From the Book of Limbo: Dal Libro del Limbo
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"I leave Frosini's poetic space not with a definition in mind but an experience in my heart. That to me is one of the highest gifts a poet can give to his reader."
—
"Lascio questo spazio poetico di Frosini non con una definizione in mente ma con un'esperienza nel cuore: cosa che per me è uno dei più grandi doni che un poeta possa fare al suo lettore."
Daniel Brick
***
"Fabrizio Frosini appears to be in the world of words like a wine connoisseur: he tastes the poem, the appearance, the aroma, the sensation while tasted, the after-taste. These stages of reading poetry are combined in order to establish its properties: complexity and character, potential for ageing, possible faults. Poems as wines are better tasted in solitude. Vivat, crescat, floreat!"
—
"Fabrizio Frosini sembra muoversi nel mondo della parola come un intenditore di vino: assapora la poesia, l'aspetto, l'aroma, il sentimento, il retrogusto. Queste fasi di degustazione poetica sono combinate per determinarne le proprietà: complessità e carattere, potenziale di invecchiamento, possibili difetti. Le Poesie, come i vini, si degustano meglio in solitudine. Vivat, crescat, floreat!"
(Magdalena Biela)
Fabrizio Frosini
Born in Tuscany, Italy. Currently living close to Florence and Vinci, Leonardo's hometown. Doctor in Medicine, specialized in Neurosurgery, with an ancient passion for Poetry, he is the Author of over 2,000 poems published in 20 personal books. Frosini writes in Italian, his native language, and English. He is the founder of the International Association "Poets Unite Worldwide," with which he has published more than 50 Anthologies. Among his own books: «The Chinese Gardens - English Poems», «Prelude to the Night», «Anita Quiclotzl & Her Souls - Anita Quiclotzl e le Sue Anime» (Bilingual Ed.) - [for the others, see below].~*~In Frosini's Poetry:1. The Truth is Affirmed ; 2. Beauty is Conveyed ; 3. The Personal becomes the Universal.One of the key terms in contemporary poetry is 'POETRY OF WITNESS'. "Florence, A Walk With A View" is an excellent example of this type of poem. It exchanges the anger we experienced in the preceding poem with melancholy, but this is a haunted and desperate melancholy, not at all like the word's root meaning of sweet sorrow. Yet, in Fabrizio Frosini's poem, the city charms the visitor with its natural beauty - "the silky lights of the / Sunset" - and artistic ambiance - "the intimate warmth of nostalgia that makes / Your heart melt at the sight around".In the finest poetry, beauty is conveyed in all of it sensuous and spiritual glory. The title "Water Music" refers to one of Handel's most popular works, a masterpiece of baroque melody, rhythm and harmony. The poem, however, is not about this music.. here is a shining element of the beauty this poem conveys - "I was in my room, staring at the clear sky through the window. The moon, so pale and magical, drawing my imagination to her. In my ears Handel's music was playing softly." - There is the beauty of VITA NOVA, in this Frosini's poem: Dante's idealization of Beatrice with its artistic and moral benefits experienced by a contemporary couple. And finally the beauty of sublimation, when an otherwise sensuous experience must be transferred to the plane of the Imagination. Other Frosini's poem, like "Nocturnal Snowing", are Poems of Memory, that reveal the persistence of an experience of mutual attraction in the poet's life over many decades. There, a young woman, who is forever young and lovely in the poet's mind, becomes a touchstone of emotional value. But not all good experiences are given a future by the hand of fate. And so Frosini's poetry also explores the emotional consequences of the loss of such a promising moment... The prevailing reaction in reader after reader is that Frosini's verses relate to their emotional lives. In other words, Fabrizio Frosini's personal experience reflects their personal experience, and thus the Personal becomes the Universal...