Francis Granatiero
The priest Bbacucche de (" The stone Bacucco)
poem
[First edition 'Ij cheucc babi', Mondovi, 1986]
1
I Trè pPasture tòrnene
da ngambiše, ch'ammórrene
li ppècure a mmurèiše.
Ce stute e nne nge stute
la stèlla matutine.
Scòupe Marcòfle sòupe
la lune e vvundulèiše.
È júrne ngíle, ndèrre
ce aspètte l'aletine.
1 - I Tre Pastori tornano dai pascoli, ché all'ombra le pecore si abbrancano. Si spegne e non si spegne la stella mattutina. Spazza Marcolfo sulla luna e ventila. È giorno in cielo, in terra si aspetta la brezza marina.
2
Júrne e nne jjúrne nderre
to cchianghe cchianghe in the air and ttume rastídde
hoes.
Irene, Jurs, vein? From
soupe lu pegnòune
me mbúrše them Manucci
meccas that eg the forks
circuses nnanda the úcchie
scurde de lu pannòune.
2 - Day and the day the earth plate to plate distance of the yard with shovel, rake and broom thyme. Wheat, barley, oats? Give me the sheaves from the haystack that I put a pitchfork in the eye dark circle in front of the cave.
3
from Mere, angora mbusse, nu soul
Russian Russian
dé anna Senise
drones that there Ndour, there squagghie
neive Cume de page
ll'àrie pe, pe nda the tunes.
3 - From the sea, still wet, a red sun set fire to a red Cinigiano s'indora that, as snow melts in the straw to air for the yard.
4
me 'without trezzarule.
Ggià
Click the page below the pitas lu mule
ch'aggire the arrevòlete
(mbenzíre, mmòcche, Cume
the Rumeo!) And ttire, Strazza,
stalks, eg the Ramire.
4 - made me trecciaiolo. Already the straw pops under the hooves of a mule spinning, the insurgency (in thought, in the mouth, such as the cud!) and pulls, tears, breaks, with the sheet.
5
Touch the special tool. U mule, testing and
uuardaúcchie,
veit Schitt Manucci
sfatuléte. Scurriše
it vvèite and nno rramíre
mbicche uagnòune au u put de Bbacucche
the priest, who
, Fore tire, de rire
Cunda ssu Suche.
5 - Guido the braid. The mule with blinders head and sees only broken sheaves. Whip sees neither sheet nor the boy instead of a stone Bacucco that, outside shooting, laughs happy with this game.
6
Na mene to trezzo
the Alete au suuatte,
cummatte pe Soule nnu
that jardi u Corie unaccustomed
lla Chepe faith and matte,
fireplace appírse refine it without u
mules, Look at
if the air because there nnûle
scennechèiše, soul,
me na murèiše doors.
6 - One hand, the rope, the other to whip, fight with a sun that burns the skin and the head is accustomed crazy, way behind the mule and on, look up qualche nuvola if you intended, unica, mi porti un poco d'ombra.
7
Te scennechiše thou
'faith in Assamme vécete'. And
mm'arreggètte ffrišche
d'au u pannòune. In vévete
ssùbbete me and Sette
ndèrre saccòune
tra u soupe d'agghie Sirte and stigghie.
Vene alli rrécchie ndumme
d'u i stambéte p'u Sune
de la pagghie. Po 'nzúnne,
' Sleep, figghie, pigghie
rècuje grindstone. "
7 - Ti intended thou 'fare un Lasciami turn. " And mi rifugio al fresco the cave. A drunk and now I throw the floor on the sack between strings of garlic and tools. Ear is the thud of hooves with the sound of the straw. Then, in a dream, "Are you asleep, son, now get peace."
8
but runs pe Strete Strete
them cumbagne
to mmórre. It is the Lady?
the bbanne, u drones? ... Sonne
ttròzzele them? ... O me sleep? ...
Na bbòtta waters. Stracque
tòzzele port port -
Munne Je lu nu fate
pannòune de ... Po 'Votto
u about - nu Remoura
de pages, de Ramire ...
8 - But I run the streets with their peers in droves. It is the feast of Our Lady? the band? These are the fireworks? ... the tree frogs? ... O dream? ... A fall of water. Tired of knocking door to door - the world is a big cave ... Then push the circle - the sound of a straw, tin ...
9
M'arrespégghie - lu core
deception - u mule ch'asciule
eg Scanzo crešule lu, lu
trappe mbaùre
pitas luster of the forest
weighing. It is the Oure de
them mmurèiše court
ch'u abbuurèiše mules, the doors
mangiatòure.
Oure is the chair that
n'acquaséle, ch'addòure
to nnuie, cepodd-and-jove.
9 - I wake up - gasp - the mule that slides to avoid the whip, the trampling of hoofs fearful shining out of the straw. It's time for shadow court, which watered the mule, to the feeder port. It is time that restores the acquasale, which smells to us, onion-and-eggs.
10
But Oura bbèlle is quanno
t'appennechiše. Veche
ciurnijune and ssepure
me the appropriate veins jranne,
i 'lu me stipe: Chechi,
u ggiuste complications and E excuses
all'òure weighing.
Mó veche pe nde shut
nnite de linnet;
and nne sse trove spije
if stòzzene where the
of the nite There already ssacce.
Ije allong the mene ...
Madonna! mogghiaddije
there avéss'a mbacce mene! You
na mbastoravacche
veins that cúrpe cúrpe
eu vúzze ngúrpe ailments.
10 - But the hour is nice when you fall asleep. I'm going without a goal, and if I get the act great, I me Serbian: Chicago, just stop and apologize, at the time of threshing. Now I grove to nests of finches, and if I do not spy if they hatch the eggs of the nests that I already know. I reach ... Madonna! God forbid should throw in the face! It is a impastoiavacche who comes to the trunk and body crushed in a draft.
11
mmanúcchie Noh and nno scírmete
mbicche Velez scútele:
Schitt revúlete page, and
dd'úrše jréne or vein
fé 'nu pijòune to ppicche
to ppicche u au uínde Sitte,
If to the mméne sind meine.
who returns to Madame aspítte,
cummanne u mazzasciòune:
ch'i 'Piggie lu Cuddie, the
Aleta uarnemínde
appise au freccecòune;
ch'allasse
brotherhood; the letters and 'them nnétere:
To work back there.
11 - Do not handle or sheaves and leaps shake: just turned straw, wheat or barley and oats make a Giumella, little by little the cast to the wind, if you feel in your hands breathe. Me I go back issues, ask the correggiame: I take the collar, the other harness hanging from wooden gallows, which leaves the litter box my brother and I nests: back to work.
12
brotherhood;,
Set DDA dapíte
saccòune lu, sonne de ce
mitted to the water that we
assécche, there jardi.
"The water! the waters, "there mbicce
nd'u tripod, nd'i Scardi
IRET u drones; hunts
the vucídde, we stuck to
FFE neither few
nderre of water, and vvégghie mbra sunna.
