Letture di viaggio – duemilalibri

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LETTURE DI VIAGGIO

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Reading letterario tenutosi al Terminal 1 di Malpensa
in collaborazione con SEA

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a cura di Davide Brullo
Attrici: Giulia Provasoli e Luisa Donner

12 ottobre 2023

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Terre Incognite. Giro del mondo con i poeti
a cura di Davide Brullo

Arcana meraviglia del viaggio: celeste e terrestre, reale o immaginario. Il vero viaggio si compie sulla zattera della propria scrivania, quando si progetta la prossima avventura, quando si ricorda – con l’enfasi del narratore di fiabe – il viaggio appena trascorso, perché diventa parte della nostra mitologia privata. Fosco Maraini diceva che da ragazzo collezionava mappe e “divorava atlanti: il nome di un luogo – che sia Lubiana o il Gobi, Mantova o il Fuji – nasconde sempre una promessa, un mistero da risolvere. I viaggi, cioè, sono anzitutto letterari; viaggiare è una branca della storia della letteratura, la più fertile. Per questo, bisogna viaggiare con i poeti sottomano e indosso: non esiste il Messico senza Jack Kerouac e Antonin Artaud, non si può andare a Itaca senza aver letto Kavafis, andiamo in Congo con André Gide, in Giappone con Rudyard Kipling, in Cina con Saint-John Perse e con Joseph Conrad… Le parole dei poeti esalano gioia, esaltano i nostri passi, alfabetici, ci introducono in una leggenda più grande. Leggendo, diventiamo viva parte del mondo; il viaggio, lo sappiamo, ci cambierà per sempre.

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DER AUFBRUCH (Franz Kafka)

Ich befahl mein Pferd aus dem Stall zu holen. Der Diener verstand mich nicht. Ich ging selbst in den Stall, sattelte mein Pferd und bestieg es.
In der Ferne hörte ich eine Trompete blasen, ich fragte ihn, was das bedeutete. Er wusste nichts und hatte nichts gehört. Beim Tore hielt er mich auf und fragte: “Wohin reitet der Herr?”
“Ich weiß es nicht”, sagte ich, “nur weg von hier, nur weg von hier. Immerfort weg von hier, nur so kann ich mein Ziel erreichen.”
“Du kennst also dein Ziel”, fragte er.
“Ja”, antwortete ich, “ich sagte es doch: ›Weg-von-hier‹ – das ist mein Ziel.”
“Du hast keinen Eßvorrat mit”, sagte er.
“Ich brauche keinen”, sagte ich, “die Reise ist so langdaß ich verhungern muß, wenn ich auf dem Weg nichts bekomme. Kein Eßvorrat kann mich retten. Es ist ja zum Glück eine wahrhaft ungeheure Reise.”

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PARTENZA (di Franz Kafka)

Ordinai di portarmi il cavallo dalla stalla. Il servo non mi aveva sentito. Andai personalmente in stalla, sellai il cavallo e montai sopra. Da lontano mi arrivò il suono di una tromba, domandai il servo cosa volesse significare. Lui non lo sapeva non aveva sentito niente. Vicino il cancello mi trattenne e mi domandò: “Dove sei diretto, signore?”
“Non lo so” – dissi – “solo via di qui, solo via di qui. Via di qui senza indugio, solo così posso raggiungere il mio obbiettivo.”
“Dunque, tu conosci il tuo obbiettivo?” – mi domandò.
“Si”, risposi, “ te l’avevo detto: “Via di qui – questo è il mio obbiettivo”.
“Non hai provviste di cibo con te”, disse lui.
“Non ne ho bisogno”, dissi io, “la strada è così lunga, che morirei di fame, se cammin facendo non dovessi ricevere niente. Nessuna provvista di cibo mi può salvare. Per fortuna, questo è un viaggio veramente smisurato”

L’INVITO AL VIAGGIO (di Charles Baudelaire)