~*~Books published as sole Author:(*BE*: Bilingual Editions, English–Italian ; All books have PAPERBACK and EBOOK Editions)– «The Chinese Gardens – English Poems» – English Ed. – (published also in Italian Ed.:– «I Giardini Cinesi» – Edizione Italiana);– «KARUMI – Haiku & Tanka» – Italian Ed.;– «Allo Specchio di Me Stesso» ('In the Mirror of Myself') – Italian Ed.;– «Il Vento e il Fiume» ('The Wind and the River') – Italian Ed.;– «A Chisciotte» ('To Quixote') – Italian Ed.;– «Il Puro, l'Impuro – Kosher/Treyf» ('The pure, the Impure – Kosher / Treyf') – Italian Ed.;– «Frammenti di Memoria – Carmina et Fragmenta» ('Fragments of Memories') – Italian Ed.;– «La Città dei Vivi e dei Morti» ('The City of the Living and the Dead') – Italian Ed.;– «Nella luce confusa del crepuscolo» ('In the fuzzy light of the Twilight') – Italian Ed.;– «Limes —O La Chiave Dei Sogni» ('The Key to Dreams') – Italian Ed.;– «Echi e Rompicapi» ('Puzzles & Echoes') – Italian Ed.;– «Ballate e Altre Cadenze» ('Ballads and Other Cadences') – Italian Ed.;– «Selected Poems – Επιλεγμένα Ποιήματα – Poesie Scelte» – Greek–English–Italian (Αγγλικά, Ελληνικά, Ιταλικά – Greek translation by Dimitrios Galanis);– «Prelude to the Night – English Poems» – English Ed. (published also in Italian Ed.:– «Preludio alla Notte» – Edizione Italiana);– «A Season for Everyone – Tanka Poetry» – English Ed.;– «Evanescence of the Floating World – Haiku» – English Ed.;– «From the Book of Limbo – Dal Libro del Limbo» – *BE*;– «Anita Quiclotzl & Her Souls – Anita Quiclotzl e le Sue Anime» – *BE*.~*~Forthcoming publications:– «Mirror Games — A Tale» – English Edition (also in Italian Ed.:– «Giochi di Specchi — Un Racconto»);– «Il Sentiero della Luna» ('The Moon's Path') – Italian Edition.~*~For the Anthologies published by Fabrizio Frosini with "Poets Unite Worldwide", see Frosini's profile as a PUBLISHER, or POETS UNITE WORLDWIDE's profile.~*~Some of Frosini's poems are also published in the Anthology "Riflessi 62" (Italian Edition), edited by Pagine Srl.~*~Facebook:https://www.facebook.com/poetsuniteworldwide/Website address:https://poetsuniteworldwide.org/Blog:https://poetsuniteworldwide.wordpress.com/Twitter username:@fabriziofrosini
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From the Book of Limbo - Fabrizio Frosini
Without Tom Billsborough this book would not probably exist: Tom helped me to overcome a sort of psychological block
that had prevented me to complete the translation of my long poem 'Il Vento e il Fiume' (The Wind and the River
, in our bilingual collection 'Glimmers of Light–Guizzi di Luce'). Then we went further on, and we managed to translate other poems. Although we are not professional translators, I think we did a good job —yet, the last word is up to the Readers: You are the ones who will judge.
~*~
Senza Tom Billsborough questo libro probabilmente non esisterebbe: Tom mi ha aiutato a superare una sorta di blocco psicologico
che mi aveva precedentemente impedito di completare la traduzione del mio poema Il Vento e il Fiume
(per 'Glimmers of Light–Guizzi di Luce'). Dopo di che siamo andati oltre e abbiamo tradotto altre poesie. Sebbene nessuno di noi sia un traduttore professionista, penso che abbiamo fatto un buon lavoro —tuttavia l'ultima parola spetta ai Lettori: sarete Voi a giudicare.
(Fabrizio Frosini, February 2019)
__________
—Wikipedia has been the main reference for the notes to the poems.
—Wikipedia è stata il principale riferimento per le note alle poesie.
~*~
Es kommen härtere Tage.
Harder days are coming.
Ingeborg Bachmann
'Die gestundete Zeit' – 'Borrowed Time'
~*~
Le Poesie – The Poems
A Chisciotte
To Quixote
La Città dei Vivi e dei Morti
The City of the Living and the Dead
Il Vento e il Fiume
The Wind and the River
La Nuit
The Night
~*~
«Ven, muerte, tan escondida que no te sienta venir,
porque el placer del morir no me torne a dar la vida»
«Come, death, so hidden that one feels not your coming
lest the pleasure of dying turn me from giving my life»
Miguel de Cervantes
«El ingenioso hidalgo don Quijote de la Mancha»
(Cap. XXXVIII, segunda parte – 1615)
~*~
A Chisciotte
Introibo: Dal Libro del Limbo
I. Il Kaos
II. Vanity Fair
III. Hymnos Dèsmios
IV. Tomorrow Resurrection?
~*~
To Quixote
Introibo: From the Book of Limbo
I. Chaos
II. Vanity Fair
III. Hymnos Dèsmios
IV. Tomorrow Resurrection?
~*~
Introibo: Dal Libro del Limbo
«äußerst langsam — sterbenden»
Che i vivi si rassegnino
Ad essere vivi
E ai morti la libertà e la
Pace.
__________
– molto lentamente — morendo
Introibo: From the Book of Limbo
«äußerst langsam — sterbenden»
So the living resign themselves
To being alive
And to the dead liberty and
Peace.
