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Pablo Neruda

Poem XIII

I have gone marking the atlas of your body
with crosses of fire.
My mouth went across: a spider, trying to hide.
In you, behind you, timid, driven by thirst.

Stories to tell you on the shore of evening,
sad and gentle doll, so that you should not be sad.
A swan, a tree, something far away and happy.
The season of grapes, the ripe and fruitful season.

I who lived in a harbor from which I loved you.
The solitude crossed with dream and with silence.
Penned up between the sea and sadness.
Soundless, delirious, between two motionless gondoliers.

Between the lips and the voice something goes dying.
Something with the wings of a bird, something of anguish and oblivion.
The way nets cannot hold water.
My toy doll, only a few drops are left trembling.
Even so, something sings in these fugitive words.

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Poet's Obligation

To whoever is not listening to the sea
this Friday morning, to whoever is cooped up
in house or office, factory or woman
or street or mine or harsh prison cell;
to him I come, and, without speaking or looking,
I arrive and open the door of his prison,
and a vibration starts up, vague and insistent,
a great fragment of thunder sets in motion
the rumble of the planet and the foam,
the raucous rivers of the ocean flood,
the star vibrates swiftly in its corona,
and the sea is beating, dying and continuing.

So, drawn on by my destiny,
I ceaselessly must listen to and keep
the sea's lamenting in my awareness,
I must feel the crash of the hard water
and gather it up in a perpetual cup
so that, wherever those in prison may be,
wherever they suffer the autumn's castigation,

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The House of Odes

Writing
these
odes
in this
year nineteen
hundred and
fifty-five,
readying and tuning
my demanding, murmuring lyre,
I know who I am
and where my song is going.
I understand
that the shopper for myths
and mysteries
may enter
my wood
and adobe
house of odes,
may despise
the utensils,

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If You Forget Me

I want you to know
one thing.

You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists:
aromas, light, metals,
were little boats that sail
toward those isles of yours that wait for me.

Well, now,
if little by little you stop loveing me
I shall stop loving you little by little.

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poem by Pablo Neruda, translated by Donald D. WalshReport problemRelated quotes
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The United Fruit Co.

When the trumpet sounded, it was
all prepared on the earth,
the Jehovah parcelled out the earth
to Coca Cola, Inc., Anaconda,
Ford Motors, and other entities:
The Fruit Company, Inc.
reserved for itself the most succulent,
the central coast of my own land,
the delicate waist of America.
It rechristened its territories
as the ’Banana Republics’
and over the sleeping dead,
over the restless heroes
who brought about the greatness, the liberty and the flags,
it established the comic opera:
abolished the independencies,
presented crowns of Caesar,
unsheathed envy, attracted
the dictatorship of the flies,
Trujillo flies, Tacho flies,

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Ode to Clothes

Every morning you wait,
clothes, over a chair,
to fill yourself with
my vanity, my love,
my hope, my body.
Barely
risen from sleep,
I relinquish the water,
enter your sleeves,
my legs look for
the hollows of your legs,
and so embraced
by your indefatigable faithfulness
I rise, to tread the grass,
enter poetry,
consider through the windows,
the things,
the men, the women,
the deeds and the fights
go on forming me,

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The Men

I'm Ramón González Barbagelata from anywhere,
from Cucuy, from Paraná, from Rio Turbio, from Oruro,
from Maracaibo, from Parral, from Ovalle, from Loconmilla,
I'm the poor devil from the poor Third World,
I'm the third-class passenger installed, good God!
in the lavish whiteness of snow-covered mountains,
concealed among orchids of subtle idiosyncrasy.

I've arrived at this famous year 20000, and what do I get?
With what do I scratch myself?� What do I have to do with
the three glorious zeros that flaunt themselves
over my very own zero, my own non-existence?
Pity that brave heart awaiting its call
or the man enfolded by warmer love,
nothing's left today except my flimsy skeleton,
my eyes unhinged, confronting the era's beginning.

The era's beginning: are these ruined shacks,
these poor schools, these people still in rags and tatters,
this cloddish insecurity of my poor families,

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Lovely One

Lovely one,
Just as on the cool stone
Of the spring, the water
Opens a wide flash of foam,
So is the smile of your face,
Lovely one.

Lovely one,
With delicate hands and slender feet
Like a silver pony,
Walking, flower of the world,
Thus I see you,
Lovely one.

Lovely one,
With a nest of copper entangled
On your head, a nest
The coloUr of dark honey
Where my heart burns and rests,
Lovely one.

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Ode To A Naked Beauty

With chaste heart, and pure
eyes
I celebrate you, my beauty,
restraining my blood
so that the line
surges and follows
your contour,
and you bed yourself in my verse,
as in woodland, or wave-spume:
earth's perfume,
sea's music.

Nakedly beautiful,
whether it is your feet, arching
at a primal touch
of sound or breeze,
or your ears,
tiny spiral shells
from the splendour of America's oceans.
Your breasts also,

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Castro Alves From Brazil

Castro Alves from Brazil, for whom did you sing?
Did you sing for the flower? For the water
whose beauty whispered words to the stones?
Did you sing to the eyes, to the torn profile
of the woman you once loved? For the spring?

Yes, but those petals were not dewed,
those black waters had no words,
those eyes were those who saw death,
still burning the tortures behind love,
Spring was splashed with blood.

I sang for the slaves, aboard the ships
as a dark branch of wrath.
They travelled, and bled from the ships
leaving us the weight of a stolen blood.

I sang in those days against the inferno,
against the sharp languages of greed,
against the gold drenched in the torment,

[...] Read more

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