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Afrikaanse vertaling van Louise Lab se Sonnet XVIII wat as inspirasie vir Nick Cave se Green Eyes op The

Boatman's Call gedien het.


Deur Pieter Uys

Louise Lab, (c. 1520 or 1522, Lyon April 25, 1566, Parcieux), also identified as La Belle Cordire, (The Beautiful Ropemaker), was a female French poet of the Renaissance, born at Lyon, the daughter of a rich ropemaker, Pierre Charly, and his second wife, Etiennette Roybet. WIKIPEDIA.
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Een van my gunsteling komposisies van Nick Cave is Green Eyes op die album The Boatman's Call. In die liriekboekie gee hy as volg krediet aan die Franse digter: "The first line is an extract from a sonnet by Louise Lab" Onlangs het ek uitgevind dat Johannes Calvyn, die hervormer, diktator en verspreider van spirituele morbiditeit, Louise Lab in 1560 en 1584 as 'n "hoer" uitgeskel het, onder meer in 'n pamflet: Gratulatio ad venerabilem presbyterum dominum Gabrielum de Saconay, praecentorum ecclesiae lugdunensis.* Daardie belediging as 'n aansporing te dien om haar werk nog meer te waardeer. verder bekend te stel en te vier. Green Eyes se liriek begin so: "Kiss me again, rekiss me and kiss me / Slip your frigid hands beneath my shirt" My resensie van The Boatman's Call op Amazon.com: This album with its spiritual imagery contains the odd anthemic ballad like the rousing There Is A Kingdom, but mostly intimate, subdued songs like Into My Arms, Lime Tree Arbour and the resigned People Ain't No Good. Cave interweaves spiritual and sensual metaphor, much like Leonard Cohen. On Where Do We Go Now But Nowhere? one half expects those Cohenesque female vocals to frame his deep voice, but they're not there. My favorite is the weary and erotic Green Eyes, the first line of which is a translation of a sonnet by the medieval French poet Louise Lab. She was the first to write sonnets in French (the style originated in Italy) and was known for her passionate themes. Cave then turns her love poem into a lament of epic proportions filled with equal amounts of romantic longing and despair. Quite a tour de force and enhanced by a strategic swear word or two. The poetic effect is greatly enhanced by the vocal technique: lines are first spoken then sung, which gives it a ritualistic flavour.

Hierdie vertaling van my is sommer rof en op die ingewing van die oomblik gedoen. Ek vermoed dat wanneer Louise die woord "soen" gebruik, sy eintlik iets anders in gedagte het... maar dit sou lomp wees om dit te vertaal as "Gemeenskap my weer, gemeenskap my weer en weer :-)

Sonnet XVIII deur Louise Lab


Soen my weer, kus my weer en weer; Gee my die mees hemelse soen wat jy het, Gee my die mees liefdevolle een wat jy kan: En ek gee jou vier in ruil, warmer as vurige kole.

Wat makeer? Toemaar, ek streel jou pyn Weg met ng tien soene soeter as heuning. Sodat plesier ng plesier omhels in ons soene En ons die volste genot uit mekaar put.

En beide van ons n tweede lewe kry: Jy leef dan in my soos ek in jou. Moenie my kwalik neem vir di woordspeletjie nie;

Of my preuts maak en my mond snoer nie. Laat my siel eerder toe om, dronk van liefde, Uitspattig te bokspring van vreugde.

Sonnet XVIII
Baise m'encor, rebaise-moi et baise; Donne m'en un de tes plus savoureux, Donne m'en un de tes plus amoureux: Je t'en rendrai quatre plus chauds que braise. Las! te plains-tu? a, que ce mal j'apaise, En t'en donnant dix autres doucereux. Ainsi, mlant nos baisers tant heureux, Jouissons-nous l'un de l'autre notre aise. Lors double vie chacun en suivra. Chacun en soi et son ami vivra. Permets m'Amour penser quelque folie: Toujours suis mal, vivant discrtement Et ne me puis donner contentement Si hors de moi ne fais quelque saillie.

A translation by Graham Dunstan:

Kiss me again, kiss, kiss me again; Give me the tastiest you have to give, Pay me the lovingest you have to spend: And Ill return you four, hotter than live Coals. Oh, are you sad ? There! Ill ease The pain with ten more kisses, honey-sweet, And so kiss into happy kiss will melt,
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Well pleasantly enjoy each others selves. Then double life will to us both ensue: You also live in me, as I in you. So do not chide me for this play on words Or keep me staid and stay-at-home, but make me Go on that journey best of all preferred: When out of myself, my dearest love, you take me.

*In a pamphlet addressed to a staunch Catholic of Lyon, and enemy to the Reformation, Calvin vilifies de Saconay for his acquaintance with Louise Lab (she was the cousin of a woman whom a certain Jean Varoz Yvard wanted to divorce; Calvin presided over the divorce court and wanted to forward Yvard's claim; Lab's notoriety was a convenient way of proving Yvard's wife guilty by association). Calvin writes: "Hunc ludum quam saepe tibi praebuit plebeia meretrix quam partim a propria venustate, partim ab opificio mariti, Bellam cordieram vocabant. This pastime [to cavort with women dressed as men] you often enjoyed with that common whore they call Beautiful ropemaker, both for her own beauty and for the occupation of her husband." (quoted in Rigolot, 11)

http://blog.raucousroyals.com/2010/03/louise-labe-love-and-history-is.html http://glynne.co.nz/shades/index.htm?p_m.html http://galatearesurrection18.blogspot.com/2012/05/sonnets-louise-labe-by-edward-byrne.html http://en.wikipedia.org/wiki/Louise_Labe

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