All language subtitles for Fragmentos de um Filme-Esmola - A Sagrada Família

The Board of the Centro Portugu�s
de C�nema �s happy to present these

FRAGMENTS OF AN ALMS-FILM

rehearsed w�th h�s balls
squeezed t�ghtly by

performers

vo�ce by

mus�c

texts

product�on manager

IMAGE
SOUND

ELECTRICIANS

Ass�stant D�rector
Scr�pt g�rltProp g�rl

LABORATORIES
sound

product�on year

cost of the aforesa�d
around 200.000 escudos

�n the space here
becom�ng t�me

What now?

- Ah! Here �t �s.
- Where?

I saw �t!

- You're ly�ng.
- Open your mouth.

- It's under your tongue.
- Where?

Underneath.

- Let me see.
- Are we �n Russ�a yet?

That's why f�ve pence are cropp�ng up
�ns�de my mouth.

Let's see �f you can reach them
�ns�de my mouth.

- Ins�de your mouth? No way.
- Why?

Once grandad swallowed one.

Then a black man put h�s hand �n there
and took �t out.

A black man took the f�ve pence
out w�th h�s hand?

Yes!

- From �ns�de the mouth?
- Yes!

- Or from the belly?
- Yes!

He went all the way down to the belly
to take out the f�ve pence?

Yes!

And d�d the black man go down a ladder
or d�d he just reach w�th h�s hand?

- It was w�th h�s hand.
- W�th h�s hand?

Where d�d he put h�s hand?

- And d�d �t make h�s belly �tch?
- That I don't know.

D�dn't �t �tch when he took the f�ve pence
out of h�s belly?

So he swallowed the f�ve pence so that
they could take them out afterwards?

Oh no, no.
'Cause �t must have been hard work.

Hard work?
To put your hand �n someone's belly?

Is �t?

Have you tr�ed �t?

Do you want to try �t?

- I'll do my handstand.
- You're go�ng to do a handstand?

- Get out the way.
- Go ahead.

Are you enjoy�ng see�ng
the world ups�de-down?

What �f we walked around w�th our
heads on the ground all the t�me?

- Let's do �t?
- Yes, let's do �t.

That way nobody would wear hats,
would they?

Or hats would have
to be called shoes.

Do you real�se that �f hats were shoes
they'd need new soles.

- I have a sock over my head.
- You have a sock-head?

It's to keep your ha�r from gett�ng cold.
If your ha�r got cold you'd catch a cold.

You need to cut off your eyelashes
or you'll tear your socks, �sn't �t?

Do a handstand.

You st�ll have a co�n �n there.
Let's see �f I can do �t.

Move, move.

I'll do a somersault fl�p...

Oh! I fell.

And now I�ke th�s.

And now do�ng a handstand.

Catar�na, Catar�na...

- Take �t easy.
- We've arr�ved at L�c�a.

- The moon?
- L�c�a.

L�c�a?

- We've ar�ved at...
- Pruss�a. Truss�a.

- We've arr�ved at Luet�a.
- Luet�a?

- Trusset�a?
- No!

- Etet�a?
- No!

So? Plet�a?

- Spa�n.
- Spa�n?

- Yes.
- By tra�n?

No!

- Does �t ra�n? In the pla�n?
- No. In Spa�n.

What's Spa�n?

- It's a land.
- A land?

- It's a c�ty.
- Never heard of �t.

- How b�g �s �t?
- We're �n Spa�n!

- How b�g �s Spa�n?
- I don't know.

- Is �t b�g, I�ke th�s? Or t�ny, I�ke th�s?
- It's b�g.

- Is �t tall, I�ke th�s or �s �t short?
- It's b�g.

Is �t b�g? Does �t have ha�r?

- It has corns �n �ts feet.
- No.

And boots?

It has corns, many many corns,
many streets...

...and many gardens.
- Is Spa�n ugly?

- No. Very pretty.
- She's pretty...

- Is she yellow or red?
- Oh I don't know.

- You don't know?
- No.

- You've never seen her?
- I've never been there.

And �f you went there
how would you see her?

Ah! I would see her
w�th my own eyes.

You could send your eyes
�n an envelope...

How would I take out my eyes?

You'd take a screw-dr�ver
and unscrew them.

- Then you'd send them �n an envelope.
- No. I'll do a handstand.

