Haroldo de Campos: [Three poems & an essay toward a poetics]

Posted by Lidya Endzo Kun iLLa On 9:15 AM


Translated by A.S. Bessa




From THE DISCIPLINES

THE POEM: THEORY AND PRACTICE



I



Silver birds, the Poem

draws theory from its own flight.

Philomel of metamorphosed blue,

measured geometrician

the Poem thinks itself

as a circle thinks its center

as the radii think the circle

crystalline fulcrum of the movement.



II



A bird imitates itself at each flight

zenith of ivory where a ruffled

anxiety is arbiter

over the vectorial lines of the movement.

A bird becomes itself in its flight

mirror of the self, mature

orbit

timing over Time.



III



Equanimous, the Poem ignores itself.

Leopard pondering itself in a leap,

what becomes of the prey, plume of sound,

evasive

gazelle of the senses?

The Poem proposes itself: system

of rancorous premises

evolution of figures against the wind

star chess. Salamander of arsons

that provokes, unhurt endures,

Sun set in its center.





IV



And how is it done? What theory

rules the spaces of its flight?

What last retains it? What load

curves the tension of its breath?

Sitar of the tongue, how does one hear?

Cut out of gold, as such we see it,

proportioned to it—the Thought.



V



See: broke in half

the airy fuse of the movement

the ballerina rests. Acrobat,

being of easy flight,

plenilunium princess of a kingdom

of eolian veils: Air.

Wherefrom the impulse that propels her,

proud, to the fleeting commitment?

Unlike the bird

according to nature

but as a god

contra naturam flies.



VI



Such is the poem. In the fields of eolian

equilibrium that it aspires

sustained by its dexterity.

Winged agile athlete

aims at the trapeze of the venture.

Birds do not imagine themselves.

The Poem pre-meditates.

They run the cusp of infinite

astronomy of which they are plumed Orions.

It, arbiter and vindicator of itself,

Lusbel leaps over the abyss,

liberated,

in front of a greater king

a king lesser great.





JE EST UN AUTRE: AD AUGUSTO



brother

in this re / verse of the ego

I see you

more plus than myself

plusquamfuture minuspoet

plus

and in the trobar clus

of this hour (ours)

poetry

incestuous sister

prima pura impura

in which

ourselves (Siamese-same)

uni-

sonoro-

us

other





LE DON DU POÈME





a poem begins

where it ends:

the margin of doubt

a sudden incision of geraniums

commands its destiny



and yet it begins

(where it ends) and the head

ashen (white top or albino

cucurbit laboring signs) curves it-

self under lucifer’s gift —



dome of signs: and the poem begins

quiet cancerous madness

that demands these lines from the white

(where it ends)



THE OPEN WORK OF ART

Translated by Jon Tolman



In order to bring to focus a willfully "drastic selection" in the pragmatic-utilitarian terms of Poundian theory, one could name the works of Mallarmé ("Un Coup de Dés"), Joyce, Pound and Cummings as the radial axes that generate the vectorial field of contemporary poetry. From the convergence of these axes and depending on the development of the productive process, certain results, some predictable, some not, will emerge.



It is not necessary here to enter deeply into the multiple problems which the mere mention of these names together provokes on the threshold of contemporary experiments in poetry. Instead it will be sufficient to merely give some hints of the morpho-cultural catalysis caused by their works.



The Mallarméan constellation‑poem has as its base a concept of multi-divisions or capillary structure. This concept liquidates the notion of linear development divided into beginning‑middle‑end. It substitutes in its place a circular organization of poetic material that abolishes any rhythmic clockwork based on the "rule of thumb" of metrification. Silence emerges from that truly verbal rosette, "Un Coup de Dés," as the primordial element of rhythmic organization. As Sartre has said: "Silence itself is defined by its relationship with words, just as the pause in music receives its meaning from the group of notes which surround it. This silence is a moment of language." This permits us to apply to poetry what Pierre Boulez affirmed of music: "It is one of those truths so difficult to demonstrate that music is not only 'the art of sounds,' but that it is better defined as a counterpoint of sound and silence."



The Joycean universe also evolved from a linear development of time toward space‑time or the infusion of the whole in the part ("allspace in a notshall"), adopting as the organogram of Finnegans Wake the Vico‑vicious circle. Joyce's technique evolved pari passu with his own work and under the influence of Bergson's concept of "durée."



Mallarmé developed a visual notion of graphic space, served by the prismatic notation of poetic imagination in ebbs and flows which are dislocated like the elements of a mobile, utilizing silence in the way that Calder used air. Joyce, on the other hand, holds to the materialization of a "polydimensional limitless flow"—the "durée réelle," the riverrun of "élan vital"—which obliges him to undertake a true atomization of language, where each "verbi‑voco‑visual" unit is at the same time the continent‑content of the whole work and instantly "myriad-minded."



