GEORGIAN DOORS IN DUBLIN AS PORTALS TO ETERNITY

                                                          Film made by Victor Dragomiretchi,

                                           and commissioned by the English Language Institute, Dublin.

                                                                             

Georgian Doorway, Dublin

 

Resplendent arch, above your doorway,

Palladio’s oyster shells, Georgian fanlights,

Both evoking Venus and her Roman ways;

The love goddess signaled above your doorway.

 

And above her, in some of these portals,

As an added element, the triangular

Pediment, sitting atop, crowning the arch,

To evoke masonic elements, and ancient Egypt!

 

Gracefully then, on both sides of her,

Twin columns in typically Ionic fashion,

A nod to Odysseus and ancient Greece.

 

And there you have it, three architectural motifs

To indicate three ancient civilizations.

Now, you can open the door, and return home.

DONA ANTONIA ZARATE BY GOYA ( 1805 ) NATIONAL GALLERY OF IRELAND

                                                     Dona Antonia Zarate by Goya ( 1805 )

When you approach the painting in the National Gallery, set against the Baconish red wallpaper, one's eyes become hit by a mirage of Gold. The contrast is really quite incredible. Then, as your eyes settle and you can properly focus on the image before you, standing at about two meters or so from the painting before one goes in to scrutinize it proper, what appears before you is a young woman who appears to be profoundly sad. This is the first thing you see, and immediately your instinct is to move forward in an attempt to console her, or to figure out what could possibly be the origin of such intense sadness and that is when you make a fatal error. As, when you do approach her, standing now almost right up beside her in order to observe her better, what you soon see is the tiniest sneer of contempt drawn upon her lips. This is Goya's genius, how he sets up the illusion of feminine vulnerability from the exterior, just as in life certain women are able to manipulate the image of themselves that they project to the world, and then when you approach them and converse with them the mask drops and the image of apparent feminine frailty is hastily dropped and the cold contemptuous sneer is revealed dispatching you, in but the merest movement of her lips...

It is an astonishing portrait for this reason alone, as Goya somehow through the genius of his art conjures a magical illusion of womanhood in his portrait of Dona Antonia Zarate which reveals also the very genius of not only this most assuredly singular woman, who was an actress by all accounts, but also reveals the very genius of her entire sex. Apparently seeming to be one thing, and then almost magically transforming herself into another. Always one step ahead of the observer, such is the quality and essence of women. 

Simply marvel!

THE TAKING OF CHRIST BY CARAVAGGIO ( 1602) - NATIONAL GALLERY OF IRELAND

 

The Taking of Christ

By Caravaggio ( 1602)

National Gallery of Ireland

 

One of the very interesting things about The Taking of Christ by Caravaggio is the way in which he utilises other senses in the work, thus heightening the already overloaded visual content with an aural element also which I personally think heightens the intensity of the impact of the audience ( notice I did not say viewer ), as they are not only being assaulted by an overwhelmingly visual experience, they are also being bombarded aurally.

Samuel Beckett made the very interesting observation when discussing the orchestral work of Beethoven that the composer used to harness silence in order to lend greater poignancy to the music that prefigured the pause, and of course which came after. In a very similar way, I would postulate that Caravaggio in this very impressive work uses what could be described as a semiotics of sound particular in the remarkable gesture of the apostle on the extreme left in the painting who has his arms outstretched in such a dramatic fashion, almost like the movements of the arms of a  conductor bringing an orchestra to a climax, or to a Beethovenian pause! Their very symbolism, placed directly alongside the head of the Christ figure, help as a counterstroke, literally, to the main event which is being depicted; the kiss that Judas places upon Christ’s cheek as a signal to the soldiers accompanying him that this is the man they are looking for. The fact that the painting hangs in the National Gallery of Ireland, opposite Merrion Square only a few paces from the house where Oscar Wilde was born is simply a remarkable coincidence; Wilde of course famously wrote:

 

Yet each man kills the thing he loves,

By each let this be heard,

Some do it with a bitter look,

Some with a flattering word,

The coward does it with a kiss,

The brave man with a sword!

