:94,y:750,w:799,h:26},
{t:"Mallarmé",p:15,x:94,y:782,w:99,h:26},
{t:"Mallarmé (1842-98) was the high priest of the Symbolism movement that",p:15,x:94,y:865,w:807,h:26},
{t:"extended the evocative power of words to express the feelings, sensations",p:15,x:94,y:897,w:808,h:26},
{t:"and states of mind that lie beyond everyday awareness. Poets policed the",p:15,x:94,y:929,w:808,h:26},
{t:"area they arrogated to themselves, and sought to correct and purify the",p:15,x:94,y:960,w:808,h:26},
{t:"language that would evoke its powers. Syntax was rearranged to achieve",p:15,x:94,y:992,w:807,h:26},
{t:"an allusive, enigmatic, and musical style.",p:15,x:94,y:1024,w:448,h:26},
{t:"Le vierge, le vivace et le bel aujoud'hui is the most celebrated poem of the",p:15,x:94,y:1075,w:808,h:26},
{t:"Symbolist period, but is more musical and enigmatic in the original French.",p:15,x:94,y:1107,w:808,h:26},
{t:"The swan alludes to the poet, who dreams of an ideal world  beyond the dull",p:15,x:94,y:1139,w:808,h:26},
{t:"harshness of everyday existence.",p:15,x:94,y:1170,w:363,h:26},
{t:"11",p:16,x:483,y:1315,w:20,h:21},
{t:"Cemetery by ",p:16,x:89,y:114,w:188,h:31},
{t:"the Sea",p:16,x:292,y:114,w:101,h:31},
{t:"The sail of doves this tranquil roof assumes",p:16,x:89,y:195,w:473,h:26},
{t:"palpitates through pines trees and the tombs.",p:16,x:89,y:227,w:498,h:26},
{t:"Imperturbable midday, of fire",p:16,x:89,y:259,w:323,h:26},
{t:"and sea, the sea beginning each occasion",p:16,x:89,y:290,w:451,h:26},
{t:"to bring such riches in from contemplation:",p:16,x:89,y:322,w:471,h:26},
{t:"great settlements of calm the gods inspire.",p:16,x:89,y:354,w:467,h:26},
{t:"How intricately the sea's surf disappoints",p:16,x:89,y:405,w:446,h:26},
{t:"itself in unseen glitter of diamond points.",p:16,x:89,y:437,w:447,h:26},
{t:"Peace seems self-conceived. Settling as though",p:16,x:89,y:469,w:516,h:26},
{t:"into an abyss of emptiness the sun pours",p:16,x:89,y:500,w:448,h:26},
{t:"out its artistry on an eternal cause.",p:16,x:89,y:532,w:383,h:26},
{t:"Time's an instant, and Dreaming is to know.",p:16,x:89,y:564,w:481,h:26},
{t:"That temple to Minerva's intelligence,",p:16,x:89,y:615,w:408,h:26},
{t:"water's calmness, shows such reticence.",p:16,x:89,y:647,w:439,h:26},
{t:"Proud-lidded depths and the Eye's reproof",p:16,x:89,y:679,w:459,h:26},
{t:"that wells up from sleep beneath the flame.",p:16,x:89,y:710,w:475,h:26},
{t:"And the silence, that makes my soul the same",p:16,x:89,y:742,w:504,h:26},
{t:"under the myriad gold waves that slope this Roof.",p:16,x:89,y:774,w:543,h:26},
{t:"Temple of Time, parsed to a single sigh.",p:16,x:89,y:825,w:437,h:26},
{t:"To this accustomed and pure instant I",p:16,x:89,y:857,w:413,h:26},
{t:"climb now with the sea around me, born",p:16,x:89,y:889,w:440,h:26},
{t:"of this look, making supreme oblations,",p:16,x:89,y:920,w:431,h:26},
{t:"but seeing in its peaceful scintillations",p:16,x:89,y:952,w:412,h:26},
{t:"the sea sow on my altitudes such sovereign scorn.",p:16,x:89,y:984,w:549,h:26},
{t:"As the fruit's taste is moulded into pleasure,",p:16,x:89,y:1035,w:482,h:26},
{t:"and delight loses itself in its own measure",p:16,x:89,y:1067,w:457,h:26},
{t:"of absence in mouths where it is no more,",p:16,x:89,y:1099,w:459,h:26},
{t:"so I sense myself in the emanations",p:16,x:89,y:1130,w:392,h:26},
{t:"in a sky singing the soul's cremations,",p:16,x:89,y:1162,w:416,h:26},
{t:"dissolving in surf on that murmurous shore.",p:16,x:89,y:1194,w:478,h:26},
{t:"Look, beautiful heaven, true heaven, how I change,",p:16,x:89,y:1245,w:564,h:26},
{t:"after so much pride, so much strange",p:16,x:89,y:1277,w:409,h:26},
{t:"12",p:17,x:488,y:1315,w:20,h:21},
{t:"idleness, but even here, in my potency,",p:17,x:94,y:84,w:432,h:26},
{t:"immolating myself in this bright space,",p:17,x:94,y:115,w:424,h:26},
{t:"across the houses of the dead a trace",p:17,x:94,y:147,w:408,h:26},
{t:"passes to plunge me into the shadowy.",p:17,x:94,y:179,w:426,h:26},
{t:"Giving my soul to the sea's flare at solstice,",p:17,x:94,y:230,w:476,h:26},
{t:"and therefore into that admirable justice",p:17,x:94,y:262,w:441,h:26},
{t:"whose burning weapons are not by pity stayed,",p:17,x:94,y:294,w:516,h:26},
{t:"I take on your purity, extending that bright",p:17,x:94,y:325,w:471,h:26},
{t:"reflection of yourself, but the light",p:17,x:94,y:357,w:372,h:26},
{t:"supposes my half still as a gloomy shade.",p:17,x:94,y:389,w:453,h:26},
{t:"Ever for me, to and in myself alone:",p:17,x:94,y:440,w:394,h:26},
{t:"out of that rapture is the poetry grown.",p:17,x:94,y:472,w:430,h:26},
{t:"Between the emptiness and pure event,",p:17,x:94,y:504,w:434,h:26},
{t:"I await the echo of that internal power,",p:17,x:94,y:535,w:426,h:26},
{t:"that sonorous and dark, bitter reservoir",p:17,x:94,y:567,w:431,h:26},
{t:"of nothingness ringing, to which the soul is bent.",p:17,x:94,y:599,w:531,h:26},
{t:"Can you, feigned prisoner of this foliage, know",p:17,x:94,y:650,w:508,h:26},
{t:"the boughs dissolving in this water's glow?",p:17,x:94,y:682,w:465,h:26},
{t:"Around that dazzled secret, eyes are closed.",p:17,x:94,y:714,w:481,h:26},
{t:"What body leads me to so loose an end",p:17,x:94,y:745,w:429,h:26},
{t:"or forehead to the earth where bones are penned,",p:17,x:94,y:777,w:546,h:26},
{t:"all these dead by the flickering light composed?",p:17,x:94,y:809,w:518,h:26},
{t:"Earth's speck that's sacred, full of fire despite",p:17,x:94,y:860,w:496,h:26},
{t:"being so insubstantial, and will offer light.",p:17,x:94,y:892,w:456,h:26},
{t:"This place, occasioned by torches, pleases me.",p:17,x:94,y:924,w:509,h:26},
{t:"The gold and stone and sombre trees assume",p:17,x:94,y:955,w:497,h:26},
{t:"a mass of marble trembling in the gloom,",p:17,x:94,y:987,w:452,h:26},
{t:"and on my tombs, and faithful, sleeps the sea.",p:17,x:94,y:1019,w:508,h:26},
{t:"Keep off the idolaters, let sea meanwhile",p:17,x:94,y:1070,w:445,h:26},
{t:"reflect the solitary of poet's smile,",p:17,x:94,y:1102,w:371,h:26},
{t:"that I may pasture here my mysteries:",p:17,x:94,y:1134,w:424,h:26},
{t:"white-cluster round me, undisturbed, the graves,",p:17,x:94,y:1165,w:536,h:26},
{t:"and let the doves be prudent in safe conclaves,",p:17,x:94,y:1197,w:515,h:26},
{t:"the daydreams vain as angel deities.",p:17,x:94,y:1229,w:399,h:26},
{t:"13",p:18,x:483,y:1315,w:20,h:21},
{t:"Future's toil is elsewhere. In the soil about",p:18,x:89,y:84,w:463,h:26},
{t:"the brittle insect scratches at the drought.",p:18,x:89,y:115,w:458,h:26},
{t:"All summer in this desiccating wind",p:18,x:89,y:147,w:383,h:26},
{t:"abstracts, I do not know how, to essences.",p:18,x:89,y:179,w:467,h:26},
{t:"And life is vast, drunk on absences,",p:18,x:89,y:210,w:387,h:26},
{t:"and bitterness is soft, and the mind thinned.",p:18,x:89,y:242,w:484,h:26},
{t:"The dead are hidden well in this warm earth",p:18,x:89,y:294,w:480,h:26},
{t:"where mysteries resunned give up their worth.",p:18,x:89,y:325,w:510,h:26},
{t:"All the noon up there, unchanging blue:",p:18,x:89,y:357,w:433,h:26},
{t:"the midday thinks and only suits itself,",p:18,x:89,y:389,w:421,h:26},
{t:"and all around a head of brilliant wealth",p:18,x:89,y:420,w:433,h:26},
{t:"which is the change, the secret change in you.",p:18,x:89,y:452,w:507,h:26},
{t:"Only me you have to hold your faints,",p:18,x:89,y:504,w:412,h:26},
{t:"my penitence and doubts, and my constraints",p:18,x:89,y:535,w:499,h:26},
{t:"are broken facets in your crystal flare.",p:18,x:89,y:567,w:417,h:26},
{t:"Where, under the marble, all night wait,",p:18,x:89,y:599,w:437,h:26},
{t:"lost among tree roots in their wandering state,",p:18,x:89,y:630,w:509,h:26},
{t:"a people already, who emerge to air.",p:18,x:89,y:662,w:402,h:26},
{t:"Into a thickness otherways they melt,",p:18,x:89,y:714,w:412,h:26},
{t:"an absent whiteness in the red clay's welt.",p:18,x:89,y:745,w:462,h:26},
{t:"The gift of life is fled to flowers, the years",p:18,x:89,y:777,w:454,h:26},
{t:"of frank familiarity in speech,",p:18,x:89,y:809,w:319,h:26},
{t:"individual graciousness, the souls in each:",p:18,x:89,y:840,w:459,h:26},
{t:"and larvae spin their silk where there were tears.",p:18,x:89,y:872,w:536,h:26},
{t:"Girl's shrieks, love's teasings in their eyes,",p:18,x:89,y:924,w:465,h:26},
{t:"and teeth and eyelids moistened with their sighs,",p:18,x:89,y:955,w:536,h:26},
{t:"the charming breast that bares and bids delay,",p:18,x:89,y:987,w:510,h:26},
{t:"the blood that wets the lips that whisper yes,",p:18,x:89,y:1019,w:491,h:26},
{t:"the fingers fending off that feigned distress:",p:18,x:89,y:1050,w:480,h:26},
{t:"the earth resorbs them and returns to play.",p:18,x:89,y:1082,w:474,h:26},
{t:"And you, great soul, who hope to find some dream",p:18,x:89,y:1134,w:554,h:26},
{t:"beneath the colours that must shift and seem,",p:18,x:89,y:1165,w:505,h:26},
{t:"some sight the wave and gold will give in shades",p:18,x:89,y:1197,w:532,h:26},
{t:"of permanence although the flesh expires —",p:18,x:89,y:1229,w:480,h:26},
{t:"14",p:19,x:488,y:1315,w:20,h:21},
{t:"for self is porous and the world retires,",p:19,x:94,y:84,w:424,h:26},
{t:"and the thirst for sainthood even fades.",p:19,x:94,y:115,w:431,h:26},
{t:"How thin that immortality in gold",p:19,x:94,y:167,w:360,h:26},
{t:"and black, the hideous laurels that we fold,",p:19,x:94,y:199,w:470,h:26},
{t:"consoling death at some maternal breast.",p:19,x:94,y:230,w:453,h:26},
{t:"A trick that’s beautiful: a pious lie.",p:19,x:94,y:262,w:375,h:26},
{t:"Who does not know that, or could still deny",p:19,x:94,y:294,w:473,h:26},
{t:"the emptied skull goes laughing to its rest?",p:19,x:94,y:325,w:470,h:26},
{t:"The ancestors, the uninhabited heads",p:19,x:94,y:377,w:408,h:26},
{t:"lost under the shovel, where the earth spreads",p:19,x:94,y:409,w:509,h:26},
{t:"in footsteps more than living may discern:",p:19,x:94,y:440,w:462,h:26},
{t:"the rodent and the irrefutable worm",p:19,x:94,y:472,w:391,h:26},
{t:"in those drunk under the table of life affirm",p:19,x:94,y:504,w:471,h:26},
{t:"that life is food, as I too in my turn.",p:19,x:94,y:535,w:391,h:26},
{t:"Are they loves, perhaps, or hates?",p:19,x:94,y:587,w:374,h:26},
{t:"The tooth is intimate with me and waits",p:19,x:94,y:619,w:432,h:26},
{t:"despite whatever name I fabricate.",p:19,x:94,y:650,w:381,h:26},
{t:"It will see, want, think, touch, keep,",p:19,x:94,y:682,w:394,h:26},
{t:"in daylight's consciousness or in my sleep,",p:19,x:94,y:714,w:462,h:26},
{t:"repeating life will hold me to this state.",p:19,x:94,y:745,w:427,h:26},
{t:"Zeno of Elea, cruel lies",p:19,x:94,y:797,w:247,h:26},
{t:"your arrow pierces with, how fast it flies,",p:19,x:94,y:829,w:445,h:26},
{t:"vibrating in the air but cannot move.",p:19,x:94,y:860,w:401,h:26},
{t:"The sound gives birth to me, the arrow kills;",p:19,x:94,y:892,w:484,h:26},
{t:"the sun the shadow of the speeding tortoise fills",p:19,x:94,y:924,w:522,h:26},
{t:"as soul a swift Achilles cannot prove.",p:19,x:94,y:955,w:401,h:26},
{t:"But no, I stand within the future's court",p:19,x:94,y:1007,w:432,h:26},
{t:"and break my body out of inward thought.",p:19,x:94,y:1039,w:462,h:26},
{t:"Drink, my breast, the birthing wind, and sing",p:19,x:94,y:1070,w:491,h:26},
{t:"of heightened freshness in that bursting sea:",p:19,x:94,y:1102,w:490,h:26},
{t:"a saltiness will salve the soul in me,",p:19,x:94,y:1134,w:390,h:26},
{t:"and waves return me as some living thing.",p:19,x:94,y:1165,w:464,h:26},
{t:"Sea, what great delirium we're in",p:19,x:94,y:1217,w:362,h:26},
{t:"with torn off chlamys and with panther skin.",p:19,x:94,y:1249,w:482,h:26},
{t:"The thousand thousand idols in the sun",p:19,x:94,y:1280,w:428,h:26},
{t:"15",p:20,x:483,y:1315,w:20,h:21},
{t:"drink the Hydra of your flesh, where the blue",p:20,x:89,y:84,w:491,h:26},
{t:"tail returns the effective remorse in you",p:20,x:89,y:115,w:432,h:26},
{t:"as silent commotion settling into one.",p:20,x:89,y:147,w:409,h:26},
{t:"The wind rises. We must try to live. Look:",p:20,x:89,y:199,w:456,h:26},
{t:"an immensity of air opens and shuts my book.",p:20,x:89,y:230,w:505,h:26},
{t:"Waves shatter on the rocks. Break, with bright",p:20,x:89,y:262,w:508,h:26},
{t:"glitterings with my pages flown away,",p:20,x:89,y:294,w:412,h:26},
{t:"and rejoice, waves, falling into spray —",p:20,x:89,y:325,w:429,h:26},
{t:"on this calm roof with sailcloths fretted light.",p:20,x:89,y:357,w:487,h:26},
{t:"Le Cimetière marin from Charmes (1922) by Paul Valéry",p:20,x:89,y:440,w:614,h:26},
{t:"Paul Valéry (1871-1945) first wrote in the Symbolist manner, but later,",p:20,x:89,y:524,w:808,h:26},
{t:"after his 20-year break from poetry, became more analytical and",p:20,x:89,y:555,w:808,h:26},
{t:"uncompromising in his search for ultimates:",p:20,x:89,y:587,w:503,h:26},
{t:"Poetry is simply literature",p:20,x:604,y:587,w:292,h:26},
{t:"reduced to the essence of its active principle. It is purged of idols of every",p:20,x:89,y:619,w:808,h:26},
{t:"kind, of realistic illusions, of any conceivable equivocation between the",p:20,x:89,y:650,w:808,h:26},
{t:"language of ‘truth’ and the language of ‘creation’. Valéry stressed the mental",p:20,x:89,y:682,w:812,h:26},
{t:"process of creation, his poems being a by-product, though a perfect one:",p:20,x:89,y:714,w:808,h:26},
{t:"Valéry was an exacting writer, taking days to find the right word. A similar",p:20,x:89,y:745,w:808,h:26},
{t:"intensity marked his private studies, which were not to master any branch",p:20,x:89,y:777,w:808,h:26},
{t:"of the sciences or mathematics, but to investigate the relationships between",p:20,x:89,y:809,w:808,h:26},
{t:"them, and how each expressed a different aspect of human thought. The",p:20,x:89,y:840,w:808,h:26},
{t:"mind is a moment in the response of the body to the world, he once said.",p:20,x:89,y:872,w:802,h:26},
{t:"In",p:20,x:89,y:924,w:22,h:26},
{t:"Le Cimetière Marin, the sea acts as a symbol for the understanding",p:20,x:123,y:924,w:774,h:26},
{t:"between man and nature, which is profound but not wholly logical. A",p:20,x:89,y:955,w:807,h:26},
{t:"celebrated but difficult piece, the poem records Valéry’s meditations at  Sète",p:20,x:89,y:987,w:808,h:26},
{t:"on the Mediterranean coast, where the poet spent his youth and is now",p:20,x:89,y:1019,w:809,h:26},
{t:"buried. As so often with Valéry, the narrator is detached, absorbed in his",p:20,x:89,y:1050,w:807,h:26},
{t:"own thought processes, and the poetry exists more in the connotations and",p:20,x:89,y:1082,w:809,h:26},
{t:"resonances of the words themselves than the larger world the words may",p:20,x:89,y:1114,w:808,h:26},
{t:"refer to.",p:20,x:89,y:1145,w:88,h:26},
{t:"16",p:21,x:488,y:1315,w:20,h:21},
{t:"Clara d’Ell",p:21,x:94,y:114,w:132,h:31},
{t:"ébeuse",p:21,x:250,y:114,w:97,h:31},
{t:"Down the years it’s Clara d’Ellébeuse",p:21,x:94,y:195,w:402,h:26},
{t:"I love, who went to old-time boarding schools",p:21,x:94,y:227,w:499,h:26},
{t:"and came, warm evenings, under linden trees",p:21,x:94,y:259,w:499,h:26},
{t:"to read her magazines of other days.",p:21,x:94,y:290,w:402,h:26},
{t:"It’s her alone I love and on my heart",p:21,x:94,y:342,w:401,h:26},
{t:"I feel the blue light of her throat in flame.",p:21,x:94,y:374,w:455,h:26},
{t:"Where is she? Or happiness’s part",p:21,x:94,y:405,w:370,h:26},
{t:"when into her bright room the branches came?",p:21,x:94,y:437,w:511,h:26},
{t:"Perhaps it may be that she is not dead",p:21,x:94,y:489,w:420,h:26},
{t:"— or else the both of us have long been so.",p:21,x:94,y:520,w:475,h:26},
{t:"The cold wind’s leaves across the yard have spread,",p:21,x:94,y:552,w:566,h:26},
{t:"brought in by summers’ endings years ago.",p:21,x:94,y:584,w:474,h:26},
{t:"Do you remember those great peacock feathers",p:21,x:94,y:635,w:520,h:26},
{t:"and that tall vase, with seashells heaped around?",p:21,x:94,y:667,w:537,h:26},
{t:"How once we learned of shipwrecks and of weathers",p:21,x:94,y:699,w:569,h:26},
{t:"on Newfoundland’s Great Bank, its fishing ground?",p:21,x:94,y:730,w:551,h:26},
{t:"Come, my precious Clara d’Ellébeuse,",p:21,x:94,y:782,w:411,h:26},
{t:"together let us love if you exist.",p:21,x:94,y:814,w:346,h:26},
{t:"Old gardens have old tulips in their midst.",p:21,x:94,y:845,w:458,h:26},
{t:"O come quite naked, Clara d’Ellébeuse.",p:21,x:94,y:877,w:427,h:26},
{t:"Clara d’Ellébeuse  by Francis Jammes (1868-1938)",p:21,x:94,y:960,w:554,h:26},
{t:"In contrast to the intellectual difficulties and polished phrasing of the late",p:21,x:94,y:1044,w:809,h:26},
{t:"Symbolist poetry of his time, Jammes wrote simple lyrical pieces about the",p:21,x:94,y:1075,w:807,h:26},
{t:"Pyrenean countryside where he grew up, and of women he imagined but",p:21,x:94,y:1107,w:808,h:26},
{t:"often hardly knew. His mother and modest circumstances prevented",p:21,x:94,y:1139,w:807,h:26},
{t:"marriage until 1907, but Jammes eventually produced a large family, and",p:21,x:94,y:1170,w:807,h:26},
{t:"an equally copious output. Clara d’Ellébeuse is one of his best known pieces.",p:21,x:94,y:1202,w:807,h:26},
{t:"17",p:22,x:483,y:1315,w:20,h:21},
{t:"The Song ",p:22,x:89,y:114,w:125,h:31},