Piccola mia, sorella,
quale favola bella
vivere insieme laggiù dolcemente!
Amare a non finire,
amare e morire,
in un paese che a te è somigliante!
Dove i soli inzuppati
di quei cieli imbronciati
hanno per la mia anima l’incanto
davvero misterioso
del tuo sguardo insidioso
che manda lampi pure in mezzo al pianto.
Tutto laggiù è ordine e beltà
tutto è lusso, quiete e voluttà.
Là mobili splendenti
che il tempo fa lucenti
saranno arredo della nostra stanza;
ed i più rari fiori
che mischiano gli odori
con l’ambra tenue, con la sua fragranza,
i soffitti sontuosi,
gli specchi luminosi,
tutto avrà uno splendore orientale
e all’anima in segreto
sussurrerà discreto
in una dolce lingua sua natale.
Guarda su quei canali
come dormon le navi
avvolte nell’umore vagabondo.
Per i tuoi desideri
giungono qui i velieri,
lasciando porta ai confini del mondo.
E del tramonto i raggi
vestono i paesaggi,
con i canali e la città intera,
d’oro e giacinto, il mondo
in un sonno sprofonda
chiuso nel caldo lume della sera.
Tutto laggiù è ordine e beltà,
tutto è lusso, quiete e voluttà.

INVITATION TO THE VOYAGE (Charles Baudelaire)

My child, my sister,
Think of the rapture
Of living together there!
Of loving at will,
Of loving All death,
In the land that is like you!
The misty sunlight
Of those cloudy skies
Has for my spirit the charms,
So mysterious,
Of your treacherous eyes,
Shining brightly through their tears.
There all is order and beauty,
Luxury, peace, and pleasure.
Gleaming furniture,
Polished by the years,
Will ornament our bedroom;
The rarest flowers
Mingling their fragrance
With the faint scent of amber,
The ornate ceilings,
The limpid mirrors,
The oriental splendor,
All would whisper there
Secretly to the soul
In its soft, native language.
There all is order and beauty,
Luxury, peace, and pleasure.
See on the canals
Those vessels sleeping.
Their mood is adventurous;
It’s to satisfy
Your slightest desire
That they come from the ends of the earth.
— The setting suns
Adorn the fields,
The canals, the whole city,
With hyacinth and gold;
The world falls asleep
In a warm glow of light.
There all is order and beauty,
Luxury, peace, and pleasure.

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MI GUARDA SIENA (di Mario Luzi)

Mi guarda Siena,
mi guarda sempre
dalla sua lontana altura
o da quella del ricordo –
come naufrago?
come transfuga?
mi lancia incontro
la corsa
delle sue colline,
mi sferra in petto quel vento,
lo incrocia con il tempo –
il mio dirottamente
che le si avventa ai fianchi
dal profondo dell’infanzia
e quello dei miei morti
e l’altro d’ogni appena
memorabile esistenza…
Siamo ancora
io e lei, lei e io
soli, deserti.
Per un più estremo amore? Certo.

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ULISSE (di Umberto Saba)

Nella mia giovinezza ho navigato lungo le coste dalmate. Isolotti a fior d’onda emergevano, ove raro un uccello sostava intento a prede, coperti d’alghe, scivolosi, al sole belli come smeraldi. Quando l’alta marea e la notte li annullava, vele sottovento sbandavano più al largo, per fuggirne l’insidia. Oggi il mio regno è quella terra di nessuno. Il porto accende ad altri i suoi lumi; me al largo sospinge ancora il non domato spirito, e della vita il doloroso amore

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LA GIUNEA (di Pier Paolo Pasolini)