 

Though Wilde could not have been referring to the Caravaggio, as the painting was only discovered long after his death in the 1990s in the house of the Jesuits not far from Merrion Square on Leeson Street.

The fact that Caravaggio paints himself into the canvas holding a lantern up over the assembled group, so that he can actually see the face of Christ ( one is reminded of the Rolling Stones song from the album Exile on Main Street ) merely adds to the drama of the moment. Caravaggio was a violent man, he had fled his native Milan in 1592 after having had a violent encounter with a police officer, wounding him, and he when after successfully setting himself up in Rome, he was soon seen swaggering around the capital city with apparently a manservant in tow, duelling with anyone who was brave enough to take him on. Caravaggio, like Wilde, was a gay man, but unlike Oscar he was also an incredibly violent one. He eventual murdered the son of a powerful family 4 years after The Betrayal of Christ and was eventually to die in very dubious circumstance in 1610 having spent his last four years trying to evade his fate. Accounts differ as to how he actually met his fate, but some think that the family of the young man whom he killed finally might have finally caught up with him. Whatever way he did eventually meet his death, his life was one of violence and we can not only see this in this magnificent work, as I have already said, we can also, if we listen very carefully, hear it!

We should not be so surprised, Arthur Rimbaud, the famous 19^th century French poet, in a letter to Paul Demeny ( 1871) , writes of the ‘systematic derangement of the senses’ in which the poet, or in this case artist, can see sound, hear sight! By re-organising in the work of art the different senses in this manner, the poet writes, one could better intensify the work and therefore make it all the more Real. Total communication. Ideas of inclusivity being triggered here too of course, over 100 years before Howard Gardner ( 1983)  popularised the idea of multiple intelligences and which has had such far reaching consequences on teaching methodologies today, particularly in terms of presenting school curriculums within the context of inclusivity. Artists like Caravaggio, Beethoven and Rimbaud (geniuses all) are simply total communicators, utilising every sense imaginable, and twisting them, in order to get their ideas across. This is what is happening in Caravaggio’s   The Taking of Christ. We, the audience, are privy to the great darkening storm which is going on in the tableaux. The chiaroscuro technique is of course not just literally technical brilliance, it is also metaphorically imbued to the point of complete breakdown. For the dark is vision eternal of the errant wanderer. Caravaggio would go onto spend the remainder of his life fleeing from his pursuers who would hunt him till the ends of the earth and on his way he would paint religious paintings, each more devasting as the next. The contents getting darker and darker, think of David with the Head of Goliath which he painted in his final year. There he is as the decapitated head of the monster, he knew the darkness was eventually going to close in; you can hear it whispering to you like a fell wind.            

HEIDEGGER'S DASEIN - BE-ING STILL A RADICAL ALTERNATIVE TO IDENTITY POLITICS

                                                            Photo Victor Dragomiretchi 

Heidegger’s Dasein – Be-ing

Still a Radical Alternative to Identity Politics Today

 

Recently, before an international online poetry reading, as a guest reader I was invited along with the other participants to meet up with the other readers half an hour before the event went live for the purpose, I assumed, of getting to know a little about the other participating writers when in fact one of the main reasons why we were meeting, I was informed by our overtly gracious American host, was that she wanted to establish which pronouns we would feel most happy to describe ourselves by! It was the first time that I had experienced first- hand the very bizarre world of contemporary gender politics in such an overt way and while the subsequent exchange of pronouns went on its way, I couldn’t help thinking of Heidegger’s radical alternative to Descartes cogito, and shortly after the reading I took down again my English translation, a first edition, of Beiträge zur Philosophie ( Vom Ereignis ) which was written between 1936 and 1938, though not appearing in print in Germany until 1989, at Heidegger’s insistence, and  Contributions to Philosophy ( From Enowning ) which was published in 1999. For the purposes of the present essay, I would like to contrast some of my findings on From Enowning, also known as Of the Event  due to a later translation made by Richard Rojcewicz and Daniela Vallega- Neu ( 2012), with those of Charles Bambach, who published a book called Heidegger’s Roots; Nietzsche, National Socialism, and the Greeks ( Cornell University Press, 2003) which I believe may be useful in the context of identity politics today, as illustrated in the anecdote above, Heidegger’s ideas on Be-ing and how his ideas, as I see it, have been completely railroaded ( ideas that could have deep meaningful implications on our lives today) because of so called Woke culture.