"Between, between," the arrespégghie ji,
"vinda rinsed his face."
12 - My brother threw at the foot of the sack, dreaming of water to the pot that dries, it burns. "Water! water, "stumbles in the tripod in schappe of the home takes out the peas, you ferma a fare un poco d'acqua per terra, tra sonno e veglia. «Fratello! fratello!» lo sveglio, «vieni a lavarti la faccia!».
13
Ije alla trézze, tuje
a vvuluté la pagghie,
lu jògge séne nuie
a u sòule a vvatte u squagghie
pe ffràteme ch'aggire
mbòrme sfèrre arlògge
tise nde la ramíre,
fitte allu sòule, citte,
assènze na paròule –
acquanne acquanne šchitte
nu gghiatte che nge addòrme
lu mule che vé línde,
na bbòtte de scurriše
se ce pigghie l'abbínde Nu mutriše
or circles.
13 - I to the braid, you turn to straw, the whole afternoon sun beat us to the scales with my brother, who runs like a clock hand standing in the grate plate, stood under the sun, quiet, without a word - occasionally just bark because they do not fall asleep the mule that is slow, a shot of whip too if looking for a place to stay or roll over.
14
But you trezzo affírre
s'u mules to court and ngricche
ttòrce opure spades spades
allàreje the ccòsse
and jiride and spercòsse
sfírre ggiòcca lu sirr
au mule signs ppertuse
eu Purt pierces the àreje
terènnele eg MMUSA
llàreje ou au mbaùre
cungemèiše
de la terre cacaròzze opure
launches pépete allàreje
or fé na nde Pisca ggialle
pòleva the dark.
14 - But you grab the rope if the mule tail bristles and torches, or little by little spreads her legs and shouts and beatings launches so that every orifice is tightened around the mule and take him out by pulling the nose to the AIA off the land where manure fearful balls of excrement or launches petition to air or makes a yellow puddle in the dark powder.
15
Nu Jurna senes soule
e ppagghie, arte peis.
(Ói soule, the magpie appèise).
Vulis Aria fresche
mmutriše e (u punènde
this aggajèiše) Vulis
of milreis ... Assugghjime
i had uarnemínde mule
pie Lend (da-punènde
majistre the vendime)
this mutrèiše this scòtele
(Uind read this part), to read
struuidde linde, the shepherdess
assòlete
the scapula i spezzidde
e ccórre standing in the green went
necchiàreche e mmašèise
has ttùmmene and vversure.
15 - A full day sun and straw, the art weight. (Sun, take down). Longing for fresh air and rolling on the floor (we flushed the west), like shadows ... Dissolve the harness and the mule kicks off (from the west-master the wind is blowing), it is wrapped, it shakes (the wind changes), the noose slowly melted the tether is free and runs to the malleoli venture for pastures and fallow land in tomoli and Versuri.
16
All'andrasatte arrive
nnuie nu pe bbèlle fun:
Noh gghiòmmere or coils,
la Jatte doors mmòcche
na mamàngela lives;
the allasse (eg nnu few)
and CCE de ndréte ggiòcche
the jattarèdde Sochi, the
Look at us, the attòcche. There
ammócce jréte u pete the
Chiang, spies signs mmòsse, ca se
p'la peccenénne
pie Zenna, the jiròsse
sfòsse the absence and the trade
eg ciambe the angrambe.
16 - The surprise is a nice walk for us: no ball or skein, the cat brings a lizard living in the mouth, the leaves (for short) and retracts so that the cat games, observation, touches. He hides behind the foot of the stool, lamp's every move, because if the little escapes into the corners, the great stana e senza scampo con la zampa l'afferra.
17
La pesature angóre
nge arresètte. Ce arrégghie,
ce spagghie, ce arrecògghie
iréne e ppagghie, a u uínde
pe la fòrche ce šètte,
ce sciurte a u spagghiature.
La nèive de la chéme
l'amènele chemmògghie.
Pó' la pagghie nzacchéme
nd'u pannòune e lla pòleve
– mbiche nganne – t'assuche
li pparòule: «Pó' quanne
è cré ce ha dda chiandé
lu trijàngule; ce hóu'a
vundulé, palešé;
hóu'a discerns lu ce au jréne
farnaròune ... "
17 - Paglione not yet settles. The crowded, the broadcaster, gather grain and straw in the wind with the gallows are thrown, they separate along a line. The snow covers the almond hulls. Then the straw crammed into the cave and dust - lump in throat - you wipe the words: "Tomorrow you will have to plant the triangle, fans, paleggiare, sift the wheat with the sieve ...».
18
U Soule
there Sute from the Ngima
ccòppe and all'ammernute
anghiànene the mmurèiše
by nd'u uaddòune. Jréne
e vviste lu majistre
annètte e all'ària nètte
spanne cerése-stídde,
nu quanistre ch'acquanne
acquanne cutulèiše...
Sòupe lu tammaròune
na ràchene ce šètte...
Ce métte u secchietídde
sòupe u fúche.
18 - Il sole è svanito dalle cime dei colli e all'imbrunire salgono le ombre dal vallone. Grano e vista il maestrale pulisce e all'aria nitida spande ciliegie-stelle, un canestro che a quando a quando muove leggermente... Sull'aiata un telone si getta... Si mette il paiolo sul fuoco.
19
Unu šúche
fanne i llùciacappídde,
vúle e turnídde, e u fúche
li jarde. U secchietídde,
nérie, nòtte e nne nnòtte,
felìšene all'istèrne
abbruše e dde lendèrne
appicce, a bbòtte a bbòtte,
la fandasìe: «Ssi lluce
sònne li meteture.
L'andeníre vé nnande
(pòrte l'ande), pó' véne
la cumbagnìe p'u ciucce
appírse: vrazzeléne
e vvandére, cannídde
e ffalce, fanne u jréne
a mmanídde a mmanídde.
Ss'ata light u lijande:
Velez sciòppe and relies
the scírmete eg qquídde
attacks and nd'i rrestucce
adèrge Manucci them.
Ssi lluch sparaciune
ll'úcchie I know of the uagnune
portena that the little hand
regghiune alli. "
19 - Always make a game of the Fireflies, flights and tours, and the fire burns. The kettle, black, night and night, burning and soot out of lanterns lit, shot to shot, the imagination, "These lights are the reapers. The first is the key (the track field), then the company is followed by donkey: with tie and apron, torches and sickle, are the wheat Mannello to Mannella. This other view is the binder: Roots leaps and door handles with the ones in the league and stubble bristles sheaves. These lights are scattered throughout the eyes of guys who carry the sheaves to the heaps. "
Mesure
Tirre, reeling, Pete pete
ed. Lu mule
ou there who are discharged elsewhere.
Veche appírse to PPEDE,
to mmanigge mmendéte, eg the
Stidd them help him. Je
nùtele c'annósele:
mbòrte it to the head or
šùscele cambanídde.