Mallarmé practices the phenomenological reduction of the poetic object. The eidos—"Un coup de Dés jamais n’abolira le hasard"—is attained by means of the ellipsis of peripheral themes to the "thing in itself" of the poem. In the structure of the work, however, what Husserl notes with relation to his method also occurs: "Said with an image: that which is placed between parentheses is not erased from the phenomenological table, but simply placed between parentheses and affected by an index. But with this index it enters again into the major theme of investigation."



Joyce is led to the microscopic world by the macroscopic, emphasizing detail—panorama/panaroma—to the point where a whole metaphoric cosmos is contained in a single word. This is why it can be said of Finnegans Wake that it retains the properties of a circle--the equal distance of all its points to its center. The work is porous to the reader, accessible from any of the places one chooses to approach it.



For Cummings the word is fissile. His poems have as their fundamental element the "letter." The syllable is, for his needs, already a complex material. The "tactical modesty" of that poetic attitude is similar to that of Webern: interested in the word on the phonemic level, he orients himself toward an open poetic form, in spite of the danger of exhausting himself in the one‑minute poem, as he faces the hindrances of a still experimental syntax. As Fano has said with respect to Webern's early works, they are: "Short organizations materializing a 'possible' and concluding on the eventuality of new transformations. A catalytic procedure in which certain base elements determine the disintegration and clustering of a substance which is transformed, without themselves being affected."



Ezra Pound’s The Cantos, in particular "The Pisan Cantos," also offer the reader an open structure. They are organized by the ideogramic method, permitting a perpetual interaction of blocs of ideas which affect each other reciprocally, producing a poetic sum whose principle of composition is gestaltian, as James Blish has observed in "Rituals on Ezra Pound."



The contemporary poet—having at his disposal a lexicon which encompasses acquisitions from the symbolists to the surrealists, and in a reciprocal way, Pound’s "precise definition" (the poetic word comprehended in the fight of an art of "gist and piths"), and also having before him a structural syntax, whose revolutionary perspectives have only been faintly glimpsed—cannot allow himself to be enveloped by the Byzantine nostalgia for a fallen Constantinople, nor can he, polyp‑like, stagnate at the margins of the morpho-cultural process which beckons him toward creative adventure.



Pierre Boulez, in a conversation with Décio Pignatari, manifested his lack of interest in the "perfect" or "classic" work of art, in the sense of the diamond, and stated his concept of the open work of art as a kind of modern baroque.



Perhaps the idea of a neo‑baroque, which might correspond intrinsically to the morphological necessities of contemporary artistic language, terrifies by its mere evocation those slack spirits who love the stability of conventional formulas.



But this is not a cultural reason for failing to enlist in the crew of Argos. It is, on the contrary, a prompting to do so.



São Paulo, 1955, 1965



[The basic book for Haroldo de Campos in English is Novas: Selected Writings, edited by Antonio Sergio Bessa, Odile Cisneros, & Roland Greene, published by Northwestern University Press in 2007. De Campos and his brother Augusto remain two of the major poets of the last hundred years bringing poetry & poetics together.]