{t:"of t he I",p:22,x:233,y:114,w:97,h:31},
{t:"ll-Lo ved",p:22,x:340,y:114,w:111,h:31},
{t:"To Paul Léautaud",p:22,x:89,y:164,w:187,h:26},
{t:"I was singing this refrain",p:22,x:89,y:217,w:250,h:24},
{t:"in 1903, not knowing my",p:22,x:89,y:249,w:252,h:24},
{t:"love and phoenix were the same,",p:22,x:89,y:280,w:337,h:24},
{t:"and if they fled the evening sky",p:22,x:89,y:312,w:321,h:24},
{t:"they were reborn when morning came.",p:22,x:89,y:344,w:394,h:24},
{t:"One night of London fog and flame",p:22,x:89,y:394,w:379,h:26},
{t:"a ne'er-do-well resembling my",p:22,x:89,y:425,w:332,h:26},
{t:"love was passing: up he came",p:22,x:89,y:457,w:328,h:26},
{t:"and showed me such a knowing eye",p:22,x:89,y:489,w:393,h:26},
{t:"it made me lower mine in shame.",p:22,x:89,y:520,w:366,h:26},
{t:"With that young tough I had to go",p:22,x:89,y:572,w:372,h:26},
{t:"who hands in pockets took his ways",p:22,x:89,y:604,w:391,h:26},
{t:"whistling through the parted row",p:22,x:89,y:635,w:357,h:26},
{t:"of tenements as Red Sea waves:",p:22,x:89,y:667,w:356,h:26},
{t:"he the Hebrews, I Pharaoh.",p:22,x:89,y:699,w:299,h:26},
{t:"May waves of brick fall ton on ton",p:22,x:89,y:750,w:367,h:26},
{t:"if any man has loved you more.",p:22,x:89,y:782,w:345,h:26},
{t:"I am king of Egypt's son,",p:22,x:89,y:814,w:272,h:26},
{t:"his sister-queen, his army corps,",p:22,x:89,y:845,w:357,h:26},
{t:"if you are not my only one.",p:22,x:89,y:877,w:295,h:26},
{t:"At a turning of the street, ablur",p:22,x:89,y:929,w:342,h:26},
{t:"with housefronts lit in sullen flare,",p:22,x:89,y:960,w:370,h:26},
{t:"and red fangs stuck in fog's thick stir",p:22,x:89,y:992,w:403,h:26},
{t:"that wailed about the housefronts there:",p:22,x:89,y:1024,w:441,h:26},
{t:"a woman very much like her.",p:22,x:89,y:1055,w:317,h:26},
{t:"It was that savage look above",p:22,x:89,y:1107,w:326,h:26},
{t:"the neck she undid, with a scar.",p:22,x:89,y:1139,w:348,h:26},
{t:"I recognized, if drunk enough,",p:22,x:89,y:1170,w:329,h:26},
{t:"in woman reeling from some bar,",p:22,x:89,y:1202,w:363,h:26},
{t:"the falsity of even love.",p:22,x:89,y:1234,w:256,h:26},
{t:"18",p:23,x:488,y:1315,w:20,h:21},
{t:"The wise, far-travelled Ulysses",p:23,x:94,y:84,w:333,h:26},
{t:"returning home, his journeys done,",p:23,x:94,y:115,w:385,h:26},
{t:"found dog came shuffling on its knees",p:23,x:94,y:147,w:414,h:26},
{t:"and wife beside the cloth she'd spun",p:23,x:94,y:179,w:396,h:26},
{t:"still waited for him over seas.",p:23,x:94,y:210,w:321,h:26},
{t:"And Shakuntala's royal mate,",p:23,x:94,y:262,w:320,h:26},
{t:"when tired of war, returned, became",p:23,x:94,y:294,w:399,h:26},
{t:"enamoured of her famished state,",p:23,x:94,y:325,w:370,h:26},
{t:"and saw the look in eyes the same",p:23,x:94,y:357,w:377,h:26},
{t:"that petted a gazelle of late.",p:23,x:94,y:389,w:307,h:26},
{t:"I thought of happy kings whose part",p:23,x:94,y:440,w:396,h:26},
{t:"betrayed by love and yours I'd lose",p:23,x:94,y:472,w:384,h:26},
{t:"in whom all lovings ever start —",p:23,x:94,y:504,w:351,h:26},
{t:"between false shadows I must choose",p:23,x:94,y:535,w:412,h:26},
{t:"that made me ever down at heart.",p:23,x:94,y:567,w:374,h:26},
{t:"Regrets that build the hell we know,",p:23,x:94,y:619,w:393,h:26},
{t:"and sky's forgetting what we swore.",p:23,x:94,y:650,w:393,h:26},
{t:"A kiss the famous kings would sow",p:23,x:94,y:682,w:379,h:26},
{t:"oblivion on their riches for,",p:23,x:94,y:714,w:293,h:26},
{t:"who sold themselves to picture-show.",p:23,x:94,y:745,w:411,h:26},
{t:"I winter in my past come back.",p:23,x:94,y:797,w:338,h:26},
{t:"May Easter sun revive at last",p:23,x:94,y:829,w:315,h:26},
{t:"this frozen heart with warmth I lack",p:23,x:94,y:860,w:389,h:26},
{t:"far worse than forty of Sebaste",p:23,x:94,y:892,w:338,h:26},
{t:"who died upon their icy rack.",p:23,x:94,y:924,w:316,h:26},
{t:"What is memory, my soul,",p:23,x:94,y:975,w:287,h:26},
{t:"but a vessel where we sail",p:23,x:94,y:1007,w:286,h:26},
{t:"too deep to drink the waters whole.",p:23,x:94,y:1039,w:388,h:26},
{t:"In dawns so beautiful we rail",p:23,x:94,y:1070,w:313,h:26},
{t:"against life's saddening evening stroll.",p:23,x:94,y:1102,w:416,h:26},
{t:"Farewell, false love, confused with pain",p:23,x:94,y:1154,w:427,h:26},
{t:"her going from me will have cost,",p:23,x:94,y:1185,w:366,h:26},
{t:"and also her I would not feign,",p:23,x:94,y:1217,w:334,h:26},
{t:"that one in Germany I lost",p:23,x:94,y:1249,w:287,h:26},
{t:"and shall not ever see again.",p:23,x:94,y:1280,w:314,h:26},
{t:"19",p:24,x:483,y:1315,w:20,h:21},
{t:"O Milky Way, whose sisterly",p:24,x:89,y:84,w:304,h:26},
{t:"white streams flow on through Canaan's land.",p:24,x:89,y:115,w:499,h:26},
{t:"The white of lover's bodies. We",p:24,x:89,y:147,w:340,h:26},
{t:"must follow swimmers left unmanned",p:24,x:89,y:179,w:408,h:26},
{t:"and swim to further nebulae.",p:24,x:89,y:210,w:316,h:26},
{t:"Memories I have recourse",p:24,x:89,y:262,w:282,h:26},
{t:"to: April, dawn, another year.",p:24,x:89,y:294,w:325,h:26},
{t:"In happiness I sang the course:",p:24,x:89,y:325,w:346,h:26},
{t:"a manly song to those most dear",p:24,x:89,y:357,w:359,h:26},
{t:"the moment love returned in force.",p:24,x:89,y:389,w:382,h:26},
{t:"Aubade Sung to Laetare a Year Ago",p:24,x:89,y:440,w:387,h:26},
{t:"Come, Pâquette, it is the spring.",p:24,x:89,y:492,w:353,h:26},
{t:"Let us walk these pretty woods.",p:24,x:89,y:524,w:345,h:26},
{t:"The farmyard hens are chattering.",p:24,x:89,y:555,w:372,h:26},
{t:"The dawn in pink and pleated hoods",p:24,x:89,y:587,w:392,h:26},
{t:"announces love is conquering.",p:24,x:89,y:619,w:328,h:26},
{t:"Mars and Venus here will prance",p:24,x:89,y:670,w:353,h:26},
{t:"and kiss about with maddened lips:",p:24,x:89,y:702,w:386,h:26},
{t:"openly they take their chance.",p:24,x:89,y:734,w:330,h:26},
{t:"Beneath the leaves the roses slip",p:24,x:89,y:765,w:359,h:26},
{t:"on, naked gods renew their dance.",p:24,x:89,y:797,w:378,h:26},
{t:"Come, the present time is queen",p:24,x:89,y:849,w:357,h:26},
{t:"in all its tender flowering.",p:24,x:89,y:880,w:278,h:26},
{t:"Warm and touching nature's been",p:24,x:89,y:912,w:368,h:26},
{t:"with Pan through forest echoing,",p:24,x:89,y:944,w:355,h:26},
{t:"and humid bullfrogs haunt the scene.",p:24,x:89,y:975,w:407,h:26},
{t:"Many gods with death have diced,",p:24,x:89,y:1027,w:371,h:26},
{t:"it is for them the willows weep.",p:24,x:89,y:1059,w:340,h:26},
{t:"Great Pan, love, Jesus Christ —",p:24,x:89,y:1090,w:342,h:26},
{t:"all are dead, and alleys keep,",p:24,x:89,y:1122,w:319,h:26},
{t:"with Paris tomcats, solemn rites.",p:24,x:89,y:1154,w:356,h:26},
{t:"I who know the lays for queens,",p:24,x:89,y:1205,w:350,h:26},
{t:"and such laments for all the years,",p:24,x:89,y:1237,w:378,h:26},
{t:"for eels with slaves made epicenes,",p:24,x:89,y:1269,w:385,h:26},
{t:"20",p:25,x:488,y:1315,w:20,h:21},
{t:"and that long tale of lover's tears,",p:25,x:94,y:84,w:369,h:26},
{t:"and all the songs of siren scenes.",p:25,x:94,y:115,w:362,h:26},
{t:"He trembles love may be untrue,",p:25,x:94,y:167,w:359,h:26},
{t:"who worshipped idols all his life.",p:25,x:94,y:199,w:352,h:26},
{t:"The memories of her I knew,",p:25,x:94,y:230,w:315,h:26},
{t:"and, dead like Mausolus's wife,",p:25,x:94,y:262,w:337,h:26},
{t:"must still repine and wait for you.",p:25,x:94,y:294,w:367,h:26},
{t:"More faithful than the mastiff dog,",p:25,x:94,y:345,w:373,h:26},
{t:"or master ivy to the oak,",p:25,x:94,y:377,w:270,h:26},
{t:"or like the Cossack Zaporog:",p:25,x:94,y:409,w:312,h:26},
{t:"a pious but a thieving soak,",p:25,x:94,y:440,w:301,h:26},
{t:"who's bound to steppes and decalogue.",p:25,x:94,y:472,w:429,h:26},
{t:"My crescent like a burden bear,",p:25,x:94,y:524,w:343,h:26},
{t:"the which astrologers consult.",p:25,x:94,y:555,w:325,h:26},
{t:"I am the Omnipotent: take care,",p:25,x:94,y:587,w:355,h:26},
{t:"my Zaparogs, to not insult",p:25,x:94,y:619,w:289,h:26},
{t:"the dazzling Sultan that you hear.",p:25,x:94,y:650,w:370,h:26},
{t:"Become my faithful subjects: so",p:25,x:94,y:702,w:350,h:26},
{t:"the Sultan wrote to them, but, loath",p:25,x:94,y:734,w:394,h:26},
{t:"to hear, they laughed and, apropos",p:25,x:94,y:765,w:384,h:26},
{t:"to answering him, returned and, wroth,",p:25,x:94,y:797,w:430,h:26},
{t:"composed this by the candle's glow.",p:25,x:94,y:829,w:393,h:26},
{t:"Reply of the Zaporogian Cossacks to the Sultan of Constantinople",p:25,x:94,y:880,w:713,h:26},
{t:"Wretch worse than foul Barabbas was,",p:25,x:94,y:932,w:417,h:26},
{t:"go sport that evil angel's horn,",p:25,x:94,y:964,w:334,h:26},
{t:"as gross Beelzebub's is yours.",p:25,x:94,y:995,w:326,h:26},
{t:"One fed on refuse we will scorn",p:25,x:94,y:1027,w:341,h:26},
{t:"and not attend your Sabbath draws.",p:25,x:94,y:1059,w:394,h:26},
{t:"A rotten fish of Salonika,",p:25,x:94,y:1110,w:270,h:26},
{t:"with nightmares necklaces impart",p:25,x:94,y:1142,w:366,h:26},
{t:"to pulled out eyes besotting her,",p:25,x:94,y:1174,w:354,h:26},
{t:"your mother with a liquid fart",p:25,x:94,y:1205,w:320,h:26},
{t:"gave birth to colic blocking her.",p:25,x:94,y:1237,w:343,h:26},
{t:"21",p:26,x:483,y:1315,w:20,h:21},
{t:"Hangman of Podolia's lover",p:26,x:89,y:84,w:295,h:26},
{t:"who sucks off crust from rancid sores,",p:26,x:89,y:115,w:415,h:26},
{t:"where mare and pig become another:",p:26,x:89,y:147,w:411,h:26},
{t:"keep your riches, you'll have cause",p:26,x:89,y:179,w:382,h:26},
{t:"to pay for what your ointments smother.",p:26,x:89,y:210,w:443,h:26},
{t:"               *   *   *",p:26,x:89,y:262,w:200,h:26},
{t:"O Milky Way, whose sisterly",p:26,x:89,y:314,w:304,h:26},
{t:"white streams flow on through Canaan's land.",p:26,x:89,y:345,w:499,h:26},
{t:"The white of lover's bodies. We",p:26,x:89,y:377,w:340,h:26},
{t:"must follow swimmers left unmanned",p:26,x:89,y:409,w:408,h:26},
{t:"and swim to further nebulae.",p:26,x:89,y:440,w:316,h:26},
{t:"The panther eyes I had to shun,",p:26,x:89,y:492,w:350,h:26},
{t:"and beautiful but still a whore's,",p:26,x:89,y:524,w:349,h:26},
{t:"those Florentine, false kisses won,",p:26,x:89,y:555,w:373,h:26},
{t:"in which the bitterness restores",p:26,x:89,y:587,w:342,h:26},
{t:"distaste for what we might have done.",p:26,x:89,y:619,w:419,h:26},
{t:"When looks across the evening brim",p:26,x:89,y:670,w:394,h:26},
{t:"with stars that tremble in their haste,",p:26,x:89,y:702,w:408,h:26},
{t:"and eyes in which the sirens swim,",p:26,x:89,y:734,w:379,h:26},
{t:"and kisses blooded with such taste",p:26,x:89,y:765,w:379,h:26},
{t:"to make our fairy grandfolk grim.",p:26,x:89,y:797,w:363,h:26},
{t:"In truth it is for her I'm sent,",p:26,x:89,y:849,w:316,h:26},
{t:"and in my heart and soul's recall,",p:26,x:89,y:880,w:363,h:26},
{t:"and on that bridge where life's resent",p:26,x:89,y:912,w:408,h:26},
{t:"it may not have her sent at all",p:26,x:89,y:944,w:329,h:26},
{t:"to tell her that I am content.",p:26,x:89,y:975,w:311,h:26},
{t:"My heart and head are emptied wide,",p:26,x:89,y:1027,w:407,h:26},
{t:"all heaven's flowing out of them,",p:26,x:89,y:1059,w:356,h:26},
{t:"and, heaped-up Danaïdes aside,",p:26,x:89,y:1090,w:351,h:26},
{t:"what happiness must I condemn",p:26,x:89,y:1122,w:353,h:26},
{t:"to be again a little child?",p:26,x:89,y:1154,w:267,h:26},
{t:"I'd not forget, though far I rove,",p:26,x:89,y:1205,w:353,h:26},
{t:"my dove upon the whitened road.",p:26,x:89,y:1237,w:368,h:26},
{t:"O marguerite in leaves unclothed,",p:26,x:89,y:1269,w:369,h:26},
{t:"22",p:27,x:488,y:1315,w:20,h:21},
{t:"my distant island, Désirade:",p:27,x:94,y:84,w:306,h:26},
{t:"such rose you are and tree of clove.",p:27,x:94,y:115,w:392,h:26},
{t:"May satyrs and Pyraustus,",p:27,x:94,y:167,w:286,h:26},
{t:"and flitting fires of Aegipans,",p:27,x:94,y:199,w:313,h:26},
{t:"make destinies as damned as Faustus.",p:27,x:94,y:230,w:421,h:26},
{t:"That neck in noose on Calais sands —",p:27,x:94,y:262,w:410,h:26},
{t:"what holocaust of pain it cost us.",p:27,x:94,y:294,w:359,h:26},
{t:"Grief that doubles future mourning",p:27,x:94,y:345,w:379,h:26},
{t:"of unicorn, of capricorn:",p:27,x:94,y:377,w:262,h:26},
{t:"the doubtful flesh the soul is warning.",p:27,x:94,y:409,w:411,h:26},
{t:"Flee the god's flamed pyre in scorn",p:27,x:94,y:440,w:382,h:26},
{t:"as stars the flowers in the morning.",p:27,x:94,y:472,w:387,h:26},
{t:"Misfortune's god with ivory eyes,",p:27,x:94,y:524,w:359,h:26},
{t:"and pale with mad priests still adorning",p:27,x:94,y:555,w:429,h:26},
{t:"victims dressed in dark robed guise:",p:27,x:94,y:587,w:396,h:26},
{t:"vain and purposeless this mourning.",p:27,x:94,y:619,w:394,h:26},
{t:"Do not, misfortune, trust their cries.",p:27,x:94,y:650,w:395,h:26},
{t:"And you who, trailing after, wake",p:27,x:94,y:702,w:362,h:26},
{t:"the god of my gods dead this autumn,",p:27,x:94,y:734,w:417,h:26},
{t:"and measure how much dust will make",p:27,x:94,y:765,w:425,h:26},
{t:"my rights upon the earth that sought them:",p:27,x:94,y:797,w:477,h:26},
{t:"you are my shadow, my old snake.",p:27,x:94,y:829,w:382,h:26},
{t:"In the sunlight that you crave,",p:27,x:94,y:880,w:331,h:26},
{t:"to which I led you, you remember,",p:27,x:94,y:912,w:378,h:26},
{t:"a wife to whom I am a slave,",p:27,x:94,y:944,w:317,h:26},
{t:"both mine and nothing but an ember",p:27,x:94,y:975,w:401,h:26},
{t:"burning out I cannot save.",p:27,x:94,y:1007,w:289,h:26},
{t:"Winter's dead and dressed in snow,",p:27,x:94,y:1059,w:386,h:26},
{t:"the beehives burned were white as well.",p:27,x:94,y:1090,w:438,h:26},
{t:"The gardens and the orchards show",p:27,x:94,y:1122,w:388,h:26},
{t:"how singing birds on branches tell",p:27,x:94,y:1154,w:372,h:26},
{t:"of April's brightness spring will know.",p:27,x:94,y:1185,w:406,h:26},
{t:"Death of deathless argyraspids",p:27,x:94,y:1237,w:336,h:26},
{t:"that carry snow on silver shields.",p:27,x:94,y:1269,w:358,h:26},
{t:"23",p:28,x:483,y:1315,w:20,h:21},
{t:"In white the dendrophore forbids",p:28,x:89,y:84,w:359,h:26},
{t:"the spring that to poor people yields",p:28,x:89,y:115,w:395,h:26},
{t:"a smile to moisten brimming lids.",p:28,x:89,y:147,w:363,h:26},
{t:"And I who have a heart as gross",p:28,x:89,y:199,w:352,h:26},
{t:"as those fat bottoms sat upon",p:28,x:89,y:230,w:326,h:26},
{t:"by Arab women: love I chose",p:28,x:89,y:262,w:319,h:26},
{t:"brought all the pain I've undergone:",p:28,x:89,y:294,w:395,h:26},
{t:"the seven swords unsheathe their woes.",p:28,x:89,y:325,w:438,h:26},
{t:"The melancholy swords beget",p:28,x:89,y:377,w:322,h:26},
{t:"no shadowed sharpness in distress,",p:28,x:89,y:409,w:386,h:26},
{t:"but plunge in folly and regret",p:28,x:89,y:440,w:318,h:26},
{t:"beyond conceived unhappiness.",p:28,x:89,y:472,w:345,h:26},
{t:"How can you ask me to forget?",p:28,x:89,y:504,w:339,h:26},
{t:"The Seven Swords",p:28,x:89,y:555,w:201,h:26},
{t:"The first sword is of silver made",p:28,x:89,y:607,w:348,h:26},
{t:"and Pensive is its trembling name,",p:28,x:89,y:639,w:375,h:26},
{t:"the snowy winter sky its blade,",p:28,x:89,y:670,w:338,h:26},
{t:"and Ghibelline its blooded claim:",p:28,x:89,y:702,w:355,h:26},
{t:"when Vulcan made it, death he paid.",p:28,x:89,y:734,w:399,h:26},
{t:"Named the second is Noubosse,",p:28,x:89,y:785,w:347,h:26},
{t:"a joyous rainbow it appears",p:28,x:89,y:817,w:301,h:26},
{t:"which gods at weddings wield and toss.",p:28,x:89,y:849,w:430,h:26},
{t:"It killed the thirty musketeers,",p:28,x:89,y:880,w:332,h:26},
{t:"and was bequeathed by Carabosse.",p:28,x:89,y:912,w:385,h:26},
{t:"The third is blue and feminine,",p:28,x:89,y:964,w:333,h:26},
{t:"but cypriape it is not less.",p:28,x:89,y:995,w:281,h:26},
{t:"Called the Puck of Faltenin,",p:28,x:89,y:1027,w:297,h:26},
{t:"it's carried on a cloth's caress",p:28,x:89,y:1059,w:322,h:26},
{t:"become in Hermes dwarf of mien.",p:28,x:89,y:1090,w:369,h:26},
{t:"The fourth is what is called Milady:",p:28,x:89,y:1142,w:379,h:26},
{t:"gold the river, green in eddies.",p:28,x:89,y:1174,w:336,h:26},
{t:"Shore-girls in the evening, shady,",p:28,x:89,y:1205,w:369,h:26},
{t:"bathe in reverence their bodies,",p:28,x:89,y:1237,w:346,h:26},
{t:"and rowers sing there ever daily.",p:28,x:89,y:1269,w:359,h:26},
{t:"24",p:29,x:488,y:1315,w:20,h:21},
{t:"Fifth, the Saint-Faggot is bright",p:29,x:94,y:84,w:342,h:26},
{t:"and is the fairest of distaffs.",p:29,x:94,y:115,w:305,h:26},
{t:"A cypress on a tomb, alight",p:29,x:94,y:147,w:299,h:26},
{t:"where four winds kneel and force their draughts",p:29,x:94,y:179,w:523,h:26},
{t:"in torches' flaming, night on night.",p:29,x:94,y:210,w:377,h:26},
{t:"The sixth has metal famed and glorious.",p:29,x:94,y:262,w:437,h:26},
{t:"It is the friend of those soft hands",p:29,x:94,y:294,w:371,h:26},
{t:"from which the morning ever parts us.",p:29,x:94,y:325,w:419,h:26},
{t:"Farewell. Come roads to other lands.",p:29,x:94,y:357,w:402,h:26},
{t:"The cocks grow weary of their chorus.",p:29,x:94,y:389,w:414,h:26},
{t:"The seventh one is under cover,",p:29,x:94,y:440,w:350,h:26},
{t:"languishing as woman's rose,",p:29,x:94,y:472,w:320,h:26},
{t:"and I am glad the latest comer",p:29,x:94,y:504,w:337,h:26},