Mbaùre eg vvaddune
macíre jemmetune
i 'Veche. Send atturne
nu Scheme (or is cuccuuéše
bbufurne?). Mó accurte
me nu sfracchiše Scand.
NN-ninda, m'assacrèide:
runs nnande na vòlepe
that there p'i made his,
opure Je nu nge that leprosy
cólepe (mango
s'alla I hope you came to me asked
ttire). Piggie
susp.
21. I am aware of land, tracks, step by step. The mulochissà where it is. I follow his footsteps, signs invented, with the help of the stars. It is useless for me to plays: do not lead to testieragingilli or rattles. Fearful for drywall dirupivado valleys. I hear a scream around (or is scops owl?). Now vicinomi sfrascare a scare. It's nothing, I reassure her: he runs in front of a volpeche goes about his business, or a hare that is not to blame (neanchesparo if they lie in wait while I get a shot). I breathed a sigh of relief.
22
Remoura Nu.
Me pere ca nu pete
stubby mbacce anna priest, ca na
vricce p'u lèmete
Roper ttrénda to pass. Soupe
u lèmete passe na
murèiše. A u respire
the recanósche, to ffróše
that sbrùffene, form
u chépecírre, the Stidd
ch'ammócce. Uatte uatte
m'avvecine, chièiche me.
capezzòune A u, au suuatte
ije allong the Mene.
Dé nu Stratta. M'u uèiche
ngúdde, ch'all'andrasatte
there Meine, zombie Allara, and
mózzeche ttira caleche
(Ddienemmògghie Coggia me!)
m'affèrre ccapidde eg,
me muse nghépe press u, nu
scazzidde and mm'allasse.
22 - A noise. It seems to me that a base knocks against a stone, a boulder rolls down the slope at thirty paces. Shadow passes over the limit. I recognize the breath from its nostrils that tufts, the shape of the withers, which hides the stars. Four four I get close, I lean. At cavezzone, sovatto to reach out. Gives uno strattone. Me lo vedo sopra, che all'improvviso si avventa, salta, morde e tira calci (Dio non voglia mi colga!), mi afferra per i capelli, mi preme il muso in testa, un colpetto e mi lascia.
23
M'allasse nu uernúcchie.
Fó u ndrappíte, fó u gghiatte
o lu picchie – chi u sépe –,
me véne ped ajute
n'óme: «Cchéd èie?». «Nge vóle
fé ngappé». E u crestijéne,
«Ne nghiange, t'u ngapp'ije»,
m'annalemèiše, e ppije
la currèiše. Ma u mule
è ciuccigne. 'Go gannets,
turnatinne' Pó 'he says.
"What Veness isse, Attana."
23 - I write a bump. It was the trampling was the plaintive whine or cry - who knows - I will help in a man: "What is it?". "I do not want to get caught." And the Christian, "Do not cry, I'll take it," comforted me, and takes the reins. But the mule is violent. 'Go alone, go back "and then says. "Come to him, your father."
24
The Ome jéve raggiòune,
about the 'I know ppecceninne. It says Anne
nzònne Assé
mango pe nnu cafòune. But if ji
back - Penzo - u mule
absences, sleep
clubs, and TTU
me says about the 'NZO bbúne to nnínde. And
gnótte, the strengh Dindo
stops u peaks m'assuche
cchiande u pe lu indemnities received. There has
dda quiet, lu mules.
24 - The man is right in saying that they are small. Ten years are not too many even for a peasant. But if I go back - I think - without the mule, are beating, and I say I'm a wimp. And I swallow, grit my teeth, I stop my tears, I wipe the tears away with his elbow. Should calm down, the mule.
25
Ma l'anneméle, cèrte,
ne vvòleze fé méle.
Assettéte anna préte,
sule, l'úcchie alli stídde,
m'attande lu uernúcchie.
U cíle è nu farnére
pe li pertuse jrússe
o menutidde. E nnòune
ca li stídde sònn'àcene
de jréne e lla Carrére
l'hóu fatte u mulunére
pe la farine. E nnòune
ca li stídde sò ppècure
ngambiše. E u mule pècure
jè pure. E mm'avvecine.
E ppigghie la currèiše
e u mule cambešèiše.
E ll'accarézze mbrónde
e ll'allisce lu crine:
«Mule, fatte pegghié.
Cambiše quann'è cré...
Mule, mó te l'accónde,
si' mmanze e nne llu sé':
è stéte lu cuddére
che fé li ppremeture,
è stéte lu scurriše
sòupe li ppragne amére...
è stéte u sòule fòrte...
la mòsche... la paùre...
Mule, fatte purté,
ca túrne quanne è cré.
Nò ' ffatije e nnò ' mmòrte,
alli stídde te pòrte.
Mule, šéme, c'attàneme
aspètte, ssule and gannets,
mule, keep fears ...
Mule, seed, ca n'àneme
aspects Nule Nule
seed p'i Tre pPasture ...».
25 - But the animal, of course, would not hurt. Sitting on a stone, only the eyes to the stars, I feel the bump. The sky is a sieve with large holes or minutes. And the stars are no kernels of grain and the carriage house has made the miller of flour. And not because the stars are sheep grazing. And the mule ewe, as well. And I approach. And I take the halter and the mule pasture. And stroked her face and combed his mane. "Mule, got caught. Pascoli tomorrow ... Mule, now I tell you, you are mild and do not you know: it was the collar that makes the bruises, was the whip wounds on love ... The sun was strong ... Fly ... fear ... Mule, a guide, be back tomorrow. Neither fatigue nor to death, I'll take you to the stars. Mule, come on, my father and waits, alone, a mule, I'm afraid ... Mule, come on, that a soul is waiting, let's go from cloud to cloud, with the three pastors ...».
The priest Bbacucche de (" The stone Bacucco)
poem
[First edition 'Ij cheucc babi', Mondovi, 1986]
I might paraphrase a consideration of Lotman, "The history of the arts is full of" rebirth ", namely the resurrection of artistic languages \u200b\u200bof the past were seen as innovative." I say paraphrase because you can not consider the dialect, tout court, as the language arts. But you can not nor deny that its renaissance today is due to its new status of "language poetry". Henceforth old question, which is unnecessary delay. The supposed naturalness of the dialect becomes extreme density of artifice. The caving of the word contradicts history, and the gap that follows is itself a metaphor. The dialect as "language of poetry," says his status in the extremity of a negation and the paradox is only apparent. Jakobson also argues that language in the history of standardized testing "the tendency to revive archaic models, sometimes forgotten by time." In the case of the dialect as "language poetry" the resurrection is double. Or it may be.
