Arquivo virtual da Geração de Orpheu

Almada Negreiros e Sarah Affonso

O Arquivo Virtual começou a ser constituído por dois espólios importantes: o de Almada Negreiros (1893-1970), multifacetado escritor e artista plástico, e de Sarah Affonso (1899-1983), sua mulher, figura marcante da pintura modernista. O seu espólio conjunto inclui manuscritos literários, fotografias, cartas, documentos e obras plásticas, e está hoje em depósito no Centro de Estudos e Documentação Almada Negreiros Sarah Affonso (CEDANSA - NOVA FCSH).

 

Medium
F. Pessoa - Heterónimos ingleses
BNP/E3, 78 – 74-77
BNP/E3, 78 – 74-77
Alexander Search
Identificação
Alexander Search – Song of the Leper

[BNP/E3, 78 – 74-77]

 

Agony

 

Song of the Leper.

 

He was a nauseous leper

Who in the ruins was;

There ever and anon

The hollow wind did pass,

And wild and feeble and yellow all

        Was the grass.

 

And the leper sang this song:

 

«The leper is excluded from his race,

     The leper is driven out,

     The leper is thrust out

     From hall and street and way;

     He must not show his face

     Where human beings may.

     For him there are whips and stones;

     He cannot even stay

     Where mongrels fight for bones

     And are allowed to play.

 

[75r]

 

Song of the Leper – 2.

 

“No beast as the poor leper is

Worms and snakes have greater bliss.

     But the leper is accurst

     And he knows that well accurst

Is he because a nauseous leper,

Of evil things the worst.

 

     “The toad, the newt, the viper

     Are tolerate and borne,

     But the vile and nauseous leper

     Makes vomit in deep scorn;

     Repugnance is for him

     Inevitably born

 

“Sometimes he hears the laughter

Of human feast to come,

And music |followed after|

By sounds of peace and of home.

     Upon the wind they stray,

     The wind bears them away,

And the nauseous leper, he remains,

     Through night, through day,

Alone with his sores, with his pains.

 

[76r]

 

Song of the Leper – 3.

 

“And bands of strollers pass,

Taking the road afar,

For in the ruins they know well

The leper's sores there are.

And if perchance they see

The leper from their way,

He sees their finger point

And he knows that they say:

 

“He is the nauseous leper

Who in the ruins doth sit;

He is viler than the plague,

More loathsome far than it;

If near to him we dared do come

Upon him we would spit.”

 

“Poor leper who is a man,

Poor leper who is alive,

Under his being's ban,

Whose torture's chain unearned

No pity comes to rive.

 

“A Hand of Might created

 

[77r]

 

Song of the Leper – 4 –

 

|The newt, the toad, the viper,

But gave them not its worst;

Kept them from loneliness,

Gave them their kindred's bliss.

     But that hand made the leper

And it made the leper leper:

And that Hand Almighty is

     Of all things the most curst.|

 

Alexander Search.

 

October 25th 1907.

 

 

And when I hear the leper

Sing his song to the wind

I ask — this nauseous leper

What Law of the □ kind

Makes necessary to |*make smart|

Why is this leper a part

Of the system of the World?

 

God’s damned hand.

_____________________________________________

Marginalia

 

(2.)

 

Too bitter for pure song,

My life has marred my verse

And made poet in me wrong

And the critic in me worse.  

_______

My life has wasted been

Not even in poetry

Grew it beautiful or serene…

My life was bounded to be 

_______

The same in every way

Born spoilt, God’s blended a spite…

Thus {…} has been my day

I hope naught of[1] the night…

_______

 

[1] of /from\

https://modernismo.pt/index.php/arquivo-almada-negreiros/details/33/6555
Classificação
Literatura
Dados Físicos
Dados de produção
October 25th 1907
Inglês
Dados de conservação
Biblioteca Nacional de Portugal
Palavras chave
Documentação Associada
Publicação parcial: Georg Rudolf Lind, “Die englische Jugenddichtung Fernando Pessoas”, in Aufsatze zur Portugiesischen Kulturgeschichte, 6 Band, Münster, 1966, p. 141.
Publicação integraç: Fernando Pessoa, Poesia Inglesa, Organização, tradução e notas de Luísa Freire, Prefácio de Teresa Rita Lopes, Lisboa, Livros Horizonte, 1995, pp. 122-124.