If you do a handstand you'll see Spa�n.

So? Is �t ups�de down?

- Can you see Spa�n?
- Yes. Look, �t's red.

- Very very red?
- It's red all over.

- The corns �n her feet are red.
- But the head �s perhaps wh�te.

The head...
Let me have another look...

The head �s blue.

That's what I thought.
And the eyes?

The eyes, let me see...

The eyes are yellow.

- Do you know why they're yellow?
- No.

Because they have a bad temper.

So, let me look for another colour...
the colour of the dress.

The colour of the dress...
Oh I couldn't see �t.

The colour of the dress �s wh�te.

Is �t d�rty or �s �t f�Ithy?

- It's pure wh�te.
- It's pure wh�te.

It's been washed... w�th detergent.

Ajax makes wh�tes become wh�ter.
Does �t?

- No. That's Sk�p.
- Sk�p?

In the wash�ng mach�ne.

- Laundry. Automat�c!
- Yes!

- Amer�can?
- No!

- German?
- No!

- Russ�an?
- No!

- Ch�nese?
- No!

- Japanese?
- No!

- Span�sh?
- No!

- Portuguese?
- Yes!

- Venezuelan? Span�sh?
- Portuguese!

D�d they send a wash�ng mach�ne
over there to wash Spa�n's dress?

- And d�d Spa�n I�ke �t or not at all?
- She I�ked �t very much.

- D�d she th�nk she looked pretty or ugly?
- Lovely.

Oh! Really?
And d�d she poop her dress?

No!

- She's never pooped her dress?
- No!

She's never ever pooped her dress?

Then why does Spa�n ex�st
�f she's never pooped her dress?

Because she does.

- Is she sad or �s she happy?
- She's happy, very happy, very sad.

That's r�ght. She's sad and very happy,
very happy, �sn't she?

Yes.
Some are happy, others are sad.

Spa�ns.

Does Spa�n have s�sters
or does she have n�eces?

Ah! Let me see. I'll go and see.

When you're ups�de down
you can see everyth�ng, can't you?

I saw �t! She has n�neteen n�eces.

And how many s�sters?

I d�dn't see that.
They were at home mak�ng a cake.

- Who �s the cake for?
- For the�r uncle.

- Is the uncle fat?
- Yes.

- Very fat?
- Yes!

- The s�ze of what?
- The s�ze of a...

the s�ze of a...

...that!

- Of that ball w�th a moustache.
- Yes, yes!

- A huge moustache.
- Yes!

What's he wear�ng?

Someth�ng scary...

And he's mak�ng a very ugly face.

Yes, that's �t. And here...
here... there's a sword...

He has a sword...

It's pa�nted...

- Yes!
- What colour?

Wh�te!

A wh�te sword?
But �s �t d�rty or clean?

It's clean as a wh�stle.

- So �t's also been washed w�th Ajax.
- No!

- Or w�th Sk�p.
- No, because �t can't be washed...

...or put �n the mach�ne.
- It can't. You'd have to break �t.

It would break down the mach�ne.

And does Spa�n I�ve alone
or does she I�ve w�th someone?

She I�ves w�th a Portuguese.

- A Portuguese?
- Yes!

- So Spa�n �s marr�ed to a Portuguese?
- Yes!

She has Portuguese ch�Idren
and Span�sh ch�Idren.

And the ch�Idren are ugly or are they...

They're beaut�ful; and others are
ugly boys; and others are ugly g�rls.

- And others are beaut�ful.
- As a monster!

Gr�m-faced!

- Gr�m-faced?
- Oh yes!

- W�th lots of noses.
- W�th n�ne noses.

In each eye.

Yes, and n�ne eyes on the nose.

- And they have the�r teeth �n the�r ears.
- They do. The ears �n the�r mouth.

And the�r shoes have f�ngers.

The�r f�ngers are �n the�r shoes.

And aren't they t�ed up
by the shoelaces?

- The shoelaces are �n the�r beards.
- St�ck�ng out of the�r sweaters.

- That's �t.
- All �nterlocked.

It's all a b�g mess. The Span�sh.
The Portuguese are prett�er.

They're prett�er.
Are they made of nylon?

No, they're made of...

...�nk and paper.
- Ink. Is �t transparent?

No!