Certainly it is in the case of Francis Granatiero, which is worth the while statement: "My preference is not to be (...) to the dialect spoken, not so much because just as impure as" useful "and that the empty language, but to that of my parents, my grandparents, filtered through memory, and full of archaic terms (not pure folklore!), but meaningful, fair, necessary. " But
especially worth reading a text as the poem The priest de Bbacucche . There are 369 verses (the number is highly symptomatic) in triplets seven-divided into 25 frames: a day's work from dawn to dusk - from night to night - perfectly anchored between a incipit and explicit almost isomorphic. The two ways, first and last, are: "The three pPasture tòrnene" (The Three Shepherds return), "seed p'i pPasture Tre" (go with the Three Shepherds). The figure of speech that occurs here and that configures the entire system is the chiasm. The location in the form of a cross complaint '"plot" that presides over the whole building.
It's more is offered in a poem by the poet himself, who is also an expression of his poetics. A entitled to RRIM RRIM and can be placed next to the no less important Paròule cíerche, Singh e Cafúerchie irótte iréve : la prima volta per tutte stampate sulla rivista «Diverse superior & lingular». A rrime a rrime
Riporto qui per intero: «Forse de la puisije / tènghe deja na scars: / nzèrte paròule sparse / opure arringhe Rijen / / a rrime a rrime mbòrme / vinghie the panarídde / o fruste de manídde / cungrejéte a DDE form / / a scírmete e mmanúcchie / pèrne in it to the cron / o de lu nzite i ccóne / assute a úcchie a úcchie ... / / Set of Paròule andiche / cum'àcene the jréne / nd'u sùleche ualéne u / de na mašèisa net '(Perhaps the poetry / I have an idea poor: / weave words scattered / or align rows / / as neatly-win for baskets or stem thickness of sheaves / concrete shape / / sheaves to handle and / or beads in a crown or implant gems / checked one by one ... / / Ancient Words jet / as grains / in the wake of the peasant / a fallow net).
The spark and the mallet, the easy to want to do literary sociology, could approve an age of industrialism, although arrears. In the post-industrial Granatiero uses a 'very different image of traditional knowledge, which are suitable humility and discretion, accuracy and cleanliness gesture. The basket weaves wicker and rush, the plot crosses the warp, and so the poet. This review, in the poem, is quickly made, even taking care of the rhyme, which is the characteristic index of the text of grenadiers. Not only the perfect rhyme and exit of the verse (rhyming variously played to exhaustion, almost the entire series), but the rimalmezzo, frequent, and the rich collection of poems called artificial. Random: assonanzate ('tòrnene "-" ammórrene', 'vécete "-" vévete', 'scòtele' - 'absolute', 'mmòcche "-" few "), equivocal (' soul ', sun - 'Soul' unique, "sleep" are - "sleep, dream, 'passe' steps noun - 'passe', the verb passes), identical ('punènde" - "punènde', albeit rhyming broken, and though distant, "little hand" - "little hand"; "fear" - "fear"), derived ("PEIS" - "appèise), puns (" ll'àrie pe, pe nda the tunes 'on the air, the Hague). And so it continued.
not, of course, the exhibition of skill manuals and virtuous, that also has its share, but the frame around which the whole organization with a world of poetic expression. I could draw in all parts of the poem, but I point out here, so for example, the fourteenth "framework". If it follows the path of the rhyme: "affírre" - "sfírre" - "sirr ',' ngricche '-' spades' - 'spades',' allàreje" - "the àreje '-' au llàreje '-' all ' àreje ',' ccòsse "-" spercòsse ',' ppertuse '-' muse ',' mbaùre "-" opùre "-" dark. " You will see more clearly what I mean by "plot".
Moreover, the vocation is not new and to measure the journey must go back to the previous book of grenadiers, irene U (Dell'Arco, 1983). The permanence and change must be assessed at that metro, which already bear more than its trace in a nutshell. I think especially Vinge de fades and dd'aulive (Vinchi ed'ulivo mastic), and closed: "The 'me retreive, jréte u drones, art / a nzerté Vinge de dd'aulive and fades, / pe of ammuccéj, all'àleve, / po ', under the letters, nd'annu sfunne, / nu bbèlle panarídde "(I retired, the fire, art, / Mastic ed'ulivo to weave willows, / to hide the dawn, / And then, under the litter in the deepest recesses, / a lovely basket). The poetic Granatiero
I already said his image here, so to speak, archetypal, which then takes over and perfected. Even the themes, in U irene , there are already all, that the embryos are already more of a world and a way. There is, for example, the prose poem U cìcene (the pitcher), with omens of movement development, and there are, inter alia, the triplets of lyric-narrative Ou veche chi-l'appure (Where to go who knows). In prêt de Bbacucche triplets mature at their own features that will be more perfect when you know that the "panarídde '(or' panaríedde) is built while working with three wicker. The triplets (123 triplets!) Becomes a metric choice perfectly homologous to the world that that. Or missing, the 'plot', the most intimate and minute seams: the "pictures" that dissolve into each other or each other are to the joint, the same use dell'enjambement that under rhythm, stresses a consecution rather than a discontinuity. Everything is designed with a short, compact and a perfect metric, primitive image that comes and goes. The observations of phonological text could easily end up the judgment of Zeno Svevo, "the jarring is the way in unison."
Granatiero is a poet attentive to the statutes of the 'art'. It should bother Jakobson once again to argue that "the power to speak a given language implies that this language to talk about"? Obviously I should have recourse again to paraphrase. But the call in the case of "dialect," I think it is appropriate, especially when it comes to dialects that lack of written tradition. The excavation must be spontaneous and poetic makes the excavation of speech, a word search and its variants eventually involve not only the story of a "language of poetry," which is always "invent", but the history of language tout court. No wonder then, if you come to write a Granatiero Grammar of the dialect of morning.
Yet it is worth pointing out. The grammar of Granatiero has all the credentials to be a grammar scientifically reliable, but in my opinion has the merit of being written by a poet who looks at the mechanisms of the alphabet to give a sign to his inner world, to enable them to draw resonances most hidden and secret, the richest and most polisense. Waste and dissonance, homonyms, homophones, alliteration, paronomasia - The infinite resources of signifiant - become the tools of a master dug in ' habitat and memory, on the edge of a relevant study is that of poetry.
Even the work of threshing and the day is only seemingly belong to the caption: Anthropology is a pretext and occasion for poetry. Pass through simple gestures and secular in the memory of poet-puer, fatigue and loneliness, sunshine and shadow, basic needs, animals, nests, nature, fear, dream. The opening of the great constellation of Orion, after much travail of events and emotions, is to close, as I pointed out, However, open and solder a loop (the ellipsis final), the invocation to the mule rebellious, not wanting to be caught by the child. The tender and dramatic air nursery rhyme takes a magic prayer, a sweet spell that has been lost in the signs. The items here, they are almost hypnotic power of signs without meaning.
