Girlshare.ro_traduceri Toate de Anul Trecut

7/28/2019 Girlshare.ro_traduceri Toate de Anul Trecut

1/9

1. Dupa treizeci de ani de zbuciumari desarte, ma intorceam acolo de unde pornisem in lume. Cautasem fericireaprin toate colturile pamantului si nicaieri n-o gasisem. Nici in zgomotul celor mai mari, pline de culoare si neadormiteorase, nici in iubirea celor mai apropiti oameni si nici chiar in inima mea. Cu cat o ravneam mai insetat, cu atat ease ascundea mai adanc. Si viata ma gonea intruna, ma umilea, imi reteza aripile Apoi indrazneala m-a parasit.Ochii mei nu mai priveau inainte; infricosati de intunerecul nepatruns, se intorceau tot mai des inapoi (L. Rebreanu Cuibul visurilor)After thirty years of deceitful torments, I was coming back from where I had left into the world. I hadbeen looking for happiness all over the world and I found it nowhere. Neither in the noise of thegreatest, colorful, and active towns, nor in the love of the nearby people or even in my heart. The moreI wanted it, the deeper she was hiding. Moreover, life was always driving me away, humiliating me,cutting my wings. Then courage left me. My eyes no longer looked forth; frightened by theimpenetrable / dense darkness; they were more often looking back.

2. E o tacere adanc?, de pustiu insorit. Din cand in cand pe sosea trece cate o masina. In rest nimic. Si chiar acestemasini nu fac decat sa accentueze senzatia de singuratate. Nu stiu de unde vin, incotro se duc, nu exista indicatoaresi am impresia bizara ca nici n-are importanta daca se duc intr-o directie sau alta. Toate vin parca dintr-un desert sise indreapts spre alt desert prin aceasta oaza, iar cei ce stau la volan par fictiuni ale singuratatii insasi. Fluturi grasi,puternic colorati, niste flori mov si, ceva mai departe, ruinele secetoase de la Uxmal, care se vad de aici, intrerup

pentru cateva clipe monotonia cursei lor.(O. Paler Caminante)It is a deep silence, of a sunny desert. Once in a while, a car passes by the road. As for the rest,nothing else. In addition, these cars do nothing but emphasize the feeling of loneliness. I dont knowwhere they are coming from or going to, there are no traffic signs and I have the strange feeling that isnot important if they are going one way or another. All seams to come from one desert and go toanother through this oasis and the drivers seam to be fictions of loneliness itself. Fat butterflies,strongly colored, some mauve flowers and a little bit far away the arid ruins of Uxmal that one can seefrom here, break off for a few moments the monotony of their race.

3. Oamenii treceau pe langa mine, imi dadeau binete si ma priveau cu mirare. Imi venea sa-i opresc, si le spun oriceimi trecea prin minte, sa le spun ca eu sunt cel ce acum treizeci de ani cunosteam tot satul, cel care aici amcunoscut fericirea Si mereu nu indrazneam. Nimeni nu ma mai cunostea si nici eu nu mai cunosteam pe nimeni.Ma simteam strain de ei, cum se simteau si ei straini de mine Cainii ma latrau din toate ograzile. Copiii se holbaula mine lung, nedumeriti, ca si cand ar fi vazut o stafie. Casele, care odinioara imi radeau prietenos, acuma clipeau

jalnic din ochii lor mici si negri(L. Rebreanu Cuibul visurilor)People were passing by my side, were giving me good-day (greeting me) and looking astonished at me.I was tented to hold them back, to tell them whatever I was thinking, to tell them that I was the onethat, thirty years ago, knew he whole village, the one that met happiness here... And I would not dare.Nobody knew me and I knew nobody as well. I felt as an outsider among them, as they also consideredme an outsider...... Dogs were barking at me from all courtyards. Children were staring at me, as theyhave seen a ghost. The houses, that used to smile friendly at me, now seemed to blink pathetically withtheir little black eyes....

4. Mananc ce gasesc ca sa traiesc Si nu stiu pentru ce. Te pomenesti ca unii isi inchipuie ca pun la cale vreun

complot. Nici varu-meu Gavrilcea nu face vreo isprava prin pustietatile astea. M-am trezit cu el deodata intr-o vara. Efoarte secret. Cum a picat aici, nu mi-a spus decat prin aluzii. Cred ca a fost paraautat. Si-a inchipuit ca aici are sagaseasca o atmosfera favorabila unei actiuni in cercurile aristocratice. S-a gandit insa prea departe. Ce anume afacut el catava vreme, cat a fost plecat, nu stiu, dar pot sa te asigur ca, de cand a venit aici la mine, sta, m? nso?e?te la vanatoare ori doarme.(G. C?linescu Scrinul negru)I eat what I found in order to survive and I do not know for what. You might think that some peopleimagine that I plot something. Not even my cousin Gavrilcea does something important around thesewildernesses. One summer he suddenly came by. It is top secret. How he ended up here, he did not tellme but through allusions. I think he was parachuted. He imagined that here he would find anatmosphere favorable to some action among aristocratic environment. However, he thought too far.Exactly what did he done for a while, when he was gone, I do not know, but I can assure you that, sincehe came here at my place, he sits back, goes hunting with me or sleeps.

