SOUS LE CIEL DE PARIS JUSQU'AU SOIR VONT CHANTER...

After an intense week between Lyon, Paris and Fleury-Mérogis, where winter has gone and spring has arrived, today, The Grandma says goodbye to her friends and takes a flight to Barcelona where tomorrow a new training begins that will keep her busy for almost three months.

One of the advantages of online training is that it allows you to do your work from anywhere and gives you great freedom of movement, but this new training is face-to-face, so, during the working days, The Grandma will have to be present in Sant Boi de Llobregat, where from Monday she will share her ideas with some new colleagues with the ultimate goal of improving their knowledge and skills to be able to find a job.

It is for this reason that this blog will now become the communication tool for the Morgans, this new family with whom The Grandma will share fictional stories with the aim not only of them learning but also of them disconnecting from reality to be able to first recover as a person, before preparing themselves formatively to return to the world of work as soon as possible with confidence and real possibilities of stabilization.

Occupational training has as its first objective to recover the person and then to offer them a personal training itinerary that helps them in the search for a new job, which is why it is so linked to mental health, because in many cases the loss of a job is such a great emotional shock that it affects the deepest part of the person.

So, starting next Monday, The Grandma's blog will go from being personal and telling her real adventures to being professional and telling the fictional adventures with the Morgans, and for this, it will be necessary to use a lot of digital tools, to create a parallel and imaginary world that helps the Morgans escape their real problems and let themselves be carried away by the world of training from imagination, creativity, solidarity, empathy and daily work.

So, this early morning, The Grandma will fly back to Barcelona while Joseph de Ca'th Lon and Claire Fontaine will fly to Hannover from where they will drive to Wolfsburg where on Tuesday the Northern Star has a very special match that the two friends do not want to miss.

They have had an intense few days where they have been able to attend in Lyon and Paris one of the best musical shows of the moment (Lux); they have visited Paris, a beautiful city that they know well, but where they always do the same rituals (visiting the Louvre, the Eiffel Tower, sailing the Seine and getting lost in the city while savouring the local cuisine); they have seen the Northern Star shine again in Fleury-Mérogis, and they have met up with friends they haven't seen in a while, because this is always the most fascinating thing about travelling: meeting up with the people you love.  

Before taking the plane, The Grandma has made an interesting cheese supply, because being in Gaul means being able to enjoy the pleasure of eating great cheeses (with permission from the Swiss and Norwegians). If there are no delays, she will arrive in enough time to go to the Camp Nou, where there is an interesting match against Rayo Vallecano.

No one sings Paris better than Edith Piaf, and although times change and we have new sounds and rhythms, the essence, the word, the message, the spirit, the soul... remains the same.

 

Sous le ciel de Paris
S'envole une chanson
Elle est née d'aujourd'hui
Dans le coeur d'un garçon
Sous le ciel de Paris
Marchent des amoureux
Leur bonheur se construit
Sur une air fait pour eux

Sous le pont de Bercy
Un philosophe assis
Deux musiciens, quelques badauds
Puis des gens par milliers

Sous le ciel de Paris
Jusqu'au soir vont chanter
L'hymne d'un peuple épris
De sa vieille cité
Prés de Notre-Dame
Parfois couve un drame
Oui, mais à Paname
Tout peut s'arranger
Quelques rayons du ciel d'été
L'accordéon d'un marinier
L'espoir fleurit
Au ciel de Paris

Sous le ciel de Paris
Coule un fleuve joyeux
Il endort dans la nuit
Les clochards et les gueux
Sous le ciel de Paris
Les oiseaux du bon Dieu
Viennent du monde entier
Pour bavarder entre eux
Et le ciel de Paris
A son secret pour lui
Depuis vingt siècles il est épris
De notre île Saint Louis

Quand elle lui sourit
Il met son habit bleu
Quand il pleut sur Paris
C'est qu'il est malheureux
Quand il est trop jaloux
De ses millions d'amants
Il fait gronder sur eux
Son tonnerre éclatant
Mais le ciel de Paris n'est pas longtemps cruel
Pour se faire pardonner, il offre un arc-en-ciel

 

Under the Paris sky
A song takes flight
It was born today
In the heart of a boy

Under the Paris sky
Lovers walk
Their happiness is built
On a tune made for them

Under Bercy bridge
A philosopher sits
Two musicians, some onlookers
Then thousands of people

Under the Paris sky
They'll sing until dusk
The hymn of people in love
With this old city

Near Notre Dame
Sometimes drama broods
But at Paname
Everything comes together

Rays from the summer sky
A sailor's accordion
Hope blooms
In Paris' sky

And the Paris sky
Has a secret of its own
For twenty year's he's been in love
With our Saint Louis island
When she smiles at him
He dresses in blue

When it rains on Paris
It's because he's unhappy
When he grows jealous
Of her millions of lovers

He comes down on us
With his flashing thunder
But the Paris sky
Isn't cruel for long

To ask our forgiveness
He offers up a rainbow

 

More information: French Moments

Singing is a way of escaping. 
It's another world. 
I'm no longer on earth.

Edith Piaf

READING 'ASTÉRIX IN SWITZERLAND' IN FLEURY-MÉROGIS

The Grandma is enjoying her last days off before starting a new formation of almost three months in Sant Boi de Llobregat.

Last Monday, she enjoyed with Claire Fontaine and Joseph de Ca'th Lon the start of the Lux tour at the LDLC Arena in Décines-Charpieu, a place they know well and visit often because it is a few metres from the Groupama Stadium.

On Wednesday, all three friends flew to Paris where they saw the Catalan artist again, this time at the Accor Arena, in a first concert and yesterday, Friday, in a second one. They have been three wonderful concerts, although the three friends are still waiting to hear Memória live, because they are lovers of fado and it reminds them a lot of the much-loved Mísia, the Catalan-Portuguese artist, whom they followed throughout her career.

And because they are still in Paris today, they have bought some Fleury 91-OL tickets this morning and they will drive to Fleury-Mérogis, a city located 30 km south of the French capital to attend an interesting match of the Northern Star's team. They are not very sure that she will play the match because next week she has a very important European commitment, but it is 30 km and it is worth going there.

