GAIÀ ESTUARY PRESERVE & ROMAN VILLA OF ELS MUNTS

Today, Claire Fontaine and The Grandma have visited the Gaià River Estuary Wildlife Preserve and the Roman Villa of Els Munts in Altafulla.

Both are passionate about birds and history, so in the same day they have been able to visit the Roman past of the region and enjoy its protected natural spaces where life has flourished unmovably since times even older than the Romans.

Tomorrow morning, if the sea and wind cooperate (which according to the forecast they will), they will return to Port Ginesta. Claire will return to Barcelona and The Grandma will stay in the neighbouring town of Castelldefels where tomorrow afternoon she has a training session with future trainers.

The mouth of the Gaià river is located by Altafulla and has areas that are permanently flooded with fresh water and attract numerous bird species, especially migratory birds. Different educational activities related to the environment are organised here.

This is an area of small dimensions, which follows the Gaià river along its last stretch into the sea. It forms an island of natural landscape made up of riverside vegetation and marshland; a contrast to the dry farmland and touristic and recreational areas around it. Some parts of the area are permanently flooded with fresh water and are a refuge for different animal species, as well as a place of rest for numerous migratory birds.

The association Hort de la Sínia organises multiple environmental education activities. Hiking and beach activities are popular here.

This area is remarkable from an ornithological point of view thanks to the presence of species such as the Kentish plover, the little ringed plover, the little grebe and the kingfisher, to name just a few. Moreover, it also provides a place of rest for some species that stop to rest and/or feed during migration, such as the purple heron, the little bittern, the squacco heron, the European golden plover and the sand martin, among others. Among the mammals, it is worth mentioning the badger, and among the reptiles, we can find species like the pond turtle, the ocellated lizard and the Mediterranean tree frog.

More information: Birding Places

The villa of "Els Munts" is a residential Roman villa built during the 2nd century C.E. The villa is located 12 km away from Tarraco in the municipality of Altafulla in Catalonia. 

Scholars have regarded the villa of Els Munts as noteworthy for its mosaics and exceptional state of preservation. As a part of Tarraco, the villa of Els Munts is a UNESCO World Heritage site.

The villa of Els Munts contains several components including a bath, gardens, and temple. In total the villa had a garden, semi-basement corridor with cistern for Caius Valerius Avitus, peristyle, water cistern known locally as La Tartana, a more extensive water reservoir, dining room (triclinium), the Mithraeum -a temple dedicated to the god Mithras, porticoed corridor. The baths had a reception with an atrium and alcover stone slab floor. There were heated rooms: caldaria, tepidaria, and furnaces with hypocaustum, and cold rooms (frigidaria). A furnace, praefurnia, heated the hot rooms from below. Lastly, there were latrines which excess water from the baths used to remove the excrement.

The ancient people known as the Iberians were early inhabitants of the region. The Roman historian Livy mentions Tarraco in describing part of the origins of the Second Punic War. The villa was initially built in the 1st century CE, on top of which the remains preserved today were built in the middle of the 2nd century CE. Sometime after 175 CE but before 200 CE, a fire burned at villa of Els Munts, and the inhabitants abandoned it.

The owner of the villa was Caius Valerius Avitus, a duumvir for the Roman province of Tarraco. A wall painting at the site indicates this information.

The villa of Els Munts is located in the municipality of Altafulla. Approximately 12 kilometers from Tarraco, modern day Tarragona and near the mouth of the Gayà River, the villa of Els Munts sits atop the western slope of a coastal hill which is part of Cap Roig, the origin of which is the Miocene era. It overlooks the Mediterranean Ocean and is near the Via Augusta.

The villa of Els Munts is part of a museum open to the public.

More information: MNAT

 When you arise in the morning, 
think of what a precious privilege it is to be alive 
-to breathe, to think, to enjoy, to love.