{t:"shuts the door on all of those",p:29,x:94,y:535,w:319,h:26},
{t:"who, like me, never knew their lover.",p:29,x:94,y:567,w:407,h:26},
{t:"Milky Way",p:29,x:94,y:619,w:110,h:26},
{t:"O Milky Way, whose sisterly",p:29,x:94,y:670,w:304,h:26},
{t:"white streams flow on through Canaan's land,",p:29,x:94,y:702,w:499,h:26},
{t:"the white of women's bodies: we",p:29,x:94,y:734,w:358,h:26},
{t:"must follow swimmers left unmanned",p:29,x:94,y:765,w:408,h:26},
{t:"and swim to further nebulae.",p:29,x:94,y:797,w:316,h:26},
{t:"The demons of our gambling earn",p:29,x:94,y:849,w:368,h:26},
{t:"a song to guide our heavenly step,",p:29,x:94,y:880,w:378,h:26},
{t:"yet violins for which we yearn",p:29,x:94,y:912,w:325,h:26},
{t:"are lost, and mortals dance who wept",p:29,x:94,y:944,w:410,h:26},
{t:"down slopes to which they can't return.",p:29,x:94,y:975,w:430,h:26},
{t:"The unknown future hides its face,",p:29,x:94,y:1027,w:377,h:26},
{t:"where kings may shake with folly's course,",p:29,x:94,y:1059,w:466,h:26},
{t:"and stars still shiver in their place.",p:29,x:94,y:1090,w:375,h:26},
{t:"The women slept with who are false:",p:29,x:94,y:1122,w:401,h:26},
{t:"the deserts histories efface.",p:29,x:94,y:1154,w:301,h:26},
{t:"Old Regent Luitpold with rights,",p:29,x:94,y:1205,w:345,h:26},
{t:"made twice the guardian of mad kings:",p:29,x:94,y:1237,w:427,h:26},
{t:"perhaps his memory alights",p:29,x:94,y:1269,w:302,h:26},
{t:"25",p:30,x:483,y:1315,w:20,h:21},
{t:"on glow-worms’ pallid waverings,",p:30,x:89,y:84,w:363,h:26},
{t:"or firefly gold on summer nights.",p:30,x:89,y:115,w:359,h:26},
{t:"Near chateau lacking chatelaine",p:30,x:89,y:167,w:344,h:26},
{t:"a boat with barcaroles, that sees,",p:30,x:89,y:199,w:364,h:26},
{t:"with white lake softly laid upon",p:30,x:89,y:230,w:337,h:26},
{t:"by springtime's ever-trembling breeze,",p:30,x:89,y:262,w:424,h:26},
{t:"a dying siren sail as swan.",p:30,x:89,y:294,w:286,h:26},
{t:"Upon the silvered lake one day",p:30,x:89,y:345,w:337,h:26},
{t:"the king had drowned himself. His look",p:30,x:89,y:377,w:425,h:26},
{t:"was like his mouth and drifted, lay",p:30,x:89,y:409,w:376,h:26},
{t:"beside the bank and, sleeping, took",p:30,x:89,y:440,w:388,h:26},
{t:"on what the changing sky can say.",p:30,x:89,y:472,w:377,h:26},
{t:"June's sun is burning as a lyre,",p:30,x:89,y:524,w:337,h:26},
{t:"it hurts my fingers. With an air",p:30,x:89,y:555,w:335,h:26},
{t:"of sad delirium I never tire",p:30,x:89,y:587,w:291,h:26},
{t:"of Paris, beautiful — aware",p:30,x:89,y:619,w:292,h:26},
{t:"I have no heart to now retire.",p:30,x:89,y:650,w:323,h:26},
{t:"It seems forever Sundays go,",p:30,x:89,y:702,w:321,h:26},
{t:"and barrel-organs sob for these",p:30,x:89,y:734,w:344,h:26},
{t:"or whine along drab streets below,",p:30,x:89,y:765,w:377,h:26},
{t:"while Paris flowers on balconies",p:30,x:89,y:797,w:343,h:26},
{t:"put out as Pisa's pictures show.",p:30,x:89,y:829,w:343,h:26},
{t:"And nights of Paris, cut with gin",p:30,x:89,y:880,w:347,h:26},
{t:"that crackle in electric haze,",p:30,x:89,y:912,w:305,h:26},
{t:"with green the tramways flare, and in",p:30,x:89,y:944,w:411,h:26},
{t:"foolhardy rides down vertebrae",p:30,x:89,y:975,w:340,h:26},
{t:"mechanically will hum and grin.",p:30,x:89,y:1007,w:344,h:26},
{t:"Here the cafés fill with smoke",p:30,x:89,y:1059,w:321,h:26},
{t:"and loves of gypsies run amok,",p:30,x:89,y:1090,w:340,h:26},
{t:"and snuffling syphons spurt and soak,",p:30,x:89,y:1122,w:414,h:26},
{t:"and waiters come in loincloth smock",p:30,x:89,y:1154,w:394,h:26},
{t:"towards the words of love I spoke.",p:30,x:89,y:1185,w:377,h:26},
{t:"I who know the lays for queens,",p:30,x:89,y:1237,w:350,h:26},
{t:"and such laments for all the years,",p:30,x:89,y:1269,w:378,h:26},
{t:"26",p:31,x:488,y:1315,w:20,h:21},
{t:"for eels with slaves made epicenes,",p:31,x:94,y:84,w:385,h:26},
{t:"and that long tale of lover's tears,",p:31,x:94,y:115,w:369,h:26},
{t:"and all the songs of siren scenes.",p:31,x:94,y:147,w:362,h:26},
{t:"La Chanson du Mal-Aimé from Alcools (1913) by Guillaume Apollinaire.",p:31,x:94,y:230,w:773,h:26},
{t:"In this long poem, reflecting on his unhappy affair with Annie Playdon,",p:31,x:94,y:314,w:807,h:26},
{t:"Guillaume Apollinaire (1880-1918) brought back the values of song to",p:31,x:94,y:345,w:807,h:26},
{t:"serious French poetry. The imagery is sometimes baffling, and the trains of",p:31,x:94,y:377,w:808,h:26},
{t:"thought even more so, but it may help to know:",p:31,x:94,y:409,w:524,h:26},
{t:"Stanza 7: Shakuntala is a Sanskrit play by Kalidasa.",p:31,x:94,y:460,w:567,h:26},
{t:"Stanza 10: Forty of Sebaste were Christian soldiers martyred in AD 320",p:31,x:94,y:492,w:781,h:26},
{t:"by being left naked on a frozen lake.",p:31,x:94,y:524,w:399,h:26},
{t:"Aubade is a rural invitation to love.",p:31,x:94,y:555,w:382,h:26},
{t:"Stanza 15: Pâquette is short for pâquerette or Easter daisy.",p:31,x:94,y:587,w:650,h:26},
{t:"Stanza 22: Zaporogian Cossaks were models of fidelity to Moscow, and",p:31,x:94,y:619,w:775,h:26},
{t:"so hostile to the Sultan of Constantinople.",p:31,x:94,y:650,w:456,h:26},
{t:"Stanza 25: Rotting fish may be an allusion to Balkan corruption under the",p:31,x:94,y:682,w:804,h:26},
{t:"Ottomans.",p:31,x:94,y:714,w:113,h:26},
{t:"Stanza 26. Podolia is a part of Poland obtained (i.e. ruined) by the",p:31,x:94,y:745,w:724,h:26},
{t:"Ottomans in 1672.",p:31,x:94,y:777,w:203,h:26},
{t:"Stanza 28: The Florentines had the reputation of being moneylenders",p:31,x:94,y:809,w:757,h:26},
{t:"and traitors.",p:31,x:94,y:840,w:134,h:26},
{t:"Stanza 29: Danaïdes: Zeus impregnated Danae in a shower of gold: an",p:31,x:94,y:872,w:776,h:26},
{t:"allusion to emotions wasted on Annie Playden.",p:31,x:94,y:904,w:505,h:26},
{t:"Stanza 32: Désirade is an island in the Antilles.",p:31,x:94,y:935,w:514,h:26},
{t:"Stanza 33: Pyraustus is a fabulous insect supposed to live in fire.",p:31,x:94,y:967,w:710,h:26},
{t:"Aegipans is an epithet of pans and satyrs.",p:31,x:94,y:999,w:456,h:26},
{t:"Stanza 39. Argyraspids, literally 'with silver shields' were Alexander's",p:31,x:94,y:1030,w:753,h:26},
{t:"bodyguard. Dendrophore refers to certain gods, to those carrying sacred",p:31,x:94,y:1062,w:792,h:26},
{t:"trees in processions or members of certain guilds in Roman times.",p:31,x:94,y:1094,w:722,h:26},
{t:"Stanza 40. French says 'arse of Damascus ladies'.",p:31,x:94,y:1125,w:543,h:26},
{t:"Stanza 43: Carabosse was an evil fairy that gave unfortunate gifts.",p:31,x:94,y:1157,w:729,h:26},
{t:"Stanza 44. Cypriape may be a conflation of 'Cypriot' and 'Priapus'.",p:31,x:94,y:1189,w:723,h:26},
{t:"Hermes Trismegistus, or thrice great, is attributed by Neoplatonists to",p:31,x:94,y:1220,w:764,h:26},
{t:"the Egyptian god Thoth, but has here been shrunk to a dwarf: another of",p:31,x:94,y:1252,w:798,h:26},
{t:"Apollinaire's recondite jokes.",p:31,x:94,y:1284,w:312,h:26},
{t:"27",p:32,x:483,y:1315,w:20,h:21},
{t:"FROM THE SPANISH",p:32,x:89,y:121,w:284,h:37},
{t:"To Margarita Debay",p:32,x:89,y:234,w:260,h:31},
{t:"le",p:32,x:387,y:234,w:25,h:31},
{t:"Margarita, how beautiful the sea is:",p:32,x:89,y:284,w:387,h:26},
{t:"still and blue.",p:32,x:89,y:315,w:146,h:26},
{t:"The orange blossom in the breezes",p:32,x:89,y:347,w:380,h:26},
{t:"drifting through.",p:32,x:89,y:379,w:178,h:26},
{t:"The skylark in its glory",p:32,x:89,y:410,w:247,h:26},
{t:"has your accent too:",p:32,x:89,y:442,w:223,h:26},
{t:"Here, Margarita, is a story",p:32,x:89,y:474,w:285,h:26},
{t:"made for you.",p:32,x:89,y:505,w:153,h:26},
{t:"A king there was and far away,",p:32,x:89,y:557,w:338,h:26},
{t:"with a palace of diamonds",p:32,x:89,y:589,w:283,h:26},
{t:"and a shopfront made of day.",p:32,x:89,y:620,w:322,h:26},
{t:"He had a herd of elephants,",p:32,x:89,y:652,w:303,h:26},
{t:"A kiosk, more, of malachite,",p:32,x:89,y:704,w:306,h:26},
{t:"and a robe of rarest hue",p:32,x:89,y:735,w:264,h:26},
{t:"also a princess who was light",p:32,x:89,y:767,w:316,h:26},
{t:"of thought and beautiful as you.",p:32,x:89,y:799,w:349,h:26},
{t:"But one afternoon the princess",p:32,x:89,y:850,w:335,h:26},
{t:"saw high in the heavens appear",p:32,x:89,y:882,w:346,h:26},
{t:"a star, and, being mischievous",p:32,x:89,y:914,w:333,h:26},
{t:"and wilful, tried to bring it near.",p:32,x:89,y:945,w:348,h:26},
{t:"It would form the centrepiece",p:32,x:89,y:997,w:323,h:26},
{t:"of a brooch hung with verse, pearl,",p:32,x:89,y:1029,w:382,h:26},
{t:"feathers, flowers: a caprice",p:32,x:89,y:1060,w:296,h:26},
{t:"of course of a little girl.",p:32,x:89,y:1092,w:253,h:26},
{t:"But also, because a princess,",p:32,x:89,y:1144,w:316,h:26},
{t:"exquisite, delicate like you,",p:32,x:89,y:1175,w:296,h:26},
{t:"the others then cut irises",p:32,x:89,y:1207,w:272,h:26},
{t:"roses, asters: as girls do.",p:32,x:89,y:1239,w:276,h:26},
{t:"28",p:33,x:488,y:1315,w:20,h:21},
{t:"But, alas, our little one went far",p:33,x:94,y:84,w:347,h:26},
{t:"across the sea, beneath the sky,",p:33,x:94,y:115,w:353,h:26},
{t:"and all to cut the one white star",p:33,x:94,y:147,w:348,h:26},
{t:"that drew in wonderment her sigh.",p:33,x:94,y:179,w:377,h:26},
{t:"She went beyond where the heavens are",p:33,x:94,y:230,w:444,h:26},
{t:"and to the moon said, au revoir.",p:33,x:94,y:262,w:352,h:26},
{t:"How naughty to have flown so far",p:33,x:94,y:294,w:367,h:26},
{t:"without the permission of Papa.",p:33,x:94,y:325,w:345,h:26},
{t:"She returned at last, and though gone",p:33,x:94,y:377,w:416,h:26},
{t:"from the high heavens of accord,",p:33,x:94,y:409,w:361,h:26},
{t:"still there hung about and shone",p:33,x:94,y:440,w:353,h:26},
{t:"the soft brilliance of our Lord.",p:33,x:94,y:472,w:323,h:26},
{t:"Which the king noted, said: you,",p:33,x:94,y:524,w:354,h:26},
{t:"child, drive me past despair,",p:33,x:94,y:555,w:310,h:26},
{t:"but what is that strange, shining dew",p:33,x:94,y:587,w:405,h:26},
{t:"on your hands, your face, your hair?",p:33,x:94,y:619,w:397,h:26},
{t:"She spoke the truth; her words shine",p:33,x:94,y:670,w:406,h:26},
{t:"with the clear lightness of the air:",p:33,x:94,y:702,w:369,h:26},
{t:"I went to seek what should be mine",p:33,x:94,y:734,w:389,h:26},
{t:"in that blue immensity up there.",p:33,x:94,y:765,w:352,h:26},
{t:"Are then the heavens for our display,",p:33,x:94,y:817,w:405,h:26},
{t:"with things that you must touch?",p:33,x:94,y:849,w:359,h:26},
{t:"You can be altogether too outré,",p:33,x:94,y:880,w:352,h:26},
{t:"child, for God to like you much.",p:33,x:94,y:912,w:343,h:26},
{t:"To hear that I am sorry, truly,",p:33,x:94,y:964,w:328,h:26},
{t:"for I had no plans as such. But,",p:33,x:94,y:995,w:343,h:26},
{t:"once across the windy sky and sea",p:33,x:94,y:1027,w:378,h:26},
{t:"I had that far-off flower to cut.",p:33,x:94,y:1059,w:335,h:26},
{t:"Whereupon, in punishment,",p:33,x:94,y:1110,w:301,h:26},
{t:"the king said, I'd be much beholden",p:33,x:94,y:1142,w:392,h:26},
{t:"if you'd go this moment and consent",p:33,x:94,y:1174,w:398,h:26},
{t:"to return what you have stolen.",p:33,x:94,y:1205,w:343,h:26},
{t:"29",p:34,x:483,y:1315,w:20,h:21},
{t:"So sad was then our little princess",p:34,x:89,y:84,w:373,h:26},
{t:"looking at her sweet flower of light,",p:34,x:89,y:115,w:386,h:26},
{t:"until and smiling at her distress",p:34,x:89,y:147,w:343,h:26},
{t:"there stood the Lord Jesus Christ.",p:34,x:89,y:179,w:367,h:26},
{t:"Those fields are as I willed them,",p:34,x:89,y:230,w:360,h:26},
{t:"and your rose but signatory",p:34,x:89,y:262,w:302,h:26},
{t:"to the flowers up there that children",p:34,x:89,y:294,w:392,h:26},
{t:"have in dreaming formed of me.",p:34,x:89,y:325,w:352,h:26},
{t:"Again the king is laughing, brilliant",p:34,x:89,y:377,w:379,h:26},
{t:"in his robe's rich royalty.",p:34,x:89,y:409,w:269,h:26},
{t:"He troops the herd of elephant,",p:34,x:89,y:440,w:342,h:26},
{t:"in their four hundred, by the sea.",p:34,x:89,y:472,w:363,h:26},
{t:"Adored and delicate, the princess",p:34,x:89,y:524,w:362,h:26},
{t:"is once more a little girl",p:34,x:89,y:555,w:257,h:26},
{t:"who keeps for brooch the star and, yes,",p:34,x:89,y:587,w:434,h:26},
{t:"the flowers, and the feathers, the pearl.",p:34,x:89,y:619,w:435,h:26},
{t:"Beautiful, Margarita, the sea is,",p:34,x:89,y:670,w:342,h:26},
{t:"still and blue:",p:34,x:89,y:702,w:148,h:26},
{t:"with your sweet breath have all the breezes",p:34,x:89,y:734,w:478,h:26},
{t:"blossomed too.",p:34,x:89,y:765,w:166,h:26},
{t:"Now soon from me and far you'll be,",p:34,x:89,y:817,w:397,h:26},
{t:"but, little one, stay true",p:34,x:89,y:849,w:258,h:26},
{t:"to a gentle thought made a story",p:34,x:89,y:880,w:360,h:26},
{t:"once for you.",p:34,x:89,y:912,w:143,h:26},
{t:"A Margarita Debayle in Poema del Otoño y Otros Poemas (1910) by Rubén",p:34,x:89,y:964,w:808,h:26},
{t:"Darío.",p:34,x:89,y:995,w:65,h:26},
{t:"The Nicaraguan Félix Rubén García Sarmiento (1867-1916), a founding",p:34,x:89,y:1047,w:807,h:26},
{t:"member ofModernismo,  was one of the supreme technicians in the Spanish",p:34,x:89,y:1079,w:808,h:26},
{t:"language, but led a life of tragicomedy: divorced parents, brought up by an",p:34,x:89,y:1110,w:808,h:26},
{t:"aunt in León, journalism, liaison with the unfaithful Rosario Murillo, marriage",p:34,x:89,y:1142,w:808,h:26},
{t:"to Rafaela Contreras, forced marriage to Rosario, short-lived government",p:34,x:89,y:1174,w:807,h:26},
{t:"posts, failed journalistic ventures, constant drinking, womanising, travel,",p:34,x:89,y:1205,w:808,h:26},
{t:"contentment with Francisca Sánchez who bore him several children, kidnap",p:34,x:89,y:1237,w:807,h:26},
{t:"by Rosario and death by cirrhosis of the liver in his boyhood town of León.",p:34,x:89,y:1269,w:808,h:26},
{t:"30",p:35,x:488,y:1315,w:20,h:21},
{t:"Song of Autumn ",p:35,x:94,y:114,w:233,h:31},
{t:"in Spr",p:35,x:340,y:114,w:71,h:31},
{t:"ingt",p:35,x:421,y:114,w:51,h:31},
{t:"ime",p:35,x:479,y:114,w:50,h:31},
{t:"Youth’s heavenly treasure, from on high,",p:35,x:94,y:195,w:445,h:26},
{t:"now you leave, nor come anew.",p:35,x:94,y:227,w:346,h:26},
{t:"When I would cry, I do not cry. . .",p:35,x:94,y:259,w:372,h:26},
{t:"and at times I cry without wanting to. . .",p:35,x:94,y:290,w:443,h:26},
{t:"Plural has been the celestial",p:35,x:94,y:342,w:303,h:26},
{t:"history of the heart beneath:",p:35,x:94,y:374,w:315,h:26},
{t:"undefiled as a girl is in our bestial",p:35,x:94,y:405,w:367,h:26},
{t:"world of travail and of grief.",p:35,x:94,y:437,w:303,h:26},
{t:"She looked to me as the dawn dresses",p:35,x:94,y:489,w:420,h:26},
{t:"itself, and smiling as a flower.",p:35,x:94,y:520,w:326,h:26},
{t:"Her hair was sombre; from those tresses",p:35,x:94,y:552,w:446,h:26},
{t:"night and hardship forged their power.",p:35,x:94,y:584,w:421,h:26},
{t:"Timid I was as a child,",p:35,x:94,y:635,w:243,h:26},
{t:"and she, naturally, was",p:35,x:94,y:667,w:253,h:26},
{t:"to my love's ermine more the wild",p:35,x:94,y:699,w:373,h:26},
{t:"Salomé and Herodias.",p:35,x:94,y:730,w:239,h:26},
{t:"Youth’s heavenly treasure, from on high,",p:35,x:94,y:782,w:445,h:26},
{t:"now you leave, nor come anew.",p:35,x:94,y:814,w:346,h:26},
{t:"When I would cry, I do not cry. . .",p:35,x:94,y:845,w:372,h:26},
{t:"and at times I cry without wanting to. . .",p:35,x:94,y:877,w:443,h:26},
{t:"More consoling, the other was",p:35,x:94,y:929,w:328,h:26},
{t:"more expressive and discrete;",p:35,x:94,y:960,w:329,h:26},
{t:"but also flattering because",p:35,x:94,y:992,w:288,h:26},
{t:"a one I never hoped to meet.",p:35,x:94,y:1024,w:320,h:26},
{t:"Nonetheless, such tenderness",p:35,x:94,y:1075,w:324,h:26},
{t:"came with passion to unite",p:35,x:94,y:1107,w:292,h:26},
{t:"beneath an unconcealing dress",p:35,x:94,y:1139,w:336,h:26},
{t:"Bacchante's posture and delight.",p:35,x:94,y:1170,w:355,h:26},
{t:"31",p:36,x:483,y:1315,w:20,h:21},
{t:"My dream she took, sung to, willed",p:36,x:89,y:84,w:383,h:26},
{t:"to sleep, a baby, warm and safe.",p:36,x:89,y:115,w:358,h:26},
{t:"That small, unhappy thing she killed",p:36,x:89,y:147,w:394,h:26},
{t:"for want of daylight, want of faith. . .",p:36,x:89,y:179,w:404,h:26},
{t:"Youth’s heavenly treasure, from on high,",p:36,x:89,y:230,w:445,h:26},
{t:"now you leave, nor come anew.",p:36,x:89,y:262,w:346,h:26},
{t:"When I would cry, I do not cry. . .",p:36,x:89,y:294,w:372,h:26},
{t:"and at times I cry without wanting to. . .",p:36,x:89,y:325,w:443,h:26},
{t:"My lips for another were a jewel case,",p:36,x:89,y:377,w:413,h:26},
{t:"to her belonged such a little part:",p:36,x:89,y:409,w:366,h:26},
{t:"she would kiss me and embrace,",p:36,x:89,y:440,w:356,h:26},
{t:"her mad teeth to chew my heart.",p:36,x:89,y:472,w:361,h:26},
{t:"Was it not excessive, this",p:36,x:89,y:524,w:276,h:26},
{t:"pageantry of passion with",p:36,x:89,y:555,w:280,h:26},
{t:"eternity its synthesis:",p:36,x:89,y:587,w:235,h:26},
{t:"redoubled fierceness in belief?",p:36,x:89,y:619,w:329,h:26},
{t:"Love is frail as is the body,",p:36,x:89,y:670,w:291,h:26},
{t:"there are no Edens to befriend,",p:36,x:89,y:702,w:339,h:26},
{t:"and folly to think for anybody",p:36,x:89,y:734,w:321,h:26},