They have brought their faithful travel companion when they are in Gaul, Astérix, this time with his adventure in Switzerland, to read it during the short trip.

Astérix chez les Helvètes, in English Astérix in Switzerland, is the sixteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was originally serialized in Pilote magazine issues 557-578 in 1970 and translated into English in 1973.

Following the protests of May 1968, Goscinny started introducing more adult themes such as the opening orgy scene which parodies Federico Fellini's debauched Roman film, Fellini Satyricon. The painted faces, feeling of ennui, mechanical gorging of elaborate food, and sado-masochistic punishments are balanced (in Helvetia) by the fastidiousness of the Swiss servants who keep cleaning up messes and washing whips.

The idea to send Astérix and Obélix to Switzerland was proposed by future French president Georges Pompidou. A handwritten note from Pompidou, when he was prime minister, urging the authors to write about Astérix among the Helvetians, was displayed in an Asterix exhibition at the National Library of France in 2013.

This album features a rare dark overtone in that the plot involves a victim of attempted murder. The added element of potential death offers a startling but refreshing moment of drama in the otherwise whimsical series. Other stories that share a dramatic turn include Astérix and Son (where the village is destroyed) and Astérix and the Magic Carpet.

The comic contains several puns on typical Swiss features, such as the confidentiality and high level of security of Swiss banks, fondue, Swiss clocks (especially cuckoo clocks), the Helvetians' insistence on neutrality, yodeling, punctuality, alphorns (as an alternative form of carnyx), and -in one notable scene- the Swiss Federal Assembly.

The comic suggests that modern mountain climbing was introduced when Astérix has the idea of him, Obélix and their Helvetian aides securing themselves with ropes, and sledding when Astérix accidentally rides Obélix down the mountainside.

One scene with Astérix shooting a bow while a boy with an apple on his head fixes a target is a nod to the Swiss folk hero William Tell.

In one panel, avalanches in the Alps are satirized when the Roman legionaire hanging on to Obélix cautions, Stop shouting, you could easily start something off.

Like always, this issue concludes with the celebrational village feast with Cacophonix being tied to the tree. However in this case he's not gagged. Nothing prevents his awful singing during the affair.

Bibendum (the Michelin logo) makes a brief guest appearance as the chariot wheel dealer in the original English translation; whereas the original French version used the Gaulish-warrior-like mascot of the French service station company Antar. The 2004 English re-print from Orion Books uses the French illustrations, thus rendering Obélix's joke about Bibendum's weight in the next panel nonsensical. Call me fat! Did you see his spare tire?

The book's storyline is rife with clever wordplay, delightful caricatures, and hilarious situations as Astérix and Obélix find themselves embroiled in comical confrontations with the Romans while showcasing the determination and perseverance of the Swiss people. The authors skillfully blend history, satire, and humor throughout the narrative, making Astérix in Switzerland an entertaining and educational read for all ages.

As with all Astérix books, the illustrations by Albert Uderzo are a visual feast, capturing the charm and whimsy of the Gaulish village, the grandeur of the Swiss landscape, and the amusing antics of the characters. Uderzo's dynamic artwork, vibrant colors, and attention to detail bring the story to life, making it a visual treat for readers.

Astérix in Switzerland not only entertains readers with its engaging story and delightful illustrations but also serves as a commentary on the themes of resistance, cultural identity, and the strength of community. The book showcases the power of unity, determination, and the ability to overcome adversity, echoing timeless values that continue to resonate with readers today.

In conclusion, Astérix in Switzerland is a captivating addition to the Astérix series, offering a delightful blend of history, satire, adventure, and humor. With its lovable characters, clever wordplay, and beautiful artwork, this book is sure to charm readers of all ages, transporting them on a grand escapade through the enchanting world of Astérix and Obélix.

Key Lessons From Astérix In Switzerland

-Unity is strength. One of the central themes of the book is the power of unity. The Gauls, led by Astérix and Obélix, join forces with the Swiss to not only protect their village from the Roman invaders but also to help the Swiss regain their independence. The book demonstrates that when people come together and work towards a common goal, they can achieve great things.

-The importance of cultural identity. Astérix in Switzerland celebrates the unique cultural identity of the Swiss. The Swiss characters are portrayed as having their own distinct language, traditions, and values. The book emphasizes the importance of preserving one's cultural heritage and not succumbing to external influences. It teaches the readers to appreciate and embrace their own cultural identity.

-Cultural stereotypes. The book playfully highlights various cultural stereotypes associated with both the Swiss and the Gauls. It shows the Swiss as being disciplined, precise, and punctual, while the Gauls are depicted as unconventionally brave and fiercely loyal. However, the book also challenges these stereotypes by showing that individuals from both cultures can defy expectations and exhibit traits not typically associated with them.

-Satire and humor. Astérix in Switzerland uses satire and humor to comment on various aspects of society. It humorously pokes fun at bureaucracy and politics, specifically in the scene where the Swiss decide on their new leader through a contest of yodeling. The puns and wordplay throughout the book add to the light-hearted and comedic tone.

-Loyalty and friendship. The book emphasizes the importance of loyalty and friendship through the relationship between Astérix and Obélix. Despite their differences, the two characters demonstrate unwavering loyalty and support for each other. The book also highlights the theme of loyalty to one's homeland, as both the Gauls and the Swiss are willing to fight for their respective countries and protect their way of life.

 Download Astérix in Switzerland by René Goscinny & Albert Uderzo

Switzerland: the land of yodelling, cuckoo clocks, 
and the extraordinary power of cheese!

 

Astérix

CORTO MALTESE & THE CELTS, ENJOYING A SPECIAL DAY

Today is The Grandma's birthday and the weather has wanted to give her a lovely rainy day, perhaps because it knows that The Grandma really likes these rainy and introspective days, fantastic for a good read and good company.

She will have the best company this afternoon when Claire Fontaine and Joseph de Ca'th Lon, who is some days in Barcelona, come to see her and all together enjoy the French football cup final, a very important match for the Northern Star, and she will have a good read before and after accompanied by Corto Maltese and his Celtic adventures.