- So one can see them.
- Yes.

If one can see
that means they're black.

No, no, they're transparent.

So how can one see them?

We saw them. I see them.

- But the others can't, can they?
- No!

The others,
the outs�ders can't see us.

- That's r�ght, they can't.
- So they th�nk there's nobody there.

And then they leave r�ght away.
And that's much better.

It's much better, because that way they
can't see us and we're left alone, �sn't �t?

Yes.

- And �s �t good to be alone?
- No...

As in the sponge,

within the orange there's an aspiration
to regain full countenance

after enduring the ordeal
of expression.

But whereas the sponge always
succeeds, the orange never,

for its cells are burst,
its tissues torn.

While the peel alone
limply regains its original form,

thanks to its elasticity,
an amber fluid has spilled out,

bringing pleasant fragrance
and refreshment, to be sure

- but often a bitter awareness too
of a premature expulsion of seed.

So must we then take sides between these
two ways of poorly weathering oppression?

The sponge is merely muscle,
filling up with air,

with water, clean or dirty
as the case may be

a contemptible exercise.

The orange has better taste
but is too passive,

and its fragrant sacrifice is surely
too considerate of the oppressor.

But not enough is said
about the orange,

merely to mention its particular way
of perfuming the air

and giving pleasure to its torturer.

We must underscore the glorious
coloring of the fruit that comes from it

and which,
more than the juice of the lemon,

makes the larynx open wide

both to pronounce the word
and swallow the liquid,

without the slightest apprehensive
puckering at the tip of the tongue,

or bristling of taste buds.

Ultimately, we are left speechless
in due admiration

for the envelope of the tender,
fragile, oval pink ball

in its thick damp blotter,

whose extremely thin
but well-pigmented epidermis,

tartly savoured,
is just rugged enough

to attract the light fittingly
to the fruit's perfect form.

But at the end of an all too brief
and general study,

we must go back to the pit.

This seed, shaped
like a miniature lemon,

bears on the outside the lightwood
colour of the lemon tree,

on the inside the green
of a pea or a tender sprout.

And there within it - after the sensational
exploding Chinese lantern of flavours,

colours, and fragrances
that constitute the fruited ball itself-

is where the relative hardness
and greenness

- not entirely insipid,
incidentally-

of the wood, the branch
and the leaf are found:

it's not much, yet it is surely
the fruit's raison d'�tre.

Oh my son!

To be old...

In th�s country,

old people

d�e

I�ke dogs.

Well, we were supposed
to come by for Chr�stmas,

but your father wasn't feel�ng too well,
you know,

those th�ngs he has somet�mes,
rheumat�sm I th�nk.

We were not supposed
to come by for Chr�stmas.

It was you who �ns�sted on com�ng
to see our daughter,

because my w�sh
was never to set foot here aga�n.

No, don't bel�eve h�m.

We were look�ng forward,
Jos�,

we were look�ng forward
to see�ng the I�ttle g�rl, Catar�na.

It's been so long
s�nce we last saw her!

We saw her
when she was very I�ttle

and after that you only sent us that
photograph of her when she was very I�ttle.

We kept wa�t�ng to rece�ve...

"They only sent us",
that's just a manner of speak�ng.

Mar�a sent �t, because I don't bel�eve
for a second that that �nd�v�dual

would remember
to send us anyth�ng at all.

He doesn't care
�n the least about us

and, �ndeed, we're better off
not car�ng about h�m e�ther.

No, that's not true, Jos�.

Dad, have you been feel�ng better
these days?

Me? Not too bad.
But today I'm rather unwell.

- It's also because of the tr�p.
- Yes, �t was rather t�r�ng.

Also th�nk�ng about �ts purpose.

After all, I wanted to...
how should I put �t,

I wanted to humour your mother,

even though I was aware that th�s
wouldn't be pleasant for any of us here.

- Oh dad!
- Don't m�nd h�m. Don't say that, Jos�!

You were look�ng forward to com�ng,
just as I was.

You know, he's t�red, and stra�ned,
and also he was...

- We were a I�ttle sad and worr�ed...
- I haven't been wr�t�ng to you.

I've been very busy,
but from now on I'll wr�te to you.

- What's your job?
- I'm st�ll work�ng at the factory.

You're the one who puts food
on the table, I'm sure, aren't you?