One of the most sinister things in academia today is the rather shoddy rigor of argument when academics are trying to support an argument, for example Heidegger’s Nazism, by confusing the man, who like all men was flawed, and the work, which in the context of modern philosophical ideas is simply unparalleled in scope. For example, in Heidegger’s Roots[1], Charles Bambach attempts to demonstrate that the political ideology of the Nazis is basically an essential part of all of Heidegger’s thought, and so by implication would suggest to the public at large that the thinker can have very little to contribute to society when nothing could be further from the truth. I take the case of Bambach here in this essay, but he is just one of many academics over the last few years who have jumped on the “Heidegger was a Nazi” claim which I would counter that if one reads the actual books that Heidegger wrote during the 1930’s and indeed also during the war you would actually find that Heidegger’s thought as put forward in the books has actually nothing to do with Nazi ideology. I will be taking the case of two such books here, one written in the mid to late thirties already mentioned which I will be referring to as  From Enowning[2], and another from the early 40’s which was written on the subject of Heraclitus at the height of the war while the fate of Stalingrad was being decided.[3]

 But let us start first with Bambach. In Heidegger’s Roots, for example, when discussing the now infamous Rectoral Address given by Martin Heidegger in 1933 when Heidegger was made Rector of the University with the support of the Nazi party, Bambach states that unlike other academics he will actually read the text as a serious piece of philosophical writing on the part of Heidegger and which is wholly consistent with his philosophical thinking, and this is basically the substance of Bambach’s book; that Heidegger’s politics is an intimate extension of his entire philosophical outlook and that one cannot distinguish between the Nazi and the thought, as they would both come from the same source. This is of course a very interesting idea, and Bambach puts up a very meticulous case, at least when it comes to this very questionable period in Heidegger’s life and thought. Even as late as 1935, with the publication of Introduction to Metaphysics[4],  there are still pro-German passages which are deeply shocking to read even today and which would reveal completely to what extent Heidegger was under the sway of Nazi ideology, and how he tried to use it to promote his own ideas. Such ideas are very off-putting, on a personal note I remember putting this particular book down, despite having been excited by Heidegger’s notions on early Greek thinkers, such as Heraclitus, I found the cheap Nazi sentiment really difficult to stomach.    

Bambach is very good when explaining the mood of the times, and how Heidegger was very much apart of that mood when Hitler was being made Chancellor of Germany, thus making the Nazis the most powerful and legitimate political party in the whole of Germany, a thing that was simply unthinkable in the nineteen twenties.

 

If other Germans responded to the National Socialist takeover with

“a widely held feeling of redemption and liberation from democracy”

and felt relief that an incompetent and petty-minded government would

no longer be left to solve the profound crisis of the times, Heidegger

concerned himself with greater issues. He interpreted the events of early

1933 not as a political transfer of power, but as an epochal shift within

being itself, a radical awakening from the slumbers of Weimar politics as usual.[5]  

 

Two years later, while still Rector of the University of Freiburg, in the summer of the year ( 1935), Heidegger, while offering an interpretation of Heraclitus’s fragment number 59, generally translated as ‘War/conflict is the Father and King of all.” He is also claiming that “along with the German language, Greek ( in regard to the possibilities of thinking) is at once the most powerful and the most spiritual of languages.” This is just one quote of many which peppers the text, and in the historical context of German rearmament and aggressive foreign policies which would eventual culminate a few years later with all out war, it makes for very unsavoury reading, particularly when one considers the power of the man’s thought and so the influence that he must have had on a lot of German people. [6]