Marcus Aurelius

FROM PORT GINESTA TO ALTAFULLA, MEDITERRANEANLY

Today, with the forecast for good weather, Claire Fontaine and The Grandma got up early, had a hearty breakfast, got on their bikes and pedaled from Barcelona to Port Ginesta. It is a distance of 20 km that they covered at a sporty pace that allowed them to arrive in just under 90 minutes.

There, they had breakfast again before taking Claire's boat, loading their bikes and starting their sea crossing to Altafulla where they plan to spend this weekend.

The crossing was calm and at a speed of 6 knots they arrived at the Port of Torredembarra just in time to have lunch in the same port before taking their bikes and pedaling towards the Gran Claustre d'Altafulla.

After resting a bit in the Gran Claustre and writing this post, Claire and The Grandma have been talking to Joseph de Ca'th Lon and Alessandra, who are in Cortina d'Ampezzo where they have enjoyed the Olympic curling this morning.

This evening, all of them, despite the distance, will watch the semi-finals of the French Cup, a very special football match for the Northern Star.

Tomorrow, Claire and The Grandma plan to visit the Gaià River Estuary Wildlife Preserve and the Roman Villa of Els Munts, the main reasons for this visit to Altafulla.

Altafulla is a municipality in the comarca of the Tarragonès in Catalunya. It has a population of 5,870.

The town of Altafulla has a beautifully intact old quarter crowned by the Castle of Altafulla, and an old fishing quarter dating back to the 18th century along the beach, called Baixamar or Les Botigues de Mar.

An additional medieval castle on a small promontory overlooking the sea, the Castle of the Marquises of Tamarit (private) is often thought as part of Altafulla, but it is actually located in the neighbour municipality of Tarragona. Beyond the castle is one of the last remaining forests stretching along the sea in Catalonia, part of which is a small nature preserve, under the Tamarit-Punta de la Móra Special Environmental and Landscape Protection Plan.

Altafulla is also home to the remains of the Roman villa of Els Munts, which is included in a larger UNESCO World Heritage Site. The Gaià River empties into the sea here, its last stretch being a small nature preserve and haven for songbirds (Reserva Natural de Fauna Salvatge de la Desembocadura del Gaià-Gaià River Estuary Wildlife Preserve), though due to damming upriver, it carries very little water at this last section, forming a tiny salt marsh separated from the sea by a bar of sand. This wildlife preserve is run by L'Hort de la Sínia, an ecological agriculture, learning and activities centre.

Altafulla has one of the highest median household incomes in the province of Tarragona. 

More information: Visit Altafulla

To sail successfully, you need to observe with great care. 
You need to identify what the wind 
and the water are telling you a
nd then find a way to execute, 
to reach whatever goal you've set, 
be that simply making it home or winning a race.

Diane Greene

ALEKSANDR SOLZHENITSYN & ‘THE GULAG ARCHIPELAGO’

After a windy day, today has been a day of heavy rain, so heavy that The Grandma has had a bout of laziness and has decided to stay home rereading The Gulag Archipelago, a masterpiece written by Aleksandr Solzhenitsyn, the Russian writer, winner of the Nobel Prize in Literature.

Aleksandr Isayevich Solzhenitsyn (11 December 1918-3 August 2008) was a Soviet and Russian author and dissident who helped to raise global awareness of political repression in the Soviet Union, especially the Gulag prison system.

He was awarded the 1970 Nobel Prize in Literature for the ethical force with which he has pursued the indispensable traditions of Russian literature. His nonfiction work The Gulag Archipelago amounted to a head-on challenge to the Soviet state and sold tens of millions of copies.

Solzhenitsyn was born into a family that defied the Soviet anti-religious campaign in the 1920s and remained devout members of the Russian Orthodox Church. At a young age he became an atheist and embraced Marxism–Leninism. While serving as a captain in the Red Army during World War II, Solzhenitsyn was arrested by SMERSH and sentenced to eight years in the Gulag and then internal exile for criticizing Joseph Stalin in private correspondence with another field officer. As a result of his experience in prison and the camps, he gradually became a philosophically minded Eastern Orthodox Christian.

