Arthur Rimbaud

 Au Cabaret Vert

         cinq heures du soir

Depuis huit jours, j’avais déchiré mes bottines
Aux cailloux des chemins. J’entrais à Charleroi.
– Au Cabaret-Vert : je demandai des tartines
De beurre et du jambon qui fût à moitié froid.

Bienheureux, j’allongeai les jambes sous la table
Verte : je contemplai les sujets très naïfs
De la tapisserie. – Et ce fut adorable,
Quand la fille aux tétons énormes, aux yeux vifs,

– Celle-là, ce n’est pas un baiser qui l’épeure ! –
Rieuse, m’apporta des tartines de beurre,
Du jambon tiède, dans un plat colorié,

Du jambon rose et blanc parfumé d’une gousse
D’ail, – et m’emplit la chope immense, avec sa mousse
Que dorait un rayon de soleil arriéré.

 [Robert Lowell translation]

For eight days I had been knocking my boots
on the road stones. I was entering Charleroi.
At the Green Cabaret, I called for ham,
half cold, and a large helping of tartines.

Happy, I kicked my shoes off, cooled my feet
under the table, green like the room, and laughed
at the naive Belgian pictures on the wall.
But it was terrific when the house-girl

with her earth-mother tits and come-on eyes—
no Snow Queen having cat-fits at a kiss—
brought me tarts and ham on a colored plate 

She stuck a clove of garlic in the ham,
red frothed by white, and slopped beer in my stein,
foam gilded by a ray of the late sun.

[Ezra Pound translation]

Wearing out my shoes, 8th day
On the bad roads, I got into Charleroi.
Bread, butter, at the Green Cabaret
And the ham half cold.

Got my legs stretched out
And was looking at the simple tapestries,
Very nice when the gal with the big bubs
And lively eyes,

Not one to be scared of a kiss and more,
Brought the butter and bread with a grin
And the luke-warm ham on a colored plate…

Pink ham, white fat and a sprig
Of garlic, and a great chope of foamy beer

Gilt by the sun in that atmosphere.

Eugenio Montale

 “The Blackcap Wasn’t Killed”

The blackcap wasn’t killed
by a hunter,
so far as I know.
Perhaps she died mid-morning. And I never
got the news. Regarding me, I suppose
she had lost all recollection. If some
ghostly presence flutters around here now,
I can’t capture it to ask: “Who are you?”
It may be that ghosts have no more substance
than a faint breath of wind. Perhaps I, too,
am just one of these puffs and don’t know it,
a breeze so light the cardboard stage-set
that surrounds me manages to stand upright.
To destroy it will take different gusts entirely.
Where will they take refuge then, these stray
bits of gossamer?
There exists no science,
philosophy, theology that concerns itself with them.

The Allegory

The meaning of the plot is unclear
even to those whom it concerns.

We’re just supporting actors, prompters in the pit,
but the story line is in the hands of others.
Clearly we’re dealing with an allegory
lasting an infinitude of centuries, assuming
that time exists, or rather that it is not part
of some great machination, divine or otherwise.
There are those who posit thingamajigs causing
the whole of everything to collapse into itself.
But you don’t believe this. The rapture of lunatics
is somebody else’s business.

Fernando Pessoa/Alvaro de Campos

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