Celtic Tales (or The Celts) is a volume of comics that brings together six adventures of Corto Maltese, a Maltese sailor. These stories were written and drawn by the Italian comic book creator Hugo Pratt, and published for the first time between 1971 and 1972 in the French comic magazine Pif Gadget. They take place in Europe, during World War I, between 1917 and 1918. The stories are:

-The Angel in the Window to the Orient

-Under the Flag of Gold

-Concerto in O Minor for Harp and Nitroglycerin

-A Midwinter Morning’s Dream -Côtes de Nuit and Picardy Roses

-Burlesque Between Zuydcoote and Bray-Dunes

Hugo Pratt has produced numerous additional drawings of the characters and places relating to the stories in this album, as he did with other episodes of the series. Here, for example, he drew different places in Ireland and historical or legendary characters.

Among the many covers existing for Celtic Tales, one of them shows a poem in which Corto Maltese thanks different characters, mostly from Celtic legends:

-Merlin, the enchanter or wizard featured in Arthurian legend (like the followings three characters);

-Morgan le Fay and Viviane the Lady of the Lake;

-King Arthur; 

-Oberon (king of the fairies) and Puck;

-The Irish leprechauns; 

-The Cornish Pixies;

-The Scottish boggles;

-The Breton Korrigans; 

-The Welsh miners, Wales being renowned for its coal industry;

-The French elves;

-The Druids of Folle Pensée (name of a locality in the Paimpont forest);

-The little folk of the forest of Brocéliande;

-The royal ravens of Stonehenge;

-W. B. Yeats, the Irish poet; 

-And the harp of the wind somewhere to the north.

Hugo Pratt won the Prix Saint-Michel, for "Best Realistic Writing" in 1977, for the story A Midwinter Morning's Dream.

Twenty years after the death of Hugo Pratt, his ex-assistant Lele Vianello, another Italian comic book creator, gave him a tribute album. Entitled Twenty after... Homage to Hugo Pratt, it includes drawings inspired by the story A Midwinter Morning’s Dream, where Corto and characters from Celtic legends await Pratt on the day of his death to welcome him into their world.

More information: The Slings & Arrows

I haven't decided the date of my death yet.

Corto Maltese

ASTÉRIX AND THE ROMAN AGENT IN DÉCINES-CHARPIEU

Today, Claire Fontaine and Joseph de Ca'th Lon have arrived in Décines-Charpieu, Lyon where this afternoon they will go to see the Northern Star, who has a very important match today. During the trip from Milan to Lyon they have been reading a new Astérix adventure, in this case, Astérix and the Roman Agent.

Astérix and the Roman Agent, in French La Zizanie, is the fifteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It first appeared as a serial in Pilote magazine issues 531–552 in 1970 and was translated into English in 1972.

The original French title of this story was La Zizanie (The Ill-feeling or The Dissension). The inspiration was the dissension at Pilote magazine, a year before, during the May 1968 events in Paris, a time of civil unrest, when Goscinny, then also editor of Pilote, was almost evicted from the post, and remained bitter from the affair.

In the English version Caesar keeps making the famous Et tu Brute remark to Brutus who reacts in silent annoyance at this patronising attitude. In the original French version, Caesar keeps saying Et toi, mon fils (French for And you, my son), a possible reference to the suggestion by some historians that Brutus was actually fathered by Caesar, though some think it unlikely due to the mere 17-year age difference between the two men. It may also be a reference to the Greek phrase which the historian Suetonius reports Caesar did say to Brutus, καὶ σὺ τέκνον (Kai su, teknon?), literally, in English, You too, my child?

Brutus denies ever serving Caesar's enemy Pompey, whereas he actually did so in real life. It is a curious remark to make in a series which, although largely fictional, is based on extensive research into the history and background of the time and the habits of populations both old and new.

Centurion Felix Platypus is a caricature of the actor Lino Ventura, well-known for playing the parts of tough policemen.  

The incident of the Pirates fighting between themselves and sinking their own ship is referred to in the next adventure Astérix in Switzerland.

When Impedimenta screams at Vitalstatistix about idiots (words used in the original French edition) who might one day have the absurd idea of writing the history of the village, Goscinny and Uderzo are clearly referring to themselves.

This is the first appearance of several female villagers -Impedimenta's inner circle of prominent wives. In particular, the wives of Geriatrix and Fulliautomatix and an obese lady whose husband is not mentioned, but who appears in many crowd and background scenes in later albums, are first seen here.

In the scenes where people have been deceived into arguing, the speech bubbles are painted in increasingly dark green. In contrast, in the final banquet panel, Vitalstatistix makes his moving birthday speech in pink.

Stradivarius. The old senator's voice is compared to the sound of a Stradivarius violin, highlighting its rich and resonant quality.

Magnumopus (Fr. Savancosinus). The French name of the Roman legionary Magnumpous is Savancosinus. This is a clever play on the word cosine, referencing the comic character Savant Cosinus.

The Battle of the Four Camps. For the first time, all four Roman camps surrounding the Gaulish village  -Aquarium, Totorum, Laudanum, and Compendium- unite in a coordinated attack, increasing the stakes for the indomitable Gauls. In the American English release, the camps are named; Aquarium, Opprobrium, Nohappimedium and Delirium.

It is a very special adventure from which great vital ideas are extracted.

Despite Convolvulus's best efforts, the Gauls ultimately overcome the challenges he presents. By recognizing the dangers of manipulation and reaffirming their unity, they successfully thwart the Roman's plans and expose Convolvulus's treachery.

Astérix and the Roman Agent is a testament to the enduring brilliance of Goscinny and Uderzo. This thought-provoking adventure explores themes of trust, betrayal, and the importance of maintaining unity within a community, making it a timeless classic that continues to entertain and enlighten readers today.

Download Astérix and the Roman Agent by R. Goscinny & A. Uderzo

Astérix I think that we shall soon 

have to teach our friends a little lesson.

Obélix

THE GRANDMA LOOKS FOR THE LILLE PRINSEN IN MALMÖ

Today, The Grandma has been visiting the Swedish city of Malmö, in Skåne. Located 35-40 minutes by train from Copenhagen, The Grandma has come not only to see and get to know the city but also to look for a cultural treasure of incalculable personal value.