JOHN TESIO
Certainly it is in the case of Francis Granatiero, which is worth the while statement: "My preference is not to be (...) to the dialect spoken, not so much because just as impure as" useful "and that the empty language, but to that of my parents, my grandparents, filtered through memory, and full of archaic terms (not pure folklore!), but meaningful, fair, necessary. " But
especially worth reading a text as the poem The priest de Bbacucche . There are 369 verses (the number is highly symptomatic) in triplets seven-divided into 25 frames: a day's work from dawn to dusk - from night to night - perfectly anchored between a incipit and explicit almost isomorphic. The two ways, first and last, are: "The three pPasture tòrnene" (The Three Shepherds return), "seed p'i pPasture Tre" (go with the Three Shepherds). The figure of speech that occurs here and that configures the entire system is the chiasm. The location in the form of a cross complaint '"plot" that presides over the whole building.
It's more is offered in a poem by the poet himself, who is also an expression of his poetics. A entitled to RRIM RRIM and can be placed next to the no less important Paròule cíerche, Singh e Cafúerchie irótte iréve : la prima volta per tutte stampate sulla rivista «Diverse superior & lingular». A rrime a rrime
Riporto qui per intero: «Forse de la puisije / tènghe deja na scars: / nzèrte paròule sparse / opure arringhe Rijen / / a rrime a rrime mbòrme / vinghie the panarídde / o fruste de manídde / cungrejéte a DDE form / / a scírmete e mmanúcchie / pèrne in it to the cron / o de lu nzite i ccóne / assute a úcchie a úcchie ... / / Set of Paròule andiche / cum'àcene the jréne / nd'u sùleche ualéne u / de na mašèisa net '(Perhaps the poetry / I have an idea poor: / weave words scattered / or align rows / / as neatly-win for baskets or stem thickness of sheaves / concrete shape / / sheaves to handle and / or beads in a crown or implant gems / checked one by one ... / / Ancient Words jet / as grains / in the wake of the peasant / a fallow net).
The spark and the mallet, the easy to want to do literary sociology, could approve an age of industrialism, although arrears. In the post-industrial Granatiero uses a 'very different image of traditional knowledge, which are suitable humility and discretion, accuracy and cleanliness gesture. The basket weaves wicker and rush, the plot crosses the warp, and so the poet. This review, in the poem, is quickly made, even taking care of the rhyme, which is the characteristic index of the text of grenadiers. Not only the perfect rhyme and exit of the verse (rhyming variously played to exhaustion, almost the entire series), but the rimalmezzo, frequent, and the rich collection of poems called artificial. Random: assonanzate ('tòrnene "-" ammórrene', 'vécete "-" vévete', 'scòtele' - 'absolute', 'mmòcche "-" few "), equivocal (' soul ', sun - 'Soul' unique, "sleep" are - "sleep, dream, 'passe' steps noun - 'passe', the verb passes), identical ('punènde" - "punènde', albeit rhyming broken, and though distant, "little hand" - "little hand"; "fear" - "fear"), derived ("PEIS" - "appèise), puns (" ll'àrie pe, pe nda the tunes 'on the air, the Hague). And so it continued.
not, of course, the exhibition of skill manuals and virtuous, that also has its share, but the frame around which the whole organization with a world of poetic expression. I could draw in all parts of the poem, but I point out here, so for example, the fourteenth "framework". If it follows the path of the rhyme: "affírre" - "sfírre" - "sirr ',' ngricche '-' spades' - 'spades',' allàreje" - "the àreje '-' au llàreje '-' all ' àreje ',' ccòsse "-" spercòsse ',' ppertuse '-' muse ',' mbaùre "-" opùre "-" dark. " You will see more clearly what I mean by "plot".
Moreover, the vocation is not new and to measure the journey must go back to the previous book of grenadiers, irene U (Dell'Arco, 1983). The permanence and change must be assessed at that metro, which already bear more than its trace in a nutshell. I think especially Vinge de fades and dd'aulive (Vinchi ed'ulivo mastic), and closed: "The 'me retreive, jréte u drones, art / a nzerté Vinge de dd'aulive and fades, / pe of ammuccéj, all'àleve, / po ', under the letters, nd'annu sfunne, / nu bbèlle panarídde "(I retired, the fire, art, / Mastic ed'ulivo to weave willows, / to hide the dawn, / And then, under the litter in the deepest recesses, / a lovely basket). The poetic Granatiero
I already said his image here, so to speak, archetypal, which then takes over and perfected. Even the themes, in U irene , there are already all, that the embryos are already more of a world and a way. There is, for example, the prose poem U cìcene (the pitcher), with omens of movement development, and there are, inter alia, the triplets of lyric-narrative Ou veche chi-l'appure (Where to go who knows). In prêt de Bbacucche triplets mature at their own features that will be more perfect when you know that the "panarídde '(or' panaríedde) is built while working with three wicker. The triplets (123 triplets!) Becomes a metric choice perfectly homologous to the world that that. Or missing, the 'plot', the most intimate and minute seams: the "pictures" that dissolve into each other or each other are to the joint, the same use dell'enjambement that under rhythm, stresses a consecution rather than a discontinuity. Everything is designed with a short, compact and a perfect metric, primitive image that comes and goes. The observations of phonological text could easily end up the judgment of Zeno Svevo, "the jarring is the way in unison."
Granatiero is a poet attentive to the statutes of the 'art'. It should bother Jakobson once again to argue that "the power to speak a given language implies that this language to talk about"? Obviously I should have recourse again to paraphrase. But the call in the case of "dialect," I think it is appropriate, especially when it comes to dialects that lack of written tradition. The excavation must be spontaneous and poetic makes the excavation of speech, a word search and its variants eventually involve not only the story of a "language of poetry," which is always "invent", but the history of language tout court. No wonder then, if you come to write a Granatiero Grammar of the dialect of morning.
Yet it is worth pointing out. The grammar of Granatiero has all the credentials to be a grammar scientifically reliable, but in my opinion has the merit of being written by a poet who looks at the mechanisms of the alphabet to give a sign to his inner world, to enable them to draw resonances most hidden and secret, the richest and most polisense. Waste and dissonance, homonyms, homophones, alliteration, paronomasia - The infinite resources of signifiant - become the tools of a master dug in ' habitat and memory, on the edge of a relevant study is that of poetry.
Even the work of threshing and the day is only seemingly belong to the caption: Anthropology is a pretext and occasion for poetry. Pass through simple gestures and secular in the memory of poet-puer, fatigue and loneliness, sunshine and shadow, basic needs, animals, nests, nature, fear, dream. The opening of the great constellation of Orion, after much travail of events and emotions, is to close, as I pointed out, However, open and solder a loop (the ellipsis final), the invocation to the mule rebellious, not wanting to be caught by the child. The tender and dramatic air nursery rhyme takes a magic prayer, a sweet spell that has been lost in the signs. The items here, they are almost hypnotic power of signs without meaning.
JOHN TESIO
DE LA PRIEST BBACUCCHE
THE STONE Bacucco
THE STONE Bacucco
my father
1
I Trè pPasture tòrnene
da ngambiše, ch'ammórrene
li ppècure a mmurèiše.
Ce stute e nne nge stute
la stèlla matutine.
Scòupe Marcòfle sòupe
la lune e vvundulèiše.
È júrne ngíle, ndèrre
ce aspètte l'aletine.