__________
«Extremely slow — dying»
I. — Il Kaos
«Here he lies where he longed to be»
(Robert Louis Stevenson)
Fermo
Era il Mondo
Ancora addormentato
Sotto la coltre stracciata di silenzio
Dentro il sibilo ronzante d’arpicorda
Dietro staccionate d’amuleti, di gazzette
Ufficiali, di ombre di vite (sepolte a primavera
E da alcuno mai resuscitate)
Marcite nei campi di trifoglio.
Arrivò sbuffando
Dopo l’Urlo
Sulla stretta lingua srotolata
Di libeccio
Su occhi di vetro traforato
Di cimici
Immerse nella calce
Dentro sogni di corvi
Appesi per le zampe
A istoriati bastoni da passeggio
Sopra cartoni sgozzati d’aranciata
Graffiti di latrine
Profumi di morti bruciati dentro i forni
Intorno: il russare sgangherato
E il cicaleccio e il misero vibrare
D’uno sguaiato orgasmo..
Tomorrow Resurrection?
__________
– "Here he lies where he longed to be, / Home is the sailor, home from sea, / And the hunter home from the hill.: Robert Louis Stevenson, XXI. Requiem, in
A Child’s Garden of Verses and Underwoods [
giace qui, dove desiderava stare": versi incisi sulla sua tomba, sulla cima di Monte Vaea, Upolu, Samoa, dove morì il 3 Dic. 1894]
– Arpicorda: clavicembalo.
I. — Chaos
«Here he lies where he longed to be»
(Robert Louis Stevenson)
Motionless
Was the World
Still asleep
Under the ragged blanket of Silence
Inside the buzzing hiss of a harpsichord
Behind fences of amulets, of official
Gazettes, of shadows of lives (buried at Spring
And by no one resurrected)
Rotted in the fields of clover.
He arrived puffing
After the Scream
On the narrow unrolled tongue
Of the south-west wind
On pierced glass eyes
Of bedbugs
Immersed in lime
In the dreams of crows
Hanging by their legs
On historiated walking sticks
Above slaughtered cartons of orange juice
Toilet graffiti
Stench of the dead burnt inside ovens:
All around: the ramshackle snore
And the chatter and the miserable vibration
Of a coarse orgasm...
Tomorrow Resurrection?
__________
"Here he lies where he longed to be,/ Home is the sailor, home from sea,/ And the hunter home from the hill., Robert Louis Stevenson, XXI. Requiem (in
A Child’s Garden of Verses and Underwoods")
II. — Vanity Fair
«As is the saying of the wise, All that cometh is vanity
»
(John Bunyan, The Pilgrim's Progress
, Vanity Fair)
Il cupo stranire del corno
Chiamò a raccolta
Un esercito di latta e scarafaggi
Brulicante di attese già avvizzite
Incappucciate in nuove, scintillante creste.
E manovrò fanti e cavalieri (con
Feluche e marsine stagionate) raccolti
Su sferule di carta..
Poi
Sui campi bruciati da grida inconsolate
Da gemiti selvaggi di lussuria
Da ululati di vento e di tuono
E silenzi sepolcrali
Si distesero gli occhi inanimati
E i loro suoni—Velati
Di conchiglia..
E i vermi delle Ombre uscirono a schiere
Da ulcere aperte dentro i sogni.
Come piena scivolarono su ventri
Gessati di mummie —Su membri
Erettili di gimnosperme
Su calici e tripodi e
Altari —Dimenandosi a frotte
Molli come sperma.
E si afferrarono al respiro dei fanciulli e
Dei feti abbracciati ai loro
Incubi di vita
E al tepore del ventre —E al sangue
E al liquido dell’amnios
Di tutto si cibarono:
Di ogni speranza
Di ogni paura
Di ogni sofferenza.
__________
– «Come dice il saggio, Tutto quello che avverrà è vanità.
», John Bunyan, The Pilgrim's Progress
[«Then I saw in my dream, that when they were got out of the wilderness, they presently saw a town before them, and the name of that town is Vanity
; and at the town there is a fair kept, called Vanity Fair
»]
– «All that cometh is vanity"»: cfr.: Ecclesiastes, 11:8.
– stranire
: inquietare, rendere nervosi.
– Gimnosperme: [da gymnospermos (γυμνόσπερμος): gymnós
nudo; spermos
seme (seme nudo
, non protetto da un frutto)], rifer. al cono (o strobilo) maschile di questo genere di piante (es. conifere).
II. — Vanity Fair
«As is the saying of the wise, All that cometh is vanity
»
(John Bunyan, The Pilgrim's Progress
, Vanity Fair)
The gloomy, creepy voice of the horn
Summoned
An army of tin and cockroaches
Teeming with expectations already withered
Wreathed in new shimmering crests.
And it maneuvered infantrymen and cavalry (with
Feluccas and worn tailcoats) collected
On paper spherules.