The Grandma is passionate about literature and when asked the seemingly impossible question of what her favourite work of fiction is, she has no doubt about choosing The Little Prince, the masterpiece by Antoine de Saint-Exupéry. And for this reason, whenever she has the opportunity to be away from home, the challenge is to find a version of this wonder in the language of the place she is visiting, so, while being in Copenhagen and already having the Danish version, she could not resist the temptation to take the train and cross the Øresund Bridge, from Denmark to the Öresund Bridge in Sweden and go in search of this extraordinary treasure and yes, she has been able to do it. 

The visit has been so short that she has not had enough time to really visit the city, so she has put it on his list of upcoming must-sees. In addition, she has taken a short break to watch the Northern Star, who had an important match today, which has not gone well, but from which many lessons can be learned.

Tomorrow morning, she will cross the bridge again towards Kastrup, where she must take the return flight to Barcelona at mid-morning, saying goodbye to these Scandinavian lands that she loves and admires so much. 

Malmö is the third-largest city in Sweden, after Stockholm and Gothenburg, and the seventh-largest city in the Nordic region. Located on the Öresund strait on the southwestern coast of Sweden, it is the largest city in Skåne and is the gubernatorial seat of Skåne County. Malmö received its city privileges in 1353.

Malmö is the site of Sweden's only fixed direct link to continental Europe, the Öresund Bridge, completed in 2000. The bridge connects Sweden to Denmark, and carries both road and rail traffic. The Öresund Region, which includes Malmö and Copenhagen, is home to four million people.

The city was one of the earliest and most-industrialised in Scandinavia, and the birthplace of several of Scandinavia's largest industrial groups, such as Kockums, Skanska, and Scania AB. The city has undergone a major transformation in the 21st century, and today, Malmö is characterised by many small and medium-sized companies in biotech, logistics, IT, construction, and real estate markets. It also is home to Malmö University and other higher education facilities.

Malmö contains many historic buildings and parks, and is a commercial centre for the western part of Skåne. It is home to Malmö FF, the Swedish football club with the most Allsvenskan titles, and the only Nordic club to have reached the final of the European Cup. It is also home to women's football club FC Rosengård, the most successful club in the Damallsvenskan.

Malmö has a mild climate for the latitude and, normally, average high temperatures remain above freezing in winter, with prolonged snow cover being rare.

The earliest written mention of Malmö as a city dates from 1275. It is thought to have been founded shortly before that date, as a fortified quay or ferry berth of the Danish Archbishop of Lund, 20 kilometres to the north-east. Its original name was Malmhaug, with alternative spellings, meaning Gravel pile or Ore Hill.

In the 15th century, Malmö became one of Denmark's largest and most visited cities, reaching a population of approximately 5,000 inhabitants. It became the most important city around the Öresund, with the German Hanseatic League frequenting it as a marketplace, and was notable for its flourishing herring fishery. 

In 1437, King Eric of Pomerania (King of Denmark from 1396 to 1439) granted the city's arms: argent with a griffin gules, based on Eric's arms from Pomerania. The griffin's head as a symbol of Malmö extended to the entire province of Skåne from 1660.

Lutheran teachings spread during the 16th century Protestant Reformation, and Malmö became one of the first cities in Scandinavia to fully convert (1527–1529) to this Protestant denomination. 

More information: Malmö Stad

We had spent two months in Malmö, Sweden, 
the place for which God saved all the most beautiful things in nature. 
The greenest grass. Sky the colour of cornflowers. 
Children who seemed born of that landscape, 
their hair spun from white clouds, eyes of cobalt sea.

Martha Hall Kelly

AUSIÀS MARCH, 'TEM LA MORT PER NO SER-VOS ABSENT'

Today, The Grandma has arrived in København where she will be staying until Friday for work. She has just arrived in time to watch the Northern Star, who has a very important match at Datenpol Arena in Maria Enzasduaf (Mödling, Lower Austria), where there are two luxury spectators: Joseph de Ca'th Lon and Claire Fontaine.

During the flight from Barcelona to København, The Grandma has been reading Ausiàs March, on the 567th anniversary of his death, the Valencian poet who so excellently sang of love and the art of sailing, an art shared with the Scandinavian inhabitants with whom The Grandma will spend a few days sharing work projects and cultural experiences. 

Perhaps one of the best-known poems of Ausiàs March is Veles e vents, a beauty one that expresses the inner struggle of the lover, especially the conflict between reason and love passion.

Ausiàs March uses the nautical metaphor (the winds, the sea, the ship) to represent his state of mind: the rough sea symbolizes his tormented heart; the contrary winds represent the opposing feelings that dominate him and the ship is himself, who tries to stay on course in the midst of emotional disorder.

Love is seen by Ausiàs March as a powerful and contradictory force that causes torment and instability; doubt and inner contradiction and emotional dependence. As in all his love poems, Ausiàs March expresses an intense, deep and often painful vision of love, very characteristic of his work.

More information: Lletra UOC

Ausiàs March (1397-March 3, 1459) was a Valencian poet and knight from Gandia, València. He is considered one of the most important poets of the Golden Century of Catalan literature.

Not much is known of March's life. He was born in approximately 1400 to a Valencian noble family. His father, Pere March, was himself a poet and served at the court of the younger brother of King Alfonso IV, Pere. His uncle, Jaume March II, was also a poet. March was one of the two children of Pere's second wife, Lionor of Ripoll; he had a younger sister, Peirona.

In 1413, the still-young March became head of his family -part of the Valencian petty nobility- upon the death of his father. From a very young age he took part in the expeditions that King Alfons el Magnànim carried out in the Mediterranean. After returning from these expeditions in 1427, he settled in Gandia. After his return, he would never again leave the region where he was born. March was twice married: first to Isabel Martorell (sister of the writer Joanot Martorell), and later to Joana Escorna.

In 1450, he moved from Gandia to Valencia. It was there that he died on March 3, 1459. While March himself was buried in his family's chapel at the Valencia Cathedral, his two wives and family are buried in the Monastery of Sant Jeroni de Cotalba. Five illegitimate children but no legitimate heirs have been attributed to him.

Inheriting an easy fortune from his father, Pere March -the treasurer to the Duke of Gandia- and enjoying the powerful patronage of Carles of Viana, prince of Aragon, March was able to devote himself to poetical composition. 

