Showing posts sorted by relevance for query sinera. Sort by date Show all posts
Showing posts sorted by relevance for query sinera. Sort by date Show all posts

Friday, 7 October 2016

SALVADOR ESPRIU & SINERA: A MEDITATION ON DEATH

Salvador Espriu
The Grandma is in Milan, Lombardy. Tomorrow, she's going to start a new travel on The Orient Express. She has been preparing her suitcase carefully. She  wants to take profit of this travel, hours and hours of railway, and she has decided to take two books. One of them, Mary Shelley's Frankenstein, which she is sharing with her families on line, and Salvador Espriu's Complete Works, her favourite writer.

She wants to explain you a little about @Salvador_Espriu this fascinating man who created some of the most beautiful poems ever written and invented an own world: Sinera.
     
Now say: "The broom tree blooms,
    everywhere the fields are red with poppies.
    With new scythes we'll thresh
    the ripened wheat and weeds."

Salvador Espriu i Castelló (1913-1985) was a Catalan poet who  was born in Santa Coloma de Farners, El Baix Empordà, Girona. He was the son of an attorney. He spent his childhood between his home town, Barcelona, and Arenys de Mar, a village on the Maresme coast.

At the age of sixteen, he published his first book, Israel, written in Spanish. In 1930 he entered the University of Barcelona, where he studied law and ancient history. While traveling (1933) to Egypt, Greece and Palestine, he became acquainted with the countries that originated the great classical myths, and which would be so influential in his work.

Ah, young lips parting after dark,
    if you only knew how dawn
    delayed us, how long we had to wait
    for light to rise in the gloom!

During the Spanish civil war he was mobilised and served in military accounting.

Translated into several languages, Espriu's work has obtained international recognition, most notably the Montaigne prize (1971). He was also given the Award of Honour of Catalan Letters (1972), the Ignasi Iglesias prize (1980), the City of Barcelona Prize (1982) and the Gold Medal of the Generalitat de Catalunya (1982). He was awarded honorary doctor's degrees by the universities of Toulouse and Barcelona.

He died in Barcelona in 1985, and was buried in the Arenys de Mar cemetery, which gives name to his poem Cementiri de Sinera.

Cemetery of Arenys de Mar, El Maresme
In 1931 he published El doctor Rip, and the following year, Laia, novels that move away from the then-fashionable theoretical formulas of the aesthetics of the Catalan Noucentisme movement. The publication of Aspectes (1934), Ariadna al laberint grotesc (1935) and Miratge a Citera (1935), established him as the most original narrator of his generation. 

During the Civil War, he published Letizia i altres proses. In 1939, in occupied Barcelona and before the military conflict ended, he wrote a play, Antígona on the subject of fratricidal war and compassion for the losers.

But we have lived to save your words, 
to return you the name of every thing,
so that you'd stay on the straight path
that leads to the mastery of earth. 

Espriu, who had begun to write poetry before the war, did not publish his first volume of poems until 1946: Cementiri de Sinera, an elegy with a great formal sobriety. With this book and with the play Primera història d'Esther linguistically creative and original, began his post-war popularity, which grew as the rest of his work, essentially poetical, was published.

Salvador Espriu's poem in The Sagrada Família
In Les cançons d'Ariadna (1949) he collected a series of poems from various periods that contrasted satire and distortion with elegy and lyricism and in which the mythological subjects can be found that were to appear in subsequent works.
The four books of poems that followed, Les hores and Mrs. Death (1952), El caminant i el mur (1954) and Final del laberint (1955), compose, together with Cementiri de Sinera, a specific formal unity, on the one hand, given the symmetrical number of poems included in each volume and, on the other, the strict development of a very complex spiritual process that culminates in a mystical experience in the last book of the cycle.

We looked beyond the desert,
 plumbed the depth of our dreams,
turned dry cisterns into peaks
scaled by the long steps of time.

The tremendous public success of La pell de brau (1960) signified the popular recognition of Espriu: the author posed the historical drama of Sepharad (poet's nickname for Spain after the Jewish usage) in poems with a high spiritual, moral and political resonance.

Llibre de Sinera (1963), one of his most hermetic books, ties in with subjects from the two previous works and again circumscribes the civil ambit of his poetry to the homeland mythicized in Sinera, a word phonetically formed by spelling backwards Arenys. In Setmana Santa (1971), through the images of the ritual procession, the author presents the myth of the Catholic Passion from a metaphysical perspective.


The author generically described his work as a meditation on death, but this term is too restrictive to comprehend its complexity and cultural point of view. Actually, Espriu proposes to assume the literary tradition of humanity in a personal re-creation situated in a specific geographical and historical context, Catalonia after the Spanish civil war defeat, of which he sings its failings and hope.
Now say: "We hear the voices 
of the wind on the high sea of crested grain." 
Now say: "We shall be ever faithful 
to the people of this land." 