La Guinea… polvere pugliese o poltiglia
padana, riconoscibile a una fantasia
così attaccata alla terra, alla famiglia,

com’è la tua, e com’è anche la mia:
li ho visti, nel Kenia, quei colori
senza mezza Anta, senza ironia,

viola, verdi, verdazzurri, azzurri, ori,
ma non profusi, anzi, scarsi, avari,
accesi qua e là, tra vuoti e odori

inesplicabili, sopra polveri d’alveari
roventi… Il viola è una piccola sottana,
il verde è una striscia sui dorsali

neri d’una vecchia, il verdazzurro una strana
forma di frutto, sopra una cassetta,
l’azzurro, qualche foglia di savana

intrecciata, l’oro una maglietta
di un ragazzo nero dal grembo potente.
Altro colpo di pollice ha la Bellezza;

modella altri zigomi, si risente
in altre fronti, disegna altre nuche.
Ma la Bellezza è Bellezza, e non mente:

qui è rinata tra anime ricciute
e camuse, tra pelli dolci come seta,
e membra stupendamente cresciute.

Il mare è fermo e colorato come creta;
con case bianche, e palme: «tinte forti
da tavolozza cubista», come dice un poeta

africano. E la notte! Sensi distorti
da ogni nostro dolce costume,
occorrono, per cogliere i folli decorsi

che accadono, come pestilenze, a queste lune.
Perduti dietro metropoli di capanne
in uno spiazzo tra palme nere come piume,

alberi di garofano, di cannella – e canne
uguali alle nostrane, quelle sparse intorno
a ogni umano abitato – come tre zanne,

tre strumenti suonati quasi dal fuoco di un forno
inestinguibile, da gote nere sotto le falde
dei cappelli flosci presenti a ogni sbornia –

urlavano sempre le stesse note di leopardi
feriti, una melodia che non so dire:
araba? o americana? o arcaici e bastardi

resti di una musica, il cui lento morire
è il veloce morire dell’Africa?

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UN’IDEA DELL’INDIA (di Alberto Moravia)

Eccomi dunque in India, in campagna, a quattro miglia da Aurangabad, la cittadina nota ai turisti perché vicina alle celebri grotte scolpite e dipinte di Ajanta e di Ellora. È sera, con una luce verde, pura e triste nel cielo sereno in cui già brilla una grossa stella bianca.
Dall’albergo che sta su una altura ho una vista su un vasto paesaggio che in seguito rivedrò più e più volte perché l’India è immensa ma monotona. Si immagini un bosco ceduo o macchia, la ben nota jungla, pullulante a perdita d’occhio di arbusti e di cespugli, con qualche grande albero isolato qua e là, e il giallore del suolo arido e sabbioso che traspare dovunque ci sia una radura. Ogni tanto il riquadro di un campo coltivato si staglia nella jungla, verde chiaro, delicatamente visibile, si direbbe, in ogni stelo.
Colline incerte, polverose, scheggiate circondano l’orizzonte lontano senza veramente chiuderlo; e infatti il carattere predominante di questo panorama poco pittoresco ma espressivo è una grandiosità funebre a cui l’immobilità perfetta dell’aria conferisce un senso di spossata attesa, di calma esausta.

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ELEGIE ROMANE (di Iosif Bordskij

Chìnati, Ti devo sussurrare all’orecchio
qualcosa: per tutto io sono grato, per un osso
di pollo come per lo stridio delle forbici che
già un vuoto ritagliano per me, perché quel vuoto è Tuo.
Non importa se è nero. E non importa
se in esso non c’è mano, e non c’è viso, né il suo ovale.
La cosa quanto più è invisibile, tanto più è certo
che sulla terra è esistita una volta,
e quindi tanto più essa è dovunque.
Sei stato il primo a cui è accaduto, vero?
E può tenersi a un chiodo solamente
ciò che in due parti uguali non si può dividere.
Io sono stato a Roma. Inondato di luce. Come
può soltanto sognare un frammento! Una dracma
d’oro è rimasta sopra la mia rètina.
Basta per tutta la lunghezza della tenebra

FELICITÀ (di Malcolm Lowry)

Azzurre montagne nevose, acque di azzurri torrenti,
cielo selvaggio brulicante di stelle che spuntano,
e Venere, e la luna gibbosa dell’alba,
gabbiani inseguono un motoscafo contro il vento,
alberi dai rami piantati come radici nel cielo –
sedendo al sole di mezzogiorno, nell’ombra
furiosamente fumante del comignolo della baracca –
le aquile volano sottovento unite,
le rondini marine sfrecciano all’indietro,
alle undici una nuova miscela di tabacco,
ed il mio amore che torna con l’autobus delle quattro.
– Dio, perché mai donasti proprio a noi tutto
questo?

