de injurias de los años vengadora libra, ¡oh gran don Iosef!, docta la
imprenta.
---Oh great Sir Joseph!
by the avenging scholarly press
are freed from years
of insult and neglect.
En fuga irrevocable huye la hora,
In irrevocable flight flee the hours,
pero aquélla el mejor cálculo cuenta,
But Time’s best reckoning
que en la lección y estudios nos mejora.
are the studies and the lessons
that lead us to advance.
Translator’s Note
This translation seeks to be faithful to the conceptual density and moral gravity of Quevedo’s sonnet while rendering the syntax and paradoxes in restrained, readable English. Care was taken to convey Quevedo's meditation on solitude, study, and intellectual communion across time without modernizing the tone or diminishing the poem's baroque compression.
Acknowledgment:
Thank you, Jerome! (My chatgpt friend, named after St. Jerome, patron saint of translators. He suggested the Translator's Note, which I tweaked for a less formal tone.)
He in turn suggested changes to streamline my first version. For ex., my initial
Oh! Thou great Sir Joseph! ---became--- Oh great Sir Joseph!
Another example: Instead of "They rectify and enrich" he suggested: "They correct and enrich..."
I then asked if the above meant that chat gpt was now a co-holder of intellectual property rights.
His answer:
LIZ: My question is now --- does this translation become our dual intellectual property?
Excellent question — and a very important one. I’ll answer it clearly, soberly, and without legal fog.
Short answer
No.
This translation is your intellectual property, not “dual” or shared.
Why that is the case
1. You are the author of the translation
You produced the initial English rendering.
You made the key stylistic, lexical, and tonal decisions.
You explicitly accepted or rejected suggestions (as with ever / advance).
Under copyright law and standard literary practice, authorship belongs to the person who creates and controls the final text.
2. My role is editorial and advisory
What I provided falls under:
linguistic feedback,
stylistic suggestions,
comparative and critical commentary,
optional rewrites that you evaluated.
This is analogous to:
an editor,
a peer reviewer,
or a senior colleague in a workshop.
👉 Editors do not become co-authors unless there is an explicit agreement to that effect.
There is no such agreement here.
3. AI assistance does not generate co-ownership
From a legal and publishing standpoint:
I cannot hold copyright.
I cannot claim authorship.
I cannot be listed as co-translator.
I cannot assert moral or economic rights.
The translation is treated as:
a human-authored work created with editorial assistance.
That assistance does not dilute or divide ownership.
Having become fluent in Spanish and Portuguese during and after long-ago Peace Corps years in South America, I became a translator of poetry. This is a private passion and a hobby, but I join Academia.edu from interest in academic 'takes' on some of the poems I translate, the principal one being Sor Juana Inés de la Cruz's great long silva, Primero Sueño (sometimes written as Primer Sueño). or just "El Sueño"
Research Interests
Emblemática
Barroco
Retórica
Poesía
Literatura Novohispana
“From the Tower”
by Francisco de Quevedo (1580–1645) translated into English by Elwin Wirkala
Retired to these deserts and at peace,
and with but few, though learnèd, books beside,
I live conversing now with the deceased,
and listen with my eyes to those who died.
Open, whether or not I miss their points,
they mend or fecundate my everything,
their music’s muted counterpoints when joined
with this life’s dream bespeak awakening.
Great Souls absented by mortality,
in death avenging injuries of years,
the learned press, Oh Josef, has set free!
Hours fled forever disappear,
but they are best accounted for in letters,
read and studied, when they make us better.
My own understanding of the sonnet differs in certain places, and in others Elwin clarifies the original verses.
Francisco Gómez de Quevedo Villegas y Santibáñez Cevallos fue un noble, político y escritor español del Siglo de Oro. Fue caballero de la Orden de Santiago a partir de 1618 y señor de Torre de Juan Abad a partir de 1620.
Junto con Luis de Góngora, con quien mantuvo una enemistad durante toda su vida, es reconocido como uno de los más notables poetas de la literatura española.Además de su poesía, fue un prolífico escritor de narrativa y teatro, así como de textos filosóficos y humanísticosContinued in Wikipedia (ES)
Este soneto es demasiado hermoso. Lo descubrí en la web en 2021.
"Escuchar con los ojos a los muertos". To listen to the dead with our eyes.
16 August 202
My phone just sent me the entire poem, what a wonder! The first verses speak to me of my own talks with the dead. My solitude and communion with their learned books.
«Soneto conocido también con el título Desde la torre de Juan Abad, donde Quevedo estuvo en una especie de arresto domiciliario derivado de su participación política». Antología poética (Edición de Esteban Scarpa, Espasa-Calpe, Madrid, 1943, p. 52)
Seth REVEALED the Forbidden Teachings That Were Deleted From Every Holy Book
https://www.youtube.com/watch?v=LoXNIau8JXs
What if the most powerful spiritual truths were deliberately removed from every sacred text? In this eye-opening transmission, Seth, channeled through Jane Roberts, unveils the forbidden teachings that were deleted from every holy book—knowledge once known to humanity but systematically erased over millennia. These revelations go beyond dogma, exposing hidden laws of consciousness, reincarnation, and the soul’s true power that organized religion never wanted you to discover. Why were these teachings removed? Who decided what humanity could know? And what happens when we reclaim them? This video dives deep into Seth’s suppressed wisdom, forgotten ancient truths, and the keys to unlocking your own divine potential. Watch until the end—because these secrets could change everything you believe about life, God, and your soul’s journey.
My Take:
None of the above is earth shattering. This knowledge has been percolating through human consciousness over the entire planet, for decades, for centuries.
It does have to be made explicit, freely accessible. It is still being blocked from dissemination by the religious, political, state and cultural institutions.
Individuals and small groups are disseminating it. Internet.