Perhaps the most important virtue and originality of Espriu has been his capacity to reconcile, in the same unitary work, the spiritual problems of man, with metaphysical resonances, with his fate as a member of a group subjected to social and political tensions, while posing the great questions of justice and liberty.

Some fragments of Salvador Espriu's poem, La pell de brau, are sculpted in the main doors of Antoni Gaudí's Sagrada Família in Barcelona.


The Grandma loves Espriu's works and understands how important is religion for him. In Judaism, Salvador Espriu found something no other religion had done: the solving of the problem about myth and history (Qabbalah). Salvador Espriu is one of the best writers has ever existed. Their works are bright pearls in the middle of a society who lived closed and prisoned under the dark power of a cruel dictatorship. Espriu means dignity and resistance and he offers to his population a hopeful future based on the persistance reached by literature creating an hermetic, mythological and evasive world, Sinera, which if you read from the right to the left you discover that it's Arenis, then Arenys de Mar.


Escolta, Sepharad: els homes no poden ser
si no són lliures.
Que sàpiga Sepharad que no podrem mai ser
si no som lliures.
I cridi la veu de tot el poble: "Amén."

Salvador Espriu, La pell de brau

Monday, 4 November 2019

DAYS 21 & 22, 'ALTÍSSIM'

Que Déu us doni sempre la seva llum. Jo, l'Altíssim, cec d'aquesta parròquia de Sinera, tinc missió de convocar nens i crescuts, no a la «Sala Mercè», ara de magna esbaldida, que tant li convenia, sinó al jardí dels cinc arbres, sota el roser de la pell leprosa, la troana, la camèlia, el libanenc i la palmera gànguil, avui, una tarda d'estiu, sense cap núvol al cel, segons quedo notificat per la xerra caritativa de la Neua. Mossèn Silví Saperes, el nostre propi senyor ecònom, us convida als putxinel·lis de Salom, a mirar i aprendre la bíblica i vera història de la bona reina Esther. Veniu, amb la quitxalla, vilatans, patricis, homes, dones compatricis! Les hores s'afeixuguen, hi ha molta calma a mar, xisclen pels rials les orenetes. On trobareu més divertiment i més amable aire, per un preu, diguem la suposició, quasi de franc? Promès, ho deixo al fibló de cada consciència: que la voluntat fixi l'entrada. Rotlleu-vos, doncs, a pler, entorn del petit teatre. Feu via, que ja el rei s’emprova la corona del seu càrrec, el gran rei, a Susa, lluny d'aquí, prop d'aquí, potser davant aquests mateixos nassos. Els ninots parlaran i ballaran, moguts per la misteriosa traça de l'Eleuteri, el fill de la Marieta, el noi de la casa del costat, que un dia s'escolarà, com sabeu, sense temps ni d'un badall, les cames ben tallades, arreplegat per una màquina. Però avui Salom li encarrega encara de comandar la bellugor dels seus titelles. Procureu de distreure-us una estona i oblidar-vos de tot el mal que ens ha de succeir. Després, quan el sol s'hagi post i l’Hereu Quiliè camini contra la fosca de Sinera amb la canya d'encendre els fanals, anireu xano-xano a sopar i a esperar la son i la gràcia d'un nou matí, per a qui arribi. I prego al selecte d'amainar gatzara, car la representació comença. Estàs a punt, rei de Pèrsia?

Salvador Espriu

Tuesday, 20 March 2018

SPRING IN HOGWARTS: NEW CHANGES, NEW CHANCES

Joaquín Jones and Carcassone's picture
Today, The Jones have had an intensive day in Hogwarts

The family is advancing in their English classes learning more grammar every day, writing better compositions and questioning more and more things, the real way to understand things.

First, the family has done some exercises of Social English to practise expressions, dialogues and structures.

Second, The Jones have revised some grammar with the Adverbs of Manner.

More information: Adverbs of Manner I & II

Next, The Grandma has explained a short story about the word Hazard and its Arabian origin connected with the flower of the orange tree. This story has introduced a long one: A theory about the origins of The Game of the Goose which involved two cultures -the Cathars and the Gypsies- and a common final: the exile.

King Jaume I, Merche A.H. Jones and Paqui Jones
Moreover, the exile has been the linchpin to connect the hidden meaning of The Goose Game with the hidden meaning of Salvador Espriu's Poetry. 

In fact, the three stories have something more in common: the spring. Flowered trees in spring; routes of exile in spring -never in winter because of the extreme weather conditions-; and them metaphoric meaning of 'spring' in Espriu's poetry as the end of dark ages and arrival of better ones.


More information: Article 'The'

Finally, the family has learnt some clues to work with the article The and has been talking about an incredible mystery: the missing of Susana Jones in Hogwarts. Nobody knows where she is.

Tomorrow, the family is going to find Susana Jones and learn how to create good compositions following the essential rules: cohesion, coherence and adequation. Additionally, they are going to talk about equality comparisions.

Look for the difference...
Carcassonne, Carcassona in Occitan, is a fortified town in the French department of Aude, in the region of Occitanie

Inhabited since the Neolithic period, Carcassonne is located in the Aude plain between historic trade routes, linking the Atlantic to the Mediterranean sea and the Massif Central to the Pyrénées

Its strategic importance was quickly recognized by the Romans, who occupied its hilltop until the demise of the Western Roman Empire. In the fifth century, it was taken over by the Visigoths, who founded the city. Its strategic location led successive rulers to expand its fortifications until the Treaty of the Pyrenees in 1659.

More information: Aude Tourisme

The city is famous for the Cité de Carcassonne, a medieval fortress restored by the theorist and architect Eugène Viollet-le-Duc in 1853 and added to the UNESCO list of World Heritage Sites in 1997.

Carcassonne became strategically identified when Romans fortified the hilltop around 100 BC and eventually made the colonia of Julia Carsaco, later Carcasum. The main part of the lower courses of the northern ramparts dates from Gallo-Roman times. In 462 the Romans officially ceded Septimania to the Visigothic king Theodoric II who had held Carcassonne since 453. He built more fortifications at Carcassonne, which was a frontier post on the northern marches; traces of them still stand. 

Old memories of Elena Jones in Carcassonne
Saracens from Barcelona took Carcassonne in 725, but King Pépin le Bref drove them away in 759-60; though he took most of the south of France, he was unable to penetrate the impregnable fortress of Carcassonne.

A medieval fiefdom, the county of Carcassonne, controlled the city and its environs. It was often united with the County of Razès. The origins of Carcassonne 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 honores in Septimania and Catalonia for three centuries.


Carcassonne 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, forced its citizens to surrender. Viscount Raymond-Roger de Trencavel was imprisoned whilst negotiating his city's surrender and died in mysterious circumstances three months later in his own dungeon. 

The Grandma in the Cemetery of Sinera
The people of Carcassonne were allowed to leave -in effect, expelled from their city with nothing more than the shirt on their backs. Simon De Montfort was appointed the new viscount.

In 1240, Trencavel's son tried to reconquer his old domain, but in vain. The city submitted to the rule of the kingdom of France in 1247. Carcassonne became a border fortress between France and the Catalan-Aragonese Crown under the Treaty of Corbeil (1258). King Louis IX founded the new part of the town across the river. He and his successor Philip III built the outer ramparts.

More information: Visat

The city is also famous for being the set of Robin Hood, The Prince of the Thieves, a film performanced by Kevin Costner, Mary-Elizabeth Mastrantonio, Morgan Freeman, Christian Slater, Alan Rickman and Sean Connery.


When you stop where my name calls you, 
you want to sleep dreaming calm seas, 
the clarity of Sinera.
 
Salvador Espriu

Wednesday, 13 November 2019

WIPHALA, THE NATIVE INDIAN ANDEAN NATIONAL FLAG

A woman with a Wiphala
After the events occurred in Catalonia last October, 14, The Grandma decided to take some days of relax to think about present and future. During these thirty days, she has been reading her favourite author, Salvador Espriu, one of the best writers in Catalan Literature.

Salvador Espriu was a writer who lived the Spanish Civil War and the Post War under the Francoist dictatorship. It was very difficult for him to survive in the middle of a big cultural repression and the continuous loss of civil rights that was that dictatorship. He couldn't exile and he started an internal exilium creating an own world called Sinera (Arenys, his real town, read from right to left) to try to survive and resist those dark years.

The Grandma thinks that those dark times have never disappeared in the Spanish society and nowadays they are clearer than ever. The struggle is hard but the prize is freedom and a society based in respect, tolerance and common effort. This struggle is very important and it is not a time to renounce but to fight, persevere and win.

During this month, The Grandma has been also a direct witness of terrible events occurred in Hong Kong, Ecuador, Brazil, Chile, Venezuela, Libya, Kurdistan and Bolivia. The reasons are the same -control of power by the upper social classes and slavery and resignation of poor ones-, but the targets are different -lithium in Bolivia, oil in Libya, Kurdistan and Venezuela, copper in Chile, control of population in Hong Kong or economic dependence and lawfare in Brazil and Catalonia.

The Grandma loves diversity and multiculturalism without forgetting the origin of ancient cultures. One of them, the Native American Andean population is a great example of suffering the effects of foreign colonisations and answering to them with a great resilience being proud of their culture and history.

Today, she wants to talk about the Wiphala, an important symbol of some native peoples of the Andes, in homage to all these countries that are suffering the avarice of the US with the
hypocritical consent of the EU. At the end, it is only a question of resisting or serving.