5. Autorul vorbeste, cel mai adesea, printre randuri. [] Cele mai bune carti sunt acelea in care autorul are curajulsa priveasca prin gaura cheii. Asa, cel putin, credea Paul Nicodim. Isi inchipuia chiar ca menirea unui bun romancier


2/9

este implinita in clipain care acel fascicol de lumina poate fi indreptat spre interiorul creierului uman. Desigur, drameexista si pe strada le poti privi de la fereastra. Exista si in dormitor le privesti, asa cum am spus, prin gauracheii; cele din mintea omului se descopera in urma operatiilor chirurgicale facute cu lama inteligentei. Nici una,credea el, nu este mai fascinanta decat drama inimii.(P. Anghel Dincolo de iubire)The author often speaks between lines. [] The best books are those where the author has the courageto glance through the keyhole. Thus, at least Paul Nicodim thought. He even figured that the vocation

of a good novelist is accomplished the moment when that light beam may be directed inward thehuman brain. Certainly, there are dramas also on the street you can see them through the window.There are also in the bedroom you can see them, as I said, through the keyhole; through surgeryperformed with the blade of intelligence are discovered those inside the human mind. None, hethought, is more fascinating than the drama of the heart.

6. Stii, cand stai si te gandesti la viata ta... ti se pare fara sens cateodata, si descoperi ca este amara... Stii ce esteiubirea? Ideea de iubire? O moneda de schimb, o moneda cu miros rar, pe care oamenii o folosesc, fiind descoperirealor, ca sa-ai plateasca bucuria si placerea de a exista impreuna, de a ne imparti si necazurile si bucuriile, de a nesprijini unul pe altul, de a face copii, de a avea nepoti... Copii care isi incalzesc sufletul, copii asupra carora iti reversi

dragostea, esenta umana care ne caracterizeaza si care, altfel, s-ar irosi si, ca un foc ce nu este reaprins, s-ar stingedefinitiv, si am ramane cu senzatia inutilitatii.(Ion Lil? Insula)You know, when you sit and reflect upon your life sometimes it looks senseless and you find out thatit is bitter Do you know what love is? The idea of love? A currency of exchange, a currency with arare perfume that people use, being their discovery, in order to pay for the joy and pleasure ofcoexisting, of sharing sorrows and joys, of supporting each other, of having babies, of havinggrandchildren Children that warm up your soul, children upon whom you pour out your love, humanessence which characterizes us and which, otherwise would waste and, as a fire which has not beenrelighted, would definitely be extinguished, and we would be left with the sensation of needless.

7. Era duminica, zi minunata pentru a confectiona iluzii si ganduri nastrusnice. Nu ai nici o obligatie fata de nimeni,nici macar fata de tine. Pe seama fotografiei asupra careia isi oprea mereu privirile neavand altceva mai bun defacut si, mai ales, datorita faptului ca se gasea atarnata la capatul patului sau, acolo unde-si odihnea picioarele,brodase deja cateva intamplari si se distra cautand sa descopere care dintre ele ar putea fi mai aproape de adevar.[] Singura camera a batranei, in care locuia acum el, era sufocata de lucruri agonisite intr-o viata. Cam putine,totusi, pentru o viata, ?i spunea Cristian Manta(R. ?uculescu Vanzatorul de aripi)It was Sunday, a wonderful day to manufacture illusions and strange thoughts. You have nocommitment to anybody, not even to yourself. Based on the picture upon he always stacked his viewhaving noting else better to do, and especially, due to the fact that it was suspended over theextremity of his bed, where he relaxed his legs, he already made up some stories and he was having agood time trying to discover which of them could be more close to the reality. [] The single roompertaining to the old woman, he inhabited now, was suffocated by things gathered in a lifetime. Somefew, anyway, for a lifetime, Cristian Manta was saying to himself

8. Nimic nu face un barbat mai sigur pe el si mai fericit decat credinta ca este iubit. Aceasta credinta are putere nu

doar sa mute muntii din loc, ci chiar sa-l transforme pe cel ce are o asemenea convingere. Un barbat caruia femeiaiubita ii va spune ca are talent va sfarsi prin a avea talent, caci in adancul lui se vor rascoli acele forte datatoare deviata, instinctele creatoare, pana cand se va inalta la treapta pe care l-a urcat adoratoarea sa. [] Un barbat este,in toate cazurile, creatia unei femei. A unei femei care s-a ocupat de el sau a uneia care l-a parasit. Primei ii vademonstra, prin tot ce va face in viata, ca a avut dreptate, celeilalte ca s-a inselat.(P. Anghel Dincolo de iubire)As nothing else, the belief that somebody loves him makes a man more self-confident and happier. Thisbelief has the power to not only move the mountains but also even to change the one who has such abelief. A man who is told by the woman he loves that he has a talent, will end up having talent, becausein the depth of his heart those giving live forces, creative instincts, will be awoken until he will rise upto the level his idolatress lifted him. [] In any cases, a man is a woman creation. Of a woman thattook care of him or of a woman that left him. To the first he will prove, by everything he will accomplishin his life, that she was right, to the other that she was wrong.