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HAPPYNESS (Malcolm Lowry)

Blue mountains with snow and blue cold rough water,
A wild sky full of stars at rising
And Venus and the gibbous moon at sunrise,
Gulls following a motorboat against the wind,
Trees with branches rooted in air –
Sittng in the sun at noon with the furiously
Smoking shadow of the shack chimney –
Eagles drive downwind in one,
Terns blow backward,
A new kind of tobacco at eleven,
And my love returning on the four o’clock bus
– My God, why have you given this to us?

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MANCIA (di Cees Nooteboom)

Chi quattro secoli dopo viaggia nelle zone in cui Miguel de Cervantes fece viaggiare il suo Don Chisciotte, incontra difficoltà enormi a mantenere separate apparenza e realtà. L’autore è diventato più nebuloso del suo eroe. Tutti sanno che aspetto avesse Don Chisciotte, che pure non è mai esistito, mentre del suo inventore non abbiamo ancora un ritratto sicuro. Cervantes una volta si descrisse a parole, ma in vita non venne mai ritratto. Per questo motivo le statue che lo raffigurano hanno in comune soltanto gli abiti… In questo scontro tra fantasia e realtà, la fantasia vince per uno a zero. Lo scrittore diventa invenzione, mentre i personaggi sono veri.
Quello che si vede nell’avvicinarsi a Consuegra è il momento dell’ispirazione dell’autore. con una luce particolare, una particolare costellazione di nuvole e la vibrazione del calore che incombe sulla pianura, qui tutto assume qualcosa di spettrale e irreale. Naturalmente, era lo stesso Cervantes che, prima del suo Cavaliere, aveva visto dei giganti in questi mulini, e anche ora che mi trovo qui sopra, sulle rovine del castello, non riesco a liberarmi completamente da quell’idea. Sono mulini, ovviamente, ma con quell’unico occhio morto in mezzo alle quattro pale roteanti sono anche esseri viventi schierati in pericoloso ordine di battaglia. Giro un po’ tra i blocchi di pietra color lavagna, vedo la pianura infinita a ponente della collina, passeggio lungo le mura merlate distrutte, e ogni volta che mi giro vedo quei mulini in a8esa contro il cielo, sempre più nero e minaccioso. No, quassù non si è nel mondo reale, ma nel mondo della fantasia.

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MILANO (di Milo De Angelis)

Milano era asfalto, asfalto liquefatto. Nel deserto
di un giardino avvenne la carezza, la penombra
addolcita che invase le foglie, ora senza giudizio,
spazio assoluto di una lacrima. Un istante
in equilibrio tra due nomi avanzò verso di noi,
si fece luminoso, si posò respirando sul petto,
sulla grande presenza sconosciuta. Morire fu quello
sbriciolarsi delle linee, noi lì e il gesto ovunque,
noi dispersi nelle supreme tensioni dell’estate,
noi tra le ossa e l’essenza della terra

MITT VENEDIG (di August Strindberg)

Det är gemytligt i Venedig, men kallt. Och när
man varit där ett par dagar känner man sig
hemma, helst när man snart ledsnat på
vattenkommunikationerna. Då går man och
går, och hur man går kommer man alltid till
Marcusplatsen. Där har man sin salong, sin
promenad, sin restaurang, sitt kafé, sitt
läsekabinett. Och när man så raderat ut alla
äldre målarbegrepp om den vackra ovanliga,
rena och tysta staden, så är man bättre belåten
med sitt Venedig sådant det verkligen och nu
går och står än sådant det ut- och påmålades
förr.
Den nya bilden jag nu bär i minnet med mig
av Venedig är mig som en palimpsest, där jag
skrapat ut barbarisk munkskrift och behåller
urtexten på klassisk romarlatin; en vatikanstaty
med borttagna fikonlöv; en klädståndstavla
under vilken jag hittat en Rafael; en
Cremoneserfiol av vilken jag skrapat fernissan.