1 - I Tre Pastori tornano dai pascoli, ché all'ombra le pecore si abbrancano. Si spegne e non si spegne la stella mattutina. Spazza Marcolfo sulla luna e ventila. È giorno in cielo, in terra si aspetta la brezza marina.
2
Júrne e nne jjúrne nderre
to cchianghe cchianghe in the air and ttume rastídde
hoes.
Irene, Jurs, vein? From
soupe lu pegnòune
me mbúrše them Manucci
meccas that eg the forks
circuses nnanda the úcchie
scurde de lu pannòune.
2 - Day and the day the earth plate to plate distance of the yard with shovel, rake and broom thyme. Wheat, barley, oats? Give me the sheaves from the haystack that I put a pitchfork in the eye dark circle in front of the cave.
3
from Mere, angora mbusse, nu soul
Russian Russian
dé anna Senise
drones that there Ndour, there squagghie
neive Cume de page
ll'àrie pe, pe nda the tunes.
3 - From the sea, still wet, a red sun set fire to a red Cinigiano s'indora that, as snow melts in the straw to air for the yard.
4
me 'without trezzarule.
Ggià
Click the page below the pitas lu mule
ch'aggire the arrevòlete
(mbenzíre, mmòcche, Cume
the Rumeo!) And ttire, Strazza,
stalks, eg the Ramire.
4 - made me trecciaiolo. Already the straw pops under the hooves of a mule spinning, the insurgency (in thought, in the mouth, such as the cud!) and pulls, tears, breaks, with the sheet.
5
Touch the special tool. U mule, testing and
uuardaúcchie,
veit Schitt Manucci
sfatuléte. Scurriše
it vvèite and nno rramíre
mbicche uagnòune au u put de Bbacucche
the priest, who
, Fore tire, de rire
Cunda ssu Suche.
5 - Guido the braid. The mule with blinders head and sees only broken sheaves. Whip sees neither sheet nor the boy instead of a stone Bacucco that, outside shooting, laughs happy with this game.
6
Na mene to trezzo
the Alete au suuatte,
cummatte pe Soule nnu
that jardi u Corie unaccustomed
lla Chepe faith and matte,
fireplace appírse refine it without u
mules, Look at
if the air because there nnûle
scennechèiše, soul,
me na murèiše doors.
6 - One hand, the rope, the other to whip, fight with a sun that burns the skin and the head is accustomed crazy, way behind the mule and on, look up qualche nuvola if you intended, unica, mi porti un poco d'ombra.
7
Te scennechiše thou
'faith in Assamme vécete'. And
mm'arreggètte ffrišche
d'au u pannòune. In vévete
ssùbbete me and Sette
ndèrre saccòune
tra u soupe d'agghie Sirte and stigghie.
Vene alli rrécchie ndumme
d'u i stambéte p'u Sune
de la pagghie. Po 'nzúnne,
' Sleep, figghie, pigghie
rècuje grindstone. "
7 - Ti intended thou 'fare un Lasciami turn. " And mi rifugio al fresco the cave. A drunk and now I throw the floor on the sack between strings of garlic and tools. Ear is the thud of hooves with the sound of the straw. Then, in a dream, "Are you asleep, son, now get peace."
8
but runs pe Strete Strete
them cumbagne
to mmórre. It is the Lady?
the bbanne, u drones? ... Sonne
ttròzzele them? ... O me sleep? ...
Na bbòtta waters. Stracque
tòzzele port port -
Munne Je lu nu fate
pannòune de ... Po 'Votto
u about - nu Remoura
de pages, de Ramire ...
8 - But I run the streets with their peers in droves. It is the feast of Our Lady? the band? These are the fireworks? ... the tree frogs? ... O dream? ... A fall of water. Tired of knocking door to door - the world is a big cave ... Then push the circle - the sound of a straw, tin ...
9
M'arrespégghie - lu core
deception - u mule ch'asciule
eg Scanzo crešule lu, lu
trappe mbaùre
pitas luster of the forest
weighing. It is the Oure de
them mmurèiše court
ch'u abbuurèiše mules, the doors
mangiatòure.
Oure is the chair that
n'acquaséle, ch'addòure
to nnuie, cepodd-and-jove.
9 - I wake up - gasp - the mule that slides to avoid the whip, the trampling of hoofs fearful shining out of the straw. It's time for shadow court, which watered the mule, to the feeder port. It is time that restores the acquasale, which smells to us, onion-and-eggs.
10
But Oura bbèlle is quanno
t'appennechiše. Veche
ciurnijune and ssepure
me the appropriate veins jranne,
i 'lu me stipe: Chechi,
u ggiuste complications and E excuses
all'òure weighing.
Mó veche pe nde shut
nnite de linnet;
and nne sse trove spije
if stòzzene where the
of the nite There already ssacce.
Ije allong the mene ...
Madonna! mogghiaddije
there avéss'a mbacce mene! You
na mbastoravacche
veins that cúrpe cúrpe
eu vúzze ngúrpe ailments.
10 - But the hour is nice when you fall asleep. I'm going without a goal, and if I get the act great, I me Serbian: Chicago, just stop and apologize, at the time of threshing. Now I grove to nests of finches, and if I do not spy if they hatch the eggs of the nests that I already know. I reach ... Madonna! God forbid should throw in the face! It is a impastoiavacche who comes to the trunk and body crushed in a draft.
11
mmanúcchie Noh and nno scírmete
mbicche Velez scútele:
Schitt revúlete page, and
dd'úrše jréne or vein
fé 'nu pijòune to ppicche
to ppicche u au uínde Sitte,
If to the mméne sind meine.
who returns to Madame aspítte,
cummanne u mazzasciòune:
ch'i 'Piggie lu Cuddie, the
Aleta uarnemínde
appise au freccecòune;
ch'allasse
brotherhood; the letters and 'them nnétere:
To work back there.
11 - Do not handle or sheaves and leaps shake: just turned straw, wheat or barley and oats make a Giumella, little by little the cast to the wind, if you feel in your hands breathe. Me I go back issues, ask the correggiame: I take the collar, the other harness hanging from wooden gallows, which leaves the litter box my brother and I nests: back to work.
12
brotherhood;,
Set DDA dapíte
saccòune lu, sonne de ce
mitted to the water that we
assécche, there jardi.
"The water! the waters, "there mbicce
nd'u tripod, nd'i Scardi
IRET u drones; hunts
the vucídde, we stuck to
FFE neither few
nderre of water, and vvégghie mbra sunna.
"Between, between," the arrespégghie ji,
"vinda rinsed his face."
12 - My brother threw at the foot of the sack, dreaming of water to the pot that dries, it burns. "Water! water, "stumbles in the tripod in schappe of the home takes out the peas, you ferma a fare un poco d'acqua per terra, tra sonno e veglia. «Fratello! fratello!» lo sveglio, «vieni a lavarti la faccia!».