He was an undisguised follower of Petrarch, carrying the imitation to such a point that he addressed his Cants d'amor (Love songs) to a lady whom he professed to have seen first in church on Good Friday. So far as the difference of language allows, he reproduced the rhythmical cadences of his model, but this should be qualified as the medieval tradition of locus communis requested this following. This is something Petrarch himself did and it need not to be stressed. 

March is a very original and idiosyncratic poet. 

In the Cants de mort (Death hymns) he touches a note of brooding sentiment peculiar to himself. It can be said that he developed Petrarch's rhetoric and used it for more inner psychological meditations, as other major poets such a Camões and Shakespeare would.

March was one of the first poets to use the local vernacular, Catalan, instead of the troubadour language, Occitan. His poems are marked by obscurity, a sometimes monotonous morbidity, and a conflicting battle between desire and morality, achieved at its apex in the great Cant Spiritual. 

He was fully entitled to the supremacy which he enjoyed among his contemporaries, and the success of his innovation no doubt encouraged Boscán to introduce the Italian metres into Castilian.

March's poetry has been set to music by different composers.

 

Veles e vents han mos desigs complir

faent camins dubtosos per la mar.
Mestre i ponent contra d’ells veig armar:
xaloc, llevant los deuen subvenir
ab llurs amics lo grec e lo migjorn,
fent humils precs al vent tramuntanal
que en son bufar los sia parcial
e que tots cinc complesquen mon retorn.

Bullirà·l mar com la cassola en forn,
mudant color e l'estat natural,
e mostrarà voler tota res mal
que sobre si atur un punt al jorn.
Grans e pocs peixs a recors correran
e cercaran amagatalls secrets;
fugint al mar on són nodrits e fets,
per gran remei en terra eixiran.

Los pelegrins tots ensems votaran
e prometran molts dons de cera fets;
la gran paor traurà al llum los secrets
que al confés descoberts no seran.
En lo perill no·m caureu de l'esment,
ans votaré al Déu qui·ns ha lligats
de no minvar mes fermes voluntats
e que tots temps me sereu de present.

Jo tem la mort per no ser-vos absent,
perquè amor per mort és anul·lats;
mas jo no creu que mon voler sobrats
pusca ésser per tal departiment.
Jo só gelós de vostre escàs voler
que, jo morint, no meta mi en oblit.
Sol est pensar me tol del món delit
car, nós vivint, no creu se pusca fer:
aprés ma mort d'amar perdau poder
e sia tost en ira convertit,
e jo, forçat d’aquest món ser eixit,
tot lo meu mal serà vós no veer.
Oh Déu, ¿per què terme no hi ha en amor,
car prop d'aquell jo·m trobara tot sol?
Vostre voler sabera quant me vol,
tement, fiant, de tot l'avenidor.

Jo són aquell pus extrem amador
aprés d'aquell a qui Déu vida tol.
Puis jo són viu, mon cor no mostra dol
tant com la mort per sa extrema dolor.
A bé o mal d'amor jo só dispost,
mas per mon fat fortuna cas no·m porta.
Tot esvetlat, ab desbarrada porta,
me trobarà faent humil respost.
Jo desig ço que·m porà ser gran cost
i aquest esper de molts mals m'aconhorta.
A mi no plau ma vida ser estorta
d’un cas molt fer, qual prec Déu sia tost;
lladoncs les gents no·ls calrà donar fe
al que amor fora mi obrarà;
lo seu poder en acte·s mostrarà
e los meus dits ab los fets provaré.

Amor, de vós jo·n sent més que no·n sé,
de què la part pijor me'n romandrà,
e de vós sap lo qui sens vós està.
A joc de daus vos acompararé.

Sails and winds shall fulfill my deep longings,
forging uncertain paths along the sea.
Mistral and Ponent rise up against them;
Sirocco and Levanter must then resist,
with stalwart allies Gregal and Noonday,
making humble plea to wind Transmontane
to lend them favor with her billowing
that, as one, five might aid my swift return.

The sea will boil like a crock on the flame,
transforming her natural color and shape;
she will reveal how she distains all
that seek her refuge even for a moment.
Fish both great and humble, left succorless,
will seek a secret nook or hiding place,
fleeing what once engendered and protected
to pursue a desperate landlocked rescue.

With one voice, all seafarers will take oath,
pledging gifts of supplicatory wax;
the terror there will unlock the secrets
until then unconfessed, hence unabsolved.
Through such peril, you will not leave my thoughts,
and to the God who joined us, thus my plea:
that I be steadfast in my firm resolve,
and you my strong companion all the while.

I fear death for the absence it will bring,
because love, in death, is perforce anulled;
but I do not believe this departure
will reverse my own desperate longing.
I yearn deeply for your lukewarm heart, and
pray my death does not cause your disregard.
Life's joy is banished by this thought alone
(though while we live I doubt it will happen):
that when I die your love will soon falter
and all its fury be turned into rage.
And I, forcibly cast out of this world,
I will only regret not seeing you.
My God, were love not infinite, boundless
I would stand alone at its furthest point!
Then I would know the measure of your love,
and trust it all to fate, if fearfully.

No one has loved more ardently than I,
save any man whose life God took for love;
I, who live, cannot show the heartfelt pain
revealed best and alone in lovelorn death.
Yet I am at love’s call, for good or ill,
and although such fortune ne'er befall me,
will stand prepared, unbarred doors open wide,
where I'll be found in humble readiness.
I so want that which will cost me dearest
that there is solace in waiting alone!
I am not content to be spared the worst
Dear God, it is my life's most fervent plea
for then all who watch will see, in action,
love's universal and external works
made powerfully manifest in me,
as these many words I confirm with deeds.

Love, in you, feeling undermines thought,
so that to me falls the worst of all lots:
as with a bet at any gaming table,
discernment is for those not so enticed.

 

More information: The Anglo-Catalan Society

 La velletat en Valencians mal prova,
é no se com jo faça obra nova.

Old age is bad for Valencians,
I don't know how I make new work. 

Ausiàs March, Cants de Mort

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

ENJOYING 'ASTÉRIX IN HISPANIA' IN DÉCINES-CHARPIEU

Today, Joseph de Ca'th Lon is in Décines-Charpieu, Lyon where this afternoon he plans to see the Northern Star, who has a very important match, the derby of the Rhône region.