However, jumping forward to the next year, after the Introduction to Metaphysics, to 1936, one comes to a radically different text when one approaches Contributions to Philosophy ( From Enowning ). It is as if the book is written by a very different man. Gone is all the hyperbole. The very register and tone are completely different. But most importantly, there is no mention of German supremacy. There is no mention of Germany at all! And this is why it is such an important work, as apart from Sein und Zeit ( 1926 ) or Being and Time, Vom Ereignis or From Enowning ( 1936 ) is without any doubt the most important text that Heidegger was to write and the one that he himself felt was the most important of all his books. [7] After stating ten years earlier in Being and Time that his task was to ‘destroy’ the history of Ontology, or western metaphysics as we know it; in other words Descartes cogito ergo sum by replacing it with Dasein or Be-ing, in Vom Ereignis/ from enowning/ of the Event Heidegger sets out, for the first time, a philosophical structure in six parts in which he attempts, using the concept of Be-ing/ Dasein, a way to return to inceptual Greek thinking. This will become the most important thing now for Heidegger to put down in writing. Bambach actually acknowledges this shift in thinking in Vom Ereignis, but nowhere near as forcefully as he possibly should, I would make the case. As the content of Vom Ereignis/from enowning/of the Event, I would postulate in the current environmental and global crisis that we are all facing today, a crisis that one could say is even more severe than the one that Heidegger faced in the 1930s in Nazi Germany, as today we do, as a species face actual extinction if we do not seek to radically change the way we live as a species Dasein on earth.

For example, in Vom Ereignis one of the major contentions that Heidegger has with the world of men is machination. In part two of the book Echo, in which Heidegger attempts to grasp inceptual historic thinking originating from the Greeks with an attempt at recuperating Be-ing which has been abandoned, as he sees it,  as opposed to following cause and effect metaphysics which are the result of Christian thinking. There are whole passages in this text which are profoundly in disagreement with Nazi German policy at the time of the books composition and which, quite frankly, apart from a mere sentence acknowledging this fact, Bambach largely ignores this most fundamental work in Heidegger’s thinking, it is after all referred to as ‘the turn’ or the seminal event in his thinking in which he fundamentally goes completely on his own path in philosophical thinking which remains completely unparalleled today.

One is accustomed to calling the epoch of “civilisation” one of dis-

enchantment, and this seems for its part exclusively to be the same as

the total lack of questioning. However, it is exactly the opposite. One

has only to know from where the enchantment comes. The answer:

from the unrestrained domination of machination. [8]

 

At the time of writing, historically, the German army marched into the Rhineland in March and in June they were supplying General Franco with ‘several formations of Junkers 52’s’[9]. German military might was to grow and grow into one of the most technologically advanced armies in the world. But Heidegger was not only critical of this particular phenomenon. In the same passage, he continues:

The bewitchment by technicity and its constantly self-surpassing

progress are only one sign of this enchantment, by virtue of which

everything presses forth into calculation, usage, breeding, manageability,

and regulation. Even “taste” now becomes a matter for this regulation,

and everything depends on a “good ambiance”.[10]

 

The Degenerate Art Exhibition ( Die Ausstellung “Entartete Kunst ) took place from July to November of 1937, while Heidegger was working on his masterwork Vom Ereignis – from Enowning – Of the Event. The term ‘bewitchment’ which Heidegger uses is a very interesting one, considering the mesmeric effect Hitler was to have on the masses at Nurnberg. During the same year, 1937, the “Rally of Labour” was held ( Reichsparteitag der Arbeit ) in which masses of people converged on the city. In the Pathé newsreels of the time you can see the machination of people converging in the stadium marching like machines. Heidegger repeats the phrase again, even placing it in italics in the text – ‘the epoch of total lack of questioning of all things and of all machinations.’[11] Heidegger did not allow for the books publication until 50 years after its composition. So far, it has been translated into English twice. It is the most extraordinary testament to Martin Heidegger’s thought, as it is a complete break with western metaphysical thinking.