{t:"that flesh and springtime have no end.",p:36,x:89,y:765,w:422,h:26},
{t:"Youth’s heavenly treasure, from on high,",p:36,x:89,y:817,w:445,h:26},
{t:"now you leave, nor come anew.",p:36,x:89,y:849,w:346,h:26},
{t:"When I would cry, I do not cry. . .",p:36,x:89,y:880,w:372,h:26},
{t:"and at times I cry without wanting to. . .",p:36,x:89,y:912,w:443,h:26},
{t:"So many others, many climates,",p:36,x:89,y:964,w:353,h:26},
{t:"countries phantomed with my thought.",p:36,x:89,y:995,w:424,h:26},
{t:"What are they, rhymes, but connivants",p:36,x:89,y:1027,w:425,h:26},
{t:"for loveliness to keep her court?",p:36,x:89,y:1059,w:350,h:26},
{t:"How hard I sought! In vain the princess",p:36,x:89,y:1110,w:433,h:26},
{t:"waited and was sad for me.",p:36,x:89,y:1142,w:300,h:26},
{t:"Life is heavy and a bitterness:",p:36,x:89,y:1174,w:329,h:26},
{t:"what we sing of cannot be.",p:36,x:89,y:1205,w:293,h:26},
{t:"32",p:37,x:488,y:1315,w:20,h:21},
{t:"Though time is obstinate as stone,",p:37,x:94,y:84,w:375,h:26},
{t:"still endlessly for love I thirst,",p:37,x:94,y:115,w:324,h:26},
{t:"grey-haired, by the roses grown",p:37,x:94,y:147,w:351,h:26},
{t:"as beautiful as were the first.",p:37,x:94,y:179,w:318,h:26},
{t:"Youth’s heavenly treasure, from on high,",p:37,x:94,y:230,w:445,h:26},
{t:"now you leave, nor come anew.",p:37,x:94,y:262,w:346,h:26},
{t:"When I would cry, I do not cry. . .",p:37,x:94,y:294,w:372,h:26},
{t:"and at times I cry without wanting to. . .",p:37,x:94,y:325,w:443,h:26},
{t:"Yet more to me dawn's aureate sky!",p:37,x:94,y:377,w:395,h:26},
{t:"Cancíon de Otoño en Primavera from Cantos de vida y esperanza (1905)",p:37,x:94,y:460,w:792,h:26},
{t:"by Rubén Darío",p:37,x:94,y:492,w:168,h:26},
{t:"Originally influenced by the Parnassians and Góngora, Modernismo aimed for",p:37,x:94,y:575,w:809,h:26},
{t:"a verse of intricate and brilliant imagery, taking the visual arts as a model.",p:37,x:94,y:607,w:807,h:26},
{t:"With Darío, the movement absorbed the musical evocation of the Symb olists,",p:37,x:94,y:639,w:809,h:26},
{t:"along with its preciosity, eroticism and exotic reference. Musicality of",p:37,x:94,y:670,w:808,h:26},
{t:"language and prosodic virtuosity are pre-eminent in Darío, whose poems in",p:37,x:94,y:702,w:807,h:26},
{t:"no less than 37 metres and 136 stanza patterns did much to reinvigorate",p:37,x:94,y:734,w:808,h:26},
{t:"Spanish poetry. The vocabulary was equally d iverse, and included borrowings",p:37,x:94,y:765,w:808,h:26},
{t:"from antiquity onwards and his own coinages. The usual symbols of a para-",p:37,x:94,y:797,w:808,h:26},
{t:"religious approach to poetry (taken from dreams, occultism and depth",p:37,x:94,y:829,w:808,h:26},
{t:"psychiatry) appear, but Darío had his own: centaur (human and bestial",p:37,x:94,y:860,w:807,h:26},
{t:"traits), forest (gradation from gross to ethereal) and the swan (purity and",p:37,x:94,y:892,w:808,h:26},
{t:"eroticism).",p:37,x:94,y:924,w:116,h:26},
{t:"One of the best-known of poems in Latin America among the older",p:37,x:94,y:975,w:807,h:26},
{t:"generation, Cancíon de Otoño en Primavera is an intensely personal piece,",p:37,x:94,y:1007,w:807,h:26},
{t:"though not strictly autobiography. At forty, with two marriages behind him,",p:37,x:94,y:1039,w:807,h:26},
{t:"and incapacitated for long periods by the drinking that was to kill him a",p:37,x:94,y:1070,w:808,h:26},
{t:"decade later, Darío had every reason to reflect on the expectations of youth.",p:37,x:94,y:1102,w:808,h:26},
{t:"33",p:38,x:483,y:1315,w:20,h:21},
{t:"Autumn Poem",p:38,x:89,y:114,w:195,h:31},
{t:"You, meditating on some other,",p:38,x:89,y:195,w:345,h:26},
{t:"hand on chin curled,",p:38,x:89,y:227,w:221,h:26},
{t:"think to have let fall, brother,",p:38,x:89,y:259,w:321,h:26},
{t:"the flower of the world.",p:38,x:89,y:290,w:254,h:26},
{t:"Emptily you lament and count",p:38,x:89,y:342,w:327,h:26},
{t:"all of them sorrow,",p:38,x:89,y:374,w:205,h:26},
{t:"say what is past will discount",p:38,x:89,y:405,w:316,h:26},
{t:"pleasures tomorrow.",p:38,x:89,y:437,w:223,h:26},
{t:"Forgetting that the iris with rose",p:38,x:89,y:489,w:351,h:26},
{t:"in fragrance will wed,",p:38,x:89,y:520,w:232,h:26},
{t:"as too will proud myrtle shows",p:38,x:89,y:552,w:333,h:26},
{t:"deck the grey head.",p:38,x:89,y:584,w:217,h:26},
{t:"What the soul delights in, it kills,",p:38,x:89,y:635,w:357,h:26},
{t:"as expire they must,",p:38,x:89,y:667,w:224,h:26},
{t:"all lovers that Zingua wills",p:38,x:89,y:699,w:284,h:26},
{t:"to feed her lust.",p:38,x:89,y:730,w:174,h:26},
{t:"And you call the kind, harmless hour",p:38,x:89,y:782,w:399,h:26},
{t:"catastrophes,",p:38,x:89,y:814,w:146,h:26},
{t:"and you expect thereafter the sour",p:38,x:89,y:845,w:379,h:26},
{t:"Ecclesiastes.",p:38,x:89,y:877,w:136,h:26},
{t:"Bedazzled by Sunday do you not remember",p:38,x:89,y:929,w:476,h:26},
{t:"how love began:",p:38,x:89,y:960,w:180,h:26},
{t:"and how it died on Ash Wednesday an ember,",p:38,x:89,y:992,w:500,h:26},
{t:"O soul of man!",p:38,x:89,y:1024,w:161,h:26},
{t:"Up the blossoming mountain climbs",p:38,x:89,y:1075,w:388,h:26},
{t:"the soul from harm.",p:38,x:89,y:1107,w:217,h:26},
{t:"So say Anacreon and rhymes",p:38,x:89,y:1139,w:317,h:26},
{t:"of Omar Kayyam.",p:38,x:89,y:1170,w:191,h:26},
{t:"34",p:39,x:488,y:1315,w:20,h:21},
{t:"Escaping evil and in this",p:39,x:94,y:84,w:262,h:26},
{t:"past all advice:",p:39,x:94,y:115,w:164,h:26},
{t:"did not the evil of artifice",p:39,x:94,y:147,w:273,h:26},
{t:"adorn paradise?",p:39,x:94,y:179,w:173,h:26},
{t:"And beautiful and bright",p:39,x:94,y:230,w:263,h:26},
{t:"surely days are",p:39,x:94,y:262,w:166,h:26},
{t:"in a woman captured, a rose and one white",p:39,x:94,y:294,w:472,h:26},
{t:"evening star.",p:39,x:94,y:325,w:142,h:26},
{t:"Lucifer shines; in happiness drunk",p:39,x:94,y:377,w:372,h:26},
{t:"sings the rough sea.",p:39,x:94,y:409,w:221,h:26},
{t:"Yet Sylvanus is in the trunk",p:39,x:94,y:440,w:300,h:26},
{t:"of green beech tree.",p:39,x:94,y:472,w:221,h:26},
{t:"Shall we say, then, that life is pure,",p:39,x:94,y:524,w:388,h:26},
{t:"entrancing and clear,",p:39,x:94,y:555,w:230,h:26},
{t:"regal in all sweetness and sure",p:39,x:94,y:587,w:335,h:26},
{t:"of springtime near?",p:39,x:94,y:619,w:212,h:26},
{t:"And shall we say that in the midst",p:39,x:94,y:670,w:370,h:26},
{t:"of injuries",p:39,x:94,y:702,w:108,h:26},
{t:"and of insults when the reptiles twist",p:39,x:94,y:734,w:401,h:26},
{t:"glowing in furies?",p:39,x:94,y:765,w:190,h:26},
{t:"What good that we are conscious",p:39,x:94,y:817,w:360,h:26},
{t:"of baleful faces,",p:39,x:94,y:849,w:172,h:26},
{t:"or the emnities, or of Pontius",p:39,x:94,y:880,w:317,h:26},
{t:"Pilate's smooth graces?",p:39,x:94,y:912,w:255,h:26},
{t:"Whenever the land finishes, and flat",p:39,x:94,y:964,w:392,h:26},
{t:"the tide's motion,",p:39,x:94,y:995,w:191,h:26},
{t:"we are as we were, mere foam of that",p:39,x:94,y:1027,w:416,h:26},
{t:"eternal ocean.",p:39,x:94,y:1059,w:155,h:26},
{t:"Let us wash then our clothing",p:39,x:94,y:1110,w:321,h:26},
{t:"of staunched prose",p:39,x:94,y:1142,w:206,h:26},
{t:"but dream also of betrothing",p:39,x:94,y:1174,w:312,h:26},
{t:"the mystic rose.",p:39,x:94,y:1205,w:175,h:26},
{t:"35",p:40,x:483,y:1315,w:20,h:21},
{t:"Flowers, flowers in each moment,",p:40,x:89,y:84,w:366,h:26},
{t:"hold to the lark's song,",p:40,x:89,y:115,w:250,h:26},
{t:"that one whole day in the firmament",p:40,x:89,y:147,w:398,h:26},
{t:"be honey long.",p:40,x:89,y:179,w:161,h:26},
{t:"We are all abundantly crowned",p:40,x:89,y:230,w:336,h:26},
{t:"with love's corona:",p:40,x:89,y:262,w:206,h:26},
{t:"so each of us finds the ground",p:40,x:89,y:294,w:329,h:26},
{t:"of our Verona.",p:40,x:89,y:325,w:156,h:26},
{t:"Even at the last hour comes truth,",p:40,x:89,y:377,w:373,h:26},
{t:"singing so as",p:40,x:89,y:409,w:141,h:26},
{t:"to comfort us and say, Ruth,",p:40,x:89,y:440,w:312,h:26},
{t:"glean for Boaz!",p:40,x:89,y:472,w:164,h:26},
{t:"As in flowers, rich in their nascent",p:40,x:89,y:524,w:370,h:26},
{t:"blossoming spent,",p:40,x:89,y:555,w:198,h:26},
{t:"is not the dawn then but of fragrance,",p:40,x:89,y:587,w:415,h:26},
{t:"adolescent!",p:40,x:89,y:619,w:124,h:26},
{t:"Dance after the Sylvani or Eros,",p:40,x:89,y:670,w:347,h:26},
{t:"be lusty again,",p:40,x:89,y:702,w:160,h:26},
{t:"and as the world was, amorous",p:40,x:89,y:734,w:340,h:26},
{t:"as all nymphs then.",p:40,x:89,y:765,w:214,h:26},
{t:"Since time disgraces as disease,",p:40,x:89,y:817,w:351,h:26},
{t:"you must know the",p:40,x:89,y:849,w:209,h:26},
{t:"wiles to conquer him, Cydalise,",p:40,x:89,y:880,w:339,h:26},
{t:"Cythia, Chloe.",p:40,x:89,y:912,w:153,h:26},
{t:"After Cypris comes Priapus,",p:40,x:89,y:964,w:300,h:26},
{t:"hard on the prowl,",p:40,x:89,y:995,w:201,h:26},
{t:"as Hecate hunting for Diana",p:40,x:89,y:1027,w:303,h:26},
{t:"has dogs howl.",p:40,x:89,y:1059,w:162,h:26},
{t:"Yet she, beautiful but blind",p:40,x:89,y:1110,w:293,h:26},
{t:"to all in her chiffon",p:40,x:89,y:1142,w:204,h:26},
{t:"imaginings goes down to find",p:40,x:89,y:1174,w:319,h:26},
{t:"Endymion.",p:40,x:89,y:1205,w:115,h:26},
{t:"36",p:41,x:488,y:1315,w:20,h:21},
{t:"Now to the place of roses belongs",p:41,x:94,y:84,w:367,h:26},
{t:"orange blossom:",p:41,x:94,y:115,w:181,h:26},
{t:"so we will hear the Song of Songs",p:41,x:94,y:147,w:369,h:26},
{t:"and Solomon.",p:41,x:94,y:179,w:149,h:26},
{t:"What in adolescence can hurt you?",p:41,x:94,y:230,w:378,h:26},
{t:"Love will flower",p:41,x:94,y:262,w:167,h:26},
{t:"as the dawn does, and in virtue:",p:41,x:94,y:294,w:353,h:26},
{t:"what bliss that hour!",p:41,x:94,y:325,w:225,h:26},
{t:"Unhappy he who waits too long;",p:41,x:94,y:377,w:351,h:26},
{t:"and worse those",p:41,x:94,y:409,w:178,h:26},
{t:"who spin out forever a song",p:41,x:94,y:440,w:304,h:26},
{t:"that no love knows.",p:41,x:94,y:472,w:214,h:26},
{t:"Here and in far lands a palace",p:41,x:94,y:524,w:325,h:26},
{t:"where blood burns:",p:41,x:94,y:555,w:211,h:26},
{t:"woman is that glittering chalice",p:41,x:94,y:587,w:340,h:26},
{t:"for which love yearns.",p:41,x:94,y:619,w:240,h:26},
{t:"She who is spent breath and flame",p:41,x:94,y:670,w:378,h:26},
{t:"must everywhere",p:41,x:94,y:702,w:188,h:26},
{t:"unfasten and sublime the same",p:41,x:94,y:734,w:341,h:26},
{t:"into fine air.",p:41,x:94,y:765,w:132,h:26},
{t:"Relinquish to longing its scope:",p:41,x:94,y:817,w:340,h:26},
{t:"deeply inhale:",p:41,x:94,y:849,w:154,h:26},
{t:"in the fragrance of women our hope,",p:41,x:94,y:880,w:399,h:26},
{t:"our holy grail.",p:41,x:94,y:912,w:152,h:26},
{t:"Feast on what the body has,",p:41,x:94,y:964,w:308,h:26},
{t:"as appetite must:",p:41,x:94,y:995,w:192,h:26},
{t:"what of it afterwards continues but as",p:41,x:94,y:1027,w:412,h:26},
{t:"ashes and dust?",p:41,x:94,y:1059,w:176,h:26},
{t:"Glory in the flame and prize",p:41,x:94,y:1110,w:303,h:26},
{t:"the flowering sun:",p:41,x:94,y:1142,w:197,h:26},
{t:"tomorrow is the passion of eyes",p:41,x:94,y:1174,w:347,h:26},
{t:"even undone.",p:41,x:94,y:1205,w:148,h:26},
{t:"37",p:42,x:483,y:1315,w:20,h:21},
{t:"Embrace the harmonies of Apollo,",p:42,x:89,y:84,w:368,h:26},
{t:"sing of the south:",p:42,x:89,y:115,w:193,h:26},
{t:"for you will lack in the days that follow",p:42,x:89,y:147,w:420,h:26},
{t:"even a mouth.",p:42,x:89,y:179,w:158,h:26},
{t:"You will not let the good things blot",p:42,x:89,y:230,w:387,h:26},
{t:"out their true worth,",p:42,x:89,y:262,w:222,h:26},
{t:"because you know you are not",p:42,x:89,y:294,w:333,h:26},
{t:"yet under the earth.",p:42,x:89,y:325,w:220,h:26},
{t:"Remember also that which freezes",p:42,x:89,y:377,w:376,h:26},
{t:"or restricts",p:42,x:89,y:409,w:117,h:26},
{t:"is the dove that Venus releases",p:42,x:89,y:440,w:340,h:26},
{t:"over the Sphinx.",p:42,x:89,y:472,w:180,h:26},
{t:"Out of hardship there comes to aid us",p:42,x:89,y:524,w:412,h:26},
{t:"Anadyomene:",p:42,x:89,y:555,w:151,h:26},
{t:"As also from the work of Phidias",p:42,x:89,y:587,w:350,h:26},
{t:"comely Phryne.",p:42,x:89,y:619,w:168,h:26},
{t:"In the sweetness of apple continues",p:42,x:89,y:670,w:390,h:26},
{t:"the Biblical man:",p:42,x:89,y:702,w:183,h:26},
{t:"and sits in our veins and sinews",p:42,x:89,y:734,w:347,h:26},
{t:"unregenerate Adam.",p:42,x:89,y:765,w:223,h:26},
{t:"What is living but a bestowing,",p:42,x:89,y:817,w:335,h:26},
{t:"a libation,",p:42,x:89,y:849,w:107,h:26},
{t:"a universal and overflowing",p:42,x:89,y:880,w:299,h:26},
{t:"fecundation.",p:42,x:89,y:912,w:134,h:26},
{t:"All that is heaven beats forward to",p:42,x:89,y:964,w:376,h:26},
{t:"eventual glory,",p:42,x:89,y:995,w:163,h:26},
{t:"which out of love's contest is our true",p:42,x:89,y:1027,w:409,h:26},
{t:"heart's story.",p:42,x:89,y:1059,w:144,h:26},
{t:"Pain contains and offends us, this is",p:42,x:89,y:1110,w:390,h:26},
{t:"continually fate:",p:42,x:89,y:1142,w:176,h:26},
{t:"but given also is the flowing noesis",p:42,x:89,y:1174,w:380,h:26},
{t:"of the world's state.",p:42,x:89,y:1205,w:217,h:26},
{t:"38",p:43,x:488,y:1315,w:20,h:21},
{t:"And ours also a vibrancy",p:43,x:94,y:84,w:267,h:26},
{t:"as seashell the surf",p:43,x:94,y:115,w:210,h:26},
{t:"sounding in its sufficiency",p:43,x:94,y:147,w:280,h:26},
{t:"sunlight and earth.",p:43,x:94,y:179,w:206,h:26},
{t:"Salt in our arteries presses",p:43,x:94,y:230,w:292,h:26},
{t:"its bloodline and sweep",p:43,x:94,y:262,w:254,h:26},
{t:"as sirens in wavering tresses",p:43,x:94,y:294,w:313,h:26},
{t:"keep tritons from sleep.",p:43,x:94,y:325,w:260,h:26},
{t:"Fence us in then with ilex and laurel,",p:43,x:94,y:377,w:401,h:26},
{t:"and deeper entrust:",p:43,x:94,y:409,w:217,h:26},
{t:"we, centaurs inclined, have no quarrel",p:43,x:94,y:440,w:416,h:26},
{t:"with satyr's lust.",p:43,x:94,y:472,w:179,h:26},
{t:"In us abundances pour",p:43,x:94,y:524,w:249,h:26},
{t:"headlong their breath,",p:43,x:94,y:555,w:243,h:26},
{t:"as richer in love's realms we draw",p:43,x:94,y:587,w:370,h:26},
{t:"and deeper to death.",p:43,x:94,y:619,w:228,h:26},
{t:"Poema del Otoño from Poema del Otoño y Otros Poemas (1910) by",p:43,x:94,y:702,w:734,h:26},
{t:"Rubén Darío.",p:43,x:94,y:734,w:142,h:26},
{t:"Darío’s poetry and prose made an indelible mark in Hispano literature, but",p:43,x:94,y:817,w:807,h:26},
{t:"he had no real followers. Nonetheless, Poetry, he said, will exist as long as",p:43,x:94,y:849,w:808,h:26},
{t:"there is a problem of life and death.  The gift of art is a superior gift that",p:43,x:94,y:880,w:811,h:26},
{t:"allows you to enter into the unk nown of the before and into the ignored of the",p:43,x:94,y:912,w:810,h:26},
{t:"after, in the world of dreams and meditation.  There are no school s; there are",p:43,x:94,y:944,w:813,h:26},
{t:"poets.  The true artist understands all the ways and finds beauty in all fo",p:43,x:94,y:975,w:779,h:26},
{t:"rms.",p:43,x:847,y:975,w:49,h:26},
{t:"All the glory and eternity are in o ur conscience.",p:43,x:94,y:1007,w:498,h:26},
{t:"Poema del Otoño is a typically virtuoso piece, illustrating the range of",p:43,x:94,y:1059,w:807,h:26},
{t:"Darío’s affiliations and enthusiasms.",p:43,x:94,y:1090,w:392,h:26},
{t:"39",p:44,x:483,y:1315,w:20,h:21},
{t:"Tri umphal ",p:44,x:89,y:114,w:138,h:31},
{t:"March",p:44,x:243,y:114,w:93,h:31},
{t:"Comes the parade now with one accord,",p:44,x:89,y:195,w:437,h:26},
{t:"marching comes the army and the clear, bright bugling begins.",p:44,x:89,y:227,w:687,h:26},
{t:"Fearsome is the glittering of each reflected sword,",p:44,x:89,y:259,w:546,h:26},
{t:"with gold and steel amassing the moving paladins.",p:44,x:89,y:290,w:551,h:26},
{t:"Now under arches they are passing white Minerva and her Mars,",p:44,x:89,y:322,w:700,h:26},
{t:"with fame and all her triumphs their lengthy trumpets raise.",p:44,x:89,y:354,w:655,h:26},
{t:"Ovations in the standards that in solemn glory pass,",p:44,x:89,y:385,w:569,h:26},
{t:"carried by the athletes with heroic hands of praise.",p:44,x:89,y:417,w:553,h:26},
{t:"Cavalry as well their furious weapons sound;",p:44,x:89,y:449,w:488,h:26},
{t:"they champ upon the bridle these horses of the war.",p:44,x:89,y:480,w:572,h:26},
{t:"Cacophony of hooves is the sounding of the law.",p:44,x:89,y:512,w:528,h:26},
{t:"In kettledrum and ground",p:44,x:89,y:544,w:281,h:26},
{t:"the rhythmic marching of the feet.",p:44,x:89,y:575,w:375,h:26},
{t:"Under arches they are crowned",p:44,x:89,y:607,w:340,h:26},
{t:"their fierce triumphs are complete.",p:44,x:89,y:639,w:378,h:26},
{t:"At once the sound of bugles is now magnified,",p:44,x:89,y:684,w:502,h:26},
{t:"the chorus strong,",p:44,x:89,y:715,w:199,h:26},
{t:"sonorous the song;",p:44,x:89,y:747,w:209,h:26},
{t:"enveloped are the standards in the thunderous golden throng",p:44,x:89,y:779,w:669,h:26},
{t:"speaking of a people in their august national pride,",p:44,x:89,y:810,w:554,h:26},
{t:"resonant of battle, inexorable advance.",p:44,x:89,y:842,w:426,h:26},
{t:"The lion's mane,",p:44,x:89,y:874,w:179,h:26},
{t:"harsh plumes and pike and lance,",p:44,x:89,y:905,w:366,h:26},
{t:"fierce bloods that drenching stain",p:44,x:89,y:937,w:364,h:26},