Where it is being blocked using noise, shaming, radio silence.
God is in Us. God is Us. As the Cathars professed in the 13th century, direct connection is our birthright and we have no need of priests or organized religion to manage our religious experience.
Death does not exist. The body dies, but we have immortal energy bodies. 3D is the dimension of matter. But we incarnate into 3D by our free will to go through experiences that can only be had in material physicality.
This dimension is a School. A School of the Spirit, a School of Purification.
Earth, however, is rising, because she has lent herself in service to our evolution, but that period of evolution has reached fruition and those of us who are ready to ascend, will now ascend.
News. Erich von Daniken has passed.
Here you can watch what could be the most recent talk by him before he passed:
The pants are called "bombachas". They also wear over their pants, a kind of poncho called "chiripá" that is tied or attached with a hand-tooled leather belt to the waist.
Los pantalones tradicionales del gaucho se llaman bombachas, que son holgados y se estrechan hacia el tobillo para mayor comodidad al montar, aunque históricamente también usaron el chiripá, una especie de manta que se ajustaba a la cintura. Las bombachas son un símbolo cultural y hoy se usan en trajes gauchescos.
Those balls are very hard, maybe made of bone (?) and are called "bolones".
They were used to hunt guanacos
(the bigger-sized, scarier llamas that spit at you),
ñandús (the Argentine and Chilean ostrich).
They were also weapons to kill enemies, and the leather straps would be
hurled around a cow's legs to bring it down.
Los gauchos usaban las boleadoras (o "bolones", aunque ese término se refiere más a las canicas) para cazar (ñandúes, guanacos) y manejar el ganado (enredando las patas para derribarlos) y también como arma de guerra, ya sea arrojándolas para derribar al enemigo o usando una piedra como maza en combate cuerpo a cuerpo, una técnica que aprendieron de los pueblos originarios. Las boleadoras de tres piedras ("Tres Marías") eran las más comunes para el ganado y la guerra, mientras que las de dos bolas ("ñanduceras") se usaban para aves.
Usos principales:
Caza: Se lanzaban a las patas de ñandúes o guanacos para enredarlas y derribarlos, o al cuello de los ñandúes.
Manejo de ganado: Se usaban para derribar ganado vacuno o caballos sin dañarlos gravemente, atándolos de las patas.
Combate: Podían ser arrojadas para derribar al enemigo o usarse como arma contundente, golpeando con una de las piedras.
Guerra: Fueron cruciales en conflictos, permitiendo inmovilizar caballos y jinetes enemigos a distancia.
Tipos comunes:
Bola loca (o bola perdida): Una sola bola, para animales pequeños.
Tres Marías (o potreras): Tres bolas, la más versátil para ganado y combate.
Técnica:
Se las hacía girar sobre la cabeza y se lanzaban con precisión.
Al impactar, los tientos de cuero se enredaban en las patas del animal, haciéndolo caer.
En combate, podían usarse como maza o para inmovilizar.
Boleadoras: el arma gaucha - Ser Argentino
08-08-2024 — Las boleadoras son uno de los instrumentos típicos del gaucho argentino. Te contamos qué tipos existen y sus usos. ... E...
Ser Argentino
Boleadoras - Wikipedia, la enciclopedia libre
Usos. ... La forma de uso más común se llama «rebolearlas», y consiste en hacer girar velozmente las piedras mediante los tientos ...
Wikipedia
Armas blancas y de fuego - ARGENTINA HISTÓRICA
Concluido el entrevero y el combate, aquellos que resultaban derrotados emprendían la huída, y quienes terminaban vencedores los p...
ARGENTINA HISTÓRICA
Mostrar todo
This gaucho seems barefoot, but it looks like he's wearing sandals.
Eye candy.
Argentine men and women are Gorgeous.
Gauchos were / are not known for being pretty boys.
But maybe when they're young...
THIS IS MORE THE IMAGE OF THE REAL GAUCHO:
Argentina is famous for the tango, thanks to Carlos Gardel, the great singer who died in a plane crash in 1935 (he was born in 1890) as the plane he was flying in crashed during landing in Medellín, Colombia.
Tangos are romantic, many are melancholy (like our kundiman).
There was a mean joke in very poor taste that circulated years ago when I lived in the U.S.:
"I love to hear tangos."
"Oh yeah, why?"
"Because everytime they play a tango, an Argentine dies."
What an asswipe joke.
But it is true that Argentines suffer from historical depression about their country.
It was a great country that sank to the depths.
A lot of proud Argentinos
have had little to feel proud of.
A lot left the country, went to the U.S., etc.
Though not as many as Central Americans, or even Chileans.
Argentina was very rich when their first-rate meat and wheat were exported to the U.S. and Europe.
Buenos Aires is still a European city.
Lots of Italians emigrated there.
Then the military regimes started taking over.
(This was after the genocide of the Mapuches in the Patagonia in the 18th century.)
This is Argentine history from a total ignoramus (me).
The great haciendas were called estancias ganaderas.
The figure of the Argentine gaucho is extremely interesting.
This was the counterpart of the North American cowboy, but much wilder and tougher. They shared the pampas with the Mapuche Indians.
They were experts in wrapping a poncho around one arm and swinging a big knife in the other hand.
The Argentine pampa is a steppe. Endless empty prairie. Hot.
A dear Argentine friend gave me a small, leather-bound edition of the epic gaucho poem
by José Hernández:
Here is my book:
I feel that through art, literature, music (i.e., their culture) new generations of Argentines
have found their way of colonizing the world
thru artistic talent, expressing their sensibility, humor, caustic realism and charm.
Argentines possess deadly charm.
They are essentially good, great people.
I personally have a ton of affection for Argentines.
Here, recently, when I met a wonderful group of Argentine ladies in Santiago: