The gaze lets go from ripeness.
I don't know what to do with a gaze
overflowing from a tree,
what to do with that ardour
...
Far off I see my docile animals.
They are tall and their manes are burning.
They run, searching for a spring,
and sniff the purple among broken rushes.
...
They are lithesome, full of grace.
Ferocious, too,
like a bunch of burning rooftop cats.
...
Not even eyes know what to say
to this rose of joy
open in my hands
or in the tresses of the day.
...
Peaches, pears, oranges,
strawberries, cherries, figs,
apples, melon, honey dew,
oh, music of my senses,
...
Body on a horizon of water,
body open
to the slow intoxication of fingers,
body defended
...
They had faces open to whoever passed.
They had legends and myths
and a chill in the heart.
...
When tenderness
seems tired at last of its offices
and sleep, that most uncertain vessel,
...
All morning I was searching for a syllable.
It's very little, that's for sure: a vowel,
a consonant, practically nothing.
But I feel its absence. Only I know
...
Children grow in secret. They hide themselves in the depths and darker reaches of the house to become wild cats, white birches.
...
Eugénio de Andrade (the pseudonym of José Fontinhas) was arguably Portugal’s best-known poet, translated into well over twenty languages. He adopted this pseudonym after a brief writing carreer under his true name. De Andrade won all of Portugal’s major literary awards: the prestigious Camões Prize, France’s Prix Jean Malrieu (1989), and the 1996 European Prize for Poetry. Marguerite Yourcenar has referred to “the well-tempered clavier” of his poems, and Spanish critic and poet Ángel Crespo has written that “his voice was born to baptize the world.”)
Against Obscurity(6)
The gaze lets go from ripeness.
I don't know what to do with a gaze
overflowing from a tree,
what to do with that ardour
overflowing from the mouth,
and waiting on the ground to flow back to the source.
I don't know the destiny of light,
but whatever it may be
it is the same as that of a gaze: the same
fraternal dust,
a delayed pain gathering, the shadow,
quivering still,
of a startled skylark.
Translation: 2003, Alexis Levitin