I started off this essay with the issue with pronouns today, in terms of gender identity, and I spoke of Heidegger’s concept of Dasein or Be-ing in English as an alternative designator for the subject. Heidegger is of course Aristotelian in thinking the multiple in the One, Be-ing being representative of all living creatures regardless of race, sex etc. It is a wonderfully free and natural idea, totally revolutionary in concept, and here is the thing; the majority of people living in the world today have absolutely no idea of the existence of such a philosophical idea as people are much more interested in banging on about a, yes, extremely regrettable period in the German thinker’s career. But enough already, I say. If we are really serious as a species, in other words if we are really serious about surviving as opposed to becoming extinct, we had better put such petty notions of self behind us and start concentrating on some new ideas about the way we perceive one another as Be-ing!

As I stated in the introduction, I wish to speak about two works by Heidegger. The second book that I now wish to turn my attention on is Heraclitus : The Inception of Occidental Thinking and Logic: Heraclitus’s Doctrine of the Logos which was originally written by Heidegger in the middle of WW2 while the Wehrmacht was to meet its first total an utter annihilation at Stalingrad in 1943. One of the first things I noticed was, again, the register or tone of the book. Considering that it was written during the period in question, it is, for my [12]money at least, one od the most peaceful books by Heidegger that I have ever read. This fact alone is a miracle. None of the posturing that appeared in Introduction to Metaphysics is on display in this book. Of course Bambach does not refer to this work as it was only published in English for the first time in 2018, so a period of 15 years separate the publication of his book in 2003 and this second work. The piece I would like to explore here in this essay is Heidegger’s very beautiful meditation on the God who has become so synonymous with Heraclitus, and that is of course Artemis the Goddess of the hunt.

Heidegger refers to fragment number 51 which he translates as, ‘The jointure ( namely, the self differentiating )unfolds drawing- back, as shows itself in the image of the bow and lyre.’ This meditation is taken from the first section of the book and whose title is The Inception of Occidental Thinking. This point is important to underline as it forms a continuum with Contributions to Philosophy ( From Enowning ) of which we have already looked very briefly at. Heidegger sets out in the former work the six ways to inceptual thinking ( 1. Preview, 2. Echo, 3. Playing Forth, 4. Leap, 5. Grounding and finally 6. The Last God.) in which he rejects all causality in place of what he defines as inceptual Greek thinking. In other words, pre-Platonic. Nietzsche had already made this distinction in his early lectures when he was a lecturer at Basel in the 1870s[13], so Heidegger was taking up from his former Master, in many ways. For Heidegger, the elegance of this fragment, contrasting the bow and the lyre, is emblematic of all of Heraclitus’s essential doctrine of unity in opposites. The laws of attraction. Heidegger uses the terms ‘submerging’ and ‘emerging’ to remarkable effect, drawing out the subtlety of Heraclitus’s thought in his own very particular way using the idea of unconcealment which of course for Heidegger is the essence of authentic Greek thinking before Plato when truth was emerging from the abiding sway of Be-ing and could only be perceived in the clearing of the mind momentarily, before being obscured again. There is something extremely sensual about Heidegger’s engagement with the Artemis fragment, and it is a testament to the translators who have managed to capture the wonderful poetry of the meditation throughout the entire work.

Therefore, she roams, as the huntress, the entirety of what we call ‘nature’.

We certainly must not think about the essence of ‘tension’ in modern

dynamical and quantitative terms, but rather as the lightened apartness of an

expanse that is, at the same time, held together. In emerging, emerging

receives the self-concealing in itself, because it can emerge as emerging

only out of self-concealing: it draws back into this. [14]

 

Again, as in Contributions to Philosophy ( From Enowning ), in Hercalitus, Heidegger has departed from the 20^th century with all of its woes, its abandonment of Dasein Be-ing. In order to return to historic thought. Such is ‘the Turn’ – at least what has become known as ‘the Turn’ – in his thinking. When Heidegger abandoned not only Nazi ideology, at least in his thinking proper, as written in these books, but western metaphysics from Plato to Nietzsche and the results are simply extraordinary. This is why I feel compelled, living in a world that seems to have abandoned all sense, to critique writers like Charles Bambach who only seem to focus on, quite simply, the very negative element of Heidegger which seems to me much more a part of the man, the lesser part, as distinct from the work.    

