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Omnes, last NECAT

Visit nostalgic evening and the Playa del Palmar, near Conil (Cádiz, Spain). Why nostágica: personal memories, which I reserve. Tuesday, August 22, 2006. They are seven-thirty in the afternoon, but there is still time ( time, time, time ) for a dive in crystalline waters, while also seeking the sun plunge into the sea in the distance beyond:



Before contemplate a sundial, and without shadows cast by the gnomon (as a Latin motto says, also applied to sundials : absque sole, usu absque, "no sun, no utility"). A Latin inscription atop the field: OMNES

FERIVNT VLTIMA NECAT




The subject of the two sentences are elided. It should be "hours." Therefore, the inscription in English translation, said:

All (hours) wound, the last kills

time (its course, its use, its transience, its loss) is the factor that gives and also removes all meaning to human life. So the passage of time has traditionally been referred to in literature and poetry from two perspectives: as a negative factor (the passage of time finally ends with us; is the concept that reflects the theme of the watch) and also as a positive factor: we must seize the time, as if this was the last time we might live. This second point about time is all a literary topic that has been labeled naming CARPE DIEM as happy name of Horace (Odes in 1.11.8, then I quote the text.)

I have not been documented Case clock, or similar, in classical Latin literature. It must be a neo-Latin phrase coinage (perhaps medieval or Renaissance). But in Latin poetry are allusions to "breaking / estación / tiempo / día”, en contextos de desarrollo del motivo del carpe diem . Traigo aquí a colación dos pasajes de Horacio, ayudándome del repertorio de citas latinas sobre el tema que nos regala el blog Laudator temporis acti :

1) Horacio, Odas 1.11:

Tu ne quaesieris, scire nefas, quem mihi, quem tibi
finem di dederint, Leuconoe, nec Babylonios
temptaris numeros. ut melius, quidquid erit, pati.
seu pluris hiemes seu tribuit Iuppiter ultimam ,
quae nunc oppositis debilitat pumicibus mare
Tyrrhenum: sapias, vina liques, SPEM
et spatio brevi longam dry. loquimur dum, fugerit Invid
aetas: carpe diem quam minimum posterior gullible. You do not pretend

coax, Leuconoe, what purpose to me or what purpose the gods
you have brought us, or you practice the Babylonian
cabals. How much better to endure whatever comes, whether Jupiter
has given us more winters, as if it
the last that weakens the Tyrrhenian Sea, with the parapet of rock!
Be wise, filter the wine and, given the brevity of our way, no long coats
hopes. As we speak, will have fled the envious
time. Flower Harvest days without the least trust a tomorrow.

2) Horace, Ep í 1.4.11-14 stoles. SPEM inter

curamque, Timor et inter omnem anger
crede diem tibi diluxisse supremum :
quae non grata superveniet sperabitur hours.

between hope and anxiety, including fear and anger, believes that any
day dawning for you is the rearward :
grata will follow the hours are not expected.

Technorati tags: Horace , Carpe diem , sundial, time , sense of life, Classical Tradition

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The Rhetoric of Silence With you love to live

guess we've all experienced. Has a broken relationship. No matter why or what part instances. It was decided, by mutual agreement (or not), keep the distance and let time pass. Establishing, in short, the rhetoric of silence . It outlaws the phone calls, emails, phone messages to, nor will most instant messaging contacts. All communication channels have been closed and frozen by decree.

However, perhaps one of the partners (or both) still feels in his heart the embers of the old flame ( Veteris vestigia flammae ). And wait, but do not want or like, but do not assume it is the most appropriate, a communication initiative by the other. Pick up the phone a hundred times a day to make sure that the line remains intact, compulsively check the inbox of the email, check your phone every five minutes to check for new sms alert, monitoring the main Messenger screen with more eye watchful as the monster that guarded Io Argo. But nothing. No communication. It then undergoes rhetoric more eloquent and devastating that exists: the rhetoric of silence.