Joseph will travel to Ladonia tomorrow to follow the Olympic events that are being held in this nation divided into three regions Belluno, Bozen (South Tyrol), and Trento. He will be enjoying winter sports until the 21st, when he will return to Marselha where Claire Fontaine and The Grandma will be waiting for him.

The day is cloudy and the temperature is around 6-7 degrees, so Joseph has decided to stay at the hotel and read a new Astérix adventure, this time Astérix in Hispania, before heading to the Groupama Stadium. 

Astérix in Hispania o Astérix in Spain, in French Astérix en Hispanie, is the fourteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was originally serialized in Pilote magazine, issues 498–519, in 1969, and translated into English in 1971.

The taking of children as hostages was not unknown in ancient times and offered means of maintaining a truce. Hostages were mostly well treated by their takers (even in this story, Caesar insists that Pepe be treated with the respect due to being a chieftain's son). An example is the young Roman Aëtius, given as a hostage to Alaric I the Visigoth. Aëtius thus gained first-hand knowledge of the barbarians' methods of battle. This was to prove invaluable when, in later life, he opposed Attila the Hun.

Pepe in the beginning confronts Caesar armed with a sling and says You shall not pass. This is a reference to the ¡No pasarán! speech delivered in Madrid by Dolores Ibárruri Gómez during the Spanish Civil War.

Various scenes depict stereotypical behaviour associated with Spaniards: their pride, their choleric tempers; and the cliché of roads in disrepair. The generally slow aid for car problems is spoofed too.

The scenes where various Gauls and Goths (Germans) travel in house-shaped chariots, are a parody on the vacations in Spain in motor homes.

Two locals in Hispania represent Don Quixote and Sancho Panza; this is made clear by their visual appearance and by Quixote's sudden charge at the mention of windmills.

When the frightened Roman Brontosaurus tries to act Spanish, his knees shake against each other, and Pepe says his knees make a nice accompaniment; this is a reference to castanets which make a similar sound when used while singing.

The travelers witness nocturnal processions of druids, a very clear reference to the religious processions associated with later Spanish people; one such procession places the druids in capirotes recalling those of a Spanish priesthood.

The conductor in the arena is a caricature of French conductor Gérard Calvi. He composed music for three Astérix films: Astérix the Gaul, Astérix and Cleopatra and The Twelve Tasks of Astérix.

The final scenes are a fictional depiction of the origin of bull fighting, a tradition in Spain. However, the comic features an Aurochs instead of a bull, an extinct cattle species.

The line A fish, a fish, my kingdom for a fish on the last page, is a reference to William Shakespeare's play Richard III, wherein Richard demands a horse in the same words. The line is also referenced with Astérix in Britain's Chief Mykingdomforanos, a dialect form of My kingdom for a horse.

Although the Iberian peninsula had long been controlled by Rome, this album mentions the Battle of Munda, which took place in 45 BC, five years after the alleged time of all the albums.

This was the first book in the series to feature Unhygienix the fishmonger and his wife Bacteria. It is also the first to feature a fight between the villagers, started by Unhygenix's fish.

Pepe's skill with the sling may be a historical nod to the ancient slingers of the Balearic Islands, famous for their skill with this weapon. The Carthaginian general Hannibal, and later the Romans, made extensive use of their skill in their armies.

Download Astérix in Hispania by René Goscinny & Albert Uderzo

Well, Sonny?

Tell us what brought you from Hispania to Gaul.

Getafix

ASTÉRIX & THE CAULDRON IN DÉCINES-CHARPIEU, LYON

Today, Joseph de Ca'th Lon is in Décines-Charpieu, Lyon to see the Northern Star, who has an important match this afternoon.

The weather is sunny with some clouds, the temperature does not rise above 10 degrees, and the climate is oceanic to semi-continental, with a breeze that reinforces the feeling of cold.

To avoid this, Joseph has decided that nothing is better than having a good coffee and eating some delicious choux pastry while reading a new Astérix adventure, this time, Astérix and the Cauldron.

Astérix and the Cauldron is the thirteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). 

It was first serialized in the magazine Pilote, issues 469-491, in 1968, and translated into English in 1976.

When Obélix suggests they get paid by telling people their adventures, Astérix rejects the idea as unlikely to raise any money. The joke is that, by this time, the series had made Goscinny and Uderzo very wealthy.

When Roman dignitaries assemble at the theatre, Uderzo (in Roman costume) is shown talking to the Prefect, while Goscinny, on the right, amuses his neighbours with jokes.

The tax collector in the book appears to be a caricature of Valéry Giscard d'Estaing, then the French minister of finance, who later became president.

Two of the actors in the theatre are named Laurensolivius and Alecginus.

This is the first and only volume in which the pirates enjoy a happy ending, and the first of the few rare stories where their ship is not sunk (though they have already taken a beating earlier in this episode).

The fight at the end of the story is one of the rare times Astérix is seen using his sword, although he always carries it with him.

Astérix's unraveling of the plot is a reference to the Roman proverb Pecunia non olet (money does not stink).

In earlier editions, the colour of the breeches of the Roman legionaries changed from white to red.

Key Lessons From Asterix And The Cauldron

Friendship and loyalty. The book showcases the strong bond of friendship and loyalty between Astérix and Obélix. Despite facing challenges and difficulties, they always stand by each other and support one another.

Greed and corruption. The story revolves around the theme of greed and corruption. The Gauls come across a wealthy Roman who is involved in various corrupt practices. The book highlights the negative consequences of greed and the importance of standing up against corruption.

Courage and bravery. Astérix and Obélix display great courage and bravery throughout the book. They take on challenging tasks and face dangerous situations fearlessly. Their determination and bravery inspire others to join their cause and stand up for what is right.

Importance of unity. The book emphasizes the importance of unity and teamwork. The Gauls, despite their differences, come together to overcome obstacles and fight against their common enemy. This highlights the strength that can be achieved when people work together towards a common goal.

The triumph of the underdog. Astérix and Obélix, who are often underestimated due to their small stature, triumph over their enemies and emerge victories. This teaches readers the important lesson that one's size or appearance does not determine their abilities or potential for success.