---

[1] Bambach, Charles: Heidegger’s Roots – Nietzsche, National Socialism, and the Greeks, Cornell University Press, London, 2003.

[2] Heidegger, Martin: Contributions from Philosophy ( From Enowning ), Translated by Parvis Emad and Kenneth Maly, Indiana University Press, 1999.

[3] Heidegger, Martin: Heraclitus – The Inception of Occidental Thinking and Logic: Heraclitus’s Doctrine of the Logos, Translated by Julia Assaiante and S. Montgomery Ewegen, Bloomsbury Academic, London, 2018.

[4] Heidegger, Martin: Introduction to Metaphysics, New Translation by Gregory Fried and Richard Polt, Yale Nota Bene, Yale University Press, 2000.

[5] Bambach, Charles: Heidegger’s Roots; Nietzsche, National Socialism, and the Greeks, Cornell University Press, 2003, p.70.

[6] The German TV miniseries Generation War ( Unsere Mütter, unsere Vätter ) has one of the leading characters mention the possibility of attending a lecture by Heidegger when he gets his leave and he can return to Germany from the Eastern Front. Once can only imagine the very powerful feelings generated in the minds of young Germans who were exposed to such very powerful and interesting ideas, yet which were put to the service of National Socialism.  

[7] In a marginal note of Letter on Humanism, the Editor F.-W. von Hermann notes, that Heidegger wrote the following; “enowning” has been since 1936 the guiding word of my thinking’.

Heidegger, Martin: Contributions to Philosophy ( From Enowning ) – p.364.

[8] Heidegger, Martin: Contributions From Philosophy ( From Enowning ), Translated by Parvis Emad and Kenneth Maly, Indiana University Press, 1999, p.86.

[9] Fest, Joachim C.: Hitler, Penguin, Classic Biography, Penguin Books, London, p.500. 

[10] Heidegger, Martin: Contributions From Philosophy ( From Enowning ), Translated by Parvis Emad and Kenneth Maly, Indiana University Press, 1999, p. 87.

[11] Ibid, p.86

[12] Heidegger, Martin: Heraclitus, Translated by Julia Goesser Assainte and S. Montgomery Ewegen, Bloomsbury, London, 2018, p.115.

[13] Nietzsche, Friedrich: The Pre-Platonic Philosophers, Translated from the German and Edited, with an Introduction and Commentary, by Greg Whitlock, University of Illinois Press, First Paperback Edition, 2006.

[14] Heidegger, Martin: Heraclitus, Translated by Julia Goesser Assainte and S. Montgomery Ewegen, Bloomsbury, London, 2018, p.116.

THE IDEAL BY BAUDELAIRE ORIGINAL IN FRENCH AND TRANSVERSION

 

                                                                                    

XVIII

 

 

L’IDÉAL

 

 

 

Ce ne seront jamais ces beautés de vignettes,

Produits avariés, nés d’un siècle vaurien,

Ces pieds à brodequins, ces doigts à castagnettes,

Qui sauront satisfaire un cœur comme le mien.

 

Je laisse à Gavarni, poëte de chloroses,

Son troupeau gazouillant de beautés d’hopital,

Car je ne puis trouver parmi ces pales roses

Une fleur qui ressemble à mon rouge ideal.

 

Ce qu’il faut à ce Coeur profonde comme un abîme,

C’est vous, Lady Macbeth, âme puissante au crime,

Rêve d’Eschyle éclos au climat des autans ;

 

Ou bien toi, grande Nuit, fille de Michel-Ange,

Qui tords paisiblement dans une pose étranger

Tes appas façonnés aux bouches des Titans !

 

 

 

 

XVIII

 

 

THE  IDEAL

 

 

 

 

 

 

Not for me those ‘beauties’ from Hello or Cosmo!

Those insect creatures, products of a photoshop age,

All brodequin limbs n’ mantis stalking fingers

Could never satisfy a heart like mine.

 

I’ll leave them to the paparazzi, the poets of chlorosis,

To serve up the babbling troupe of surgically refined horrors.