{t:"the earth for",p:44,x:89,y:969,w:136,h:26},
{t:"the dark dogs that reign:",p:44,x:89,y:1000,w:273,h:26},
{t:"death and glory govern war.",p:44,x:89,y:1032,w:309,h:26},
{t:"The aureate sounds,",p:44,x:89,y:1077,w:222,h:26},
{t:"the advent witnessing",p:44,x:89,y:1109,w:238,h:26},
{t:"of glory claimed and won.",p:44,x:89,y:1140,w:281,h:26},
{t:"Magnificent, they leave their lofty mountain grounds,",p:44,x:89,y:1172,w:578,h:26},
{t:"gliding on the winds with unfurled darkening wings,",p:44,x:89,y:1204,w:562,h:26},
{t:"arriving with the victory, the golden condors come.",p:44,x:89,y:1235,w:557,h:26},
{t:"40",p:45,x:488,y:1315,w:20,h:21},
{t:"Now passes the parade.",p:45,x:94,y:84,w:260,h:26},
{t:"Pride in the grandfather as to the child",p:45,x:94,y:115,w:420,h:26},
{t:"are heroes' beards displayed,",p:45,x:94,y:147,w:319,h:26},
{t:"the once full golden curls now edged with ermine white.",p:45,x:94,y:179,w:609,h:26},
{t:"The beautiful of women make their wreaths of flowers.",p:45,x:94,y:210,w:596,h:26},
{t:"Under porticos their faces full blossom as a rose,",p:45,x:94,y:242,w:531,h:26},
{t:"and the most beautiful of those",p:45,x:94,y:274,w:341,h:26},
{t:"turn in their warmest smiles to the fiercest warriors.",p:45,x:94,y:305,w:569,h:26},
{t:"Honour to him carrying the captured standard through the air,",p:45,x:94,y:337,w:679,h:26},
{t:"honour to the injured and to the loyal:",p:45,x:94,y:369,w:419,h:26},
{t:"to those fallen by a foreign hand, and still so lying there,",p:45,x:94,y:400,w:618,h:26},
{t:"bugles and laurel.",p:45,x:94,y:432,w:194,h:26},
{t:"Nobility of sword that former glory wears,",p:45,x:94,y:477,w:456,h:26},
{t:"panoplies of praise new wreaths and crowns incur,",p:45,x:94,y:509,w:551,h:26},
{t:"the swords of the grenadiers, old but strong as bears,",p:45,x:94,y:540,w:587,h:26},
{t:"the brothers of those lancers that one time centaurs were.",p:45,x:94,y:572,w:637,h:26},
{t:"With shouts the air around",p:45,x:94,y:604,w:290,h:26},
{t:"the warlike trumpets sound.",p:45,x:94,y:635,w:306,h:26},
{t:"The swords of other days,",p:45,x:94,y:667,w:282,h:26},
{t:"their steel hard-forged by hand.",p:45,x:94,y:699,w:348,h:26},
{t:"The resounding glory stays,",p:45,x:94,y:730,w:302,h:26},
{t:"the sun on these new victories plays,",p:45,x:94,y:762,w:403,h:26},
{t:"the hero at the head of his own fiery band",p:45,x:94,y:794,w:458,h:26},
{t:"and for all that leave their homeward fold.",p:45,x:94,y:825,w:460,h:26},
{t:"The one who has defied, as to his armour wed,",p:45,x:94,y:857,w:511,h:26},
{t:"the summer suns of red.",p:45,x:94,y:889,w:268,h:26},
{t:"The wind and freezing cold,",p:45,x:94,y:920,w:299,h:26},
{t:"the night and frost,",p:45,x:94,y:952,w:210,h:26},
{t:"the hatred and death that for his country's sake",p:45,x:94,y:984,w:520,h:26},
{t:"all saluted with bronze voices in the triumphal trumpet march they make.",p:45,x:94,y:1015,w:802,h:26},
{t:"Marcha Triunfal from Cantos de Vida y Esperanza (1905) by Rubén Darío.",p:45,x:94,y:1092,w:801,h:26},
{t:"Another poem in a form of  Darío’s own invention — unlike the popular",p:45,x:94,y:1144,w:807,h:26},
{t:"tango piece that follows. The Brazilian Alfredo LePera did much to improve",p:45,x:94,y:1175,w:807,h:26},
{t:"the literary quality of tango lyrics, but was killed in a plane crash at Medellín",p:45,x:94,y:1207,w:807,h:26},
{t:"in Colombia, along with the singer Carlos Gardel and travelling musicians.",p:45,x:94,y:1239,w:805,h:26},
{t:"41",p:46,x:483,y:1315,w:20,h:21},
{t:"My Dear B",p:46,x:89,y:114,w:135,h:31},
{t:"uenos A",p:46,x:241,y:114,w:105,h:31},
{t:"ires",p:46,x:360,y:114,w:43,h:31},
{t:"One day, my dear Buenos Aires,",p:46,x:89,y:195,w:352,h:26},
{t:"that day when I see you again,",p:46,x:89,y:227,w:338,h:26},
{t:"no more will be pain or forgetting.",p:46,x:89,y:259,w:373,h:26},
{t:"There, in the street where it heard",p:46,x:89,y:304,w:376,h:26},
{t:"my uncertain promises of love,",p:46,x:89,y:335,w:337,h:26},
{t:"the lamp looked down on my loved one,",p:46,x:89,y:367,w:437,h:26},
{t:"bright to me as the sun.",p:46,x:89,y:399,w:263,h:26},
{t:"Today I'd return, if luck let me,",p:46,x:89,y:444,w:341,h:26},
{t:"to my port and my only love.",p:46,x:89,y:475,w:317,h:26},
{t:"How sadly I hear the accordion",p:46,x:89,y:507,w:338,h:26},
{t:"tug at the reins of the heart",p:46,x:89,y:539,w:304,h:26},
{t:"Here, Buenos Aires, with flowers",p:46,x:89,y:584,w:354,h:26},
{t:"I could wish my life have its end.",p:46,x:89,y:615,w:360,h:26},
{t:"In your arms could be no disappointments,",p:46,x:89,y:647,w:469,h:26},
{t:"no regret at the years come again.",p:46,x:89,y:679,w:379,h:26},
{t:"In crowds the memories are passing,",p:46,x:89,y:724,w:403,h:26},
{t:"long trails of them, sweet with emotion.",p:46,x:89,y:755,w:435,h:26},
{t:"I want you to know in remembering",p:46,x:89,y:787,w:391,h:26},
{t:"the pains go away from the heart.",p:46,x:89,y:819,w:371,h:26},
{t:"In those streets, from suburban windows",p:46,x:89,y:864,w:447,h:26},
{t:"a little girl saw me and flowered:",p:46,x:89,y:895,w:359,h:26},
{t:"when again shall I see that gladness,",p:46,x:89,y:927,w:405,h:26},
{t:"and eyes smiling and gazing at me?",p:46,x:89,y:959,w:390,h:26},
{t:"In the most fighting of backstreets a song",p:46,x:89,y:1004,w:456,h:26},
{t:"begs for our courage and love;",p:46,x:89,y:1035,w:336,h:26},
{t:"surely a sigh and a promise will",p:46,x:89,y:1067,w:343,h:26},
{t:"wipe out the tears at the wrong.",p:46,x:89,y:1099,w:351,h:26},
{t:"One day, my dear Buenos Aires,",p:46,x:89,y:1144,w:352,h:26},
{t:"that day when I see you again,",p:46,x:89,y:1175,w:338,h:26},
{t:"no more will be pain or forgetting. . .",p:46,x:89,y:1207,w:404,h:26},
{t:"Mi Buenos Aires Querido by Alfredo LePera (1900-35)",p:46,x:89,y:1252,w:584,h:26},
{t:"42",p:47,x:488,y:1315,w:20,h:21},
{t:"FROM THE ITALIAN",p:47,x:94,y:81,w:271,h:37},
{t:"The I",p:47,x:94,y:194,w:58,h:31},
{t:"nfini",p:47,x:164,y:194,w:51,h:31},
{t:"te",p:47,x:227,y:194,w:26,h:31},
{t:"Ever dear to me was this small hill,",p:47,x:94,y:275,w:382,h:26},
{t:"the hedgerow round it that obstructs the view",p:47,x:94,y:307,w:499,h:26},
{t:"of boundless distances where the earth and sky",p:47,x:94,y:339,w:518,h:26},
{t:"merge as one. My sitting there, my gazing out",p:47,x:94,y:370,w:505,h:26},
{t:"on spaces limitless, unending silence, on",p:47,x:94,y:402,w:443,h:26},
{t:"the depths of quietness my thoughts can sense",p:47,x:94,y:434,w:514,h:26},
{t:"undo the heart almost. I hear the wind",p:47,x:94,y:465,w:423,h:26},
{t:"ruffle the hedgerow and I must go on",p:47,x:94,y:497,w:408,h:26},
{t:"balancing an infinite silence with this voice.",p:47,x:94,y:529,w:471,h:26},
{t:"So come to mind the eternal and the dead",p:47,x:94,y:560,w:462,h:26},
{t:"seasons, the present and the living, the sound",p:47,x:94,y:592,w:504,h:26},
{t:"of them: immensities in which my thoughts drown,",p:47,x:94,y:624,w:556,h:26},
{t:"though sweet to me the foundering in such sea.",p:47,x:94,y:655,w:521,h:26},
{t:"L’Infinto from Versi (1826) by Giacomo Leopardi",p:47,x:94,y:739,w:528,h:26},
{t:"Leopardi (1798-1837), the greatest Itali an poet since Dante, incorpo rated",p:47,x:94,y:822,w:810,h:26},
{t:"words or phrases from earlier poets, but vitalized his meaning by scrupulo us",p:47,x:94,y:854,w:808,h:26},
{t:"attention to sound and rhythm whi le employing the simplest of vocab ularies.",p:47,x:94,y:885,w:811,h:26},
{t:"Though life for Leopardi was only pain and boredom, it allowed him to",p:47,x:94,y:917,w:807,h:26},
{t:"concentrate on his shadow world of solid nothingness, whose cornerstones",p:47,x:94,y:949,w:808,h:26},
{t:"were remembrance and infinity. Leopardi indeed opened the door to",p:47,x:94,y:980,w:808,h:26},
{t:"Modernism's divorce from social obligations, and to a",p:47,x:94,y:1012,w:610,h:26},
{t:"poésie pure that",p:47,x:717,y:1012,w:185,h:26},
{t:"anticipated the Symbolists. The man himself  became increasing eccentric in",p:47,x:94,y:1044,w:815,h:26},
{t:"his dress, behaviour and eating habits, however. Nearly blind at the end, his",p:47,x:94,y:1075,w:808,h:26},
{t:"ill-health exacerbated by excessive study, Leopardi died in Naples of an",p:47,x:94,y:1107,w:808,h:26},
{t:"asthmatic attack.",p:47,x:94,y:1139,w:187,h:26},
{t:"This poem was written in September 1819, and is set above the poet’s",p:47,x:94,y:1190,w:807,h:26},
{t:"home town of Recanati, where the slope affords a view from the distant",p:47,x:94,y:1222,w:808,h:26},
{t:"Apennines to the Adriatic Sea below.",p:47,x:94,y:1254,w:400,h:26},
{t:"43",p:48,x:483,y:1315,w:20,h:21},
{t:"FROM THE GERMAN",p:48,x:89,y:121,w:298,h:37},
{t:"A Pine Tree i",p:48,x:89,y:234,w:164,h:31},
{t:"s S tanding Lonely",p:48,x:273,y:234,w:231,h:31},
{t:"A lone pine tree is standing",p:48,x:89,y:315,w:297,h:26},
{t:"on a hard, bare northern height.",p:48,x:89,y:347,w:353,h:26},
{t:"It sleeps while all around it,",p:48,x:89,y:379,w:302,h:26},
{t:"is white in snow and ice.",p:48,x:89,y:410,w:266,h:26},
{t:"Its dreams are of a palm tree",p:48,x:89,y:462,w:320,h:26},
{t:"far off in morning lands",p:48,x:89,y:494,w:255,h:26},
{t:"alone and quietly grieving,",p:48,x:89,y:525,w:289,h:26},
{t:"in rock and burning sands.",p:48,x:89,y:557,w:290,h:26},
{t:"Ein Fichtenbaum Steht Einsam from Heinrich Heine's Buch der Lieder",p:48,x:89,y:640,w:751,h:26},
{t:"(1827)",p:48,x:89,y:672,w:74,h:26},
{t:"Heinrich Heine (1797-1856) is best known for his bitter-sweet lyrics, but",p:48,x:89,y:755,w:807,h:26},
{t:"wrote in many forms, including sonnets, odes, ballads and biting satire. He",p:48,x:89,y:787,w:808,h:26},
{t:"combined a lyricism of great simplicity and purity with an ardent and",p:48,x:89,y:819,w:807,h:26},
{t:"melancholy disposition. His language was not new, but he added levels of",p:48,x:89,y:850,w:807,h:26},
{t:"speech through the mingling of conventionally poetic, conversational and",p:48,x:89,y:882,w:808,h:26},
{t:"commercial terms, and strengthened its rhythmic vitality. Heine used",p:48,x:89,y:914,w:808,h:26},
{t:"traditional, folk-like imagery to extend the remit of Romanticism, and his",p:48,x:89,y:945,w:808,h:26},
{t:"stay in Paris deepened a preoccupation with social issues. He was a",p:48,x:89,y:977,w:808,h:26},
{t:"perplexing man, and the poetry combines surface lightness with probing",p:48,x:89,y:1009,w:807,h:26},
{t:"thought, faith with cynicism, hope for a better world with doubts that the",p:48,x:89,y:1040,w:808,h:26},
{t:"arts would achieve very much. The poems can have many failings —",p:48,x:89,y:1072,w:807,h:26},
{t:"sentimental, self-centred, ambivalent and shallow — but Heine is also the",p:48,x:89,y:1104,w:809,h:26},
{t:"creator of many mysterious and beautiful pieces whose grace has never",p:48,x:89,y:1135,w:809,h:26},
{t:"been surpassed.",p:48,x:89,y:1167,w:177,h:26},
{t:"Ein Fichtenbaum Steht Einsam has long been a popular piece among",p:48,x:89,y:1219,w:807,h:26},
{t:"anthologists, translators and composers.",p:48,x:89,y:1250,w:442,h:26},
{t:"44",p:49,x:488,y:1315,w:20,h:21},
{t:"Autumn Day",p:49,x:94,y:114,w:164,h:31},
{t:"Lord, a lofty summer! Time to lay",p:49,x:94,y:195,w:366,h:26},
{t:"encroaching shadows on the sundials now",p:49,x:94,y:227,w:456,h:26},
{t:"and let in meadowlands the winds have sway.",p:49,x:94,y:259,w:499,h:26},
{t:"Command the fruits to fullness and consign",p:49,x:94,y:310,w:473,h:26},
{t:"another two more days of southern heat",p:49,x:94,y:342,w:440,h:26},
{t:"to bring them to perfection and secrete",p:49,x:94,y:374,w:428,h:26},
{t:"the last of sweetness in the bodied wine.",p:49,x:94,y:405,w:443,h:26},
{t:"He who has no house will not rebuild,",p:49,x:94,y:457,w:408,h:26},
{t:"and he who is alone will long stay so,",p:49,x:94,y:489,w:406,h:26},
{t:"and wake to read, write endlessly, and go",p:49,x:94,y:520,w:455,h:26},
{t:"up and down through avenues now filled",p:49,x:94,y:552,w:441,h:26},
{t:"with leaves and restlessness, blown to and fro.",p:49,x:94,y:584,w:510,h:26},
{t:"Herbsttag from Das Buch der Bilder (1906) by Rainer Maria Rilke",p:49,x:94,y:667,w:707,h:26},
{t:"Rainer Maria Rilke (1875-1926) made the passage from the exquisite",p:49,x:94,y:750,w:807,h:26},
{t:"musicality and introverted world-weariness of fin-de-siècle verse to a",p:49,x:94,y:782,w:807,h:26},
{t:"muscular clarity in his",p:49,x:94,y:814,w:251,h:26},
{t:"New Poems and then opened up new realms of",p:49,x:357,y:814,w:544,h:26},
{t:"experience in the Duino Elegies. Many of the poems in The Book of Hours",p:49,x:94,y:845,w:807,h:26},
{t:"are extraordinarily beautiful, and can be appreciated with little German, but",p:49,x:94,y:877,w:808,h:26},
{t:"the work in New Poems was more direct, Rilke having learned from Rodin to",p:49,x:94,y:909,w:808,h:26},
{t:"record objectively what he saw, and not create at secondhand from the",p:49,x:94,y:940,w:808,h:26},
{t:"history or musical associations of words.",p:49,x:94,y:972,w:441,h:26},
{t:"Herbsttag is a densely patterned poem in the original, with many beautiful",p:49,x:94,y:1024,w:808,h:26},
{t:"cadences:",p:49,x:94,y:1055,w:109,h:26},
{t:"und auf den Fluren laß die Winde los",p:49,x:94,y:1107,w:397,h:26},
{t:"wird wachen, lesen, lange Briefe schreiben",p:49,x:94,y:1139,w:464,h:26},
{t:"giving an overall impression of beauty, stateliness and regret made personal",p:49,x:94,y:1190,w:808,h:26},
{t:"by the speaker's loneliness.",p:49,x:94,y:1222,w:300,h:26},
{t:"45",p:50,x:483,y:1315,w:20,h:21},
{t:"Grodek",p:50,x:89,y:111,w:101,h:31},
{t:"The evening glints with the sound",p:50,x:89,y:179,w:367,h:26},
{t:"of deadly weapons, the forests, the golden plains",p:50,x:89,y:210,w:535,h:26},
{t:"and the blue lakes, over which the sun",p:50,x:89,y:242,w:421,h:26},
{t:"darkly rolls. Night encompasses",p:50,x:89,y:274,w:346,h:26},
{t:"fallen warriors; the wild muttering",p:50,x:89,y:305,w:372,h:26},
{t:"of their broken mouths.",p:50,x:89,y:337,w:258,h:26},
{t:"Now silently gathers in the grazing lands",p:50,x:89,y:389,w:443,h:26},
{t:"a red cloud, the dwelling of an angry god",p:50,x:89,y:420,w:448,h:26},
{t:"that spills with blood. A cool moon and",p:50,x:89,y:452,w:422,h:26},
{t:"under it the roads run to putrid blackness.",p:50,x:89,y:484,w:461,h:26},
{t:"Beneath the golden branches of the night and stars",p:50,x:89,y:535,w:560,h:26},
{t:"the sister's shadow moves through the silent grove",p:50,x:89,y:567,w:556,h:26},
{t:"to greet the spirits of the heroes, the bleeding heads,",p:50,x:89,y:599,w:582,h:26},
{t:"and quietly, in the reeds, sound the darkening flutes of autumn.",p:50,x:89,y:630,w:699,h:26},
{t:"How proud is the desolation, on whose altars today",p:50,x:89,y:682,w:558,h:26},
{t:"the spirit's scorching flames draw on the vast suffering",p:50,x:89,y:714,w:596,h:26},
{t:"of unborn grandsons spilled!",p:50,x:89,y:745,w:310,h:26},
{t:"Grodek by Georg Trakl (1887-1914)",p:50,x:89,y:829,w:393,h:26},
{t:"Georg Trakl, born in Salzburg, was an expressionist poet, one of those",p:50,x:89,y:912,w:808,h:26},
{t:"needing to distort the outer world to express intense internal realities.",p:50,x:89,y:944,w:807,h:26},
{t:"Unlike many in the movement, and more so in painting, Trakl did not",p:50,x:89,y:975,w:808,h:26},
{t:"dispense with traditional craft to render raw and hurtful emotion, and",p:50,x:89,y:1007,w:808,h:26},
{t:"Grodek is a haunting piece in free verse form. Trakl was a deeply disturbed",p:50,x:89,y:1039,w:807,h:26},
{t:"man, however, often taking refuge in heavy drinking and drug abuse. He",p:50,x:89,y:1070,w:808,h:26},
{t:"served on the eastern front in the Galician town of Grodek as a medical",p:50,x:89,y:1102,w:807,h:26},
{t:"officer, suffering a nervous breakdown. The poem was written while",p:50,x:89,y:1134,w:807,h:26},
{t:"convalescing at the Krakow military hospital, shortly before Trakl committed",p:50,x:89,y:1165,w:808,h:26},
{t:"suicide.",p:50,x:89,y:1197,w:82,h:26},
{t:"46",p:51,x:488,y:1315,w:20,h:21},
{t:"FROM THE SANSKRIT",p:51,x:94,y:121,w:296,h:37},
{t:"Vairagya S hataka 50",p:51,x:94,y:234,w:297,h:31},
{t:"Half the hundred years of man",p:51,x:94,y:334,w:333,h:26},
{t:"                                   is stillness of the night,",p:51,x:94,y:365,w:519,h:26},
{t:"and half again but mewling and",p:51,x:94,y:397,w:343,h:26},
{t:"                                   the dotage of old age.",p:51,x:94,y:429,w:506,h:26},
{t:"In the interval wait illness,",p:51,x:94,y:460,w:289,h:26},
{t:"                                   the death of friends, and fret,",p:51,x:94,y:492,w:588,h:26},
{t:"and happiness a water bubble",p:51,x:94,y:524,w:325,h:26},
{t:"                                   that passes in a breath.",p:51,x:94,y:555,w:523,h:26},
{t:"Bhartrihari (possibly 7th century AD)",p:51,x:94,y:636,w:394,h:28},
{t:"As is often the case with Sanskrit writers, little is known for sure about",p:51,x:94,y:722,w:807,h:26},
{t:"Bhartrihari, though he is one of the more popular, still widely read and",p:51,x:94,y:754,w:808,h:26},
{t:"quoted. He may have been the Buddhist grammarian mentioned by the",p:51,x:94,y:785,w:808,h:26},
{t:"Chinese traveller I-tsing, who visited India in the 7th century AD, but the",p:51,x:94,y:817,w:808,h:26},