13
Ije alla trézze, tuje
a vvuluté la pagghie,
lu jògge séne nuie
a u sòule a vvatte u squagghie
pe ffràteme ch'aggire
mbòrme sfèrre arlògge
tise nde la ramíre,
fitte allu sòule, citte,
assènze na paròule –
acquanne acquanne šchitte
nu gghiatte che nge addòrme
lu mule che vé línde,
na bbòtte de scurriše
se ce pigghie l'abbínde Nu mutriše
or circles.
13 - I to the braid, you turn to straw, the whole afternoon sun beat us to the scales with my brother, who runs like a clock hand standing in the grate plate, stood under the sun, quiet, without a word - occasionally just bark because they do not fall asleep the mule that is slow, a shot of whip too if looking for a place to stay or roll over.
14
But you trezzo affírre
s'u mules to court and ngricche
ttòrce opure spades spades
allàreje the ccòsse
and jiride and spercòsse
sfírre ggiòcca lu sirr
au mule signs ppertuse
eu Purt pierces the àreje
terènnele eg MMUSA
llàreje ou au mbaùre
cungemèiše
de la terre cacaròzze opure
launches pépete allàreje
or fé na nde Pisca ggialle
pòleva the dark.
14 - But you grab the rope if the mule tail bristles and torches, or little by little spreads her legs and shouts and beatings launches so that every orifice is tightened around the mule and take him out by pulling the nose to the AIA off the land where manure fearful balls of excrement or launches petition to air or makes a yellow puddle in the dark powder.
15
Nu Jurna senes soule
e ppagghie, arte peis.
(Ói soule, the magpie appèise).
Vulis Aria fresche
mmutriše e (u punènde
this aggajèiše) Vulis
of milreis ... Assugghjime
i had uarnemínde mule
pie Lend (da-punènde
majistre the vendime)
this mutrèiše this scòtele
(Uind read this part), to read
struuidde linde, the shepherdess
assòlete
the scapula i spezzidde
e ccórre standing in the green went
necchiàreche e mmašèise
has ttùmmene and vversure.
15 - A full day sun and straw, the art weight. (Sun, take down). Longing for fresh air and rolling on the floor (we flushed the west), like shadows ... Dissolve the harness and the mule kicks off (from the west-master the wind is blowing), it is wrapped, it shakes (the wind changes), the noose slowly melted the tether is free and runs to the malleoli venture for pastures and fallow land in tomoli and Versuri.
16
All'andrasatte arrive
nnuie nu pe bbèlle fun:
Noh gghiòmmere or coils,
la Jatte doors mmòcche
na mamàngela lives;
the allasse (eg nnu few)
and CCE de ndréte ggiòcche
the jattarèdde Sochi, the
Look at us, the attòcche. There
ammócce jréte u pete the
Chiang, spies signs mmòsse, ca se
p'la peccenénne
pie Zenna, the jiròsse
sfòsse the absence and the trade
eg ciambe the angrambe.
16 - The surprise is a nice walk for us: no ball or skein, the cat brings a lizard living in the mouth, the leaves (for short) and retracts so that the cat games, observation, touches. He hides behind the foot of the stool, lamp's every move, because if the little escapes into the corners, the great stana e senza scampo con la zampa l'afferra.
17
La pesature angóre
nge arresètte. Ce arrégghie,
ce spagghie, ce arrecògghie
iréne e ppagghie, a u uínde
pe la fòrche ce šètte,
ce sciurte a u spagghiature.
La nèive de la chéme
l'amènele chemmògghie.
Pó' la pagghie nzacchéme
nd'u pannòune e lla pòleve
– mbiche nganne – t'assuche
li pparòule: «Pó' quanne
è cré ce ha dda chiandé
lu trijàngule; ce hóu'a
vundulé, palešé;
hóu'a discerns lu ce au jréne
farnaròune ... "
17 - Paglione not yet settles. The crowded, the broadcaster, gather grain and straw in the wind with the gallows are thrown, they separate along a line. The snow covers the almond hulls. Then the straw crammed into the cave and dust - lump in throat - you wipe the words: "Tomorrow you will have to plant the triangle, fans, paleggiare, sift the wheat with the sieve ...».
18
U Soule
there Sute from the Ngima
ccòppe and all'ammernute
anghiànene the mmurèiše
by nd'u uaddòune. Jréne
e vviste lu majistre
annètte e all'ària nètte
spanne cerése-stídde,
nu quanistre ch'acquanne
acquanne cutulèiše...
Sòupe lu tammaròune
na ràchene ce šètte...
Ce métte u secchietídde
sòupe u fúche.
18 - Il sole è svanito dalle cime dei colli e all'imbrunire salgono le ombre dal vallone. Grano e vista il maestrale pulisce e all'aria nitida spande ciliegie-stelle, un canestro che a quando a quando muove leggermente... Sull'aiata un telone si getta... Si mette il paiolo sul fuoco.
19
Unu šúche
fanne i llùciacappídde,
vúle e turnídde, e u fúche
li jarde. U secchietídde,
nérie, nòtte e nne nnòtte,
felìšene all'istèrne
abbruše e dde lendèrne
appicce, a bbòtte a bbòtte,
la fandasìe: «Ssi lluce
sònne li meteture.
L'andeníre vé nnande
(pòrte l'ande), pó' véne
la cumbagnìe p'u ciucce
appírse: vrazzeléne
e vvandére, cannídde
e ffalce, fanne u jréne
a mmanídde a mmanídde.
Ss'ata light u lijande:
Velez sciòppe and relies
the scírmete eg qquídde
attacks and nd'i rrestucce
adèrge Manucci them.
Ssi lluch sparaciune
ll'úcchie I know of the uagnune
portena that the little hand
regghiune alli. "
19 - Always make a game of the Fireflies, flights and tours, and the fire burns. The kettle, black, night and night, burning and soot out of lanterns lit, shot to shot, the imagination, "These lights are the reapers. The first is the key (the track field), then the company is followed by donkey: with tie and apron, torches and sickle, are the wheat Mannello to Mannella. This other view is the binder: Roots leaps and door handles with the ones in the league and stubble bristles sheaves. These lights are scattered throughout the eyes of guys who carry the sheaves to the heaps. "
20
Night. The arrows
the cuttlefish
the Vocca la vie - and attòcche
mango 'llu scurde -, nzépe
CCHE sgracine cce; slotting
cooked, Feve, nasídde, or
na lùciacappídde,
nzépe it. Serevírse
pe mme qquésse it Piggie,
i 'Menghi ngúrpe and CCITT, mme spacemendèiše
it.
I 'tenge nghépe Schitt
cummanne nu:' Go pije
u mule. " And if m'addumanne
mmírse calpešèiše
or Vianova.
20 - It is night. The fork knows the way of the mouth - and it's up to eat in the dark - he has no crunches, squat cooked beans, broad beans nails, or a firefly, does not know. I do not take trouble for this, I throw down and shut up, I'm not impatient. I'm thinkin 'only one command:' Go and take the mule. " And I wonder if it tramples on the slopes or rolling roads.