For, I can’t for the life of me distinguish among those pale roses

A specimen who resembles the richer hues of my ideal carnations!

 

What it really craves, my abyssal heart, deep to its very core,

Is you, Lady Macbeth, a soul empowered too in crime,

A dream of Aeschylus, hatched from the climes of a mistral.

 

Or you, also, great night, daughter of Michelangelo,

Set in the androgynous pose of the Ignudi,

Yet whose tits are fashioned for only the mouth of a Titan !

HEIDEGGER WALKING IN THE BLACK FOREST

                                                                                      

Heidegger Walking in the Black Forest

 

 

Thought’s tributaries are aflow in the disavowal,

Framed, as they are, in the multiplicitous nature of the Multiple.

Such is the fluidity of thought on the One; thought as lifeblood.

Bloody thinking thought’s copula of BE-ing.

 

Into the unalterable amendment of the One

Astride in the vast expanse of the World.

This is why Herr Heidegger was forever walking

In and out of the clearings of the Mind.

 

Mindfulness being the stop, skip and saunter of thinking

Along the way of Dasein. Resting when the need calls,

Resting in the twilight of Being, succouring the bitter taste

 

Of nothingness in the interminable event

Of Lifehood. Swaying boldly into its mindfall,

And the abyss of forgetfulness while recalling all the traces!

  

 

THE SUN IS WOMAN / EL SOL EST MUJER - TRANSLATIONS INTO SPANISH BY DAFNE ZEMBRANO

                                                                 Dafne Zembrano Translator

                                                                                   

The Sun is Woman

 

 

The Sun is Woman; She is just as eternally Giving.

High above us in the sky, She Towers, radiating Love-

 360 days a year. Solar economics, that’s what

Bataille said. Of course, he was a poet!

 

Only poets know Women, real poets.

They run with Prometheus, wayward with the fire.

They run beneath the Sun with Her Love firing down.

Poets catch her burnished gifts illuminating everyone.

 

 She lights their flesh with gentle strokes,

Lightly browning their bodies with her fire,

Discolouring them, light years away.

 

Such is the metaphor or her alone in Space,

Burning to the core a white dwarf, illuminating

The immensity of all Dark Matter.

 

 

 

 

 

 

 

 

 

 

 

 

El sol es mujer

 

 

 

El sol es mujer; Ella es tan solo como eternamente dando.

Muy arriba por encima de nosotros en el cielo, Se eleva, irradiando amor-

 360 días al año. Economía solar, es lo que

Bataille dijo. Claro, ¡El fue un poeta!

 

Solo los poetas conocen a las mujeres, verdaderos poetas.

Ellas corren con Prometeo, descarriadas con el fuego.

Ellas corren bajo el Sol disparando con su amor.

Los Poetas atrapan sus abrillantados regalos iluminando a todos.  

 

 Ella ilumina su carne con suaves caricias,

Dorando ligeramente sus cuerpos con fuego,

Decolorándolos, a años luz de distancia.

 

Tal es la metáfora o ella sola en el Espacio,

Quemando hasta la medula de un enano blanco, iluminando

La inmensidad de toda la Materia Obscura.

 

 

 

 

 

 

 

 

 

Anubis

 

 

 The ancient Greeks and Romans had household Gods,

And Goddesses, as did the ancient Egyptian.

It is a thing that all three of these great civilisations

 Share - a belief that we are surrounded by divinity.

 

I see it now in you, O perilous Goddess.

Like a dog or Jackal, symbol of Anubis,

Long-eared and cunning, you guide me

Into the underworld, face down on the sand;

 

There at your feet! Towering Goddess, burnt

By the atomic furnace, skyward with the hawk;

I tentatively place my lips upon your cuneiforms.

 

The skin, covering your bones, is burnished by

A thousand suns; your toenails smoothly lacquered

In poisonous black Cherry, like your sweat I delicately savour.

 

 

 

 

 

 

 

 

 

Anubis

 

 

 Los antiguos Griegos y Romanos tenían dioses domésticos,

Y diosas, al igual que los antiguos Egipcios.