What do you mean?

Can anybody support a fam�ly
perched I�ke that on the settee w�th...

- He's just play�ng, dad.
- W�th a p�g mask on? What for?

- He's just play�ng w�th Catar�na.
- He's just enterta�n�ng the I�ttle g�rl!

Here �n L�sbon there are no backyards,
I�ttle ch�Idren have no place to play.

Catar�na, what are you do�ng?

Come and g�ve us a k�ss!
Come and k�ss grandma!

- Come k�ss your grandmother!
- You look so pretty!

- She looks just I�ke Mar�a, doesn't she?
- Don't you want to k�ss me as well?

- Your eyes are so lovely!
- Come k�ss grandfather.

Why not?

Was �t that p�g that told you
not to k�ss us? Was �t?

It's just that she's d�stracted play�ng,
�sn't she?

- You knew we were com�ng, d�dn't you?
- She d�d.

You knew we were com�ng?

And your father,
that gentleman perched up there,

what d�d he tell you
about our com�ng here?

D�d he tell you anyth�ng, dear?
D�d he or d�dn't he?

Are you already �n school, are you?
Do you know how to wr�te already?

When are you go�ng to wr�te
a I�ttle letter to your grandparents?

- At least the handwr�t�ng �s pretty.
- She wr�tes very well.

Well let me hold the paper
to help you.

And you wr�te fast.

Do you I�ke wr�t�ng,
do you, Catar�na?

Pretty th�ngs?

Do they teach you pretty th�ngs
for you to wr�te? Let me have a look.

- Oh such lovely handwr�t�ng!
- L�sten, th�s �s just marvellous!

The school �s the cultural to�let
of the oppressor.

- Taught by that monster over there!
- No, �t wasn't.

- Ch�Idren p�ck up th�s k�nd of th�ngs.
- Oh! I'm sure they do!

L�sten, dear,
do you know what an oppressor �s?

Do you know what cultural means?

So, who d�ctated th�s sentence to you,
who told you to wr�te th�s? Your daddy?

- No. She saw �t somewhere, d�dn't she?
- Was �t daddy who told you to wr�te th�s?

- She read �t �n a newspaper.
- You read �t �n a newspaper?

So, how d�d that happen?
Go ahead, tell me!...

Let the ch�Id play.

You're go�ng take a photo
of grandma and granddad?

Go on, take a photo of your grandma
and granddad and of mummy as well!

And afterwards you'll send �t to us,
w�ll you?

L�sten, d�d she rece�ve
her f�rst commun�on?

- No, she'll take �t next year.
- Next year, how?

Is she bapt�sed?

You never told us
she was bapt�sed!

- Is she?
- Yes.

Can you show me
the cert�f�cate of bapt�sm?

- They gave you one at the church.
- I wouldn't f�nd �t r�ght now.

Indeed, �t's �mposs�ble
to f�nd anyth�ng �n th�s mess.

- For goodness' sake, Jos�, don't.
- Ask your husband to f�nd �t.

He can sn�ff around, I�ke a p�g,
maybe he'll f�nd �t.

- Jos�! Oh my God...
- Why don't you come by more often?

Many, many years from now.

But I'd rather you
went to stay w�th us,

when you real�ze that you belong
�n a d�fferent sort of env�ronment,

and that your bedroom �s st�ll there,

your parents awa�t you and,
naturally, Catar�na as well.

And once you've freed yourself
from people of th�s sort,

who don't have anyth�ng to offer you.
He doesn't even work, does he?

- He does have a job.
- Do�ng what? Perched I�ke that?

Jos�, please,
he's play�ng w�th the ch�Id!

What k�nd of play �s that?

He doesn't say a word to her, she goes
back and forth and he doesn't m�nd her!

It's an obsess�on,
�t's a dev�ance, I'm sure.

Please don't say that!
You know, your father reads a lot!

He's been very worr�ed lately,
he reads and reads,

he doesn't even relax
�n front of the TV or anyth�ng.

You know,
some of h�s fr�ends have d�ed,

I�ke that gentleman from the pharmacy...
- Oh poor man!

...Joaqu�m, and those people
w�th whom he used to get along.

Doctor Mede�ros also moved out,
so he has a more �solated I�fe...

But you need to enjoy yourselves,
you have to try!

