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C'est un Ange qui tient dans ses doigts magnétiques Es un Ángel que sostiene entre sus dedos magnéticos
Le sommeil et le don des rêves extatiques, El sueño y el don de los ensueños extáticos,
Et qui refait le lit des gens pauvres et nus ; Y que rehace el lecho de las gentes pobres y desnudas;
C'est la gloire des Dieux, c'est le grenier mystique, Es la gloria de los Dioses, es el granero místico,
C'est la bourse du pauvre et sa patrie antique, Es la bolsa del pobre y su patria vieja,
C'est le portique ouvert sur les Cieux inconnus ! ¡Es el pórtico abierto sobre los Cielos desconocidos!
“[...] Brecht's travesty has many meanings and many purposes: it forces open
the old forms by adapting them to a new, revolutionary content, and thereby
not only destroys but also preserves; it shows by its very mastery that every
poet worthy of the name must, as a matter of craftsmanship, know how to handle
the traditional forms; but it also contains a definite destructive element:
the new content given traditional forms is meant to expose the old poets, to
reveal what they did not say, to unmask their silence.” (Arendt 310)
“[...] Brecht's travesty has many meanings and many purposes: it forces open
the old forms by adapting them to a new, revolutionary content, and thereby
not only destroys but also preserves; it shows by its very mastery that every
poet worthy of the name must, as a matter of craftsmanship, know how to handle
the traditional forms; but it also contains a definite destructive element:
the new content given traditional forms is meant to expose the old poets, to
reveal what they did not say, to unmask their silence.” (Arendt 310)