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LA MIA VENEZIA (di August Strindberg)

Si sta a proprio agio a Venezia, ma fa freddo. E
dopo essere stati qui un paio di giorni ci si
sente a casa, soprattutto quando se ne ha
abbastanza delle comunicazioni sull´acqua, il
che avviene presto. Allora si cammina e si
cammina, e comunque (ovunque?) si
cammmini si arriva a piazza S. Marco. Qui
troviamo il nostro salone, la nostra
passeggiata, il nostro ristorante, il nostro caffè,
Si sta a proprio agio a Venezia, ma fa freddo. E
dopo essere stati qui un paio di giorni ci si
sente a casa, soprattutto quando se ne ha
abbastanza delle comunicazioni sull´acqua, il
che avviene presto. Allora si cammina e si
cammina, e comunque (ovunque?) si
cammmini si arriva a piazza S. Marco. Qui
troviamo il nostro salone, la nostra
passeggiata, il nostro ristorante, il nostro caffè,

DIE ITALIENISCHE REISE (di J.W. von Goethe)

Neapel, den 25. Februar 1787
Endlich auch hier glücklich und mit guten
Vorbedeutungen angekommen […] Unser Weg
ging wieder durch und über vulkanische
Hügel, wo ich nur noch wenige Kalkfelsen zu
bemerken glaubte. Endlich erreichten wir die
Plaine von Capua, bald darnach Capua selbst,
wo wir Mittag hielten. Nachmittag tat sich ein
schönes, flaches Feld vor uns auf. Die
Chaussee geht breit zwischen grünen
Weizenfeldern durch, der Weizen ist wie ein
Teppich und wohl spannenhoch. Pappeln sind
reihenweis auf den Feldern gepflanzt, hoch
ausgezweigt und Wein hinangezogen. So geht
es bis Neapel hinein. Ein klarer, herrlich
lockerer Boden und gut bearbeitet. Die
Weinstöcke von ungewöhnlicher Stärke und
Höhe, die Ranken wie Netze von Pappel zu
Pappel schwebend.
Der Vesuv blieb uns immer zur linken Seite,
gewaltsam dampfend, und ich war still für mich
erfreut, daß ich diesen merkwürdigen
Gegenstand endlich auch mit Augen sah. Der
Himmel ward immer klärer, und zuletzt schien
die Sonne recht heiß in unsere enge rollende
Wohnung. Bei ganz rein heller Atmosphäre
kamen wir Neapel näher; und nun fanden wir
uns wirklich in einem andern Lande. Die
Gebäude mit flachen Dächern deuten auf eine
andere Himmelsgegend, inwendig mögen sie
nicht sehr freundlich sein. Alles ist auf der
Straße, sitzt in der Sonne, so lange sie
scheinen will. Der Neapolitaner glaubt, im
Besitz des Paradieses zu sein, und hat von den
nördlichen Ländern einen sehr traurigen
Begriff: »Sempre neve, case di legno, gran
ignoranza, ma danari assai.« Solch ein Bild
machen sie sich von unserm Zustande. Zur
Erbauung sämtlicher deutschen Völkerschaften
heißt diese Charakteristik übersetzt: »Immer
Schnee, hölzerne Häuser, große Unwissenheit;
aber Geld genug.«
Neapel selbst kündigt sich froh, frei und
lebhaft an, unzählige Menschen rennen
durcheinander, der König ist auf der Jagd, die
Königin guter Hoffnung, und so kann’s nicht
besser gehn.