Before talking about the Wiphala, The Grandma has read a new chapter of Katherine Mansfield's The Garden Party and Other Stories.

The Wiphala is a square emblem, commonly used as a flag, representing some native peoples of the Andes that include today's Bolivia, Peru, Ecuador and parts of Argentina, Chile and Colombia.

The suyu wiphalas are composed of a 7 × 7 square patchwork in seven colours, arranged diagonally. The precise configuration depends on the particular suyu represented by the emblem. The colour of the longest diagonal line (seven squares) determines which of the four suyus (regions) the flag represents: white for Qullasuyu, yellow for Kuntisuyu, red for Chinchaysuyu, and green for Antisuyu. There is also an alternate pattern for the Wiphala for Antinsuyu. Additionally a Wiphala also exists for Tupac Katari and the Tupac Katari Guerrilla Army.

Wiphala
Article 6, section II of the 2009 Bolivian constitution establishes the Wiphala as the dual flag of Bolivia, along with the red-yellow-green tricolor.

In modern times the Wiphala has been confused with a rainbow flag which is wrongly associated with the Tawantinsuyu (Incan Empire). There is debate as to whether there was an Inca or Tawantisuyu flag. There are 16th and 17th-century chronicles and references that support the idea of a banner attributable to the Inca. However, it represented the Inca himself, not the empire. Also its origins are from symbols and mural designs found in several civilizations of the Andes with thousands of years of history.

The Museum of World Culture in Gothenburg, Sweden, holds a Wiphala that is dated through a C-14 test to the 11th century. It originates from the Tiwanaku region, and is part of a collection based on a kallawaya medicine man's grave.

More information: Backspace

The seven colors of the actual Wiphala reflect those of the rainbow. According to the Katarista movement, whose interpretation is promoted by the Bolivian authorities, the significance and meaning for each color are as follows:

Red: The Earth and the Andean man.

Orange: Society and culture.

Yellow: Energy and strength.

White: Time and change.

Green: Natural resources and wealth.

Blue: The Cosmos.

Violet: Andean government and self-determination.

The Aimara wiphala is a square flag divided into 7 × 7 (49) squares. The seven rainbow colors are placed in diagonal squares. The exact arrangement and colors varies with the different versions, corresponding to the suyus or Tupac Katari. It is very prominent in marches of indigenous and peasant movements in Bolivia.

This rainbow squares flag is used as the pan-indigenous flag of Andean peoples in Bolivia and has recently occasionally been adopted by Amazonian groups in political alliance.

Bolivian president Evo Morales established the Qullasuyu wiphala as the nation's dual flag, along with the previous red, yellow, and green banner in the newly ratified constitution. The Wiphala is also officially flown on governmental buildings.

More information: Chile Today


The most important thing is the indigenous people 
are not vindictive by nature.
We are not here to oppress anybody -but to join together
and build Bolivia, with justice and equality.

Evo Morales

Wednesday, 23 October 2019

DAYS 9 & 10, 'PERQUE UN DIA TORNI LA CANÇÓ A SINERA'

El meu somni lent
de la gran pau blanca
sota el cel clement.

Passo pels camins
encalmats que porten
la claror dels cims.

És un temps parat
a les vinyes altes,
per damunt del mar.

He parat el temps
i records que estimo
guardo de l'hivern.

Però tu riuràs,
car veus com es tanquen
llavis catalans.

I es baden al sol
boques de captaires,
plagues de leprós.

Ningú no ha comprès
el que jo volia
que de mi es salvés.

Mai no ha entès ningú
per què sempre parlo
del meu món perdut.

Les paraules són
forques d'on a trossos
penjo la raó.

Branden a ple vent
cordes que no poden
suportar més pes.

El càntic és lluny,
i la greu campana
toca pels difunts.

Ha cessat el ball
de l'altiva monja
i de l'embriac.

La dansa també
del pelut dimoni
amb la reina Esther.

Ja no volta l'ós.

He llegit el llibre
del Predicador.

Deso a poc a poc
dintre de la capsa
tots els meus ninots.

Ara he de callar,
que no tinc prou força
contra tant de mal.

D'un mal tan antic
aquesta veu feble
no et sabrà guarir.

En un estrany buit,
manen el silenci
i la solitud.

Sols queden uns noms:
arbre, casa, terra,
gleva, dona, solc.

Només fràgils mots
de la meva llengua,
arrel i llavor.

La mar, el vell pi,
pressentida barca,
La por de morir.

Salvador Espriu

Monday, 17 August 2020

BARCELONA-CAMBRILS, 2017 #17AVOLEMLAVERITAT

[...] No estimo
res més, excepte l'ombra
viatgera d'un núvol.
El lent record dels dies
que són passats per sempre.

Cementiri de Sinera, Salvador Espriu