9. Pentru a respecta adevarul, trebuie sa spun ca aveam ca orice barbar, fie el si de ocazie, o veritabila superstitie aCetatii eterne, pe care nu ma puteam opri sa n-o admir. Stiam foarte bine ca Roma cuceritoare a dat filosofiei


3/9

grecesti cele mai bune sosele din antichitate, ca sa se raspandeasca in lume, precum si cele mai puternice armatedin acea vreme si dreptul cel mai evoluat, ca s-o apere. Roma pagana a dat crestinilor o limba in care sa se roage.Mai mult decat orice alt oras, Roma reprezinta Orasul. Si cine ar putea nega valorile civilizatiei romane? [] Apoi,treptat, m-am trezit privind cu oarecare intelegere, poate chiar cu simpatie, spre tabara barbarilor.(O. Paler Viataca o corida)In order to respect the truth, I have to say that I had as any barbarian, even being by chance (a

barbarian), an authentic superstition about the everlasting City, that I could not stop admiring. I knewvery well that the conqueror Rome gave to the Greek philosophy the best roads in antiquity, in orderfor it to be spread all over the world, also the most powerful armies in that time and the legal law themost advanced to defend it. The pagan Rome gave to the Christians a language to pray. More than anyother city, Rome means The City. Moreover, who could deny the values of the roman civilization? []Then, systematically, I found myself looking with certain compassion, maybe even with sympathy, tothe barbarians camp.

1. Valid records prove that an audacious Chinese named Wan Hoo experimented with rocket travel early in thesixteenth century. According to these records, Wan attached two giant kites to a great frame that he hadconstructed, fastened forty-seven big gunpowder rockets to it to provide propulsion, and put a saddle in the centerfor himself. He mounted the saddle and had each of forty-seven torchbearers light one of the rockets. When the

smoke had cleared and the roar subsided, it was evident that Wan had gone traveling, but to where, no one wasever able to discover.(H. S. Firestone, Jr. Man on the Move)Documente autentice demonstreaza ca un chinez indraznet, numit Wan Hoo, a experimentat calatoriacu racheta la inceputul secolului al XVI_lea. Conform acestor documente, Wan a atasat doua zmeiegigantice unui cadru urias pe care l-a construit, a fixat pe acesta patruzeci si sapte rachete mari cu prafde pusca pentru a asigura propulsia si a montat in centru o sa pentru el insusi. S-a urcat in sa si a puspe fiecare din cei patruzeci si sapte de purtatori de torte sa aprinda cate o racheta. Cand fumul s-arisipit si zgomotul s-a domolit, a fost evident ca Wan a plecat in calatorie, dar in ce directie nimeni nu afost in stare sa descopere.

2. Earning his living with stone tools, and struggling for his existence in a harsh and frigid climate, Neanderthal Manmanaged to keep going in a subarctic environment for almost one hundred thousand years. Civilized man has been

on earth for perhaps a twentieth of that time. True, we have created a magnificent industrial society, producedmachines that do much of our work for us, and gathered together an ever-increasing store of knowledge about theuniverse. Yet, we have also devised instruments that can wipe us and our grand accomplishments off the face of thisplanet in a few minutes.(A. Gregor The Adventure of Man)Castigandu-si existenta cu ajutorul uneltelor din piatra si luptandu-se pentru viata lui intr-un climataspru si extrem de rece, omul din Neanderthal, a reusit sa continuie sa existe intr-un mediu subarcticaproape o suta de mii de ani. Omul civilizat exista pe pamant poate doar de a douazecia parte din aceltimp. Intr-adevar, am creat o magnifica societate industriala, am produs masini care fac mare parte dinmunca noastra pentru noi si am adunat la un loc o mare cantitate de cunostinte, in continua crestere,despre univers. Cu toate astea, am conceput si instrumente care ne pot sterge, pe noi si marile noastrerealizari, de pe fata acestei planete in cateva minute.

3. For nearly 2,000 years before the seventeenth century, philosophers and priests insisted that man, and thereforethe earth, was the center of the universe; that the sun, moon, planets, and stars were set in revolving spheres,because the sphere was the most perfect form imaginable, and that, consequently, space was finite; that the


4/9

physical laws which applied on earth did not hold true in the heavens; and that any attempt to challenge the veracityof such a view of the universe was heresy punishable by death.(H. S. Firestone, Jr. Man on the Move)Cu aproape 2000 de ani inaintea secolului al saptesprezecielea, filozofii si preotii pretindeau ca omul siprin urmare Pamantul, era centrul universului; ca soarele, luna, planetele si stelele erau aranjate insfere care graviteaza, deoarece sfera era cea mai perfecta forma imaginabila si deci in consecinta,spatiul era limitat; ca legile fizice care se aplicau pe pamant nu erau valabile in cer; si ca orice

incercare de a contesta veridicitatea unor asemenea pareri despre univers era erezie pedepsita cumoartea.

4. Today there stands before us an opportunity of equal magnitude Picturephone service. It is a small device,basically an extension of the common telephone, with a screen only 5 inches high and 5 inches wide and a controlunit with a number of push buttons. It is for the future, not for today, and its impact on society could be enormous. Itwould make conversations more meaningful, make many trips and conferences unnecessary, and serve hundreds ofother useful purposes that could enrich the daily lives of millions of Americans.(J. Newman Wiring the World)Astazi ni se ofera o oportunitate de aceeasi importanta serviciul de Videotelefonie. Acesta este unaparat mic, de fapt o extensie a telefonului obisnuit, cu un ecran de doar 5 inchi inaltime si 51/2 incilatime si o unitate de control cu un numar de butoane. Este de viitor, nu pentru zilele noastre siimpactul lui aspura societatii ar putea fi enorm. Ar face conversatiile mai usor de inteles, multeconferinte si calatorii inutile si ar servi altor sute de scopuri utile care ar putea imbogati vietile de zi cuzi a milioane de americani.