Es algo que estas tres grandes civilizaciones

 Comparten – la creencia de que estamos rodeados de divinidad.

 

Ahora lo veo en ti, Oh Diosa peligrosa.

Como un perro o un chacal, símbolo de Anubis.

De orejas largas y astuta, me guías

Dentro del inframundo, boca abajo en la arena;

 

¡Ahi a tus pies! Diosa imponente, ardiente

Junto al horno atomico, hacia el cielo con el halcon;

Pongo tentativamente mis labios sobre tus cuneiformes.

 

La piel, que cubre tus huesos, es abrillantada por

Mil soles, tus uñas de los pies suavemente esmaltadas

En venenosa cereza negra, como tu sudor, saboreo delicadamente.

 

 

 

 

 

 

 

 

 

Diana Speaks with Prophecy

 

 

 

 

The very existence of you which is as lamentably desolate

As Mallorca by Albéniz, that great nostalgia

That tremors in the summer breeze,

And upon which are borne the leaves of summer

 

Green with chlorophyll, vibrant and in such abundance,

Having stored up the Sun’s great luminance.

Just like my Love for you...

And, Oh How you reflected in its brilliance!

 

Like some poor demented fool

You could not restrain yourself, or your superb!

Who knew how male vanity can outstrip a Girl?

 

When I think about you now, posing in your G-string,

How with my girlfriends we laughed at your acute Narcissism.

 Now, I Will tell the tale about You - the Male Bimbo!

 

 

 

 

 

 

 

 

 

Diana Habla con Profecia

 

 

 

 

La misma existencia de ti que es tan lamentablemente desolada

Como Mallorca por Albéniz, esa gran nostalgia

Que tiembla en la briza del verano,

Y sobre el cual son soportadas las hojas de Verano

Verde con clorofila, vibrante y con tal abundancia,

Habiendo almacenado la gran luminosidad del sol.

Al igual que mi amor por ti...

Y Oh, ¡Como te reflejaste en su brillantez!

 

Como un pobre tonto demente

No podrías contenerte, o tu soberbia!

¿Quién sabe cómo la vanidad masculina puede superar a una Chica?

 

Ahora cuando pienso en ti, posando en tu tanga,

Como con mis amigas nos reímos de tu agudo Narcisismo.

Ahora, contare el cuento acerca de Ti-– el Macho Bimbo!

 

 

 

 

 

 

 

 

 

Diana as Ishtar –

Goddess of Love & War –

Gets her Revenge

 

 

But before I do, come here to me! I need to collar you.

Like my Darling puppy dog Cico; a real bitch!

There now, I shall walk you around the town like this,

You Will be my poodle, constantly at my feet.

 

But first, let me see you also in a pair of Christian Laboutin’s.

A nude patent with some flesh coloured panty-hose!

They Will bridle your instincts as we stroll.

Don’t forget to wear a silk pair of panties!

 

Now there, Let me see you twirl!

I have been having homo-erotic visions of you,

Suckling at the nipples of some other voluptuous nude.

 

Masculine dude! Here, wear these nipple rings

They Will tenderize you till you sing.

Now that you are suitably attired, let’s go!

 

 

 

 

 

 

 

Diana como Ishtar –

Diosa del Amor y de la Guerra –

Toma su Venganza

 

 

Pero antes de que lo haga, ¡ven aquí a mi! Necesito ponerte el collar.

Como a mi Querido cachorro Cico; ¡una verdadera perra!

Y ahora, debo pasearte por la ciudad asi,

Tu serás mi caniche, constantemente a mis pies.

 

Pero primero, dejame verte Tambien en un par de Christian Laboutin.

¡Un charol desnudo con unas medias color carne!

Ellas frenaran tus instintos mientras paseamos.

¡No olvides ponerte bragas de seda!

 

!Ahora, Dejame verte girar!

He tenido visions homoeroticas de ti.

Chupando los pezones de otro voluptuoso desnudo.

 

¡Hombre masculino! Usa estos anillos en los pezones,

Te ablandaran hasta que cantes.

Ahora que estas adecuadamente vestido, ¡Vamonos!