{t:"attribution is unclear, and Bhartrihari appears in his work more a worshipper",p:51,x:94,y:849,w:808,h:26},
{t:"of Shiva. Tradition makes him a king of Ujjain in the 1st century BC, who",p:51,x:94,y:880,w:809,h:26},
{t:"abdicated in favour of his brother over disgust at his queen's infidelities.",p:51,x:94,y:912,w:807,h:26},
{t:"Bhartrihari has certainly some unflattering things to say about women, but",p:51,x:94,y:944,w:807,h:26},
{t:"does not appear the pampered ruler so much a shrewd and needy Brahmin.",p:51,x:94,y:975,w:807,h:26},
{t:"There are also stories of his vacillating character, drawn equally to pleasure",p:51,x:94,y:1007,w:808,h:26},
{t:"and spiritual matters, and so continually moving between court a nd Buddhist",p:51,x:94,y:1039,w:809,h:26},
{t:"cloisters, but again they are no more than anecdotes. Bhartrihari's works",p:51,x:94,y:1070,w:808,h:26},
{t:"combine scraps of writings by other poets, i ncluding Kalidasa, but  these may",p:51,x:94,y:1102,w:811,h:26},
{t:"be later interpolations.",p:51,x:94,y:1134,w:246,h:26},
{t:"Each of Bhartrihari’s three shatakas or collections has one hundred cameo",p:51,x:94,y:1185,w:809,h:26},
{t:"pieces. The Srngara gives us pictures of love and lovemaking. The Vairagya",p:51,x:94,y:1217,w:807,h:26},
{t:"advocates a gradual withdrawal from worldly matters, and the Níti deals",p:51,x:94,y:1249,w:807,h:26},
{t:"with ethical conduct.",p:51,x:94,y:1280,w:224,h:26},
{t:"47",p:52,x:483,y:1315,w:20,h:21},
{t:"Ní ti Shat",p:52,x:89,y:114,w:108,h:31},
{t:"aka 100",p:52,x:212,y:114,w:102,h:31},
{t:"Brahma is the boundless thrown",p:52,x:89,y:215,w:351,h:26},
{t:"                                   as potter turns the clay;",p:52,x:89,y:247,w:529,h:26},
{t:"ten troublesome rebirthings Visnu",p:52,x:89,y:279,w:369,h:26},
{t:"                                   undertook on earth;",p:52,x:89,y:310,w:485,h:26},
{t:"Shiva in a begging bowl",p:52,x:89,y:342,w:259,h:26},
{t:"                                   held out a skull for us;",p:52,x:89,y:374,w:512,h:26},
{t:"perpetually in homage, sun",p:52,x:89,y:405,w:297,h:26},
{t:"                                   goes wandering through the sky.",p:52,x:89,y:437,w:625,h:26},
{t:"Bhartrihari (possibly 7th century AD)",p:52,x:89,y:518,w:394,h:28},
{t:"Bhartrihari's pieces are sharply cut cameos, brilliant poems in miniature, to",p:52,x:89,y:604,w:808,h:26},
{t:"which the only equivalent in European languages may be the scattered",p:52,x:89,y:635,w:809,h:26},
{t:"fragments of the Greek Anthology.",p:52,x:89,y:667,w:377,h:26},
{t:"Being an inflected and quantitative language, Sanskrit can convey the sense",p:52,x:89,y:719,w:808,h:26},
{t:"in an unusually compact, clear and profound manner. Its thought and",p:52,x:89,y:750,w:808,h:26},
{t:"literature have had a deep influence on the west, though European",p:52,x:89,y:782,w:808,h:26},
{t:"languages (even the ancient Greek) lack the sound effects that Sanskrit",p:52,x:89,y:814,w:808,h:26},
{t:"readily deploys. Over 70 different measures are found in its classical",p:52,x:89,y:845,w:810,h:26},
{t:"poetry, which also uses heavily jewelled phrases, the stringing together of",p:52,x:89,y:877,w:809,h:26},
{t:"long words, an immense vocabulary, and a grammar so taxing that even",p:52,x:89,y:909,w:808,h:26},
{t:"accomplished writers can make mistakes. Because of its beauty, its",p:52,x:89,y:940,w:808,h:26},
{t:"extraordinary sensitivity to the natural world, and human nature in",p:52,x:89,y:972,w:809,h:26},
{t:"particular, the depiction of sensual love in Sanskrit can go well beyond",p:52,x:89,y:1004,w:807,h:26},
{t:"what is possible in English while still remaining poetry.",p:52,x:89,y:1035,w:595,h:26},
{t:"48",p:53,x:488,y:1315,w:20,h:21},
{t:"FROM THE GREEK",p:53,x:94,y:121,w:260,h:37},
{t:"Chor al Ode t o Colonus",p:53,x:94,y:206,w:325,h:31},
{t:"Strophe",p:53,x:94,y:284,w:85,h:26},
{t:"So, stranger come to Colonus,",p:53,x:94,y:335,w:330,h:26},
{t:"you meet a land of shining white",p:53,x:94,y:367,w:356,h:26},
{t:"whose loveliness no tongue assails.",p:53,x:94,y:399,w:385,h:26},
{t:"Well-famed for horses and for shade,",p:53,x:94,y:430,w:405,h:26},
{t:"in which through ivy out of sight",p:53,x:94,y:462,w:352,h:26},
{t:"our constant guests, the nightingales,",p:53,x:94,y:494,w:411,h:26},
{t:"pour out their music through the glade.",p:53,x:94,y:525,w:430,h:26},
{t:"And revelling from dawn to late",p:53,x:94,y:557,w:343,h:26},
{t:"beneath the leaves, inviolate",p:53,x:94,y:589,w:313,h:26},
{t:"but thick with berries and with fruit,",p:53,x:94,y:620,w:392,h:26},
{t:"where nymphs will nurse him, pay their suit,",p:53,x:94,y:652,w:486,h:26},
{t:"Dionysus walks with us.",p:53,x:94,y:684,w:260,h:26},
{t:"Antistrophe",p:53,x:94,y:735,w:124,h:26},
{t:"Here the dewed and white narcissus",p:53,x:94,y:787,w:393,h:26},
{t:"flowers, with crocuses of soft gold",p:53,x:94,y:819,w:370,h:26},
{t:"hue, to crown the Goddesses of old",p:53,x:94,y:850,w:384,h:26},
{t:"from first awaking, dawn to dawn.",p:53,x:94,y:882,w:373,h:26},
{t:"Here also flows the Cephisus",p:53,x:94,y:914,w:312,h:26},
{t:"unendingly, from fountains drawn:",p:53,x:94,y:945,w:378,h:26},
{t:"its stainless waters daily trace",p:53,x:94,y:977,w:327,h:26},
{t:"their fecundations on the plain,",p:53,x:94,y:1009,w:339,h:26},
{t:"so blessing it with quick increase.",p:53,x:94,y:1040,w:365,h:26},
{t:"The Muses are not shy of face",p:53,x:94,y:1072,w:326,h:26},
{t:"nor can Aphrodite cease",p:53,x:94,y:1104,w:262,h:26},
{t:"to visit us with golden rein.",p:53,x:94,y:1135,w:296,h:26},
{t:"Strophe",p:53,x:94,y:1187,w:85,h:26},
{t:"There is a gift more versatile",p:53,x:94,y:1239,w:314,h:26},
{t:"than famed in Asian countries grows",p:53,x:94,y:1270,w:396,h:26},
{t:"49",p:54,x:483,y:1315,w:20,h:21},
{t:"or on the Dorian Pelop’s isle:",p:54,x:89,y:84,w:315,h:26},
{t:"I speak of grey-leafed olive trees",p:54,x:89,y:115,w:360,h:26},
{t:"those self-renewing nourishers",p:54,x:89,y:147,w:334,h:26},
{t:"of children, giving age its ease,",p:54,x:89,y:179,w:341,h:26},
{t:"but terror to our spearmen foes.",p:54,x:89,y:210,w:353,h:26},
{t:"Our youths are not its ravagers",p:54,x:89,y:242,w:341,h:26},
{t:"nor may the aged with their hand",p:54,x:89,y:274,w:365,h:26},
{t:"destroy this bounty of our land.",p:54,x:89,y:305,w:344,h:26},
{t:"They stand impregnable, are never felled",p:54,x:89,y:337,w:448,h:26},
{t:"but in Athena’s eye’s are held",p:54,x:89,y:369,w:323,h:26},
{t:"sleepless in her grey-eyed stare,",p:54,x:89,y:400,w:356,h:26},
{t:"as too in Morian Zeus’s care.",p:54,x:89,y:432,w:313,h:26},
{t:"Antistrophe",p:54,x:89,y:484,w:124,h:26},
{t:"Another praise I have to tell",p:54,x:89,y:535,w:305,h:26},
{t:"is for our mother city, writ",p:54,x:89,y:567,w:287,h:26},
{t:"in glory of the son of Cronus,",p:54,x:89,y:599,w:318,h:26},
{t:"with might of horses, might of sea,",p:54,x:89,y:630,w:382,h:26},
{t:"the god Poseidon, such is he",p:54,x:89,y:662,w:311,h:26},
{t:"who to master horse has shown us",p:54,x:89,y:694,w:380,h:26},
{t:"how to keep with iron bit",p:54,x:89,y:725,w:271,h:26},
{t:"their powerful anger in our thrall.",p:54,x:89,y:757,w:363,h:26},
{t:"More prodigal to us as well",p:54,x:89,y:789,w:292,h:26},
{t:"he's given us the oar to meet",p:54,x:89,y:820,w:320,h:26},
{t:"the hand that hauls us over seas,",p:54,x:89,y:852,w:364,h:26},
{t:"giving it a wondrous ease",p:54,x:89,y:884,w:278,h:26},
{t:"to follow on the rise and fall",p:54,x:89,y:915,w:304,h:26},
{t:"of the Nereids' myriad feet.",p:54,x:89,y:947,w:298,h:26},
{t:"From Oedipus at Colonus by Sophocles (c.496-406/5 BC)",p:54,x:89,y:1030,w:624,h:26},
{t:"The famous ode to Colonus celebrates the village near Athens where",p:54,x:89,y:1114,w:809,h:26},
{t:"Sophocles was born, but is also a reflection on the former splendour of an",p:54,x:89,y:1145,w:808,h:26},
{t:"Athens then humbled by the Second Peloponnesian War and brought under",p:54,x:89,y:1177,w:808,h:26},
{t:"a dictatorship. An almost line-for-line rendering, but one which adds rhyme",p:54,x:89,y:1209,w:808,h:26},
{t:"not found in the original.",p:54,x:89,y:1240,w:269,h:26},
{t:"50",p:55,x:488,y:1315,w:20,h:21},
{t:"Chor us fro m Oedipus at Co",p:55,x:94,y:114,w:375,h:31},
{t:"lonus",p:55,x:501,y:114,w:68,h:31},
{t:"No man of sense will crave a longer span",p:55,x:94,y:164,w:447,h:26},
{t:"of life that wearies him with added pain.",p:55,x:94,y:195,w:438,h:26},
{t:"There is no wedding song or dance in death",p:55,x:94,y:227,w:476,h:26},
{t:"but Hades' emptiness and end of breath.",p:55,x:94,y:259,w:444,h:26},
{t:"Not to know the light is best for man,",p:55,x:94,y:310,w:408,h:26},
{t:"and, next, to fast go back to whence he came.",p:55,x:94,y:342,w:506,h:26},
{t:"After Oedipus at Colonus by Sophocles (c.496-406/5 BC)",p:55,x:94,y:394,w:621,h:26},
{t:"Chor us from A",p:55,x:94,y:475,w:192,h:31},
{t:"ntigone",p:55,x:303,y:475,w:100,h:31},
{t:"All conquering love, you level wealth",p:55,x:94,y:525,w:399,h:26},
{t:"and furrow cheeks of girls asleep.",p:55,x:94,y:557,w:366,h:26},
{t:"You reach from sea to meanest farm.",p:55,x:94,y:589,w:407,h:26},
{t:"No god escapes, not one, and man",p:55,x:94,y:620,w:379,h:26},
{t:"succumbs to madness, brief day spent.",p:55,x:94,y:652,w:426,h:26},
{t:"Honour fails and kinsmen fight.",p:55,x:94,y:684,w:341,h:26},
{t:"In eyelids of the bride who yearns",p:55,x:94,y:715,w:371,h:26},
{t:"for wedded joy is sheathed your power.",p:55,x:94,y:747,w:432,h:26},
{t:"Even the great from the beginning,",p:55,x:94,y:779,w:382,h:26},
{t:"when Aphrodite mocks them, yield.",p:55,x:94,y:810,w:385,h:26},
{t:"To strain the edict, through the tears",p:55,x:94,y:862,w:403,h:26},
{t:"we cannot staunch, Antigone",p:55,x:94,y:894,w:314,h:26},
{t:"takes up her room where all may sleep.",p:55,x:94,y:925,w:433,h:26},
{t:"After Antigone by Sophocles (c.496-406/5 BC)",p:55,x:94,y:977,w:506,h:26},
{t:"Fragments from celebrated choruses to show translation possibilities. The",p:55,x:94,y:1080,w:808,h:26},
{t:"first is in pentameters and rhymed, the seco nd in tetrameters and unrhy",p:55,x:94,y:1112,w:766,h:26},
{t:"med.",p:55,x:848,y:1112,w:54,h:26},
{t:"Both are compressed, free translations — the first especially so as the",p:55,x:94,y:1144,w:808,h:26},
{t:"original Greek runs to 16 lines.",p:55,x:94,y:1175,w:337,h:26},
{t:"51",p:56,x:483,y:1315,w:20,h:21},
{t:"FROM THE LATIN",p:56,x:89,y:121,w:241,h:37},
{t:"Tris tia",p:56,x:89,y:234,w:78,h:31},
{t:"Whatever little now remains I rest",p:56,x:89,y:284,w:371,h:26},
{t:"in you. I know that always you will care",p:56,x:89,y:315,w:432,h:26},
{t:"for us, and keep your wits about you, lest",p:56,x:89,y:347,w:455,h:26},
{t:"men strip the panels from the shipwreck there.",p:56,x:89,y:379,w:513,h:26},
{t:"They raven for our blood, as will the fold",p:56,x:89,y:410,w:442,h:26},
{t:"goad on the wolf unwatched with hungry thoughts",p:56,x:89,y:442,w:548,h:26},
{t:"to snatch at us before our case is cold,",p:56,x:89,y:474,w:422,h:26},
{t:"or vultures drop on an abandoned corpse.",p:56,x:89,y:505,w:456,h:26},
{t:"We have our brave supporters, but it's you",p:56,x:89,y:537,w:467,h:26},
{t:"who largely drove them off, for which goodwill",p:56,x:89,y:569,w:505,h:26},
{t:"my wretchedness is witness, here as true",p:56,x:89,y:600,w:451,h:26},
{t:"as griefs with which I feel the burdens still.",p:56,x:89,y:632,w:468,h:26},
{t:"Excerpt from Tristia, Book One, VI: 6 by Publius Ovidius Nāso  (43 BC-",p:56,x:89,y:715,w:773,h:26},
{t:"AD17)",p:56,x:89,y:747,w:68,h:26},
{t:"Ovid’s Ovid's poetry was enormously popular in first century Rome, and has",p:56,x:89,y:830,w:808,h:26},
{t:"been an important influence on European poetry from the Renaissance to",p:56,x:89,y:862,w:809,h:26},
{t:"the present. He wrote pleasingly from the first: Amores, Heroides, Ars",p:56,x:89,y:894,w:807,h:26},
{t:"Amatoria (The Art of Love) and Remedium Amoris (The Remedy of Love).",p:56,x:89,y:925,w:807,h:26},
{t:"The Metamorphoses were some 250 interwoven stories written in the epic",p:56,x:89,y:957,w:807,h:26},
{t:"hexameter. His Fasti, an irreverent but informative poem on the Roman",p:56,x:89,y:989,w:807,h:26},
{t:"calendar, was terminated by the poet's removal to the Black Sea, the",p:56,x:89,y:1020,w:808,h:26},
{t:"penalty for some political indiscretion. There, in a garrison town among non-",p:56,x:89,y:1052,w:807,h:26},
{t:"Latin-speaking barbarians, he wrote",p:56,x:89,y:1084,w:408,h:26},
{t:"Tristia (Sorrows) and",p:56,x:509,y:1084,w:240,h:26},
{t:"Epistulae ex",p:56,x:761,y:1084,w:136,h:26},
{t:"Ponto (Letters from the Black Sea), both protesting at his unjust exile with",p:56,x:89,y:1115,w:808,h:26},
{t:"fine elegy and independence. Augustus and Tiberius remained unmoved by",p:56,x:89,y:1147,w:807,h:26},
{t:"the poet's situation, however, and Ovid was not recalled.",p:56,x:89,y:1179,w:621,h:26},
{t:"A short excerpt suggesting the possibilities of rhymed quatrains even for",p:56,x:89,y:1230,w:808,h:26},
{t:"the unrhymed couplets of the original.",p:56,x:89,y:1262,w:417,h:26},
{t:"52",p:57,x:488,y:1315,w:20,h:21},
{t:"Love’s Madness",p:57,x:94,y:114,w:205,h:31},
{t:"Cynthia’s eyes first trapped me in this wretchedness:",p:57,x:94,y:195,w:579,h:26},
{t:"I had not felt love’s pull before.",p:57,x:94,y:227,w:343,h:26},
{t:"Amor, the little boy, reduced my scornful look,",p:57,x:94,y:259,w:508,h:26},
{t:"and with his feet pressed down my head.",p:57,x:94,y:290,w:448,h:26},
{t:"He it was who said despise the virtuous girls,",p:57,x:94,y:322,w:491,h:26},
{t:"and wantoned with me, had no sense.",p:57,x:94,y:354,w:415,h:26},
{t:"And in this folly he has kept me one full year",p:57,x:94,y:385,w:488,h:26},
{t:"to court resentment of the gods.",p:57,x:94,y:417,w:354,h:26},
{t:"But, Tullus, my friend: Milanion went on",p:57,x:94,y:469,w:437,h:26},
{t:"in that cruel contest Iasus set.",p:57,x:94,y:500,w:331,h:26},
{t:"He wandered, maddened through Parthenium caves, in sight",p:57,x:94,y:532,w:661,h:26},
{t:"of savage beasts, and howled his pain",p:57,x:94,y:564,w:414,h:26},
{t:"from that club’s blow the centaur Hylaeus gave",p:57,x:94,y:595,w:514,h:26},
{t:"from glen to glen in Arcady,",p:57,x:94,y:627,w:304,h:26},
{t:"but won the same his Atalanta, fleet of foot.",p:57,x:94,y:659,w:480,h:26},
{t:"Such the power of love in prayer",p:57,x:94,y:710,w:355,h:26},
{t:"and deed, but love runs slow for me and does not keep",p:57,x:94,y:742,w:602,h:26},
{t:"to strategems he used to follow.",p:57,x:94,y:774,w:351,h:26},
{t:"But you whose sorcery draws down the temptress moon,",p:57,x:94,y:805,w:620,h:26},
{t:"propitiates the magic flames,",p:57,x:94,y:837,w:317,h:26},
{t:"can change the disposition of my mistress, turn",p:57,x:94,y:869,w:518,h:26},
{t:"her face a paler shade than mine.",p:57,x:94,y:900,w:366,h:26},
{t:"Do that, and I’ll believe you have the Colchis spells",p:57,x:94,y:932,w:557,h:26},
{t:"to shift the moving stars and rivers.",p:57,x:94,y:964,w:391,h:26},
{t:"But, friends, it is now late to call the fallen back,",p:57,x:94,y:1027,w:529,h:26},
{t:"or seek to aid the wounded breast",p:57,x:94,y:1059,w:372,h:26},
{t:"that fiercely would outdo the worst in fire and blade",p:57,x:94,y:1090,w:564,h:26},
{t:"if inner torment had its tongue.",p:57,x:94,y:1122,w:342,h:26},
{t:"Exiled beyond the furthest lands and waves to where",p:57,x:94,y:1185,w:578,h:26},
{t:"that woman cannot find my track,",p:57,x:94,y:1217,w:369,h:26},
{t:"I leave all those who have the ear of gods, and live",p:57,x:94,y:1249,w:557,h:26},
{t:"in safe and constant mutual love.",p:57,x:94,y:1280,w:362,h:26},
{t:"53",p:58,x:483,y:1315,w:20,h:21},
{t:"For me now Venus turns our nights to bitterness",p:58,x:89,y:84,w:527,h:26},
{t:"and Amor’s wanting in his part.",p:58,x:89,y:115,w:341,h:26},
{t:"I therefore warn you: cling to love, escape this curse,",p:58,x:89,y:147,w:584,h:26},
{t:"and keep your love’s familiar place.",p:58,x:89,y:179,w:386,h:26},
{t:"If any are too slow to turn their ears, ruefully",p:58,x:89,y:210,w:495,h:26},
{t:"they will recall these words of mine.",p:58,x:89,y:242,w:392,h:26},
{t:"Elegies Book One, I.  by Sextus Propertius (c.57- c.1 BC)",p:58,x:89,y:325,w:624,h:26},
{t:"The opening poem in the first book of the Elegies, which portrays",p:58,x:89,y:409,w:808,h:26},
{t:"Propertius’s turbulent relationship with the difficult Cynthia. The poetry is",p:58,x:89,y:440,w:808,h:26},
{t:"noted for its individual style, its great sensitivity to feelings and the senses,",p:58,x:89,y:472,w:808,h:26},
{t:"and its wide range of proper names suggestive of distance, antiquity and",p:58,x:89,y:504,w:808,h:26},
{t:"legendary splendours. In part at least, Cynthia was a real woman, a",p:58,x:89,y:535,w:808,h:26},
{t:"courtesan named Hostia, and this poem was written about 30 BC.",p:58,x:89,y:567,w:717,h:26},
{t:"A  fairly close translation, where the Latin hexameter-pentameter couplet",p:58,x:89,y:619,w:808,h:26},
{t:"has been rendered by an English hexameter-tetrameter. Note, however,",p:58,x:89,y:650,w:807,h:26},
{t:"that contest and Atalanta are only alluded  to in the original, and the little",p:58,x:89,y:682,w:808,h:26},