Download Astérix and The Cauldron by R. Goscinny & A. Uderzo

Nothing brings our village together like a good feast.

Astèrix

CARCASSONA, THE OCCITAN FORTIFIED CITY IN AUDE

This morning, Joseph de Ca'th Lon, Claire Fontaine and The Grandma have visited Carcassona, one of the most wonderful and mysterious places in Occitània.

It is a visit that all three wanted to do: Joseph for the history of the city and the Cathars, Claire for the role-playing game and the locations of the film Robin Hood, Prince of Thieves, and The Grandma for Occitan literature.

They have enjoyed a fantastic breakfast, have walked through historical sites and have been carried away by the magic and mystery that surrounds this walled city.

In the afternoon, the three friends have rested at the hotel while have been watching the Northern Star, who has had a very important match against the biggest rival today. She has done a great job, as always, and it has been a very interesting match for tactical football lovers.

After the match, they have left for Perpinyà where they will visit some friends tonight, in which will be the last stage of this trip through Provençal, Occitan and Catalan lands before returning to Barcelona.

Carcassona is an Occitan fortified city in the department of Aude.

Inhabited since the Neolithic Period, Carcassona is located in the plain of the Aude between historic trade routes, linking the Atlantic to the Mediterranean Sea and the Massif Central to the Pyrénées. Its strategic importance was quickly recognised by the Romans, who occupied its hilltop until the demise of the Western Roman Empire. In the fifth century, the region of Septimania was taken over by the Visigoths, who founded the city of Carcassona in the newly established Visigothic Kingdom.

Its citadel, known as the Vila de Carcassona, is a medieval fortress dating back to the Gallo-Roman period and restored by the theorist and architect Eugène Viollet-le-Duc between 1853 and 1879. It was added to the UNESCO list of World Heritage Sites in 1997 because of the exceptional preservation and restoration of the medieval citadel. Consequently, Carcassona relies heavily on tourism but also counts manufacturing and winemaking as some of its other key economic sectors.

The first signs of settlement in this region have been dated to about 3500 BC, but the hill site of Carsac -a Celtic place-name that has been retained at other sites in the south- became an important trading place in the sixth century BC. The Volcae Tectosages fortified it and made it into an oppidum, a hill fort, which is when it was named Carsac.

The folk etymology -involving a châtelaine named Lady Carcas, a ruse ending a siege, and the joyous ringing of bells (Carcas sona)- though memorialized in a neo-Gothic sculpture of Mme. Carcas on a column near the Narbonna Gate, is a modern reconstruction of a 16th-century depiction. The name can be derived as an augmentative of the name Carcas.

Carcassona became strategically identified when the Romans fortified the hilltop around 100 BC and eventually made it the colonia of Julia Carsaco, later Carcaso, later Carcasum by the process of swapping consonants known as metathesis. The main part of the lower courses of the northern ramparts dates from Gallo-Roman times. In AD 462 the Romans officially ceded Septimania to the Visigothic king Theodoric II who had held Carcassonne since AD 453.

Theodoric is thought to have begun the predecessor of the basilica that is now dedicated to Saint Nazaire. In AD 508 the Visigoths successfully foiled attacks by the Frankish king Clovis I. In Francia, the Arab and Berber Muslim forces invaded the region of Septimania in AD 719 and deposed the local Visigothic Kingdom in AD 720; after the Frankish conquest of Narbona in 759, the Muslim Arabs and Berbers were defeated by the Christian Franks and retreated to Andalusia after 40 years of occupation, and the Carolingian king Pepin the Short came up reinforced.

A medieval fiefdom, the county of Carcassona, controlled the city and its environs. It was often united with the county of Razès. The origins of Carcassona as a county probably lie in local representatives of the Visigoths, but the first count known by name is Bello of the time of Charlemagne. Bello founded a dynasty, the Bellonids, which would rule many honoures in Septimania and Catalonia for three centuries. 

In 1067, Carcassona became the property of Raimond-Bernard Trencavel, viscount of Albi and Nîmes, through his marriage with Ermengard, sister of the last count of Carcassona. In the following centuries, the Trencavel family allied in succession with either the counts of Barcelona or of Tolosa. They built the Château Comtal and the Basilica of Saints Nazarius and Celsus. In 1096, Pope Urban II blessed the foundation stones of the new cathedral.

Carcassona became famous for its role in the Albigensian Crusades when the city was a stronghold of Occitan Cathars. In August 1209 the crusading army of the Papal Legate, abbot Arnaud Amalric, besieged the city. Viscount Raymond-Roger de Trencavel was imprisoned while negotiating his city's surrender and died in mysterious circumstances three months later in his dungeon. The people of Carcassona were allowed to leave -in effect, expelled from their city with nothing more than the shirts on their backs. Simon de Montfort was appointed the new viscount and added to the fortifications.

In 1240, Trencavel's son tried unsuccessfully to reconquer his old domain. The city submitted to the rule of the kingdom of France in 1247. Carcassona became a border fortress between France and the Crown of Aragon under the 1258 Treaty of Corbeil. King Louis IX founded the new part of the town across the river. He and his successor Philip III built the outer ramparts. Contemporary opinion still considered the fortress impregnable. During the Hundred Years' War, Edward the Black Prince failed to take the city in 1355, although his troops destroyed the lower town.

In 1659, the Treaty of the Pyrenees transferred the border province of Rosselló to France, and Carcassona's military significance was reduced. Its fortifications were abandoned and the city became mainly an economic center of the woollen textile industry, for which a 1723 source quoted by Fernand Braudel found it the manufacturing centre of Languedoc. It remained so until the Ottoman market collapsed at the end of the eighteenth century, then reverted to a country town. The town hall, known as Hôtel de Rolland, was completed in 1761.

More information: Remparts Carcassone

On voit la ville de la-haut,
Derrière les montagnes bleues;
Mais, pour y parvenir, il faut,
Il faut faire cinq grandes lieues,
En faire autant pour revenir!
Ah! si la vendange était bonne!
Le raisin ne veut pas jaunir
Je ne verrai pas Carcassonne!

They see the town from up on high,
Behind the range of mountains blue;
But, to arrive there by and by,
Some five great leagues I’ll have to do;
And do as much just to come back!
Ah!  Had the grapes in plenty grown!
They all that yellow ripeness lack:
I never will see Carcassonne!

