Frases de Juan Ramón Jimenéz

Juan Ramón Jimenéz foto
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Juan Ramón Jimenéz

Data de nascimento: 23. Dezembro 1881
Data de falecimento: 29. Maio 1958

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Juan Ramón Jiménez Mantecón foi um poeta espanhol. Por sua oposição ao regime franquista foi obrigado a exilar-se nos EUA, no ano de 1936 . Recebeu o Nobel de Literatura de 1956.

Sua obra teria grande influência sobre a poesia de vanguarda espanhola, a chamada geração de 1927, a qual incluia Federico Garcia Lorca e Rafael Alberti.

Citações Juan Ramón Jimenéz

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„And the food for the soul passes, candid and free, without paying tribute to the customs.“

— Juan Ramón Jimenéz
Context: The man wants to stick his iron pick in the little basket, and I do not prevent him. I open the knapsack, and he sees nothing in it. And the food for the soul passes, candid and free, without paying tribute to the customs. Ch. 2 : White Butterflies, as translated by Eloïse Roach (1957).

„A permanent state of transition is man's most noble condition.“

— Juan Ramón Jimenéz
Context: A permanent state of transition is man's most noble condition. When we say an artist is in a state of transition, many believe that we are belittling. In my opinion when people speak of an art of transition this indicates a better art and the best that art can give. Transition is a complete present which unites the past and the future in a momentary progressive ecstasy, a progressive eternity, a true eternity of eternities, eternal moments. Progressive ecstasy is above all dynamic; movement is what sustains life and true death is nothing but lack of movement, be the corpse upright or supine. Without movement life is annihilated, within and without, for lack of dynamic cohesion. But the dynamism should be principally of the spirit, of the idea, it should be a moral dynamic ecstasy, dynamic in relation to progress, ecstatic in relation to permanence. "Heroic Reason", as translated by H. R. Hays, in Selected Writings of Juan Ramon Jimenez (1957) edited by Eugenio Florit, p. 231.

„He is as loving and tender as a child, but strong and sturdy as a rock.“

— Juan Ramón Jimenéz
Context: He is as loving and tender as a child, but strong and sturdy as a rock. When on Sundays I ride him through the lanes in the outskirts of the town, slow-moving countrymen, dressed in their Sunday clean, watch him a while, speculatively: "He is like steel," they say. Steel, yes. Steel and moon silver at the same time. Ch. 1 : Platero, as translated by Eloïse Roach (1957).

„Dynamic ecstasy is absolute romanticism, absolute heroism.“

— Juan Ramón Jimenéz
Context: Dynamic ecstasy is absolute romanticism, absolute heroism. And here I return to my point. From my point of view, after the catastrophe which we feel and think is universal, a catastrophe resulting from an excess of useless dynamism of useless progress, of useless realism, of useless technology, after this an unattainable democracy is to be reached through the conception and realization of a new romanticism. "Heroic Reason", as translated by H. R. Hays, in Selected Writings of Juan Ramon Jimenez (1957) edited by Eugenio Florit, p. 231.

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„Island of grace, of freshness and of joy, Golden Age of children; always I could find you in my life, a sea of mourning“

— Juan Ramón Jimenéz
Context: Island of grace, of freshness and of joy, Golden Age of children; always I could find you in my life, a sea of mourning; let your breeze lend me its lyre high and sometimes senseless like the trill of the lark in the white sun of morning. I have never written nor will I ever write anything for children, because I believe the child can read the books that grownups read, with some few exceptions that come to everyone's mind. There are of course exceptions too for men and for women. "A NOTE TO THOSE GROWNUPS WHO MIGHT READ THIS BOOK TO CHILDREN", as translated by Antonio T. de Nicolas (1985), p. xv.

„Transition is a complete present which unites the past and the future in a momentary progressive ecstasy, a progressive eternity, a true eternity of eternities, eternal moments.“

— Juan Ramón Jimenéz
Context: A permanent state of transition is man's most noble condition. When we say an artist is in a state of transition, many believe that we are belittling. In my opinion when people speak of an art of transition this indicates a better art and the best that art can give. Transition is a complete present which unites the past and the future in a momentary progressive ecstasy, a progressive eternity, a true eternity of eternities, eternal moments. Progressive ecstasy is above all dynamic; movement is what sustains life and true death is nothing but lack of movement, be the corpse upright or supine. Without movement life is annihilated, within and without, for lack of dynamic cohesion. But the dynamism should be principally of the spirit, of the idea, it should be a moral dynamic ecstasy, dynamic in relation to progress, ecstatic in relation to permanence. "Heroic Reason", as translated by H. R. Hays, in Selected Writings of Juan Ramon Jimenez (1957) edited by Eugenio Florit, p. 231.

„They should call the good man an ass! They should call the bad ass a man!“

— Juan Ramón Jimenéz
Context: They should call the good man an ass! They should call the bad ass a man! ]]Ironically]] … to speak thus of you, so smart, friend of the old and the young, of the stream and the butterfly, of the sun and the dog, of the flower and the moon, patient and thoughtful, melancholic and lovable, the Marcus Aurelius of the fields… Ch. 55: "Donkeyography" as translated by Antonio T. de Nicolas (1985), p. 66; also translated as "Assography" in translation by Eloïse Roach.

„If they give you ruled paper, write the other way.“

— Juan Ramón Jimenéz
As quoted in the epigraph in Fahrenheit 451 (1953) by Ray Bradbury; Susie Salmon also uses this quote in The Lovely Bones, and Daniel Quinn published a book in 2007 with the title If They Give You Lined Paper, Write Sideways (2007) Spanish: "Si os dan papel pautado, escribid por el otro lado" (If they give you lined paper, write on the other side) Note: "If they give you ruled paper, write the other way" is often attributed to William Carlos Williams who was contemporary with JRJ.

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