{t:"boy, my friend and the centaur are my additions to make the sense clearer",p:58,x:89,y:714,w:808,h:26},
{t:"to contemporary readers.Hylaeus was a centaur killed by Atalanta when he",p:58,x:89,y:745,w:808,h:26},
{t:"attempted to rape her. Milanion won Atalanta’s hand in the running contest",p:58,x:89,y:777,w:808,h:26},
{t:"set by her father Iasus by placing golden apples on the track, which she",p:58,x:89,y:809,w:808,h:26},
{t:"stopped to pick up: suitors who lost the race were put to death. Tullus,",p:58,x:89,y:840,w:807,h:26},
{t:"portrayed here as a friend, may have been nephew to L. Volcacius Tullus,",p:58,x:89,y:872,w:808,h:26},
{t:"consul in 33 BC with Octavian. Arcady is the  mountainous region of  the",p:58,x:89,y:904,w:808,h:26},
{t:"Peloponnese, where the",p:58,x:89,y:935,w:262,h:26},
{t:"Parthenium hills and caves are also located. The",p:58,x:367,y:935,w:529,h:26},
{t:"Colchian song is a reference to the sorceress Medea.",p:58,x:89,y:967,w:574,h:26},
{t:"54",p:59,x:488,y:1315,w:20,h:21},
{t:"FROM THE PERSIAN",p:59,x:94,y:121,w:284,h:37},
{t:"Ghazal 1",p:59,x:94,y:201,w:136,h:37},
{t:"Sâqî : pour for us the cup's release:",p:59,x:94,y:284,w:392,h:26},
{t:"for love, once easy, brought on difficulties.",p:59,x:94,y:315,w:466,h:26},
{t:"The loved-one's ringlets in the Saba wind",p:59,x:94,y:367,w:450,h:26},
{t:"unloose the musk of heart-blood's essences.",p:59,x:94,y:399,w:484,h:26},
{t:"What love has sanctuary when camel-bell",p:59,x:94,y:450,w:451,h:26},
{t:"rings out life's burdens and adversities?",p:59,x:94,y:482,w:433,h:26},
{t:"The wine on prayer-rug and wise men's words",p:59,x:94,y:534,w:503,h:26},
{t:"reveal in taverns their authorities.",p:59,x:94,y:565,w:371,h:26},
{t:"Who safe on land, light-burdened, looks for threat",p:59,x:94,y:617,w:546,h:26},
{t:"of wave or whirlpool in obscurities?",p:59,x:94,y:649,w:383,h:26},
{t:"My art has ended as a name in doubt:",p:59,x:94,y:700,w:415,h:26},
{t:"we hear in gatherings but mysteries.",p:59,x:94,y:732,w:400,h:26},
{t:"Be never absent from your love, Hâfiz,",p:59,x:94,y:784,w:421,h:26},
{t:"but, having found it, leave the world in peace.",p:59,x:94,y:815,w:503,h:26},
{t:"Khajeh Shamseddin Mohammad Hafiz Shirazi (c. 1320-1388)",p:59,x:94,y:899,w:666,h:26},
{t:"Hâfiz, the great lyric poet of Iran, is famous for his ghazals, poems of 6 to",p:59,x:94,y:982,w:807,h:26},
{t:"15 rhymed couplets linked by unity of subject and symbolism rather than by",p:59,x:94,y:1014,w:808,h:26},
{t:"a logical sequence of ideas. Much of the vocabulary is allegory. The beloved",p:59,x:94,y:1045,w:807,h:26},
{t:"is a quest or obstacle, and from her black curls come darkness, obscurity,",p:59,x:94,y:1077,w:807,h:26},
{t:"snares, imprisonment or withdrawal of favour. The first and last lines are in",p:59,x:94,y:1109,w:808,h:26},
{t:"Arabic: the concluding Arabic ahmilhâ (ignore the world) refers us back to",p:59,x:94,y:1140,w:808,h:26},
{t:"the Arabic",p:59,x:94,y:1172,w:112,h:26},
{t:"nâwilhâ (bestow it) of the first line. The poem introduces the",p:59,x:216,y:1172,w:686,h:26},
{t:"dîvân or collection of poems which oscillate from love and doubt, between",p:59,x:94,y:1204,w:808,h:26},
{t:"the world as men describe it and as the poet sees it.",p:59,x:94,y:1235,w:572,h:26},
{t:"55",p:60,x:483,y:1315,w:20,h:21},
{t:"Ghaz al 97",p:60,x:89,y:114,w:144,h:31},
{t:"Vain are wine and art, not built on stone",p:60,x:89,y:164,w:440,h:26},
{t:"    unless the words are God's own will foreknown.",p:60,x:89,y:195,w:548,h:26},
{t:"If the heart's difficulties are from heaven hidden,",p:60,x:89,y:240,w:534,h:26},
{t:"          what hurt has any wise man's knot unsewn?",p:60,x:89,y:272,w:558,h:26},
{t:"The world in wonder on its axis turned",p:60,x:89,y:317,w:418,h:26},
{t:"          is in a thousand recollections strown.",p:60,x:89,y:349,w:480,h:26},
{t:"Now brood on Solomon and take his bowl:",p:60,x:89,y:394,w:462,h:26},
{t:"          your skull, in this, is also Bahman's bone.",p:60,x:89,y:425,w:529,h:26},
{t:"Kai and Kawus to the winds are gone:",p:60,x:89,y:470,w:413,h:26},
{t:"          and where is Solomon's high-splendoured throne?",p:60,x:89,y:502,w:622,h:26},
{t:"What breathes in tulip and the sighs of Shirin",p:60,x:89,y:547,w:492,h:26},
{t:"         will be by blooded tears of Farhâd shown.",p:60,x:89,y:579,w:522,h:26},
{t:"Can men or tulips from their coloured bowl abstain,",p:60,x:89,y:624,w:562,h:26},
{t:"          though in it time's unfaithfulness be thrown?",p:60,x:89,y:655,w:563,h:26},
{t:"Remain with me and, if the place be ruined,",p:60,x:89,y:700,w:478,h:26},
{t:"          in that arrival is our treasure sown.",p:60,x:89,y:732,w:460,h:26},
{t:"No breeze from Oratory gave me permission",p:60,x:89,y:777,w:485,h:26},
{t:"          in journeying my Roknâbâd disown.",p:60,x:89,y:809,w:466,h:26},
{t:"Hear the harp, Hafiz, its silken strain",p:60,x:89,y:854,w:400,h:26},
{t:"          in wine's deep happiness to you is known.",p:60,x:89,y:885,w:534,h:26},
{t:"Khajeh Shamseddin Mohammad Hafiz Shirazi (c. 1320-1388)",p:60,x:89,y:962,w:666,h:26},
{t:"Bahman was the father of the legendary founder of the Sasanians, and",p:60,x:89,y:1014,w:808,h:26},
{t:"appears in Ferdowsi's Shahnama. Qubad, Kai and Kawus were 13th century",p:60,x:89,y:1043,w:808,h:28},
{t:"Seljuk rulers.",p:60,x:89,y:1077,w:148,h:26},
{t:"Jamshed is a mythical Persian king loosely identified with",p:60,x:248,y:1077,w:648,h:26},
{t:"Solomon: by popular mythology, everything in the world was revealed to",p:60,x:89,y:1109,w:809,h:26},
{t:"the gazer into Jamshed's bowl. Farhâd and his lover Shîrîn are characters in",p:60,x:89,y:1140,w:807,h:26},
{t:"a long poem by the Persian poet Nizâmî (1140-1203), loosely modelled on",p:60,x:89,y:1172,w:807,h:26},
{t:"the adventures of the Sasanian ruler Khusru, the successful rival of Farhâd.",p:60,x:89,y:1204,w:807,h:26},
{t:"The Oratory (which now exists as a flower-garden) was an open space for",p:60,x:89,y:1235,w:809,h:26},
{t:"prayers. Roknâbâd is the stream near Shiraz so loved by Hâfiz.",p:60,x:89,y:1267,w:687,h:26},
{t:"56",p:61,x:488,y:1315,w:20,h:21},
{t:"Except in Love of ",p:61,x:94,y:114,w:234,h:31},
{t:"You",p:61,x:360,y:114,w:52,h:31},
{t:"Except in love of you, a soul I cannot see or see.",p:61,x:94,y:215,w:532,h:26},
{t:"          and love as snare for souls that I must see, must see.",p:61,x:94,y:247,w:664,h:26},
{t:"Repose or patience in myself I do not find or find.",p:61,x:94,y:299,w:542,h:26},
{t:"          but through excessive favour that I see and see.",p:61,x:94,y:330,w:604,h:26},
{t:"Show kindly to me in your face what pain must be:",p:61,x:94,y:382,w:558,h:26},
{t:"          no remedy beyond that face I see or see.",p:61,x:94,y:414,w:526,h:26},
{t:"Far off, how distant is the goodness of that face:",p:61,x:94,y:465,w:530,h:26},
{t:"          in me no immortality I see or see.",p:61,x:94,y:497,w:448,h:26},
{t:"Clutch at this hand, my friend, lest in the whirlpool fall",p:61,x:94,y:549,w:594,h:26},
{t:"          a one who only nothingness can see and see.",p:61,x:94,y:580,w:569,h:26},
{t:"Come, set face to justice, put my work in place:",p:61,x:94,y:632,w:524,h:26},
{t:"          no self without that heaven can I see or see.",p:61,x:94,y:664,w:562,h:26},
{t:"Irâqî, without your guidance, in this world must travel:",p:61,x:94,y:715,w:599,h:26},
{t:"          perplexed continually, who does not see or see.",p:61,x:94,y:747,w:596,h:26},
{t:"Irâqî (died 1289)",p:61,x:94,y:830,w:186,h:26},
{t:"Fakhru'd-Dîn Ibrâhîm, better known as Irâqî, was born in Hamadan (Persia)",p:61,x:94,y:914,w:807,h:26},
{t:"but was drawn by a young dervish to Multân in India, where he became a",p:61,x:94,y:945,w:808,h:26},
{t:"devotee of Shaykh Bahâ'u'd-Dîn Zakariyyâ, in time marrying the master's",p:61,x:94,y:977,w:808,h:26},
{t:"daughter. At the Shayk's death, twenty-five years later, Irâqî travelled to",p:61,x:94,y:1009,w:807,h:26},
{t:"Mecca, Turkey and Egypt, and finally to Syria, where he died, in Damascus,",p:61,x:94,y:1040,w:808,h:26},
{t:"in 688/1289, being buried in the Sâlihiyya Cemetery beside the great mystic",p:61,x:94,y:1072,w:808,h:26},
{t:"Shaykh Muhiyyu'd-Din ibn'l-'Arabî.",p:61,x:94,y:1104,w:377,h:26},
{t:"A devotional piece where much of imagery clearly carries mystical overtones.",p:61,x:94,y:1155,w:808,h:26},
{t:"57",p:62,x:483,y:1315,w:20,h:21},
{t:"Envious ar",p:62,x:89,y:114,w:128,h:31},
{t:"e Azar 's idol",p:62,x:239,y:114,w:163,h:31},
{t:"s of a ",p:62,x:418,y:114,w:77,h:31},
{t:"face",p:62,x:509,y:114,w:67,h:31},
{t:"Envious are Azar's idols of a face",p:62,x:89,y:215,w:357,h:26},
{t:"          beyond all artistry of mine to trace.",p:62,x:89,y:247,w:463,h:26},
{t:"You are a picture from a vision, real",p:62,x:89,y:299,w:391,h:26},
{t:"          to men of Adam as our houri race.",p:62,x:89,y:330,w:451,h:26},
{t:"For idols I have travelled wide horizons,",p:62,x:89,y:382,w:435,h:26},
{t:"          but met, in much encountered, no such case.",p:62,x:89,y:414,w:570,h:26},
{t:"From me go peace and comfort: you continue",p:62,x:89,y:465,w:499,h:26},
{t:"          the more in elegance and moving grace.",p:62,x:89,y:497,w:515,h:26},
{t:"From your high splendour my life is set, falling",p:62,x:89,y:549,w:508,h:26},
{t:"          and following, as is the custom, you apace.",p:62,x:89,y:580,w:547,h:26},
{t:"Let not the flower's white freshness you depict",p:62,x:89,y:632,w:506,h:26},
{t:"          by faithlessness be pillaged, or disgrace.",p:62,x:89,y:664,w:518,h:26},
{t:"Fallen, a stranger in your city, Kushraw begs",p:62,x:89,y:715,w:487,h:26},
{t:"          for the sake of God you know another's place.",p:62,x:89,y:747,w:578,h:26},
{t:"Abu'l-Hasan Yamînuddin Amîr Khusraw (1253-1325)",p:62,x:89,y:830,w:571,h:26},
{t:"Amîr Khusraw was born in the village of Patyali (Uttar Pradesh) to an Indian",p:62,x:89,y:914,w:808,h:26},
{t:"mother and a Turkish military nobleman. His father had fled Transoxiana",p:62,x:89,y:945,w:808,h:26},
{t:"before the Mongol advance to serve the Delhi Sultans, but died in 1262,",p:62,x:89,y:977,w:809,h:26},
{t:"leaving the son in the care of a rich maternal grandfather. The boy studied",p:62,x:89,y:1009,w:808,h:26},
{t:"Persian at Maktab and produced his first collection of poetry Tuhfatus-Sighr",p:62,x:89,y:1040,w:807,h:26},
{t:"in 1272. Thereafter Khusraw served as court poet to a succession of Delhi",p:62,x:89,y:1072,w:808,h:26},
{t:"Sultans, from Balban to Mohammad bin Tughlaq, creating five",p:62,x:89,y:1104,w:682,h:26},
{t:"dîvâns and",p:62,x:779,y:1104,w:118,h:26},
{t:"much occasional writing. He was also a soldier (captured by and escaping",p:62,x:89,y:1135,w:807,h:26},
{t:"from the Mongols in 1285) and a gifted musician (laying the foundations for",p:62,x:89,y:1167,w:807,h:26},
{t:"Indo-Muslim music and inventing several new instruments). Azar is the",p:62,x:89,y:1199,w:808,h:26},
{t:"father of Abraham, a noted maker of idols.",p:62,x:89,y:1230,w:466,h:26},
{t:"58",p:63,x:488,y:1315,w:20,h:21},
{t:"The Cloud Rai",p:63,x:94,y:114,w:179,h:31},
{t:"ns",p:63,x:301,y:114,w:26,h:31},
{t:"Cloud raining, and I from my friend am separated:",p:63,x:94,y:215,w:553,h:26},
{t:"          how can, on such a day, the hearts be so separated?",p:63,x:94,y:247,w:651,h:26},
{t:"You and rain and cloud are standing to make farewells",p:63,x:94,y:299,w:592,h:26},
{t:"         and I weeping, and you and the rain separated.",p:63,x:94,y:330,w:588,h:26},
{t:"Though leaves are new risen, passion is fresh, and the garden green,",p:63,x:94,y:382,w:754,h:26},
{t:"          the nightingale is silent, from its sanctuary separated.",p:63,x:94,y:414,w:664,h:26},
{t:"As the hair grows, from root to head-top, I am bound in service:",p:63,x:94,y:465,w:705,h:26},
{t:"          how can all that longing suddenly be separated?",p:63,x:94,y:497,w:601,h:26},
{t:"Let not, when tearfulness holds you in the pupil of vision,",p:63,x:94,y:549,w:625,h:26},
{t:"          my eye from that tearfulness be separated.",p:63,x:94,y:580,w:549,h:26},
{t:"My pride in observance that stays on from this",p:63,x:94,y:632,w:506,h:26},
{t:"          retains its luxury of looking though so separated.",p:63,x:94,y:664,w:611,h:26},
{t:"In its hundred conceptions the eye is of dust",p:63,x:94,y:715,w:485,h:26},
{t:"          make haste if you'd not from acceptance be separated.",p:63,x:94,y:747,w:676,h:26},
{t:"What would you think, that my soul would leave",p:63,x:94,y:799,w:525,h:26},
{t:"          with the guardian and garden then so separated?",p:63,x:94,y:830,w:614,h:26},
{t:"Nor will your beauty continue if from Khusraw kept",p:63,x:94,y:882,w:555,h:26},
{t:"          as a flower from its thorn when so separated.",p:63,x:94,y:914,w:571,h:26},
{t:"Abu'l-Hasan Yamînuddin Amîr Khusraw (1253-1325)",p:63,x:94,y:997,w:571,h:26},
{t:"A poem with many plays on words, particularly with sar (head),",p:63,x:94,y:1080,w:746,h:26},
{t:"sabz",p:63,x:853,y:1080,w:48,h:26},
{t:"(green) and sabzah (greenery). Sabz also means dark when applied to the",p:63,x:94,y:1112,w:808,h:26},
{t:"down of the beloved's lips, so that the beloved is identified with a garden —",p:63,x:94,y:1144,w:808,h:26},
{t:"which is now silent/disgraced or its lover (nightingale/poet) is so.",p:63,x:94,y:1175,w:713,h:26},
{t:"59",p:64,x:483,y:1315,w:20,h:21},
{t:"FROM THE CHINESE",p:64,x:89,y:121,w:288,h:37},
{t:"Deer St",p:64,x:89,y:234,w:92,h:31},
{t:"ockade",p:64,x:196,y:234,w:102,h:31},
{t:"Emptiness. Mountains. No one unless",p:64,x:89,y:284,w:406,h:26},
{t:"in these low voices overheard.",p:64,x:89,y:315,w:330,h:26},
{t:"Sense falling into forest depths,",p:64,x:89,y:347,w:346,h:26},
{t:"green in suncast mosses overhead.",p:64,x:89,y:379,w:383,h:26},
{t:"Wang Wei (699-761)",p:64,x:89,y:462,w:228,h:26},
{t:"Wang Wei, one of the three great poets of the earlier Tang Dynasty, was a",p:64,x:89,y:545,w:809,h:26},
{t:"man of outstanding talents: courtier, administrator, poet, calligrapher,",p:64,x:89,y:577,w:807,h:26},
{t:"musician and painter. Far more than the mercurial Li Bai or the plain-spoken",p:64,x:89,y:609,w:808,h:26},
{t:"Du Fu, Wang Wei was a successful official — he amassed several fortunes",p:64,x:89,y:640,w:808,h:26},
{t:"and gave lavishly to monasteries — but preferred the quietness of his estate",p:64,x:89,y:672,w:808,h:26},
{t:"in the Changnan hills south of the capital.",p:64,x:89,y:704,w:454,h:26},
{t:"The Deer Stockade has seen many translation. The  rendering here respects",p:64,x:89,y:755,w:808,h:26},
{t:"the basic structure (4 lines of five characters), the rhyme scheme, and the",p:64,x:89,y:787,w:808,h:26},
{t:"extended parallelism of the original Chinese, where:",p:64,x:89,y:819,w:569,h:26},
{t:"Lines 3 and 4 repeat in reverse the meaning in lines 1 and 2: the world of",p:64,x:89,y:870,w:808,h:26},
{t:"the senses is an illusion. 'Overhead' repeats in reverse 'overheard'.",p:64,x:89,y:902,w:731,h:26},
{t:"Presence contrasts with non-presence: clear in the first line, blurred in the",p:64,x:89,y:954,w:808,h:26},
{t:"second, more so in the third, and then sharply defined in the clear visual",p:64,x:89,y:985,w:807,h:26},
{t:"image of the fourth — achieved by sound patterning (e.g. diphthongs in line",p:64,x:89,y:1017,w:808,h:26},
{t:"2, 'e' sounds in line 3).",p:64,x:89,y:1049,w:250,h:26},
{t:"Ying alternate with yang elements. Permanence of mountain rising from",p:64,x:89,y:1100,w:807,h:26},
{t:"impermanence (emptiness). That definite emptiness (no one) morphing into",p:64,x:89,y:1132,w:808,h:26},
{t:"vague presence (voices). Dissolving again (sense is lost in darkness) and",p:64,x:89,y:1164,w:808,h:26},
{t:"then regrouped in a definite image (suncast in mosses).",p:64,x:89,y:1195,w:610,h:26},
{t:"Vertical movement (looking up at mountain) pass to horizontal (voices",p:64,x:89,y:1247,w:807,h:26},
{t:"heard followed by re-entering) and thence back to vertical (overhead).",p:64,x:89,y:1279,w:770,h:26},
{t:"60",p:65,x:488,y:1315,w:20,h:21},
{t:"Into My Room",p:65,x:94,y:114,w:192,h:31},
{t:"Into my room comes the smell of cold bamboo,",p:65,x:94,y:195,w:516,h:26},
{t:"and beyond the courtyard: fields, wilderness, a full moon.",p:65,x:94,y:227,w:631,h:26},
{t:"I watch the water drops collect from the clear dew,",p:65,x:94,y:259,w:556,h:26},
{t:"and stars in their glimmering, that soon",p:65,x:94,y:290,w:433,h:26},
{t:"go out. A glow-worm flits across the dark,",p:65,x:94,y:322,w:459,h:26},
{t:"and bird-calls strike the water, a sharp platoon",p:65,x:94,y:354,w:511,h:26},
{t:"of thoughts, echoing and anxious, through",p:65,x:94,y:385,w:462,h:26},
{t:"which night fades into its thin, sad tune.",p:65,x:94,y:417,w:439,h:26},
{t:"Du Fu (712-70)",p:65,x:94,y:500,w:169,h:26},
{t:"Du Fu, the greatest poet of a country devoted to poetry, believed himself a",p:65,x:94,y:584,w:808,h:26},
{t:"failure. He gained little distinction in the official examinations, but",p:65,x:94,y:615,w:807,h:26},
{t:"remained a minor civil servant uprooted by the An Lu-shan Rebellion that",p:65,x:94,y:647,w:808,h:26},
{t:"destroyed the first Tang dynasty. He was usually poor, and occasionally",p:65,x:94,y:679,w:807,h:26},