0 Response to 'Haroldo de Campos: [Three poems & an essay toward a poetics]'

Post a Comment

Tattoos Picture Page 1 Tattoos Picture Page 2 Tattoos Picture Page 3 Tattoos Picture Page 4 Tattoos Picture Page 5 Tattoos Picture Page 6 Tattoos Picture Page 7 Tattoos Picture Page 8 Tattoos Picture Page 9 Tattoos Picture Page 10 Tattoos Picture Page 11 Tattoos Picture Page 12 Tattoos Picture Page 13 Tattoos Picture Page 14 Tattoos Picture Page 15 Tattoos Picture Page 16 Tattoos Picture Page 17 Tattoos Picture Page 18 Tattoos Picture Page 19 Tattoos Picture Page 20 Tattoos Picture Page 21 Tattoos Picture Page 22 Tattoos Picture Page 23 Tattoos Picture Page 24 Tattoos Picture Page 25 Tattoos Picture Page 26 Tattoos Picture Page 27 Tattoos Picture Page 28 Tattoos Picture Page 29 Tattoos Picture Page 30 Tattoos Picture Page 31 Tattoos Picture Page 32 Tattoos Picture Page 33 Tattoos Picture Page 34 Tattoos Picture Page 35 Tattoos Picture Page 36 Tattoos Picture Page 37 Tattoos Picture Page 38 Tattoos Picture Page 39 Tattoos Picture Page 40 Tattoos Picture Page 41 Tattoos Picture Page 42 Tattoos Picture Page 43 Tattoos Picture Page 44 Tattoos Picture Page 45 Tattoos Picture Page 46 Tattoos Picture Page 47 Tattoos Picture Page 48 Tattoos Picture Page 49 Tattoos Picture Page 50 Tattoos Picture Page 51 Tattoos Picture Page 52 Tattoos Picture Page 53 Tattoos Picture Page 54 Tattoos Picture Page 55 Tattoos Picture Page 56 Tattoos Picture Page 57 Tattoos Picture Page 58 Tattoos Picture Page 59 Tattoos Picture Page 60 Tattoos Picture Page 61 Tattoos Picture Page 62 Tattoos Picture Page 63 Tattoos Picture Page 64 Tattoos Picture Page 65 Tattoos Picture Page 66 Tattoos Picture Page 67 Tattoos Picture Page 68 Tattoos Picture Page 69 Tattoos Picture Page 70 Tattoos Picture Page 71 Tattoos Picture Page 72 Tattoos Picture Page 73 Tattoos Picture Page 74 Tattoos Picture Page 75 Tattoos Picture Page 76 Tattoos Picture Page 77 Tattoos Picture Page 78 Tattoos Picture Page 79 Tattoos Picture Page 80 Tattoos Picture Page 81 Tattoos Picture Page 82 Tattoos Picture Page 83 Tattoos Picture Page 84 Tattoos Picture Page 85 Tattoos Picture Page 86 Tattoos Picture Page 87 Tattoos Picture Page 88 Tattoos Picture Page 89 Tattoos Picture Page 90 Tattoos Picture Page 91 Tattoos Picture Page 92 Tattoos Picture Page 93 Tattoos Picture Page 94 Tattoos Picture Page 95 Tattoos Picture Page 96 Tattoos Picture Page 97 Tattoos Picture Page 98 Tattoos Picture Page 99 Tattoos Picture Page 100 Tattoos Picture Page 101 Tattoos Picture Page 102 Tattoos Picture Page 103 Tattoos Picture Page 104 Tattoos Picture Page 105 Tattoos Picture Page 106 Tattoos Picture Page 107 Tattoos Picture Page 108 Tattoos Picture Page 109 Tattoos Picture Page 110 Tattoos Picture Page 111 Tattoos Picture Page 112 Tattoos Picture Page 113 Tattoos Picture Page 114 Tattoos Picture Page 115 Tattoos Picture Page 116 Tattoos Picture Page 117 Tattoos Picture Page 118 Tattoos Picture Page 119 Tattoos Picture Page 120 Luxury Villa and Home Page 1 Luxury Villa and Home Page 2 Luxury Villa and Home Page 3 Luxury Villa and Home Page 4 Luxury Villa and Home Page 5 Luxury Villa and Home Page 6 Luxury Villa and Home Page 7 Luxury Villa and Home Page 8 Luxury Villa and Home Page 9 Luxury Villa and Home Page 10 Luxury Villa and Home Page 11 Luxury Villa and Home Page 12 Luxury Villa and Home Page 13 Luxury Villa and Home Page 14 Luxury Villa and Home Page 15 Luxury Villa and Home Page 16 Luxury Villa and Home Page 17 Luxury Villa and Home Page 18 Luxury Villa and Home Page 19 Luxury Villa and Home Page 20 Luxury Villa and Home Page 21 Luxury Villa and Home Page 22 Luxury Villa and Home Page 23 Luxury Villa and Home Page 24 Luxury Villa and Home Page 25 Luxury Villa and Home Page 26 Luxury Villa and Home Page 27 Luxury Villa and Home Page 28 Luxury Villa and Home Page 29 Luxury Villa and Home Page 30 Luxury Villa and Home Page 31 Luxury Villa and Home Page 32 Luxury Villa and Home Page 33 Luxury Villa and Home Page 34 Luxury Villa and Home Page 35 Luxury Villa and Home Page 36 Luxury Villa and Home Page 37 Luxury Villa and Home Page 38 Luxury Villa and Home Page 39 Luxury Villa and Home Page 40 Luxury Villa and Home Page 41 Luxury Villa and Home Page 42 Luxury Villa and Home Page 43 Luxury Villa and Home Page 44 