Gustave Nadaud

THE DERVENI PAPYRUS, THE ANCIENT GREEK PAPYRUS

Today, Joseph de Ca'th Lon, Claire Fontaine and The Grandma have spent their last hours in Lyon before returning to Basel and Barcelona.

They have had a few days off that they have taken advantage of to visit the city and its surroundings, meet up with old friends from university and remember what this city was like thirty years ago -when they were studying here-, enjoy the local culture -as always-, and watch two Northern Star matches.

They will be back in a few weeks, but in the meantime, they will be in their cities managing their work and business affairs. The Grandma is starting a new training project in February and is just finishing the last details, so she will be alternating work and leisure.

While waiting at Lyon's Antoine de Saint Eixupéry International Airport, The Grandma has been reading about the Derveni papyrus, which was found on a day like today in 1962. 

The Derveni papyrus is an Ancient Greek papyrus roll that was discovered in 1962 at the archaeological site of Derveni, near Thessaloniki, in Central Macedonia. 

A philosophical treatise, the text is an allegorical commentary on an Orphic poem, a theogony concerning the birth of the gods, produced in the circle of the philosopher Anaxagoras. The roll dates to around 340 BC, during the reign of Philip II of Macedon, making it Europe's oldest surviving manuscript.

The poem itself was originally composed near the end of the 5th century BC, and in the fields of Greek religion, the sophistic movement, early philosophy, and the origins of literary criticism it is unquestionably the most important textual discovery of the 20th century. While interim editions and translations were published over the subsequent years, the manuscript in its entirety was first published in 2006.

The roll was found on 15 January 1962 at a site in Derveni, Macedonia, northern Greece, on the road from Thessaloniki to Kavala. The site is a nobleman's grave in a necropolis that was part of a rich cemetery belonging to the ancient city of Lete. 

It is the oldest surviving manuscript in the Western tradition, the only known ancient papyrus found in Greece proper, and possibly the oldest surviving papyrus written in Greek regardless of provenance.

The archaeologists Petros Themelis and Maria Siganidou recovered the top parts of the charred papyrus scroll and fragments from ashes atop the slabs of the tomb; the bottom parts had burned away in the funeral pyre. The scroll was carefully unrolled and the fragments joined together, thus forming 26 columns of text. It survived in the humid Greek soil, which is unfavorable to the conservation of papyri, because it was carbonized (hence dried) in the nobleman's funeral pyre. However, this has made it extremely difficult to read, since the ink is black and the background is black too; in addition, it survives in the form of 266 fragments, which are conserved under glass in descending order of size, and has had to be painstakingly reconstructed. Many smaller fragments are still not placed. The papyrus is kept in the Archaeological Museum of Thessaloniki.

In total, twenty six columns of text survive today. The main part of the text is a commentary on a hexameter poem ascribed to Orpheus, which was used in the mystery cult of Dionysus by the Orphic initiators. Fragments of the poem are quoted, followed by interpretations by the main author of the text, who tries to show that the poem does not mean what it literally says. The poem begins with the words Close the doors, you uninitiated, a famous admonition to secrecy, also quoted by Plato. The interpreter claims that this shows that Orpheus wrote his poem as an allegory. The theogony described in the poem has Nyx (Night) give birth to Uranus (Sky), who becomes the first king. Cronus follows and takes the kingship from Uranus, but he is likewise succeeded by Zeus, whose power over the whole universe is celebrated. Zeus gains his power by hearing oracles from the sanctuary of Nyx, who tells him all the oracles which afterwards he was to put into effect. At the end of the text, Zeus rapes his mother Rhea, which, in the Orphic theogony, will lead to the birth of Demeter. Zeus would then have raped Demeter, who would have given birth to Persephone, who marries Dionysus. However, this part of the story must have continued in a second roll which is now lost. 

The first surviving columns of the text are less well preserved, but talk about occult ritual practices, including sacrifices to the Erinyes (Furies), how to remove daimones that become a problem, and the beliefs of the magi. They include a quotation of the philosopher Heraclitus. Their reconstruction is extremely controversial, since even the order of fragments is disputed. Two different reconstructions have recently been offered, that by Valeria Piano and that by Richard Janko, who notes elsewhere that he has found that these columns also include a quotation of the philosopher Parmenides.

The text of the papyrus contains a mix of ancient Greek dialects. It is written mainly in a mixture of Attic and Ionic Greek; however, it also contains a few Doric forms. In some instances, the same word appears in different dialectal forms, such as cμικρό- and μικρό; ὄντα and ἐόντα; νιν and μιν.

The full surviving text was not officially published for 44 years after its discovery, although three partial editions were issued. A team of experts was assembled in 2005 led by A. L. Pierris of the Institute for Philosophical studies and Dirk Obbink, director of the Oxyrhynchus Papyri project at the University of Oxford, with the help of modern multispectral imaging techniques by Roger MacFarlane and Gene Ware of Brigham Young University, to attempt a better approach to the edition of a difficult text. However, results of this initiative were not published or made available to other scholars. The papyrus was finally published by a team of researchers from Thessaloniki (Tsantsanoglou et al., below), and they provided a complete text of the papyrus based on an analysis of the fragments, with photographs and translation. Subsequent progress was made in reading the papyrus by Valeria Piano and Richard Janko, who developed a new method for taking digital microphotographs of the papyrus, a technique that permitted some of the most difficult passages to be read for the first time. Examples of these images are now in the public domain. A version of Janko's new text is available in an edition by Mirjam Kotwick, while an English edition is in preparation.

In 2015, the Derveni papyrus was added by UNESCO to the Memory of the World International Register where it is described as the oldest known European book.

More information: The Archaeologist

The Derveni Papyrus is of immense importance 
not only for the study of Greek religion and philosophy, 

which is the basis for the western philosophical thought, 
but also because it serves as a proof of the early dating of
the Orphic poems offering a distinctive version  

of Presocratic philosophers. 

The text of the Papyrus, which is the first book of western tradition, 
has a global significance, since it reflects universal human values:
the need to explain the world, the desire to belong to a human society 
with known rules and the agony to confront the end of life.

UNESCO Report