{t:"near starvation. The major turning points in his life were his meeting and",p:65,x:94,y:710,w:808,h:26},
{t:"friendship with Li Bai, and the Rebellion, which opened his eyes to the",p:65,x:94,y:742,w:808,h:26},
{t:"sufferings of the common people. Li Bai was the greater technician — an",p:65,x:94,y:774,w:809,h:26},
{t:"astonishing technician — but it's Du Fu's humanity that speaks across the",p:65,x:94,y:805,w:809,h:26},
{t:"centuries.",p:65,x:94,y:837,w:107,h:26},
{t:"Du Fu wrote this piece around 764, after he had left government service.",p:65,x:94,y:889,w:808,h:26},
{t:"The poem starts quietly with the smell of bamboo and description of his",p:65,x:94,y:920,w:807,h:26},
{t:"surroundings, but the final line simply says: ‘bare sorrow peaceful night",p:65,x:94,y:952,w:807,h:26},
{t:"died’ — a commonplace the translator must make something of.  The full",p:65,x:94,y:984,w:808,h:26},
{t:"moon often denotes the home, and I have supposed the author is reflecting",p:65,x:94,y:1015,w:809,h:26},
{t:"on how everything falls away in the end — the water droplets, the stars, the",p:65,x:94,y:1047,w:809,h:26},
{t:"bird calls — into what poets have always known, that inexpressible and",p:65,x:94,y:1079,w:808,h:26},
{t:"unfathomable sadness of life.",p:65,x:94,y:1110,w:319,h:26},
{t:"The rendering is close, reproducing Fu Du's rhyme scheme, but introduces",p:65,x:94,y:1162,w:807,h:26},
{t:"platoon for the poet’s sharp feelings of melancholy.",p:65,x:94,y:1194,w:559,h:26},
{t:"61",p:66,x:483,y:1315,w:20,h:21},
{t:"Ball ad of B",p:66,x:89,y:114,w:146,h:31},
{t:"eaut",p:66,x:250,y:114,w:61,h:31},
{t:"iful Ladi",p:66,x:319,y:114,w:99,h:31},
{t:"es",p:66,x:437,y:114,w:27,h:31},
{t:"It is the third month festival at Chang'an",p:66,x:89,y:195,w:444,h:26},
{t:"and the beauties by the river in the warm spring air",p:66,x:89,y:227,w:563,h:26},
{t:"walk virtuous, walk regally, and in gestures share",p:66,x:89,y:259,w:541,h:26},
{t:"what their tight-knit bodies breathe aloud.",p:66,x:89,y:290,w:462,h:26},
{t:"Woven unicorns and peacocks strut on proud",p:66,x:89,y:322,w:490,h:26},
{t:"as gauzes beneath flaunt the courtesan.",p:66,x:89,y:354,w:436,h:26},
{t:"On their heads? Ringlets, glittering shapes:",p:66,x:89,y:385,w:471,h:26},
{t:"as a kingfisher flares each feathered cloud.",p:66,x:89,y:417,w:467,h:26},
{t:"And on their backs? Waistbands with pearls",p:66,x:89,y:449,w:473,h:26},
{t:"more thickly embroidered than slim backs bear:",p:66,x:89,y:480,w:523,h:26},
{t:"and prouder than these, than the preening swan,",p:66,x:89,y:512,w:537,h:26},
{t:"are the kith of the favourite all wait upon.",p:66,x:89,y:544,w:455,h:26},
{t:"From jade-green ewers the juice escapes:",p:66,x:89,y:607,w:458,h:26},
{t:"purple hump of camel, white fish from the pan.",p:66,x:89,y:639,w:515,h:26},
{t:"From crystal plates have the horn chopsticks dropped:",p:66,x:89,y:670,w:593,h:26},
{t:"ornaments lie scattered, stomachs bowed.",p:66,x:89,y:702,w:460,h:26},
{t:"But still from kitchens comes the same rich fare",p:66,x:89,y:734,w:521,h:26},
{t:"despatched by horses and an elaborate care",p:66,x:89,y:765,w:480,h:26},
{t:"extends to the panpipes: their hauntings bear",p:66,x:89,y:797,w:500,h:26},
{t:"an urgency here as only hunger can.",p:66,x:89,y:829,w:400,h:26},
{t:"A minister, unnoticed in the jostling crowd,",p:66,x:89,y:892,w:469,h:26},
{t:"steps from horse to carpet to silk sedan.",p:66,x:89,y:924,w:441,h:26},
{t:"The catkins of the willow are white on the ground",p:66,x:89,y:955,w:537,h:26},
{t:"as a bluebird with a letter links clan to clan.",p:66,x:89,y:987,w:477,h:26},
{t:"Power is restless, but the hot words vowed",p:66,x:89,y:1019,w:468,h:26},
{t:"burn deeper than the minister's unbridled stare.",p:66,x:89,y:1050,w:523,h:26},
{t:"Ballad of Beautiful Ladies by Du Fu (712-70)",p:66,x:89,y:1134,w:484,h:26},
{t:"The poem was written during Du Fu's residence (around 753, in no exalted",p:66,x:89,y:1217,w:808,h:26},
{t:"capacity) at the Tang imperial court in Chang'an. Du Fu is making veiled",p:66,x:89,y:1249,w:807,h:26},
{t:"social comment but is also drawn to the spectacle — Chang'an was the",p:66,x:89,y:1280,w:808,h:26},
{t:"62",p:67,x:488,y:1315,w:20,h:21},
{t:"richest and most populous city in the world at the time. There is an",p:67,x:94,y:84,w:810,h:26},
{t:"affectionate tone in a poem that understands the realities of court life, its",p:67,x:94,y:115,w:808,h:26},
{t:"jealousies, and the brief lives of its beauties.",p:67,x:94,y:147,w:487,h:26},
{t:"Though Du Fu was more Confucian than Buddhist in his outlook, he was also",p:67,x:94,y:199,w:808,h:26},
{t:"aware of the unreality of the scene, how it contrasted with the grinding",p:67,x:94,y:230,w:807,h:26},
{t:"poverty of the world outside. The richness of costume and the culinary",p:67,x:94,y:262,w:808,h:26},
{t:"delights have an almost suffocating superfluity: Du Fu uses surplus, satiated,",p:67,x:94,y:294,w:813,h:26},
{t:"surfeited. The splendour being used to please the favourite Yang Guifei is",p:67,x:94,y:325,w:807,h:26},
{t:"unnecessary, indeed immoral, serving only to distract Emperor Xuanzong",p:67,x:94,y:357,w:808,h:26},
{t:"from his larger responsibilities. Nature obtrudes in the fall of poplar flowers.",p:67,x:94,y:389,w:808,h:26},
{t:"The gold (daytime) splendour of (real) peacocks is contrasted with the night-",p:67,x:94,y:420,w:822,h:26},
{t:"time (lunar) silver of (imaginary) phoenixes. The food is so rich that disorder",p:67,x:94,y:452,w:808,h:26},
{t:"and lassitude follow. The drums and pipes call up spirits of the ancestors,",p:67,x:94,y:484,w:808,h:26},
{t:"though no one is listening. The bluebird, a traditional bearer of love-notes, is",p:67,x:94,y:515,w:808,h:26},
{t:"a reference to the improper affair being conducted by the powerful minister",p:67,x:94,y:547,w:807,h:26},
{t:"Yang Guozhong.",p:67,x:94,y:579,w:177,h:26},
{t:"Though the rendering above is fairly close, and reproduces Du Fu’s rhyme",p:67,x:94,y:630,w:808,h:26},
{t:"scheme, a closer rendering can be achieved with rhyming couplets:",p:67,x:94,y:662,w:734,h:26},
{t:"In Chang'an's Winding River Park the air",p:67,x:94,y:714,w:441,h:26},
{t:"has spring in prospect and the beauties there",p:67,x:94,y:745,w:494,h:26},
{t:"are virtuous and regal, demure and proud:",p:67,x:94,y:777,w:466,h:26},
{t:"voluptuous the bodies, veiled and loud.",p:67,x:94,y:809,w:428,h:26},
{t:"As golden peacocks they flare in gauzy drapes,",p:67,x:94,y:860,w:512,h:26},
{t:"or are legendary unicorns in silvery shapes:",p:67,x:94,y:892,w:477,h:26},
{t:"the sheen and ornament of each plumed head",p:67,x:94,y:924,w:501,h:26},
{t:"outdazzles the kingfisher's jades and red.",p:67,x:94,y:955,w:452,h:26},
{t:"On each slim back a waistband presses",p:67,x:94,y:987,w:426,h:26},
{t:"satiated with pearls and with heavy dresses.",p:67,x:94,y:1019,w:484,h:26},
{t:"The scented favourite has brought her kin,",p:67,x:94,y:1070,w:463,h:26},
{t:"favoured with dynasties of Guo and Qin.",p:67,x:94,y:1102,w:438,h:26},
{t:"A great hump of camel, purple, brims from the pot,",p:67,x:94,y:1154,w:561,h:26},
{t:"white slivers of fish, whether they will or not",p:67,x:94,y:1185,w:484,h:26},
{t:"dally with chopsticks of rhinoceros horn:",p:67,x:94,y:1217,w:440,h:26},
{t:"in all the appetites are overdrawn.",p:67,x:94,y:1249,w:375,h:26},
{t:"63",p:68,x:483,y:1315,w:20,h:21},
{t:"Continually the riders, though they lift no dust,",p:68,x:89,y:135,w:512,h:26},
{t:"post out with delicacies: in the air a just",p:68,x:89,y:167,w:438,h:26},
{t:"perceptible answering to which pipes and drum",p:68,x:89,y:199,w:514,h:26},
{t:"raise ghosts of the hungry in the crowds which come.",p:68,x:89,y:230,w:582,h:26},
{t:"Quietly, reigned at his tent, the minister steps down",p:68,x:89,y:282,w:568,h:26},
{t:"from his horse to the carpets with a haughty frown.",p:68,x:89,y:314,w:562,h:26},
{t:"Unnoticed, the poplar's frail drift of white",p:68,x:89,y:377,w:448,h:26},
{t:"as a bluebird with a letter flits from sight.",p:68,x:89,y:409,w:453,h:26},
{t:"Though illicit and severing, these summons brook",p:68,x:89,y:440,w:541,h:26},
{t:"no slackness in obedience or answering look.",p:68,x:89,y:472,w:490,h:26},
{t:"Ballad of Beautiful Ladies by Du Fu (712-70)",p:68,x:89,y:575,w:484,h:26},
{t:"Rhyming couplets do not capture the texture of  Chinese verse, but even",p:68,x:89,y:679,w:808,h:26},
{t:"less successful in this regard are free verse styles deriving from Ezra Pound",p:68,x:89,y:710,w:808,h:26},
{t:"and Arthur Waley. Chinese is a compact but allusive language, and its",p:68,x:89,y:742,w:808,h:26},
{t:"classical poetry is written with echoes of lines by famous earlier poets, and",p:68,x:89,y:774,w:808,h:26},
{t:"by strict rules regulating the number of characters to a line, the rhyme",p:68,x:89,y:805,w:808,h:26},
{t:"schemes and the tone patterns — it’s as elaborate as the European tradition",p:68,x:89,y:837,w:808,h:26},
{t:"at its most formal.",p:68,x:89,y:869,w:201,h:26},
{t:"64",p:69,x:488,y:1315,w:20,h:21},
{t:"The River Merch",p:69,x:94,y:114,w:205,h:31},
{t:"ant 's Wife: A Let ter",p:69,x:332,y:114,w:274,h:31},
{t:"How simple it was, and my hair too,",p:69,x:94,y:195,w:393,h:26},
{t:"picking at flowers as the spring comes;",p:69,x:94,y:227,w:426,h:26},
{t:"and you riding about on a bamboo",p:69,x:94,y:259,w:375,h:26},
{t:"horse; playing together, eating plums.",p:69,x:94,y:290,w:419,h:26},
{t:"Two small people: nothing to contend",p:69,x:94,y:322,w:411,h:26},
{t:"with, in quiet Chang Gan to day's end.",p:69,x:94,y:354,w:418,h:26},
{t:"All this at fourteen made one with you.",p:69,x:94,y:405,w:425,h:26},
{t:"Married to my lord: it was not the same.",p:69,x:94,y:437,w:442,h:26},
{t:"Who was your concubine answering to",p:69,x:94,y:469,w:417,h:26},
{t:"the thousand times you called her name?",p:69,x:94,y:500,w:450,h:26},
{t:"I turned to the wall, and a whole year passed",p:69,x:94,y:552,w:495,h:26},
{t:"before my being would be wholly yours —",p:69,x:94,y:584,w:457,h:26},
{t:"dust of your dust while all things last,",p:69,x:94,y:615,w:410,h:26},
{t:"hope of your happiness, with never cause",p:69,x:94,y:647,w:454,h:26},
{t:"To seek for another. Then one short year:",p:69,x:94,y:699,w:458,h:26},
{t:"at sixteen I sat in the marriage bed",p:69,x:94,y:730,w:385,h:26},
{t:"alone as the water. I could hear",p:69,x:94,y:762,w:347,h:26},
{t:"the sorrowing of gibbons overhead.",p:69,x:94,y:794,w:386,h:26},
{t:"How long your prints on the path stayed bare!",p:69,x:94,y:845,w:503,h:26},
{t:"I looked out forever from the lookout tower,",p:69,x:94,y:877,w:482,h:26},
{t:"but could not imagine the distances there",p:69,x:94,y:909,w:453,h:26},
{t:"held you still travelling, hour by hour.",p:69,x:94,y:940,w:411,h:26},
{t:"Now thick are the mosses; the gate stays shut.",p:69,x:94,y:992,w:513,h:26},
{t:"I sit in the sunshine as the wind grieves.",p:69,x:94,y:1024,w:441,h:26},
{t:"In their dallying couples the butterflies cut",p:69,x:94,y:1055,w:462,h:26},
{t:"the deeper in me than yellowing leaves.",p:69,x:94,y:1087,w:435,h:26},
{t:"Send word of your coming and I will meet",p:69,x:94,y:1139,w:457,h:26},
{t:"you at Chang-feng Sha by the mountain walls.",p:69,x:94,y:1170,w:507,h:26},
{t:"Endless the water and your looks entreat",p:69,x:94,y:1202,w:447,h:26},
{t:"and hurt me still as each evening falls.",p:69,x:94,y:1234,w:420,h:26},
{t:"65",p:70,x:483,y:1315,w:20,h:21},
{t:"After the Chinese of Li Bai (701-762).",p:70,x:89,y:84,w:410,h:26},
{t:"Li Bai was born in 701 in  the Gang Xiao Sheng territory of China, and when",p:70,x:89,y:187,w:808,h:26},
{t:"five years old followed his merchant father to Sichuan. He may well have",p:70,x:89,y:219,w:809,h:26},
{t:"been of central Asian stock, or a descendent of an unsuccessful rival for the",p:70,x:89,y:250,w:807,h:26},
{t:"dragon throne. Of an independent and bohemian nature, and well-off, Li Bai",p:70,x:89,y:282,w:808,h:26},
{t:"never sat the shin-shih examinations, nor bothered much about finding a",p:70,x:89,y:314,w:808,h:26},
{t:"position, but by impressing the many scholars who befriended him with his",p:70,x:89,y:345,w:808,h:26},
{t:"poetry, he was brought to court notice, and in 742 appeared before Emperor",p:70,x:89,y:377,w:808,h:26},
{t:"Xuanzong. He became a member of the Han-lin Academy, an appoint-",p:70,x:89,y:409,w:805,h:26},
{t:"ment that lasted only two years. The association b etween China's m ost",p:70,x:89,y:440,w:806,h:26},
{t:"gifted literary magician and its dilettante emperor was not a happ y one,",p:70,x:89,y:472,w:805,h:26},
{t:"and Li Bai was exiled from court on several occasions, the result of",p:70,x:89,y:504,w:807,h:26},
{t:"dubious politica l connections and the poet's distaste for tradition and",p:70,x:89,y:535,w:807,h:26},
{t:"authority. Li Bai continued his wanderings, and in 755 he joined the force",p:70,x:89,y:567,w:808,h:26},
{t:"led by the emperor's sixteenth son, Prince Lin, just surviving subsequent",p:70,x:89,y:599,w:808,h:26},
{t:"capture and a death sentence when the old emperor died. There are many",p:70,x:89,y:630,w:809,h:26},
{t:"legends surrounding Li Bai's death, but he probably died at Dangtu, possibly",p:70,x:89,y:662,w:808,h:26},
{t:"of cirrhosis of the liver or mercury poisoning, in Anhui province in 762.",p:70,x:89,y:694,w:771,h:26},
{t:"A very free rendering, as was the famous version by Ezra Pound. A more",p:70,x:89,y:745,w:807,h:26},
{t:"word-for-word rendering is not always the answer, however, as the literal",p:70,x:89,y:777,w:807,h:26},
{t:"version below indicates.  Li Bai’s rhyme scheme has been rendered in",p:70,x:89,y:809,w:808,h:26},
{t:"pararhyme, but if the result is more faithful to the prose sense of the ",p:70,x:89,y:840,w:740,h:26},
{t:"original,",p:70,x:812,y:840,w:86,h:26},
{t:"it is less effective as a poem.",p:70,x:89,y:872,w:316,h:26},
{t:"Your woman first, hair covering forehead,",p:70,x:89,y:955,w:453,h:26},
{t:"playing at gate and picking flowers:",p:70,x:89,y:987,w:389,h:26},
{t:"there you came riding on your bamboo horse,",p:70,x:89,y:1019,w:500,h:26},
{t:"throwing blue plums round the trellised house.",p:70,x:89,y:1050,w:508,h:26},
{t:"Just two small people, not vexed or worried,",p:70,x:89,y:1082,w:484,h:26},
{t:"in Chang Gan village, and always close.",p:70,x:89,y:1114,w:430,h:26},
{t:"At fourteen I surrendered whatever powers",p:70,x:89,y:1165,w:471,h:26},
{t:"I had to be yours, but only was",p:70,x:89,y:1197,w:341,h:26},
{t:"shy and embarrassed, could not turn my head",p:70,x:89,y:1229,w:504,h:26},
{t:"however you called, if a thousand times.",p:70,x:89,y:1260,w:441,h:26},
{t:"66",p:71,x:488,y:1315,w:20,h:21},
{t:"At fifteen that stopped; I smoothed my brows,",p:71,x:94,y:84,w:507,h:26},
{t:"desired to be one with you: as life consumes",p:71,x:94,y:115,w:487,h:26},
{t:"that which is mine into ash with yours,",p:71,x:94,y:147,w:422,h:26},
{t:"nor climb to the tower with lookout cause.",p:71,x:94,y:179,w:460,h:26},
{t:"At sixteen my lord on his distant journey",p:71,x:94,y:230,w:444,h:26},
{t:"left on the river that after him foams.",p:71,x:94,y:262,w:408,h:26},
{t:"For five months already I have empty hours,",p:71,x:94,y:294,w:487,h:26},
{t:"find monkeys sound sorrowful to the skies.",p:71,x:94,y:325,w:468,h:26},
{t:"The moss you marked in that unhurried",p:71,x:94,y:377,w:432,h:26},
{t:"parting stays green along the floors:",p:71,x:94,y:409,w:397,h:26},
{t:"that moss is now too thick to clear",p:71,x:94,y:440,w:375,h:26},
{t:"when leaves and wind come soon this year.",p:71,x:94,y:472,w:474,h:26},
{t:"Eight months: the butterflies have me gaze",p:71,x:94,y:524,w:473,h:26},
{t:"on the heart and its hurting, make me stare",p:71,x:94,y:555,w:479,h:26},
{t:"on couples fled westward over orchard grass:",p:71,x:94,y:587,w:496,h:26},
{t:"I find myself blushing, as when you're near.",p:71,x:94,y:619,w:480,h:26},
{t:"Send me a letter, wherever you are,",p:71,x:94,y:670,w:397,h:26},
{t:"whatever you go to is my homeward there.",p:71,x:94,y:702,w:471,h:26},
{t:"Morning and evening, if through San Ba Gorge,",p:71,x:94,y:734,w:515,h:26},
{t:"on banks I will walk on to Chang Feng Sha.",p:71,x:94,y:765,w:472,h:26},
{t:"The River Merchant's Wife: A Letter by Li Bai (701-762).",p:71,x:94,y:869,w:614,h:26},
{t:"Some 1,100 of Li Bai's poems survive, and are noted for rich fantasy,",p:71,x:94,y:952,w:807,h:26},
{t:"brilliant improvisation, unmatched technical felicity, and for Taoist and",p:71,x:94,y:984,w:807,h:26},
{t:"alchemical leanings — the Tao, unknown and unfathomable, lying behind",p:71,x:94,y:1015,w:807,h:26},
{t:"the flow of pattern and process in the universe, which we can abstract into",p:71,x:94,y:1047,w:809,h:26},
{t:"concepts but not fully comprehend. Li Bai was a strong character, making a",p:71,x:94,y:1079,w:809,h:26},
{t:"vivid impression on everyone he met, but he was also boastful, callous,",p:71,x:94,y:1110,w:807,h:26},
{t:"dissipated, irresponsible and untruthful. His saving quality is the poetry,",p:71,x:94,y:1142,w:807,h:26},
{t:"which is as unforgettable now as the man was in life.",p:71,x:94,y:1174,w:577,h:26},
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