I would argue are two literary examples of this rhetoric implied, one ancient and one modern. The former example is documented in the history of Aeneas and Dido, as told by Virgil in the Aeneid (especially in Book IV). The Trojan prince Aeneas, after having had an affair in Carthage with Queen Dido (of Phoenician origin) for imposition of fate and the gods must abandon the love Queen, and set sail in search of a destination, Italy, where found the germ of the future state of Rome. Dido fits badly neglect, and suicide. Time after (and en el libro VI de la Eneida ), Eneas desciende a los Infiernos, donde se encuentra con el espíritu de Dido. Le dirige a ella una larga alocución, intentando disculparse. Y ella, por toda respuesta, le contesta muy elocuentemente con la Retórica del silencio. He aquí el emotivo pasaje ( Eneida 4.450-476):



inter quas Phoenissa recens a vulnere Dido
errabat silva in magna; quam Troius heros
ut primum iuxta stetit agnovitque per umbras
obscuram, qualem primo qui surgere mense
aut videt aut vidisse putat per nubila lunam,
demisit lacrimas dulcique adfatus amore est:
«infelix Dido, verus mihi nuntius ergo
venerat exstinctam ferroque extrema secutam?
funeris heu tibi causa fui? per sidera iuro,
per superos et si qua fides tellure sub ima est,
invitus, regina, tuo de litore cessi.
sed me iussa deum, quae nunc has ire per umbras,
per loca senta situ cogunt noctemque profundam,
imperiis egere suis; nec credere quivi
hunc tantum tibi me discessu ferre dolorem.
siste gradum teque aspectu ne subtrahe nostro.
quem fugis? extremum fato quod te adloquor hoc est.»
talibus Aeneas ardentem et torva tuentem
lenibat dictis animum lacrimasque ciebat.
illa solo fixos oculos aversa tenebat
nec magis incepto vultum sermone movetur
quam si dura silex aut stet Marpesia cautes.
tandem corripuit sese atque inimica refugit
in nemus umbriferum, coniunx ubi pristinus illi
respondet curis aequatque Sychaeus amorem.
nec minus Aeneas casu percussus iniquo
prosequitur lacrimis longe et miseratur euntem.
nec minus Aeneas casu percussus iniquo
prosequitur lacrimis longe et miseratur euntem.

Entre ellas, la fenicia Dido, abatida por herida reciente,
erraba en el inmenso bosque; tan pronto el héroe troyano
se plantó junto a ella y la reconoció, oscura, entre las sombras,
como la luna que, al principio del mes,
alguien percibe o cree haber percibido que aparece entre nubes,
estalló en llanto y le habló con dulce love
"Unhappy Dido!," so the news was true
that I had arrived, you had reached your dessert destination,
off to iron? Oh, I was the cause of your death? swear by the stars,
by the gods and how much loyalty there is in the bowels of the earth,
that against my will, Queen, I left your coast.
But to me the orders of the gods, now I am forced to move in the shadows, through places
rot bristling at night deep
pushed me with their opinions, and I could not imagine starting
with my size I would grant you pain.
Stop your step and do not steal my eyes.
do Who are you running? Because of fate, this is the last word that I address. "With these words
Aeneas tried to comfort a spirit
burned and looked grimly, while shedding tears.
She kept her eyes fixed on the ground, without looking,
and her face is moved more by the statement issued, which is fixed
the flinty rock or Marpesia.
Finally, he picked it up and ran
hostile expression of a wet forest, where her former husband,
Sychaeus, serving their sentences and it is up in love.
Aeneas, not less moved by the unfair random
accompanies it from afar with her tears and pity as she leaves.

Note that Virgil devotes 16 verses to present the scene. Of these, the speech of Aeneas takes 11 verses. Dido's response, none. Aeneas cries three times in the beginning, middle and end of the scene.

of modern poetry, the text has moved me most, reflecting the rhetoric of silence, is a famous poem by French poet Jacques Prévert (1900-1977), entitled "Déjeuner du matin" (" Breakfast ") and owned compilation book Paroles (1945). It is titled so because it just describes a breakfast, but could graduate with a phrase that is repeated several veces en el poema, "Without me talking" ("Sin hablarme"), porque el texto refleja muy plásticamente the retórica that sufrir el silencio del Sujeto:




Lunch Morning

It has In the coffee cup

He put the milk in the

cup of coffee He put the sugar in the
latte
With spoon
He turned
He drank the coffee And he

rested the cup Without speaking to me


He lit A cigarette He made
round

With the smoke He put the ashes In the ashtray
Without me about

Without looking at me

He rose

He put his hat on his head
He put his raincoat

Because it was raining And he left

the rain
Without a word Without looking at me


And I took My head


in my hand And I cried. He aquí


una traducción (MIA) al castellano, meramente utilitaria:

Desayuno

Ella echo
coffee in the Echo
taza leche
In the coffee
Echo taza azúcar
En el café con leche Con la
cucharilla

stirred He drank the coffee cup
and left without speaking


lit A cigarette He scrolls

With smoke

threw the ashes in the ashtray
No talk
Without looking


The hat was placed on
head
It was raining Cause Its waterproof

And he left the rain

Without a word Without looking



And I covered my head with her hands and cried
.