During the Khrushchev Thaw, Solzhenitsyn was released and exonerated. He started writing novels about his experiences and repression in the Soviet Union. In 1962, he published his first novel, One Day in the Life of Ivan Denisovich -an account of Stalinist repressions- with approval from Soviet leader Nikita Khrushchev. His last work to be published in the Soviet Union was Matryona's Place in 1963.

After Khrushchev lost power, Soviet authorities unsuccessfully tried to discourage Solzhenitsyn from writing. His novels published in other countries included Cancer Ward in 1966, In the First Circle in 1968, August 1914 in 1971 and The Gulag Archipelago in 1973.

The last novel outraged authorities and, in 1974, he was stripped of his Soviet citizenship and flown to West Germany. He soon moved to Switzerland and then, in 1976, to Vermont in the United States with his family. 

He continued to write and his Soviet citizenship was restored in 1990. He returned to Russia four years later and remained there until his death in 2008.

Solzhenitsyn was born in Kislovodsk (now in Stavropol Krai, Russia). His father, Isaakiy Semyonovich Solzhenitsyn, was of Russian descent, and his mother, Taisiya Zakharovna (née Shcherbak), was of Ukrainian descent.

His educated mother encouraged his literary and scientific learnings and raised him in the Russian Orthodox faith.

The Gulag Archipelago was composed from 1958 to 1967, and has sold over thirty million copies in thirty-five languages. It was a three-volume, seven-part work on the Soviet prison camp system, which drew from Solzhenitsyn's experiences and the testimony of 256 former prisoners and Solzhenitsyn's own research into the history of the Russian penal system.

It discusses the system's origins from the founding of the Communist regime, with Vladimir Lenin having responsibility, detailing interrogation procedures, prisoner transports, prison camp culture, prisoner uprisings and revolts such as the Kengir uprising, and the practice of internal exile.

On 8 August 1971, the KGB allegedly attempted to assassinate Solzhenitsyn using an unknown chemical agent (most likely ricin) with an experimental gel-based delivery method. The attempt left him seriously ill, but he survived.

Although The Gulag Archipelago was not published in the Soviet Union, it was extensively criticized by the Party-controlled Soviet press.

On 19 September 1974, it was approved a large-scale operation to discredit Solzhenitsyn and his family and cut his communications with Soviet dissidents.

In a series of writings, speeches, and interviews after his return to his native Russia in 1994, Solzhenitsyn spoke about his admiration for the local self-government he had witnessed first hand in Switzerland and New England. He praised 'the sensible and sure process of grassroots democracy, in which the local population solves most of its problems on its own, not waiting for the decisions of higher authorities.'

Solzhenitsyn died of heart failure near Moscow on 3 August 2008, at the age of 89.

More information: New Criterion

There is nothing that so assists the awakening 
of omniscience within us as insistent thoughts 
about one's own transgressions, errors, mistakes.

Aleksandr Solzhenitsyn

AH, BUT I MAY AS WELL, TRY AND CATCH THE WIND...

Today is a special day for the city of Barcelona because it celebrates one of its three patron saints, Santa Eulàlia, the patron saint most beloved by Barcelona residents who know the history of the city and are aware of the symbolic and cultural importance of this religious figure.

The Grandma had planned to go out to enjoy the day and honour her patron saint but a strong wind advisory has stopped all outdoor events so she has stayed home reading and listening to songs that refer to the wind such as Wind of Change by Scorpions, Sempre Hi Ha Vent by Maria del Mar Bonet, Veles e Vents by Ausiàs Marc, Blowin' in the Wind by Bob Dylan, Candle in the Wind by Elton John, Against the Wind by Bob Seeger, The Wind by Cat Stevens, Wild Is the Wind by Nina Simone, Ride the Wild Wind by Queen, and one of her favourites Dust in the Wind by Kansas, a song that reminds us that time passes (tempus fugit) and we are an insignificant part of the universe. Although they are all beautiful and she can't just decide one, she has thought that today she would choose Catch The Wind by Donovan because it reminds her of the Joan Baez concert for her 75th birthday.

