My comment to an entry 'Мы возьмём Манхэттен, а потом Берлин.' by akhceloo
>Я не до конца поняла, при чём тут Берлин в оригинальном тексте Кохэна (Когена)
Объясняю. Не вошедшая в русский перевод строка:
But you see that line there moving through the station?
I told you, I told you, told you I was one of those
Видишь эту очередь, идущую через станцию?
Я был одним из них
Это про Освенцим. Как, кстати и вся следующая песня Dance Me to the End of Love - если не знали. У нацистов в некоторых лагерях было заведено, что бы во время казни оркестр из заключенных исполнял классическую музыку. Отсюда образ "горящей скрипки". Вот отрывок из интервью Коэна за 1995:
'it's curious how songs begin because the origin of the song, every song, has a kind of grain or seed that somebody hands you or the world hands you and that's why the process is so mysterious about writing a song. But that came from just hearing or reading or knowing that in the death camps, beside the crematoria, in certain of the death camps, a string quartet[3] was pressed into performance while this horror was going on, those were the people whose fate was this horror also. And they would be playing classical music while their fellow prisoners were being killed and burnt. So, that music, "Dance me to your beauty with a burning violin," meaning the beauty thereof being the consummation of life, the end of this existence and of the passionate element in that consummation. But, it is the same language that we use for surrender to the beloved, so that the song - it’s not important that anybody knows the genesis of it, because if the language comes from that passionate resource, it will be able to embrace all passionate activity.
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Объясняю. Не вошедшая в русский перевод строка:
But you see that line there moving through the station?
I told you, I told you, told you I was one of those
Видишь эту очередь, идущую через станцию?
Я был одним из них
Это про Освенцим. Как, кстати и вся следующая песня Dance Me to the End of Love - если не знали. У нацистов в некоторых лагерях было заведено, что бы во время казни оркестр из заключенных исполнял классическую музыку. Отсюда образ "горящей скрипки". Вот отрывок из интервью Коэна за 1995:
'it's curious how songs begin because the origin of the song, every song, has a kind of grain or seed that somebody hands you or the world hands you and that's why the process is so mysterious about writing a song. But that came from just hearing or reading or knowing that in the death camps, beside the crematoria, in certain of the death camps, a string quartet[3] was pressed into performance while this horror was going on, those were the people whose fate was this horror also. And they would be playing classical music while their fellow prisoners were being killed and burnt. So, that music, "Dance me to your beauty with a burning violin," meaning the beauty thereof being the consummation of life, the end of this existence and of the passionate element in that consummation. But, it is the same language that we use for surrender to the beloved, so that the song - it’s not important that anybody knows the genesis of it, because if the language comes from that passionate resource, it will be able to embrace all passionate activity.
View the entire thread this comment is a part of