There are several similarities between the two texts. The two men covered their beloved opera, and they keep silence. The two beloved of glaze, and beyond at the end. And the two men weep. In the rhetoric of silence.

Technorati tags: Vergil, Aeneid , Aeneas, Dido , Jacques Prévert , Rhetorics , silence, love , Classical Tradition

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In Oda 3.9 of Horacio (65-8 BC) we find a dialogue between the lyrical subject (more or less identifiable with the poet himself) and a former girlfriend, named Lydia. It is a dialogue amebeo , which is that both partners will respond with the same number of lines and similar content in their speeches. The technique is more typical of the genre pastoral and appears only here in the work of Horace. [According to experts, would require that Horace was inspired most probably a composition of Catullus 45, which appears comparable content and also a kind of dialogue between two lovers].

Well, at surgery, Horace and commemorate their love happy Lydia, the second intervention, both now say that they have new lovers (he and Chloe, her Calais), and finally, the third intervention the male subject seeks to take love, and she accepts.

Here is the text latino:

Donec gratus eram tibi
nec quisquam potior bracchia candidae
cervici iuvenis dabat,
Persarum vigui rege beatior.

«donec non alia magis
arsisti neque erat Lydia post Chloen,
multi Lydia nominis
Romana vigui clarior Ilia.»

me nunc Thressa Chloe regit,
dulcis docta modos et citharae sciens,
pro qua non metuam mori,
si parcent animae fata superstiti.

«me torret face mutua
Thurini Calais filius Ornyti,
pro quo bis patiar mori,
si parcent puero fata superstiti.»

quid si prisca redit Venus
diductosque iugo cogit aeneo,
si flava excutitur Chloe
Patet reiectaeque ianua Lydiaa?

"pulcrior
sider quamquam ille est, et inprobo your Levior cortico
iracundior Hadria, tecum vivere
Love Me, lubens obeam tecum."

Fray Luis de León (1527-1591), eminent poet in both their original compositions in his translations of classical Horatian Ode poured with great elegance and accuracy:

HORATIO: While you agradava, and while none
, happier, braces añudava

the beautiful white neck, rather than
Persian king was happy.

LYDIA: And I loved
until another more than me, or wretched, By Cloe
dexaste me,
of all praise, and more
that Ilia was held.

HOR. A
agora send me the Cloe, who sings and plays sweetly vigüela
the sound;
and because their lives are enhanced
, I will die happily.

LY. And I with inflamed
Calais I love and am loved, and if the benign

fate gives longer life, give me
mine lost for good.

HOR. But what if the game becomes
Love, and turns to give firm lacquered;
if my door after the blonde Cloe
secluded
Lydia is open and free entry?

LY. Although Calais is beautiful
than the sun, and you more brave and fierce
that stormy sea, but
light pen,
live and die I want you.

Finally, as the third stage of the poem's poetic evolution, Luis Alberto de Cuenca (Madrid, 1950), whom I quoted another poem in this blog, wrote a "variation" or free version of the poem of Horace, with a more synthetic:

ON AN ODE OF HORACE

-
While I liked and did not
rival that went round your neck with your arms,
was happy.

-
When you loved me and had no eyes for another
and were my faithful slave,
was happy.

- It is now my mistress
a woman more beautiful and more friendly
you. And he has money.
I'm happy.

-
you can not compare the man with whom I go out now.
Young, rich, peaceful.
I'm happy.

- What if I told you:
see, love makes the yoke broke, leaving the idiot that
,
back to me?

- Although he is more beautiful
the sun, and thou the shadow of a shadow,
with you, my life, I
died.

I estimate that there is no full declaration of love more beautiful than Lidia leads Horatio in the last verse of the ode America:

tecum vivere Love Me, tecum obeam lubens
("you love to live, you die willingly.")