5. The more closely the audience can identify with the singer and his material, the more meaningful the ballad willbe. In the folk community the ballad serves the universal need for story and song by providing both together in onemoving work of folk art. It offers excitement and conveys some of the pity and terror of tragedy. To the outsider itgives a deeper understanding of ways of life different from his own. And to everyone who reads them or listens tothem, the simple ballad stories offer memorable scenes from the ever-changing drama of human life.(T. Coffin (ed.) American Folklore)Cu cat publicul se poate identifica mai mult cu cantaretul si materialul acestuia, cu atat maisemnificativa va fi balada. In comunitatea populara, balada serveste nevoia universala de poveste sicantec oferindu-le pe amandoua impreuna intr-o singura opera de arta populara, emotionanta. Aceastaofera si transmite o parte din mila / jalea si groaza tragediei. Necunoscatorului (celui care nu face pate

din comunitate) ii ofera o intelegere mai adanca a vietii, diferita de a lui. Si oricui care le citeste sau leasculta, povestile simple din balade, ii ofera scene memorabile din drama vietii umane in continuuaschimbare.

6. About ten thousand years ago some of these settled-in hunting folk were already inhabiting the hilly uplandregions [], and living on the wild grains and cattle that abounded there. It did not take them long to discover thatthey did not need to rely on wild animals and plants for food. They themselves could grow the grain and raise

animals. This discovery was one of the greatest triumphs of early man, perhaps the summit of all his achievements.It enabled him to lift himself out of savagery into civilization.(A. Gregor The Adventure of Man)Cu aproape zece mii de ani in urma cativa din colonistii vanatori de folclor, locuiau deja regiuniledeluroase de la munte [] si traiau cu cereale salbatice si vite care se gaseau din abundenta acolo. Nule-a luat mult sa descopere ca nu este nevoie sa se bazeze pe animale salbatice si plante pentru hrana.Ei insisi puteau sa cultive cereale si sa creasca animale. Aceasta descoperire a fost una din cele maimari victorii ale omului timpuriu / primitiv, poate apogeul tuturor realizarilor sale. Aceasta i-a permis sase ridice din salbaticie / primitivism si sa intre in epoca civilizata.

7. Agriculture conferred tremendous advantages upon mankind. The worlds population could now grow beyondthe few scattered million supported by hunting. In a hunting band, where food was scarce, children were in the way;they had to be fed years before they were old enough to do their share in bringing home game. But in a farming

family children were welcome. The birth of a child meant not so much another mouth to feed as another hand tohelp out in the fields. For everyone the very old as well as the very young there was work and food.(A. Gregor The Adventure of Man)


5/9

Agricultura a conferit avantaje extraordinare omenirii. Populatia lumii putea acum sa creasca pestecele cateva milioane razlete care traiau din vanatoare. Intr-un grup de vanatoare, unde hrana eraputina, copii incurcau; ei trebuiau hraniti ani intregi inainte de a fi indeajuns de in varsta ca sa-si aducacontributia la aducerea vanatului acasa. Dar intr-o familie de fermieri copii erau bineveniti. Nastereaunui copil insemna nu atat inca o gura de hranit cat inca o mana de ajutor la camp. Pentru toti ceifoarte batrani ca si cei foarte tineri exista de lucru si mancare.

8. Those of us who know what is written by man know also that it cannot be trusted to reveal the whole of humanity;we need as well the unconscious realms of our minds and souls, which derive from a higher as well as a lower sourcein their vitality and drive. Sometimes the vitality is best found in folksongs and folktales [], which often seem to bethe best medicine for a lonely crowd of alienated intellectuals who are too much aware of the constant shifting ofsophisticated standards and therefore may gain comfort from tradition even when, through revolt, they re-create it.(T. Coffin (ed.) American Folklore)Aceia dintre noi care stiu / cunosc ce este scris de mana omului stiu de asemenea ca pe aceasta nu tepoti bizui sa demonstreze intregul umanitatii; avem nevoie si de sfera subconstientului mintilor sisufletelor noastre, care deriva atat dintr-o sursa superioara cat si inferioara a vitalitatii si conduitei lor.Uneori vitalitatea se regaseste cel mai bine in cantecele si basmele populare [], care adesea par a ficel mai bun medicament pentru o multime singuratica de intelectuali instrainati care sunt preaconstienti de schimbarea constanta a standardelor sofisticate si in consecinta pot obtine alinare dintraditie chiar si atunci cand, prin revolta, o recreaza.