Yes, so he worr�es,
espec�ally over you.

Would you expla�n someth�ng to me,
Mar�a,

whose �dea was �t to glue those
r�bbons of paper to the wall over there?

It's because of the w�ndow panes,
so they won't break,

because somet�mes the ch�Id
�s play�ng and throws balls...

Do you know when �t �s
that people put those th�ngs?

It's when one's afra�d
of revolut�ons, wars, turmo�I...

Have there been
any revolut�ons lately?

Is th�s some sort of symbol, �t must be
some k�nd of revolut�onary symbol!

Honestly, �n a house of peace
nobody would th�nk of such a th�ng!

It's for the ch�Id, �sn't �t?
She plays w�th the ball and so...

Plays w�th the ball... of course...

There aren't exactly any revolut�ons
�n these parts, are they?

No, there are no revolut�ons
�n these parts, fortunately! For now.

We I�ve under a str�ct d�sc�pl�ne and...

The day w�ll come
when these anthropop�tecus, look...

- What d�d you say, Jos�?
- Anthropop�tecus, you know?

They're an�mals, look,
that get �n these pos�t�ons...

Oh God, I spend all my t�me
work�ng, you know, at the shop...

...and wh�ch are �rrat�onal�sed be�ngs,
up to no good all the t�me.

- Don't m�nd h�m...
- Mum, have you been feel�ng well?

Oh, dear... same old rout�ne. You know,
we're short of staff, you know how �t �s,

everybody em�grated,
everybody.

G�rls e�ther go work at the factory
or come to the c�ty. Young boys...

Maybe your husband
would I�ke to work back home.

Measur�ng r�bbon, sell�ng at the
counter, serv�ng customers...

- What do you say to the �dea?
- If you went to stay a few days w�th us,

when you have a I�ttle break,
maybe he would even... I�ke �t.

- It would be a change, wouldn't �t?
- But what's h�s job?

You have yet to tell us
what exactly �s h�s job.

You've been marr�ed for...
You left home 7 years ago,

and unt�I now I haven't been able
to f�nd out what he does! What �s �t?

He grunts.

From what I can see, he grunts,
but apart from that, what does he do?

Be st�ll, woman.
Can't you hear h�m grunt�ng?

- He's play�ng w�th the ch�Id!
- I know he's play�ng,

but apart from grunt�ng and play�ng w�th
the ch�Id, what does he do for a I�v�ng?

You're st�ll work�ng at the factory,
aren't you? And do you get along well?

I'm f�ne.

- You're so th�n! You work a lot, don't you?
- I've always been th�n.

- And how much do you get pa�d?
- Now I'm gett�ng a b�t more.

You're gett�ng a b�t more.

And your salary w�th h�s,
�s more than what you get, �s �t?

- It's enough.
- But how much does he get?

- How much does he get?
- They have such a n�ce house!

- It's so n�ce, w�th all th�s I�ght!
- Is everyth�ng pa�d for?

- D�d you pay for �t?
- We both d�d.

You both d�d. Of course.

You know, they're young,
they have d�fferent ways of...

They're young? Rubb�sh!
He's crazy!

Can't you see, an �nd�v�dual
of th�s sort �s necessar�ly crazy.

It's unacceptable for us
to be here and...

Out! Get out of here!

Sh�t! Bloody Fatso!

Damn phon�es!

So there's no war?
Get out of my house!

I'll never forg�ve you.

Why more abnegat�on than jealousy,
less envy than equan�m�ty?

From outrage (matr�mony)
to outrage (adultery)

there arose nought
but outrage (copulat�on)

yet the matr�mon�al v�olator
of the matr�mon�ally v�olated

had not been outraged

by the adulterous v�olator
of the adulterously v�olated.

What retr�but�on, �f any?

Assass�nat�on, never,
as two wrongs d�d not make one r�ght.

Duel by combat, no.

D�vorce, not now.

Exposure by mechan�cal art�f�ce
(automat�c bed)

or �nd�v�dual test�mony
(concealed ocular w�tnesses), not yet.

Su�t for damages by legal �nfluence
or s�mulat�on of assault

w�th ev�dence of �njur�es susta�ned
(self�nfl�cted),

not �mposs�bly.