Luxury Villa and Home Page 45 Luxury Villa and Home Page 46 Luxury Villa and Home Page 47 Luxury Villa and Home Page 48 Luxury Villa and Home Page 49 Luxury Villa and Home Page 50 Luxury Villa and Home Page 51 Luxury Villa and Home Page 52 Luxury Villa and Home Page 53 Luxury Villa and Home Page 54 Luxury Villa and Home Page 55 Luxury Villa and Home Page 56 Luxury Villa and Home Page 57 Luxury Villa and Home Page 58 Luxury Villa and Home Page 59 Luxury Villa and Home Page 60 Luxury Villa and Home Page 61 Luxury Villa and Home Page 62 Luxury Villa and Home Page 63 Luxury Villa and Home Page 64 Luxury Villa and Home Page 65 Luxury Villa and Home Page 66 Luxury Villa and Home Page 67 Luxury Villa and Home Page 68 Luxury Villa and Home Page 69 Luxury Villa and Home Page 70 Luxury Villa and Home Page 71 Luxury Villa and Home Page 72 Luxury Villa and Home Page 73 Luxury Villa and Home Page 74 Luxury Villa and Home Page 75 Luxury Villa and Home Page 76 Luxury Villa and Home Page 77 Luxury Villa and Home Page 78 Luxury Villa and Home Page 79 Luxury Villa and Home Page 80 Luxury Villa and Home Page 81 Luxury Villa and Home Page 82 Luxury Villa and Home Page 83 Luxury Villa and Home Page 84 Luxury Villa and Home Page 85 Luxury Villa and Home Page 86 Luxury Villa and Home Page 87 Luxury Villa and Home Page 88 Luxury Villa and Home Page 89 Luxury Villa and Home Page 90 Luxury Villa and Home Page 91 Luxury Villa and Home Page 92 Luxury Villa and Home Page 93 Luxury Villa and Home Page 94 Luxury Villa and Home Page 95 Luxury Villa and Home Page 96 Luxury Villa and Home Page 97 Luxury Villa and Home Page 98 Luxury Villa and Home Page 99 Famous People Page 1 Famous People Page 2 Famous People Page 3 Famous People Page 4 Famous People Page 5 Famous People Page 6 Famous People Page 7 Famous People Page 8 Famous People Page 9 Famous People Page 10 Famous People Page 11 Famous People Page 12 Famous People Page 13 Famous People Page 14 Famous People Page 15 Famous People Page 16 Famous People Page 17 Famous People Page 18 Famous People Page 19 Famous People Page 20 Famous People Page 21 Famous People Page 22 Famous People Page 23 Famous People Page 24 Famous People Page 25 Famous People Page 26 Famous People Page 27 Famous People Page 28 Famous People Page 29 Famous People Page 30 Famous People Page 31 Famous People Page 32 Famous People Page 33 Famous People Page 34 Famous People Page 35 Famous People Page 36 Famous People Page 37 Famous People Page 38 Famous People Page 39 Famous People Page 40 Famous People Page 41 Famous People Page 42 Famous People Page 43 Famous People Page 44 Famous People Page 45 Famous People Page 46 Famous People Page 47 Famous People Page 48 Famous People Page 49 Famous People Page 50 Famous People Page 51 Famous People Page 52 Famous People Page 53 Famous People Page 54 Famous People Page 55 Famous People Page 56 Famous People Page 57 Famous People Page 58 Famous People Page 59 Famous People Page 60 Famous People Page 61 Famous People Page 62 Famous People Page 63 Famous People Page 64 Famous People Page 65 Famous People Page 66 Famous People Page 67 Famous People Page 68 Famous People Page 69 Famous People Page 70 Famous People Page 71 Famous People Page 72 Famous People Page 73 Famous People Page 74 Famous People Page 75 Famous People Page 76 Famous People Page 77 Famous People Page 78 Famous People Page 79 Famous People Page 80 Famous People Page 81 Famous People Page 82 Famous People Page 83 Famous People Page 84 Famous People Page 85 Famous People Page 86 Famous People Page 87 Famous People Page 88 Famous People Page 89 Famous People Page 90 Famous People Page 91 Famous People Page 92 Famous People Page 93 Famous People Page 94 Famous People Page 95 Famous People Page 96 Famous People Page 97 Famous People Page 98 Famous People Page 99 Famous People Page 100 Famous People Page 101 Famous People Page 102 Famous People Page 103 Famous People Page 104 Famous People Page 105 Famous People Page 106 Famous People Page 107 Famous People Page 108 Famous People Page 109 Famous People Page 110 Famous People Page 111 Famous People Page 112 Famous People Page 113 Famous People Page 114 Famous People Page 115 Famous People Page 116 Famous People Page 117 Famous People Page 118 Famous People Page 119 Famous People Page 120