Then
On the fields scorched by inconsolable cries
By wild moans of lust
By howls of wind and thunder
And sepulchral silences
Inanimate eyes spread out
Their veiled sounds
Like shells singing
And worms came out from the shadows in rows
From ulcers exposed in dreams.
Like a flood they slipped on mummies'
Pinstriped bellies —On erectile
Members of gymnosperms
On goblets and tripods
And altars —Wriggling in droves
Soft like sperm.
And they clung to the breath of children
And the foetuses embraced by
Their nightmares of Life
And the warmth of the bellies... and the blood
And the amniotic fluid
They all fed upon:
Of every hope
Of every fear
Of every suffering.
__________
John Bunyan, The Pilgrim's Progress
[«Then I saw in my dream, that when they were got out of the wilderness, they presently saw a town before them, and the name of that town is Vanity
; and at the town there is a fair kept, called Vanity Fair
»]
«All that cometh is vanity"», see Ecclesiastes, 11:8.
Like shells singing
: refers to the sound from a shell.
III. — Hymnos Dèsmios
Ερινύες: «λαβέ, λαβέ, λαβέ»
(Eschilo, Eumenidi
)
Circondato dal respiro allucinato dei miei sogni
Mi sono svegliato—Sbarrando gli occhi
Impazziti su una notte deserta di cristallo
E con urla sguaiate di iena ferita—Divorata
Dal suo stesso sangue
L’anima impaurita di me stesso
Si è scagliata—Impotente
Contro il Nulla
Aiutami, ti prego!
Vorrei trovare un corpo incapace di alterarsi
Vorrei sfuggire l’ingrigire della Notte
Chiedere ospitalità ai mille e mille sogni
Che nascondono sé stessi dentro
Gli altri
Offrirmi in sacrificio al vuoto stolido degli
Astri—E di noi stessi
Della nostra carne
Che si sfalda
Vorrei risalire le mie vene fino allo zampillio del cocco
Nelle fiere—Divorato
Da denti avidi di donna
Vorrei strisciare fino al menhir di pietra
Che genera i tuoi campi —Fino allo stallone
Che percuote la giumenta
Fino alla luce —Fin dentro la sua
Nascita e alla morte —Fino al
Buio che chiude l’esistenza.
Ma perché mai mi accuso di render vani
I miei propositi?
È nell’assenza di speranza la libertà che cerco:
Non è l’aurora a portare la speranza?
Spesso ho pensato
Al colmo di un disperato desiderio mattutino
Che un giorno —Finalmente
Cesserò di esistere:
Una carezza
Alla nebbia che sono
Non potrà più darla il vento
Né il tempo mi costringerà in angusti limiti
Di certezza mai esistita o pianta.
Ma come fuggire l’impallidire della notte?
Chiudo gli occhi per ritrovare quel mondo
Che mi detti da bambino: l’odore
Di sabbia lavata dal mare —L’affanno della corsa
Lungo il sentiero fra mirti e pini
E —cresciuto— il sapore di un bacio
Dato in fretta
Su labbra che non fui capace di fermare
E il calore di un abbraccio e la tristezza—Intima
Come il pulsare del cuore —Del Mio
—Del Suo
Allo svanire di un sorriso.
Ma appena li riapro —quegli occhi che
Vorrebbero star chiusi— mi accorgo
Quanto poco quel mondo sia esistito:
Il libro è terminato da tempo immemorabile
E il mio sguardo s’è perso nelle pagine.
Allora le Ombre
Si riannodano
Alla tenebra del fondo
In un amalgama compatto
Che non lascia entrate.
Rimanendo insoddisfatta
La domanda se siano mai
Vissute
O se appena —Anche solo per caso
Mi appartennero..
E dunque che dire del piacere
Di un amore non avuto: come
L’essere mai nati
O l’esser morti?
I frutti mai mangiati hanno
Sapore quando li descrivi?
Se non si può avere Tutto
È meglio avere Niente —Forse.
__________
– Eschilo, Eumenidi
(458 a.C): hymnos desmios (ύμνος δεσμιος), canto che incatena
(delle Erinni che incalzano Oreste) —cfr. Katadesmoi (κατάδεσμος, katadesmos), formule magiche per legare
l’anima del perseguitato.
– Ερινύες: «λαβέ, λαβέ, λαβέ»: Eschilo, (Orestea), Eumenidi
(Erinni: Prendilo! Prendilo! Prendilo!)
III. — Hymnos Dèsmios
Ερινύες: «λαβέ, λαβέ, λαβέ»
(Aeschylus, 'Eumenides')
Encircled by the hallucinatory breath of my dreams
I woke up —Widening my disturbed eyes
On a deserted crystal night
And with the wild scream of a wounded hyena —Devoured
By its own