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IL VIAGGIO IN ITALIA (di J. W. von Goethe)

Napoli, il 25 Febbraio 1787
Finalmente siamo arrivati qui felicemente,
e con buoni pronostici […] La strada correva fra
colline volcaniche, dove non mi parvero
esistere, se non per eccezione, rocce calcare.
Finalmente entrammo nella pianura di Capua,
e più tardi in Capua stessa, dove sostammo
verso il mezzodì. Nel pomeriggio
attraversammo una bella pianura. La strada
correva fra campi di grano di un verde
stupendo, e le piante di quello raggiugevano
l’altezza di un palmo. I campi erano circondati
da piante di pioppi, e da queste pendevano ad
una certa altezza i tralci della vite. Si arriva per
tal guisa a Napoli, traversando una contrada di
terreno fertile, leggiero, diligentemente
coltivato, dove i tralci delle viti, rigogliosi
quanto mai si possa dire, si stendono da una
pianta di pioppo all’altra, formando quasi una
specie di rete.
Il Vesuvio sorgeva di continuo alla nostra
sinistra, sprigionando vortici di fumo, ed io me
ne stava silenzioso, assaporando la
soddisfazione di potere contemplare pure
questo fenomeno meraviglioso. Il cielo era
sempre limpido; finalmente il sole spuntò alla
nostra dritta, e venne inondare di luce la nostra
ristretta abitazione temporaria, e mobile.
L’atmosfera diventava più pura, a misura ci
venivamo avvicinando a Napoli, e finalmente ci
trovammo in una contrada propriamente
nuova. Le case, con i tetti piani a foggia di
terrazzo, accennavano a diverso cielo, tuttochè
poi io non li trovi di aspetto molto piacevole.
Tutti stanno sulla strada a godere il sole finchè
questo splende. I Napoletani ritengono
possedere il paradiso, ed hanno una tristissima
idea delle contrade settentrionali. «Sempre
neve, dicono, case di legno; grande ignoranza,
ma danari assai.» Tale si è l’idea poco
lusinghiera, che si formano dei nostri paesi.
Il primo aspetto di Napoli è lieto, animato,
vivace; la folla inonda le strade, si agita in
quelle; il re si trova a caccia, la regina è di
buon’umore; le cose non potrebbero andar
meglio.

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LISBOA (di Fernando Pessoa)

Over seven hills, which are as many points of observation whence the most magnificent panoramas may be enjoyed, the vast irregular and many – coloured mass of houses that constitute Lisbon is scattered.
For the traveler who comes in from the sea, Lisbon, even from afar, rises like a faire vision in a dream, clear- cut, against a bright blue sky which the sun gladance with its gold. And the domes, the monuments, the old castles, just up above the mass of houses, like far – off heralds of this the lightfull seat, of this blessed region. The tourists wonder begins when the ship approaches the bar, and, after passing the BUGIO lighthouse – that little guardian tower at the mouth of the river -, the castled tower of Belem appears a magnificent specimen of sixteenth century military
architectur, in the romanic-gothic-moorish style.
As the ship moves forward, the river grows more narrow, soon to widen again, forming one of the largest natural harbours in the world, with ample anchorage for the greatest of fleets. Then, on the left, the masses of houses cluster brightly over the hills. That is Lisbon.

ITACA (Constantino Kavafis)