21
Night. The arrows
the cuttlefish
the Vocca la vie - and attòcche
mango 'llu scurde -, nzépe
CCHE sgracine cce; slotting
cooked, Feve, nasídde, or
na lùciacappídde,
nzépe it. Serevírse
pe mme qquésse it Piggie,
i 'Menghi ngúrpe and CCITT, mme spacemendèiše
it.
I 'tenge nghépe Schitt
cummanne nu:' Go pije
u mule. " And if m'addumanne
mmírse calpešèiše
or Vianova.
20 - It is night. The fork knows the way of the mouth - and it's up to eat in the dark - he has no crunches, squat cooked beans, broad beans nails, or a firefly, does not know. I do not take trouble for this, I throw down and shut up, I'm not impatient. I'm thinkin 'only one command:' Go and take the mule. " And I wonder if it tramples on the slopes or rolling roads.
21
Mesure
Tirre, reeling, Pete pete
ed. Lu mule
ou there who are discharged elsewhere.
Veche appírse to PPEDE,
to mmanigge mmendéte, eg the
Stidd them help him. Je
nùtele c'annósele:
mbòrte it to the head or
šùscele cambanídde.
Mbaùre eg vvaddune
macíre jemmetune
i 'Veche. Send atturne
nu Scheme (or is cuccuuéše
bbufurne?). Mó accurte
me nu sfracchiše Scand.
NN-ninda, m'assacrèide:
runs nnande na vòlepe
that there p'i made his,
opure Je nu nge that leprosy
cólepe (mango
s'alla I hope you came to me asked
ttire). Piggie
susp.
21. I am aware of land, tracks, step by step. The mulochissà where it is. I follow his footsteps, signs invented, with the help of the stars. It is useless for me to plays: do not lead to testieragingilli or rattles. Fearful for drywall dirupivado valleys. I hear a scream around (or is scops owl?). Now vicinomi sfrascare a scare. It's nothing, I reassure her: he runs in front of a volpeche goes about his business, or a hare that is not to blame (neanchesparo if they lie in wait while I get a shot). I breathed a sigh of relief.
22
Remoura Nu.
Me pere ca nu pete
stubby mbacce anna priest, ca na
vricce p'u lèmete
Roper ttrénda to pass. Soupe
u lèmete passe na
murèiše. A u respire
the recanósche, to ffróše
that sbrùffene, form
u chépecírre, the Stidd
ch'ammócce. Uatte uatte
m'avvecine, chièiche me.
capezzòune A u, au suuatte
ije allong the Mene.
Dé nu Stratta. M'u uèiche
ngúdde, ch'all'andrasatte
there Meine, zombie Allara, and
mózzeche ttira caleche
(Ddienemmògghie Coggia me!)
m'affèrre ccapidde eg,
me muse nghépe press u, nu
scazzidde and mm'allasse.
22 - A noise. It seems to me that a base knocks against a stone, a boulder rolls down the slope at thirty paces. Shadow passes over the limit. I recognize the breath from its nostrils that tufts, the shape of the withers, which hides the stars. Four four I get close, I lean. At cavezzone, sovatto to reach out. Gives uno strattone. Me lo vedo sopra, che all'improvviso si avventa, salta, morde e tira calci (Dio non voglia mi colga!), mi afferra per i capelli, mi preme il muso in testa, un colpetto e mi lascia.
23
M'allasse nu uernúcchie.
Fó u ndrappíte, fó u gghiatte
o lu picchie – chi u sépe –,
me véne ped ajute
n'óme: «Cchéd èie?». «Nge vóle
fé ngappé». E u crestijéne,
«Ne nghiange, t'u ngapp'ije»,
m'annalemèiše, e ppije
la currèiše. Ma u mule
è ciuccigne. 'Go gannets,
turnatinne' Pó 'he says.
"What Veness isse, Attana."
23 - I write a bump. It was the trampling was the plaintive whine or cry - who knows - I will help in a man: "What is it?". "I do not want to get caught." And the Christian, "Do not cry, I'll take it," comforted me, and takes the reins. But the mule is violent. 'Go alone, go back "and then says. "Come to him, your father."
24
The Ome jéve raggiòune,
about the 'I know ppecceninne. It says Anne
nzònne Assé
mango pe nnu cafòune. But if ji
back - Penzo - u mule
absences, sleep
clubs, and TTU
me says about the 'NZO bbúne to nnínde. And
gnótte, the strengh Dindo
stops u peaks m'assuche
cchiande u pe lu indemnities received. There has
dda quiet, lu mules.
24 - The man is right in saying that they are small. Ten years are not too many even for a peasant. But if I go back - I think - without the mule, are beating, and I say I'm a wimp. And I swallow, grit my teeth, I stop my tears, I wipe the tears away with his elbow. Should calm down, the mule.
25
Ma l'anneméle, cèrte,
ne vvòleze fé méle.
Assettéte anna préte,
sule, l'úcchie alli stídde,
m'attande lu uernúcchie.
U cíle è nu farnére
pe li pertuse jrússe
o menutidde. E nnòune
ca li stídde sònn'àcene
de jréne e lla Carrére
l'hóu fatte u mulunére
pe la farine. E nnòune
ca li stídde sò ppècure
ngambiše. E u mule pècure
jè pure. E mm'avvecine.
E ppigghie la currèiše
e u mule cambešèiše.
E ll'accarézze mbrónde
e ll'allisce lu crine:
«Mule, fatte pegghié.
Cambiše quann'è cré...
Mule, mó te l'accónde,
si' mmanze e nne llu sé':
è stéte lu cuddére
che fé li ppremeture,
è stéte lu scurriše
sòupe li ppragne amére...
è stéte u sòule fòrte...
la mòsche... la paùre...
Mule, fatte purté,
ca túrne quanne è cré.
Nò ' ffatije e nnò ' mmòrte,
alli stídde te pòrte.
Mule, šéme, c'attàneme
aspètte, ssule and gannets,
mule, keep fears ...
Mule, seed, ca n'àneme
aspects Nule Nule
seed p'i Tre pPasture ...».
25 - But the animal, of course, would not hurt. Sitting on a stone, only the eyes to the stars, I feel the bump. The sky is a sieve with large holes or minutes. And the stars are no kernels of grain and the carriage house has made the miller of flour. And not because the stars are sheep grazing. And the mule ewe, as well. And I approach. And I take the halter and the mule pasture. And stroked her face and combed his mane. "Mule, got caught. Pascoli tomorrow ... Mule, now I tell you, you are mild and do not you know: it was the collar that makes the bruises, was the whip wounds on love ... The sun was strong ... Fly ... fear ... Mule, a guide, be back tomorrow. Neither fatigue nor to death, I'll take you to the stars. Mule, come on, my father and waits, alone, a mule, I'm afraid ... Mule, come on, that a soul is waiting, let's go from cloud to cloud, with the three pastors ...».
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