9. And in the second half of the fourth millennium, somebody had an idea for one of the greatest inventions in theentire history of mankind. He thought of applying rotary motion to a vehicle and created the wheel. There areconflicting theories about the origin of this brilliant device. Some authorities believe that it evolved from the roller.Centuries earlier, they say, men had conceived the notion of cutting a tree into small logs and placing the logs undera heavily loaded sledge. The men then pushed the sledge forward until it rolled off the logs. They moved the logsahead, set the sledge on them again, and repeated the process.(H. S. Firestone, Jr. Man on the Move)Si in a doua jumatate a mileniului al patrulea, cineva a avut o idee pentru una din cele mai mari inventiidin intreaga istorie a omenirii. Acesta s-a gandit sa aplice o miscare de rotatie unui vehicol si a creatroata. Exista teorii contradictorii referitoare la originea acestui dispozitiv genial. Unele autoritaticonsidera ca acesta a evoluat de la tavalug. Cu secole in urma, spun ei, omul a conceput notiunea de

taiere a unui copac in mici busteni si de plasarea bustenilor sub o sanie incarcata din plin. Omul apoiimpingea sania inainte pana aceasta se rostogolea pe busteni. Mutau bustenii inainte, puneau sania dinnou pe ei si repetau procedeul.

Pe la cinci ani, am descoperit eu nsumi c puteam s ignor, la nevoie, ceea ce nu-mi convenea din realitate. Tatam nvase s silabisesc slova tiprit i s numr pn la douzeci. Ca s se asigure c25 mi continuam singurinstrucia n lipsa lui, mi lsa o fascicul dintr-un roman de aventuri pe care-l citea el i mi ddea n grij puii degin. Scrupulos din natere, mi luam n serios datoria. Nu m micam din curtetoat ziua atunci, nu m lsamispitit de ceilali copii care m chemau s cutm cuiburi pe miriti, de team s nu vin uliul, s dea iama prin puiinotri. Stteam pe treptele casei, n vacarmul de lumin care sclda la amiaz curtea noastr sau la umbra porii

nalte de scnduri, m luptam cu peripeiile din fascicul i, din cnd n cnd, m ridicam s numr puii. Dup ce m

liniteam, citeam mai departe sau m jucam pe grmada de nisip de sub mrul btrn i rcoros din apropiereafntnii. ntr-o zi, ns, am avut o surpriz neplcut. Am numrat pe degete pn la douzeci, dar mai erau pui!


6/9

Tata uitase s m avertizeze c puii notri sporiser peste limita cunotinelor mele aritmetice i c dup ceajungeam la douzeci trebuia s-o iau de la nceput ca s-mi in evidena. Drept care am intrat n panic. Dac nu m

nel, am i plns. Disperat, am ieit n uli s-i cer ajutor sorei mele care, mai independent dect mine i maimare cu cinci ani, prefera s stea cu copiii de seama ei. Dar ulia era pustie. Am smuls cteva smocuri din iarba carecretea bezmetic i tnr pe marginea anului, am dus-o puilor ca s-i strng la un loc i am numrat din nou,atent. n zadar. Erau mai muli. M ntrebam ce s fac. Nu mi-a dat prin cap s-i socotesc separat pe cei care

depeau nvtura mea, aa c pn la urm am apelat la alt soluie pentru a iei din impas. Am numratdouzeci de pui, iar pe ceilali i-am alungat din curte. n felul acesta, am pus realitatea de acord cu cunotinelemele i m-am apucat s silabisesc mai departe fascicula din romanul de aventuri, linitit, ba chiar mndru c mdescurcasem. Octavian Paler Viaa ca o corid pg. 24At about five years old I discovered by myself that I could ignore, when needed, what wouldnt suitme from reality. My father taught me how to spell the ink and count up to twenty. To be certain that Iwas continuing my instruction in his absence he would leave me an installment from an adventurenovel which he was reading and would let in my care the chickens. Innately conscientious, I took inserious my assignment. Then I wouldnt leave the yard, I wouldnt let myself allured by (the) otherchildren, who called me to look for nests on stubbles, afraid for the kite/goshawk to come, to makehavoc among our chickens. I was lying on the front steps ,in the rumpus of light that bathe our yard inthe afternoon or at the shadow of the tall board gate, fighting with the installments adventure and,from time to time I would get up to count the chickens. After I had regained my ease, I would read

further or play on the sand clump beneath the old and chilly apple tree near the fountain. One daythough, I had an unpleasant surprise. I counted on my fingers up to twenty, but there were morechickens. My father had forgotten to forewarn me that our chickens multiplied/increased over the edgeof /beyond my arithmetic knowledge and that after I got to twenty I had to start it over to keep myrecords. Therefore I panicked. If I am not wrong/mistaken I even cried. Desperate, I went on thealley/street to ask my sister for help who, more independent then me and with five years older,preferred spending time with children her age. But the alley/street was empty/desolate. I plucked a fewtufts/tussocks of the grass that was wildly and fresh growing on the sideway of the ditch, and gave it tothe chickens to gather them in one place and counted them again, carefully. Hopeless. They were toomany. I was wondering what to do. It never crossed me/came across my mind to separately count thosewho got beyond my knowledge so I finally resorted to a different solution to overcome this dead end. Icounted twenty chickens and banished the rest from the yard. In this way I made an agreement

between reality and my knowledge and started to spell forward the adventure novel installment,easeful, even proud that I got along.