Despite hearing Joan Baez later at the Palau de la Música Catalana and at Festival Jardins de Pedralbes in Barcelona, at the Terramar Festival in Sitges, and at Portaferrada Festival in Sant Feliu de Guíxols, she didn't play it again in none of these four places.

Catch the Wind is a song written and recorded by Scottish singer-songwriter Donovan. Pye Records released Catch the Wind backed with Why Do You Treat Me Like You Do? as Donovan's debut release in the United Kingdom on 28 February 1965. The single reached No. 4 in the United Kingdom singles chart. Hickory Records released the single in the United States in April 1965, where it reached No. 23 in the United States Billboard Hot 100.

The single version of Catch the Wind was recorded at Olympic Studios in London. Donovan played guitar and sang on the recording, and was accompanied by nine session musicians: four viola players, four violin players and a string bass player. According to Donovan biographyer Lorne Murdoch, the string arrangement on the single version was performed by the London Philharmonic Orchestra, with an arrangement written by Ken Lewis of the Ivy League. He additionally opined that Donovan's commercial recording career commenced with the recording of Catch The Wind in February 1965.

In May 1965, Pye Records released a different version of Catch the Wind on Donovan's debut LP record album What's Bin Did and What's Bin Hid, retitled Catch the Wind in the US. While the single version featured vocal echo and a string section, the album version lacked those elements and instead featured Donovan playing harmonica.

Cash Box described it as a medium-paced, folk-styled low-down bluesey romancer, with a Bob Dylan-like vocal. Record World likewise described it as Dylanesque.

When Epic Records was compiling Donovan's Greatest Hits in 1968, the label was either unable or unwilling to secure the rights to the original recordings of Catch the Wind" and Donovan's follow-up single, Colours. Donovan re-recorded both songs for the album, with a full backing band including Big Jim Sullivan playing guitar and Mickie Most producing.

In the chilly hours and minutes
Of uncertainty, I want to be
In the warm hold of your loving mind

To feel you all around me
And to take your hand, along the sand
Ah, but I may as well try and catch the wind

When sundown pales the sky
I want to hide a while, behind your smile
And everywhere I'd look, your eyes I'd find

For me to love you now
Would be the sweetest thing
That would make me sing
Ah, but I may as well, try and catch the wind

When rain has hung the leaves with tears
I want you near, to kill my fears
To help me to leave all my blues behind

For standin' in your heart
Is where I want to be, and I long to be
Ah, but I may as well, try and catch the wind
Ah, but I may as well, try and catch the wind

More information: Song of the Day for Today

The way I sing my songs leads the listener 
into a place of introspection, 
a state of mind that can trigger self-healing 
and the kind of profound rest 
you cannot get from sleep alone.

Donovan

'I LOMBARDI ALLA PRIMA CROCIATA' BY GIUSEPPE VERDI

Today, Joseph de Ca'th Lon and Alessandra are in Bormi, the Lombard city in the province of Sùndri, the host, along with Val de Sota, of the Men's Super G Olympic events that are being held this morning and which are the reason for their visit.

During the three-hour journey from Milàn, they have decided to choose as their soundtrack I Lombardi alla Prima Crociata, the lyrical drama written by Giuseppe Verdi that received its first performance in Milàn on a day like today in 1843, so it was a good way to remember this musical genius with his work based on the Lombards.

I Lombardi alla Prima Crociata (The Lombards on the First Crusade) is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an epic poem by Tommaso Grossi, which was very much a child of its age; a grand historical novel with a patriotic slant.

Its first performance was given at the Teatro alla Scala in Milan on 11 February 1843. Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. 

In 1847, the opera was significantly revised to become Verdi's first grand opera for performances in France at the Salle Le Peletier of the Paris Opera under the title of Jérusalem.