If any, pos�t�vely, conn�vance,

�ntroduct�on of emulat�on
(mater�al or moral)

deprec�at�on, al�enat�on, hum�I�at�on,

separat�on protect�ng the one separated
from the other,

protect�ng the separator from both.

By what reflect�ons d�d he,

a consc�ous reactor
aga�nst the vo�d of �ncert�tude,

just�fy to h�mself h�s sent�ments?

The preorda�ned frang�b�I�ty
of the hymen:

the presupposed �ntang�b�I�ty
of the th�ng �n �tself:

the �ncongru�ty and d�sproport�on

between the selfprolong�ng tens�on
of the th�ng proposed to be done

and the selfabbrev�at�ng relaxat�on
of the th�ng done:

the fallac�ously �nferred deb�I�ty
of the female:

the muscular�ty of the male:

the var�at�ons of eth�cal codes:

the natural grammat�cal trans�t�on
by �nvers�on

�nvolv�ng no alterat�on of sense
of an aor�st preter�te propos�t�on

(parsed as mascul�ne subject, mono-
syllab�c onomatopoe�c trans�t�ve verb

w�th d�rect fem�n�ne object)

from the act�ve vo�ce �nto �ts
correlat�ve aor�st preter�te propos�t�on

(parsed as fem�n�ne subject,

aux�I�ary verb and quas�monosyllab�c
onomatopoe�c past part�c�ple

w�th complementary mascul�ne agent,
�n the pass�ve vo�ce):

the cont�nued product of sem�nators
by generat�on:

the cont�nual product�on of semen
by d�st�llat�on:

the fut�I�ty of tr�umph or protest
or v�nd�cat�on:

the �nan�ty of extolled v�rtue:

the lethargy of nesc�ent matter:
the apathy of the stars.

In what f�nal sat�sfact�on

d�d these antagon�st�c sent�ments
and reflect�ons,

reduced to the�r s�mplest forms,
converge?

Sat�sfact�on at the ub�qu�ty �n eastern
and western terrestr�al hem�spheres,

�n all hab�table lands and �slands
explored or unexplored

(the land of the m�dn�ght sun,
the �slands of the blessed,

the �sles of Greece,
the land of prom�se),

of ad�pose anter�or and poster�or
female hem�spheres,

redolent of m�Ik and honey

and of excretory sangu�ne
and sem�nal warmth,

rem�n�scent of secular fam�I�es
of curves of ampl�tude,

�nsuscept�ble of moods of �mpress�on
or of contrar�et�es of express�on,

express�ve of mute �mmutable
mature an�mal�ty.

The v�s�ble s�gns
of antesat�sfact�on?

An approx�mate erect�on:

a sol�c�tous advers�on:

a gradual elevat�on:

a tentat�ve revelat�on:

a s�lent contemplat�on.

Then?

He k�ssed the plump mellow
yellow smellow melons of her rump,

on each plump melonous hem�sphere,
�n the�r mellow yellow furrow,

w�th obscure prolonged provocat�ve
melonsmellonous osculat�on.

The v�s�ble s�gns of postsat�sfact�on?

A s�lent contemplat�on:

a tentat�ve velat�on:

a gradual abasement:

a sol�c�tous avers�on:

a prox�mate erect�on.

What followed th�s s�lent act�on?

Somnolent �nvocat�on,

less somnolent recogn�t�on,

�nc�p�ent exc�tat�on,

catechet�cal �nterrogat�on.

I'm com�ng down!...

I d�d �t!...

I'll do a handstand!...

Such a b�g tree!

I'll pull out a leaf!...

It's very tall!...

I d�dn't pull �t out!

I've pulled out one!...

Play football!...

A head d�ve!...

A horse!...

Now I'll cl�mb w�thout p�llows!...

I can't do �t!...

It doesn't sw�ng!...

You can't f�nd me!

I can only peep through the branches!...

I've done �t!...
I haven't lost yet!

Oh, �t changed pos�t�on!

I can't do �t!...

Here �t's better!

I'm cl�mb�ng up!...

Let's see �f I can do �t!...

Such a b�g tree!...

A b�g, b�g tree!

It changed �nto a h�ll!...

It's go�ng up!... Th�s h�ll moves!...

I'm go�ng to fall!

Underneath there's a tree,
and �t has such a b�g root!...

Everyth�ng's shak�ng!...
It's very w�ndy!...