Fr nceput i fr sfrit [] Asta e, murmura gndul fluid, dac ajungi s acoperi genunea dintre aceste doupresupuse capete, mai poi spera s nelegi cte ceva din aceast aventur a simurilor care este viaa Dar cineare rgaz pentru a cugeta smerit la nesfrirea care ne nconjoar? Uneori filosofii o fac pe apucate, de dragul ideilorrepede convertibile n cri, care de fapt spun cu mult mai puin dect ale celor ce plantau mai nti seminelefaptelor i pe urm descopereau dreapta cretere i nflorire a cugetului Ei nu ineau s fie infailibili, o luau ncet,pe jos, pe crare, dnd adevrurilor mireasma celor ce sunt, nu a celor ce poate vor fi Cugetau despre lume ca icum lumea nsi se hrnea din cea ce ei deslueau i scoteau la lumina cuvntului, a nelegerii ncepeau, debun seam, tot cu descifrarea acestui frnceput i fr sfrit, ce poate fi asemnat cu o curgere, cu o micareperpetu. Poate c, lsndu-te purtat de fascinaia micrii, n adnca ei necuprindere, reueti a-i limpezi ct dect ideea duratei eterne []

Ai spune c filosofia din asta s-a nscut, gndi mai departe Paul Damian. Din ncercarea de a explica micarea, adicdevenirea Naterea i moartea ca procese ciclice i infinitul care curge naintea lor i dup ele Devenirea esteprimul gnd concret i, prin aceasta, primul concept Devenirea include apariia i trecerea. Sunt momentele ei.Devenirea este nelinitea fr oprire, care se stinge ntr-un rezultat linitit Deci, fr oprire, fr nceput i frsfrit Cci dac lipeti nceputul i sfritul, separndu-le ca momente n sine, obii nimicul Nicolae Boghian Stare de ecou pg. 39No beginning and no endingThis is it, the flowing thought murmured, if you come to cover/smotherthe abyss between these so called ends, you can still hope to understand (a little) something from thisadventure of feelings/senses which is life But who has time to quakerly muse upon the unending thatsurrounds us? Sometimes philosophers intermit, for the sake of ideas convertible in books, which infact/actually tell us little much then those who plant the seeds of act first and then discover the rightgrowth and blossom of muse T hey didnt pretend to be faultless, they went slow, on foot, on thepath, offering truths the scent of what they are, not of what they can be. They would muse upon

the world as if the world itself was nourishing with what they discerned/perceived and bring in the lightof word, of good will They began too, as likely as not, with unriddling /solving this no beginning and


7/9

no ending which can be resembled to a flow, to a perpetual moment. Maybe, by letting yourself carriedaway by the fascination of the movement, in its deep uncoverage, you manage to clarify to yourself alittle the ides of eternal lasting[]

You would say that philosophy was born from this, thought forward Paul Damian. From the attempt todefine the movement, namely, the becoming/evolution Birth and death as cyclic processes and theinfinity that flows before them and after them Becoming/evolution is the first concrete thought and

therefore, the first conceptBecoming/evolution includes appearance and passing. They are momentsof it. Becoming/evolution is restlessness without a stop, which fades into a restfulness result Hence,without a stop, with no beginning and no ending.Because if you stick the beginning and the ending,separate them as whole moments, you get the nothingOrvas i observase nelinitea i Emil Sandra s-a convins atunci dea binelea c frmntrile se aud, uneori fac chiarzgomot ca de cascad, vuiesc. i plcea acest meter pietrar, mai ales c i povestise cum lucrase el cu un btrnsculptor care, i la vrsta lui naintat, i punea tot felul de ntrebri unele chiar cu glas tare, atunci cnd l vedeaintrnd n atelier Ce spui, Orvas? Dar nu ddea jos husa de pe piatr, dimpotriv, o acoperea i mai bine, s nu sevad nimic, cu toate c Orvas o vzuse n attea rnduri ceva nc nedefinit la care el tot lustruia. Sculptorul decare-i vorbea era adeptul lui Brncui, socotind c printr-o continu finisare se va ajunge nendoielnic la perfeciune.ntr-o diminea a avut loc drama pe care Orvas n-ar fi putut s-o uite niciodat: pasrea cu gtul lung mai lungdect ntregul ei corp fiindc sculptura imagina o pasre cu ciocul n vzduh, ntins n aa fel de parc ar fi voit nu

s-i ia zborul, ci s ciuguleasc stelele, s-a spart. Adic i s-a frnt gtul. Gtul acela att de alungit i att de subireaproape ca un ac! i ct muncise! Se lsase pe podea i se uita pierdut la capul czut. Din ciocul psrii prea s sefi prelins atunci sngele. Niciodat Orvas, meterul pietrar, nu vzuse ntiprit pe faa vreunui om att de cruntdurerea. S-a gndit la o soluie: e imposibil s nu se fi putut repara. Nu numai c exist attea materiale cu care sepoate lipi piatra frnt sau sfrmat chiar n nenumrate buci, dar s-ar fi putut folosi pn i un fel de urub deoel! Sculptorul s-a uitat la el cu privirea aproape stins. Apoi a ipat: Nu nelegi, omule, c sculptura asta era vie?Atunci chiar c a neles meterul pietrar c artistul trise cu adevrat tot acel proces de creaie. S-a dus cu gndulla un om din satul su, nvtorul, a crui nevast nu fcea copii. A fost cu ea pe la toi doctorii i cnd i luase adiode la dorina lui cum se ntmpl n basme soia i-a nscut un bieel. Pentru el, de atunci, toate clipele au fostfericite. Pn cnd, dup civa ani, exact cnd copilul devenise dea dreptul fermector, s-a mbolnvit i a murit. Ocrim a naturii, bolborosea Orvas.Ce vrei s faci? l-a ntrebat pe Emil Sandra. La ce te gndeti? Emil Sandra i-a povestit ce-i trecea lui prin cap:

ncepnd cu izvorul i ncheind tot cu izvorul, fiindc tocmai ameninarea aceea i-a declanat lui hotrrea de a fixa

ntmplarea ntr-o piatr, precum pe vremuri marile btlii n columne. Meterul pietrar l-a ascultat cu o ateniemrit din ce n ce, pn la ncordare, pe urm l-a luat pe dup umr avea minile puternice, muchiuloase i auieit afar sub luna de toamn. I-a povestit ntmplarea de la Rotunda. O ntmplare care se petrecuse la Arge icare se asemna ntocmai cu aceasta de aici. Oamenii de la puul Rotunda ateptau clip de clip izbucnireaizvorului. Izvorul nu se arta, dar ei, spnd mai departe cu mainile lor pmntul de la rdcinile munilor, apropiautot mai mult n contiina lor secunda aceea, ca o sgeat neagr despicnd rocile i prvlindu-le, mpinse de apepeste munca lor. ntr-o diminea povestea Orvas care lucra atunci chiar n subteran la zidirea canalului deaduciune cu piatr de pavaj galeria pruse s trosneasc din toate ncheieturile, ca de un cutremur. Dinstrfunduri se auzeau sunete nbuite, asemntoare zgomotului pe care-l fac nite cai n galop. Fonetul creteaaducnd cu el pe mii de frunze o adiere rece, din ce n ce mai rece tii cum e n galerie cnd ncepe curentulsubteran! i oamenii i cutau privirile, dar niciunul nui mrturisea frica lsat, deodat, ca un nghe, i-nrespiraie. Vasile Bran Rania grea a iubirii pg. 50

Orvas observed his restlessness and Sandra Emil was then truly convinced that unrests/disquietudesare heard, sometimes they even make noises as waterfalls, they roar. He liked the quarry man,especially because he had told him how he had work with an old carver/sculptor who, even at his elderage, kept asking himself different questions- some of them even out loud, when he saw him enteringthe shop/shed What do you think, Orvas? But he wouldnt take the wrapper off the stone, on thecontrary, he would wrap it better, for nothing to be seen, though Orvas saw it so many times-something undefined which he kept polishing. The carver he told him about was Brancusis follower,considering that a continuous finish will certainly lead to perfection. One morning a drama took placewhich Orvas could never have forgotten: the bird with long neck -longer then its entire body- becausethe sculpture represented a bird with its pecker in the air, laid as if it wouldnt want to fly away, butto pick the stars, broke. That is to say it broke its neck. That very long and thin as a needle neck. Andhow he worked/toiled! He set on the floor and hopelessly stared at the fallen head. From the birds

pecker then seemed that blood had seeped. Never had Orvas, the quarry man, seen pain/grief worn sosevere on any mans face. He thought of a solution: it is impossible that it couldnt have beenfixed/repaired. Not only that there are so many materials with whom you can rejoin the broken or


8/9

rubble stone even in uncountable pieces, but also it could be used a sort of steel bolt! Thecarver/sculptor looked at him with his sight almost ghastly. Then he screamed: Man dont youunderstand that this sculpture was alive? Then the quarry man really understood that the artistgenuinely lived the entire creation process. He thought about a man from his village, the teacher,whose wife couldnt have babies. He went with her to all doctors and when he said goodbye to hiswish the way it happens in fairytales- his wife had borne a baby boy. Since then all moments were

happy for him. Until, after a few years later, right when the child became truly charming, he got ill anddied. A murder of the nature, babbled Orvas.What do you want to do? he asked Sandra Emil. What are you thinking? Emil Sandra told himwhat he was thinking: beginning with the spring and ending with the spring, because exactly thatthreat released his decision to reflect the happening/event in the stone, just like old days when thegreat battles (were reflected) in columns. The quarry man listen with a growing attention, up tointensity, he then put his hand around his shoulder- he had strong and muscular hands- and went outunder the fall/autumn moonlight. He told him the story from Rotunda. A story that took place in Argesand which was very similar with this story. The men from the Rotunda draw well were waiting for thespring to gush at any moment. The spring didnt show up, but by digging forward the root mountainmould with their machines, they closely approached in their consciousness that second, like a blackarrow splitting and swooping upon rocks, dragged by the waters over their work.One morning- told

Orvas who was then working right underground to build the quarrel adduction

the gallery seemed tocrack from all its joints, just like an earthquake. From the bosoms were heard muffeld noises, like thenoises made by horses in gallop. The lisp increased bringing with it a cold breath on thousands ofleaves, colder and colder,- you know how it feels in the gallery when the underground draft begins!-andmen were glancing at each other, but no one would confess his suddenly fallen fear, like a frost, evenin their breath.