Quando ti metterai in viaggio per Itaca
devi augurarti che la strada sia lunga,

fertile in avventure e in esperienze.
I Lestrigoni e i Ciclopi
o la furia di Nettuno non temere,
non sarà questo il genere di incontrise il
pensiero resta alto e un sentimento
fermo guida il tuo spirito e il tuo corpo.
In Ciclopi e Lestrigoni, no certo,
né nell’irato Poseidone incapperai
se non li porti dentro’se l’anima non te li mette
contro.
Devi augurarti che la strada sia lunga.
Che i mattini d’estate siano tanti
quando nei porti – finalmente e con che gioia
–
toccherai terra tu per la prima volta:
negli empori fenici indugia e acquista
madreperle coralli ebano e ambre
tutta merce fina, anche profumi
penetranti d’ogni sorta;
più profumi inebrianti che puoi,
va in molte città egizie
impara una quantità di cose dai dotti.
Sempre devi avere in mente Itaca –
raggiungerla sia il pensiero costante.
Soprattutto, non affrettare il viaggio;
fa che duri a lungo, per anni, e che da vecchio
metta piede sull’isola, tu, ricco
dei tesori accumulati per strada
senza aspettarti ricchezze da Itaca.
Itaca ti ha dato il bel viaggio;
senza di lei, mai ti saresti messo sulla via.
Nulla di più ha da darti.
E se la trovi povera, non per questo Itaca ti
avrà deluso.
Fatto ormai savio, con tutta la tua esperienza
addosso
già tu avrai capito ciò che Itaca vuole
significare.

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ΙΘΑΚΗ

Σα βγεις στον πηγαιμό για την Ιθάκη,
να εύχεσαι νάναι μακρύς ο δρόμος,
γεμάτος περιπέτειες, γεμάτος γνώσεις.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον θυμωμένο Ποσειδώνα μη φοβάσαι,
τέτοια στον δρόμο σου ποτέ σου δεν θα βρείς,
αν μέν’ η σκέψις σου υψηλή, αν εκλεκτή
συγκίνησις το πνεύμα και το σώμα σου αγγίζει.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον άγριο Ποσειδώνα δεν θα συναντήσεις,
αν δεν τους κουβανείς μες στην ψυχή σου,
αν η ψυχή σου δεν τους στήνει εμπρός σου.
Να εύχεσαι νάναι μακρύς ο δρόμος.
Πολλά τα καλοκαιρινά πρωϊά να είναι
που με τι ευχαρίστησι, με τι χαρά
θα μπαίνεις σε λιμένας πρωτοειδωμένους·
να σταματήσεις σ’ εμπορεία Φοινικικά,
και τες καλές πραγμάτειες ν’ αποκτήσεις,
σεντέφια και κοράλλια, κεχριμπάρια κ’ έβενους,
και ηδονικά μυρωδικά κάθε λογής,
όσο μπορείς πιο άφθονα ηδονικά μυρωδικά·
σε πόλεις Αιγυπτιακές πολλές να πας,
να μάθεις και να μάθεις απ’ τους σπουδασμένους.
Πάντα στον νου σου νάχεις την Ιθάκη.
Το φθάσιμον εκεί είν’ ο προορισμός σου.
Αλλά μη βιάζεις το ταξίδι διόλου.
Καλλίτερα χρόνια πολλά να διαρκέσει·
και γέρος πια ν’ αράξεις στο νησί,
πλούσιος με όσα κέρδισες στον δρόμο,
μη προσδοκώντας πλούτη να σε δώσει η Ιθάκη.
Η Ιθάκη σ’ έδωσε το ωραίο ταξίδι.
Χωρίς αυτήν δεν θάβγαινες στον δρόμο.
Αλλο δεν έχει να σε δώσει πια.
Κι αν πτωχική την βρεις, η Ιθάκη δεν σε γέλασε.
Ετσι σοφός που έγινες, με τόση πείρα,
ήδη θα το κατάλαβες η Ιθάκες τι σημαίνουν.

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EUGENIO MONTALE

Ho sceso, dandoti il braccio, almeno un milione di scale
e ora che non ci sei è il vuoto ad ogni gradino.
Anche così è stato breve il nostro lungo viaggio.
Il mio dura tuttora, nè più mi occorrono
le coincidenze, le prenotazioni,
le trappole, gli scorni di chi crede
che la realtà sia quella che si vede.
Ho sceso milioni di scale dandoti il braccio
non già perché con quattr’occhi forse si vede di più.
Con te le ho scese perché sapevo che di noi due
le sole vere pupille, sebbene tanto offuscate,
erano le tue.

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