Grossi's original epic poem had plot complications that required the librettist to make significant changes; the historical characters portrayed in the original do not appear and the story becomes that of a fictional family and its involvement in the First Crusade. Julian Budden's analysis of the opera's origins notes: In 1843 any subject where Italians were shown united against a common enemy was dangerous, especially in Austrian Milan. Yet strangely enough it was not the police but the church that took exception to I Lombardi, since the Archbishop of Milan had heard rumours that the work contained specific elements of Catholic ritual. However, given Verdi's refusal to make any changes to the music, it is fortunate that the result of the police chief's investigations of the archbishops complaints required only very minor alterations.

While the premiere performance was a popular success, critical reactions were less enthusiastic and inevitable comparisons were made with Nabucco. However, one writer noted: If [Nabucco] created this young man's reputation, I Lombardi served to confirm it. Budden himself disagrees with this contemporary view, noting that Nabucco is all of a piece, a unity, however crude; I Lombardi is an agglomeration of heterogeneous ideas, some remarkable, some unbelievably banal.

Budden notes that for many years I Lombardi enjoyed the same kind of popularity as Nabucco, but he states that it did not fare well in Venice the following year and that it received few performances outside of Italy. However, within Italy, the opera was presented in Lucca in the summer of 1843, in Florence and Lucca in the autumn, and during the 1843/44 carnival season it was given in Trieste and Turin, while performances in 1845 were presented in Bologna and later, in the 1845/46 season, in Palermo and Mantua, in Macerata in the summer of 1846 and various other cities well in to the 1850s. Even in the late 1880s, well after Jérusalem had been given, it was presented in Florence.

This was the first of Verdi's operas to be heard in the United States, at Palmo's Opera House, on 3 March 1847 in New York. In the prior year the opera's British premiere had taken place on 12 May 1846 at Her Majesty's Theatre in London, Verdi having been invited there by the theatre's impresario, Benjamin Lumley: ...I will go to London to write an opera he had written, but in the end, illness prevented him from doing so.

However, with Italy approaching unification in the 1850s and in the decade following it in 1861, I Lombardi's call to peoples' patriotic instincts seemed to keep it alive, albeit that, by 1865 when Arrigo Boito saw a performance, he remarked that the opera was beginning to show its age.

I Lombardi was presented in 1930 at La Scala in Milan as the season's opening production.

More information: Medium

 

I adore art... when I am alone with my notes, 
my heart pounds and the tears stream from my eyes, 
and my emotion and my joys are too much to bear.

 

Giuseppe Verdi

OLYMPIC GAMES, HOCKEY & 'COTOLETTA ALLA MILANESE'

Joseph de Ca'th Lon has arrived in Milàn today to watch the women's hockey match between Italy and Germany this afternoon at the Milàn Rho Ice Hockey Arena.

Before that, however, Joseph has spent some time talking to The Grandma about how he is experiencing these Winter Olympics and has stopped to taste a delicious veal Milanese.

Joseph plans to attend several events of these Olympics and will do so accompanied by Alessandra, an old friend of The Grandma's who they have known since they worked together at the San Raffaele Hospital in Segrate, near Milàn, more than twenty years ago.

Veal cutlet Milanese, in Italian Cotoletta alla milanese, is a popular variety of cotoletta from the city of Milàn, Lumbardéa. It is traditionally prepared with a veal rib chop or sirloin bone-in and made into a breaded cutlet, fried in butter.

In Milàn, a dish called lumbolos cum panitio (chops with bread) was served in 1134. It is mentioned at a banquet for the canons of the Basilica of Sant'Ambrogio in Milàn. It is not known if the meat was covered in breadcrumbs or if it was served with bread as a side dish. Further evidence dates to around the 1st century BC indicating that the Romans enjoyed dishes of thin sliced meat, which was breaded and fried. The dish resembles the Austrian dish Wiener schnitzel, which originated in Austria around the 19th century; according to some, the two dishes might be related -Milàn was part of the Kingdom of Lumbardéa-Venetia, in the Austrian Empire, until 1859 -although the history of neither is clear.