Toate talentele i virtuile din lume nu-i ajut la nimic, dac n-ai o doz zdravn din compoziia femeii genetice. ieu am? Tu ai, ai tot, dar eti rea, ascunzi, striveti, stingi. Ce-o fi asta? manie, boal? Alt boal? Una contrar? Unmiez de adevr e, n ce spune. mi reazem capul de umrul lui. Eti agresiv i uneori agresivitatea capt o notvulgar. Cum aa? Te doresc, iubirea fr dorin e curat schizofrenie. S iubeti un om i s nu-l vrei pentru tine,

s iubeti un om i s nu te vrei pentru el? Anomalie psihic. Agresiv? Nu, nfometat. Tu nu tii ce e foamea? Nu suntlacom, pot tri cu te miri ce. Lingav, anorexic? Ce gust are pentru tine, viaa? gustul crilor, al baletului?Mnnci fr plcere, bei, dormi fr plcere. Nici n amor n-o gseti, nicieri? Ia nu-mi purta tu de grij! A ghicit.Crete o fibr rigid n mine. Fric de gesturi spectaculoase, impropriu spus spectaculoase, ptimae. De ce fric?Nu tiu unde m-ar duce, unde m-ar tr. S-ar vedea discrepana. Unde ai fost duminic? Hai, spune, i cu cine? culogodnica? Nu zice nimic. Nu te caut? Dac ar intra peste noi, ce-ai face? Ai fugi pe fereastr? M scruteaz ager,

ptrunztor. Cte fee ai tu? Capete mi-ai spus, dar fee? Eti de toate. De la madon la a, de la bacant lafecioar. Aa e, are dreptate, toate sunt, toate la un loc. Mai adaug: ba pe moarte, ba efigia vitalitii. Cum te-aivindecat atunci? tii cum? Cui pe cui se scoate.Dumitru Popescu Vitralii incolore p 63-64.All the talents and virtues in the world help you with nothing if you do not have a strong dose from awomans genetic composition. Do I have it? Yes, you have it, you have it all, but you are mean, youhide, you crush, you extinguish. What would this be? Delusion, illness? some other illness? A converseone? There is a core of truth in what he says. I lay my head on his shoulder. You are aggressive and

sometimes aggressiveness acquires a coarse note. How so? I long for you/ desire you, love withoutdesire is pure schizophrenia. To love a man and not want him for yourself, to love a man and not wantyourself for him? Psychic anomaly. Aggressive? No, hungered. Dont you know what hunger is? I amnot greedy, I can live with no matter what. Squeamish, anorexic? What taste has life for you? The tasteof books/cards, the taste of ballet? You eat with no pleasure, you drink, you sleep with no pleasure. Noteven in love you find it, no where? Stop taking care of me! He guessed. There is a rigid fiber growinginside of me. Fear for spectacular gestures, improperly told spectacular, passionate. Why fear? I dontknow where it would lead me, where it would drag me. The discrepancy could be seen. Where were youon Sunday? Go ahead, say it, and with whom? With your intended/fiance? He says nothing. Doesntshe look for you? If she burst in on us, what would you do? Would you escape on the window? He livelydipped into me, insightfully. How many faces do you have? You told me how many heads, but faces?

You are everything. From lady to dame, from libertine to maiden. It is, he is right, I am all of that, all of

that in one place. He adds: either dying, or the effigy of vitality. Then how did you cure yourself? Doyou know how? Habit cures habit.Dumitru Popescu-Colourless stained-glass windows


9/9

Pn astzi nc nimeni n-a putut spune ce e bine i ce e ru. i e sigur c n viitor va fi tot aa. Faptul impresionantnu consist n aceast relativitate, ci n imposibilitatea de a te dispensa de ntrebuinarea acestor expresii. Nu tiu cee bine i ce e ru, dar calific aciunile n bune i rele. Dac m-ar ntreba cineva de ce numesc o aciune bun i altarea, nu i-a putea rspunde. Este un proces instinctiv care m face s apreciez sub prisma criteriilor morale; cndm gndesc ulterior la acea apreciere nu-i mai gsesc nicio justificare. Morala a devenit att de complex i decontradictorie, deoarece valorile ei nu se mai constituie n ordinea vieii, ci s-au cristalizat ntr-o regiune

transcendent ei, pstrnd slabe legturi cu tendinele iraionale i vitale. Cum s ntemeiezi o moral? Mi-e att descrb de acest cuvnt bine, este att de fad i de inexpresiv! Morala spune: lucrai pentru triumful binelui! Darcum? Emil Cioran Eternitate i moral pg. 64Until today nobody could say whats right and whats wrong. And it is sure that in the future it willbe exactly the same.The impressive fact doesnt consist in this relativity, but in the impossibility oflosing this expression. I don/t know whats right and whats wrong , but I qualify action in goods andbads. If someone asked me why one action is good and the other wrong I (could not tell him.) wouldntbe able to answer him.(give him an answer). There is an instinctive process that make me to appreciatein term of moral criterion; and later when I think of that appreciation I cant find any justification.Moral has become so complex and contradictory, because her values are no longer integrated in lifesorder, but they crystallized in a transcendental region, keeping less connections with irrational andvital tendencies. How to ground a moral? Im seek of this word good its so unmeaning (fade ) an

inexpressive! Moral: work for the triumph of good! How?

Girlshare.ro_traduceri Toate de Anul Trecut

Documents

Transcript of Girlshare.ro_traduceri Toate de Anul Trecut