Poem
Peter Semolič
Piero della Francesca’s Angel
He is no longer the bringerof light.
He himself has become the object
of the play
of light
and shadow.
Caught within the laws
of the material world,
he kneels like someone
asking for forgiveness.
Getting up
would probably
make him slightly
dizzy.
His robe wrinkles
around the waist,
girded with a rope,
and around his knees.
His wings are heavy,
almost fleshy.
As though he were ashamed
of the fall
into the realm of sensation
and architecture,
he firmly kneels
on the cold marble floor
keeping his face
in shadow.
Lavrica, September/October 1992
© Translation: 2004, Ana Jelnikar
Angel Piero della Francesca
Angel Piero della Francesca
Ni vec prinasluci.
Sam je postal predmet
igre
svetlobe
in senc.
Ujet v zakonitosti
snovnega sveta
kleci kot nekdo,
ki prosi odpus
Ce bi vstal,
bi se mu najbrz
rahlo zvrtelo
v glavi.
Obleka se mu guba
v pasu,
prepasanem z vrvjo,
in ob kolenih.
Krila so tez
skoraj mesnata.
Kot da se sramuje
padca
v obmocje cutnosti
in arhitekture,
trdno klecec
na mrzlem marmorju
skriva obraz
v senci.
Lavrica, September/October 1992
© 2004, Peter Semolic
From: Meja
Publisher: LUD Literatura, Ljubljana
From: Meja
Publisher: LUD Literatura, Ljubljana
Poems
Poems of Peter Semolič
Close
Piero della Francesca’s Angel
He is no longer the bringerof light.
He himself has become the object
of the play
of light
and shadow.
Caught within the laws
of the material world,
he kneels like someone
asking for forgiveness.
Getting up
would probably
make him slightly
dizzy.
His robe wrinkles
around the waist,
girded with a rope,
and around his knees.
His wings are heavy,
almost fleshy.
As though he were ashamed
of the fall
into the realm of sensation
and architecture,
he firmly kneels
on the cold marble floor
keeping his face
in shadow.
Lavrica, September/October 1992
© 2004, Ana Jelnikar
From: Meja
From: Meja
Piero della Francesca’s Angel
He is no longer the bringerof light.
He himself has become the object
of the play
of light
and shadow.
Caught within the laws
of the material world,
he kneels like someone
asking for forgiveness.
Getting up
would probably
make him slightly
dizzy.
His robe wrinkles
around the waist,
girded with a rope,
and around his knees.
His wings are heavy,
almost fleshy.
As though he were ashamed
of the fall
into the realm of sensation
and architecture,
he firmly kneels
on the cold marble floor
keeping his face
in shadow.
Lavrica, September/October 1992
© 2004, Ana Jelnikar
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