Various breaded meat dishes prepared in South America, particularly in Argentina, were inspired by the cotoletta alla milanese brought by Italian immigrants and are known as milanesa. A local variation of milanesa is called milanesa a la napolitana and is made similar to veal Milanese with a preparation of cheese (mozzarella) and tomato.

If you want to help Joseph and Alessandra make the cotoletta alla milanese, here is the recipe:

Ingredients (serves 2)

• 2 veal cutlets, bone-in if possible (about 1-1.5 cm thick)
• 2 eggs
• Fine breadcrumbs (preferably homemade, unseasoned)
• Butter, clarified if possible (or a mix of butter and a little olive oil)
• Salt
• Lemon wedges (to serve)

Instructions

1. Prepare the cutlets

Gently pound the veal cutlets between two sheets of parchment paper until evenly thin, being careful not to tear the meat.

2. Egg wash

Beat the eggs lightly in a shallow bowl (do not add salt to the eggs).

3. Bread the cutlets

Dip each cutlet into the egg, letting excess drip off, then coat generously with breadcrumbs.

Press the breadcrumbs gently onto the meat — the coating should be even but not compacted.

4. Rest (optional but traditional)

Let the breaded cutlets rest at room temperature for about 10 minutes so the coating adheres well.

5. Fry

Heat a generous amount of butter in a large pan over medium heat.

When the butter is foamy but not browned, add the cutlets.

Cook for 3–4 minutes per side, until golden brown and crisp.

6. Drain and season

Transfer to paper towels to drain briefly.

Season with salt only after frying.

7. Serve

Serve immediately with lemon wedges on the side.

Tips & Tradition

-The authentic Milanese version uses veal, butter, and breadcrumbs only -no flour, no Parmesan, no herbs.

-The cutlet should be golden, crisp, and slightly wavy, not flat.

-Classic sides include arugula salad, roasted potatoes, or simply eaten on its own.

More information: Food & Wine

The thing about all my food is that 
everything is a remembered flavor. 
Maybe it's something I had as a child 
or maybe it's something I had in Milan, 
but I want it to taste better than you ever thought.

Ina Garten

LEAVING L'EMPORDÀ, 'ÉS QUAN DORMO QUE HI VEIG CLAR'

Today, Claire Fontaine and The Grandma are on their way to Barcelona after spending a few days in El Port de la Selva where they are going to pay a final tribute to an old friend and visit another, Tina Picotes.

Yesterday they took their bicycles and went up from El Port de la Selva to the Monastery of Sant Pere de Rodes, one of the most imposing and mysterious buildings from where on a clear day you can even see the Serra de l'Albera, Canigó and the Pyrenees.

On the way back, they went down through Vilajuïga and returned to El Port de la Selva along the Llançà road, a road that allows you to enjoy an extraordinarily beautiful landscape and, although you have to keep your attention on the road 100%, it allows you to stop at different places and contemplate how the sea and the mountain coexist.

 

NOTES SOBRE EL PORT DE LA SELVA per J.V. Foix

Em trobaren ajaçat a la sorra quan ja tots els banyistes havien desertat la platja. Enganxats a la nuca i a l'esquena tenia papers de totes les colors amb inscripcions de duanes i de grans hotels i balnearis exòtics. Me'ls volien arrencar, però seguien trossos de carn viva. Els ulls dels cavalls els pesquen a la cova de la Colomera quan toquen les dotze de la nit. Només en aquell instant precís es poden obrir com qui obre una ostra. Llur pupil·la flota damunt un licor tan ardent, que mai cap llavi humà no ha pogut acostar-s'hi. No els mireu mai de fit a fit, perquè us prendrà per sempre una tristesa sense fi, i la passió per les cales inabordables lligarà la vostra vida al més misteriós dels destins.

NOTES ON PORT DE LA SELVA by J.V. Foix

They found me lying in the sand when all the swimmers had already abandoned the beach. Stuck on my back and the nape of my neck were pieces of paper in all colours with inscriptions from customs houses and from grand hotels and exotic spas. They wanted to tear them from me, but chunks of live flesh came off as well. They go fishing for horses' eyes in Colomera's cave when it strikes midnight. Only at that precise instant can they be opened as one opens an oyster. Their pupils float on a liquid which burns so strongly, that no human lips have ever been able to come near. Don't ever stare at them, because an endless sadness will take hold of you for good, and the passion for inaccessible inlets will bind your life to the most mysterious of destinies.

 

They arrived on Friday with J.V. Foix and his poetry and they leave in the same way, remembering his writings about this beautiful town and what is, perhaps, his best-known poem, the one that tells us about dreams as a way to escape from reality, especially when it is harder and crueler than you can bear.

In this poem, J.V. Foix reminds us of the Occitan poets who also sang of love at night surrounded by the dreamlike atmosphere, and even reminds us of Corto Maltese, the character of Hugo Pratt, who also uses dreams as a way of refuge (or escape) in Les Cèltiques. Calderón de la Barca also told us that life was a dream and Bernat Metge took advantage of the resource of dreams to be able to criticize society and the political power of the time and avoid the established censorship, and dreams allow us to live as we want and desire, that's why our beloved Bruce Springsteen also invites us to daydream...

 

És quan plou que ballo sol
Vestit d'algues, or i escata,
Hi ha un pany de mar al revolt
I un tros de cel escarlata,
Un ocell fa un giravolt
I treu branques una mata,
El casalot del pirata
És un ample gira-sol.
Es quan plou que ballo sol
Vestit d'algues, or i escata.

És quan ric que em veig gepic
Al bassal de sota l'era,
Em vesteixo d'home antic
I empaito la masovera,
I entre pineda i garric
Planto la meva bandera;
Amb una agulla saquera
Mato el monstre que no dic.
És quan ric que em veig gepic
Al bassal de sota l'era.

És quan dormo que hi veig clar
Foll d'una dolça metzina,
Amb perles a cada mà
Visc al cor d'una petxina,
Só la font del comellar
I el jaç de la salvatgina,
-O la lluna que s'afina
En morir carena enllà.
Es quan dormo que hi veig clar
Foll d'una dolça metzina.

 

It's when it rains I dance alone
Dressed in seaweed, scales and gold,
There's a patch of sea at a bend in the road
And a piece of scarlet sky,
A bird loops the loop
And a shrub branches out,
And the pirate's manor-house
Is a broad sunflower.
It's when it rains I dance alone
Dressed in seaweed, scales and gold.

It's when I laugh I see my hunched back
In the pond below the threshing floor,
I dress up as a man from antiquity
And harass the farm-girl,
And between pine grove
And kermes oak I plant my standard;
With a sail needle
I slay the monster whose name I do not utter.
It's when I laugh I see my hunched back
In the pond below the threshing floor.

It's when I sleep I see all clearly,
Deranged by a sweet venom,
With pearls in either hand
I live in the heart of a scallop shell,
I am the spring in the gulley
And the bed
Of the wild creature,
—Or the moon who becomes more delicate
As she dies beyond the ridge—.
It's when I sleep I see all clearly,
Deranged by a sweet venom.

 

El Port de la Selva, April 1939

On he deixat les claus...

 

More information: Anglo-Catalan Society

 

I quan tot just si la tenora sona,
Pastors i estels perduts serrat enllà,
La Verge i Tu tots sols, a l'Hora Sola,
I els corns reials qui sap qui els sentirà,
Vindré mudat, al costat de la dona,
Amb els vestits de quan ens vam casar.

And then just as the woodwind tenora sounds, 
shepherds and stars lost beyond the hills, 
the Virgin and You all alone at the Single Hour, a
and who knows who will hear the royal horns, 
I shall come, having changed my clothes, beside my wife,
dressed as we were when we married.

J.V. Foix

El Port de la Selva, Christmas 1948

Onze Nadals i un Cap d'Any