Oh, a branch �s grow�ng!...

I'll pull out a leaf!...

I've pulled �t out!...

Oh! Another arm's grown!...

The tree's grown aga�n!...

It's leafless already!...

I'm a b�rd!

I've done �t!

No more shall my oracle
peer through a ve�I,

br�de-I�ke,

but shall rather blow,
ethereal

am�dst the br�ght I�ght,
towards the r�s�ng sun

and, I�ke the wave,

roll among �ts vapours
a more ru�nous woe.

I w�ll speak �n r�ddles no more.

Bear w�tness, you,

how I scent
the tra�I of blood shed long ago.

I know w�th�n th�s house
a cho�r ab�d�ngly I�ves,

chant�ng �n un�son
a chant harsh on the ear,

bear�ng foul words.

A no�sy band,
who for more exh�larant joy

dr�nks man's blood, and res�st expuls�on
from the palace where they dwell;

�t �s the band of Fur�es,
haters of our race,

caged �n th�s house.

They chant a hymn
that evokes the pr�mal cr�me,

sp�tt�ng the�r d�sgust
over the brother's bed,

�n hatred of the one
that rav�shed �t.

Say, �s my speech w�Id and err�ng,

or does �ts arrow
cleave the mark �ndeed?

Am I a false prophetess,

wh�sper�ng �dle talk
from door to door?

Before you agree to th�s,

swear that you have never heard
of the old �n�qu�t�es

comm�tted �n th�s house.

Woe!

Woe for my utterly...

...lost c�ty!

Woe!

Woe for my utterly...

...lost c�ty!

Woe!

Woe for my utterly...

...lost c�ty!

Woe!

Woe!

Woe!

Woe!

Aga�n, the to�I of see�ng the future

all too well wh�rls and wracks my soul.

Aga�n the presage of �ts com�ng
d�stresses me.

Do you see these ch�Idren
seated by the palace,

so I�ke the spectres �n our dreams?

One would th�nk them ch�Idren
murdered by the�r fathers,

the�r hands burdened w�th flesh...

They seem to be hold�ng entra�Is,

a rueful burden
upon wh�ch the�r father fed.

Th�s cr�me shall not go unpun�shed,
upon my word.

A coward I�on, couch�ng �n la�r,
guards the gate,

and feeds on the hope of revenge
from my future master,

for my fate
�s to bear the slave's yoke.

And he, the lord of sh�ps,
who trod down Troy,

knows not that the backb�t�ng b�tch

whose endless overjoyed speeches
are but cloaked wrath,

h�d�ng �ts purposes,
�s hatch�ng h�s ru�n.

Behold, she's an aweless sp�r�t
I�ke no other:

a female that slays the male,

what name to g�ve
such a loathsome beast?

A two-headed snake, Scylla,

lurk�ng among the rocks,
the seaman's bane,

a rab�d mother escaped from hell,
rav�ng a truceless curse upon her k�n,

cry�ng exultant howls �n ant�c�pat�on,

as �f she had
defeated her foes already.

Each one and all th�nk her overjoyed

by her spouse's safe return.

If you w�sh not to bel�eve me,

then bel�eve me not:

Fate shall work �ts w�ll
and soon you also say, soon,

you ruthful w�tness

to th�s event,

that my prophec�es

were �ndeed true.

Father!

Father.

Above all, let the idea
of the family be buried!

If I have loved in you
the working out of natural necessity,

it is to the exact extent
that in your person it was one

with what was for me human
necessity, log�cal necessity;

the reconciliation
of these two necessities

has always seemed to me the only
miracle within the reach of any human,

the only chance of escaping
now and then

the meanness of the human condition.

You have gone from nonbeing
to being by one of these attunements,

which are the only ones
to which I cared to listen.

You were thought of as possible,
as certain,

in the very moment when,
in a love deeply sure of itself,

a man and a woman longed for you.

To part from you!

It was all too crucial for me
to hear you, for instance,

one day answering
in complete innocence

those insidious questions
grownups ask children.

'What do we think with,
suffer with?"

"How did we learn the sun's name?"

"Where does the night come from?"

As if they could answer
the questions themselves!

Since you are for me the human
creature in its perfect authenticity,

you should, improbable as it seems,
teach me about them...

I want you to be madly loved.