Spanish Sad Quotes

I have always wanted to go to Trieste because it sounds like tristesse, which is a light-hearted word, even though in French it means sadness. In Spanish it is tristeza, which is heavier than French sadness, more of a groan than a whisper.

No sé si soy una persona triste con vocación de alegre, o viceversa, o al revés. Lo que sí sé es que siempre hay algo de tristeza en mis momentos más felices, al igual que siempre hay un poco de alegría en mis peores días.

But the address, if it ever existed, never was sent, which made me sad, there was so much I wanted to write her: that I'd sold two stories, had read where the Trawlers were countersuing for divorce, was moving out of the brownstone because it was haunted. But mostly, I wanted to tell about her cat. I had kept my promise; I had found him. It took weeks of after-work roaming through those Spanish Harlem streets, and there were many false alarms--flashes of tiger-striped fur that, upon inspection, were not him. But one day, one cold sunshiny Sunday winter afternoon, it was. Flanked by potted plants and framed by clean lace curtains, he was seated in the window of a warm-looking room: I wondered what his name was, for I was certain he had one now, certain he'd arrived somewhere he belonged. African hut or whatever, I hope Holly has, too.

In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

You sang me spanish lullaby's, the sweetest sadness in your eyes, clever trick

The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one's country: a longing for country, for home. What in English is called "homesickness." Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe ("I yearn for you," "I'm nostalgic for you"; "I cannot bear the pain of your absence"). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m'ennuie de toi (I miss you), but the word s'ennuyer is weak, cold -- anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).

Que ojalá volviera a verte cada invierno de mi vida Y vieras que contigo nunca tuve prisa. Y que ojalá sonrías y no te culpes ni te castigues Tú cambias vidas Pero no destinos

Racket beer, sonny,” he said sadly. “Tasteless as a roadhouse blonde.” (Spanish Blood)

I Have Walked Down Many Roads by Antonio Machado translated from the Spanish by Don Share I have walked down many roads and cleared many paths; I have navigated a hundred oceans and anchored off a hundred shores. All over, I have seen caravans of sadness, pompous and melancholy men drunk with black shadows, and defrocked pedants who stare, keep quiet, and think they know, because they don’t drink wine in the neighborhood bars. Bad people who go around polluting the earth . . . And all over, I have seen people who dance or play, when they can, and work their four handfuls of land. If they turn up someplace, they never ask where they are. When they travel, they ride on the backs of old mules, and don’t know how to hurry, not even on holidays. When there’s wine, they drink wine; when there’s no wine, they drink cool water. These are good people, who live, work, get by, and dream; and on a day like all the others they lie down under the earth.

Carmelia Montiel, a twenty-year-old virgin, had just bathed in orange-blossom water and was strewing rosemary leaves on Pilar Ternera's bed when the shot rang out. Aureliano José had been destined to find with her the happiness that Amaranta had denied him, to have seven children, and to die in her arms of old age, but the bullet that entered his back and shattered his chest had been directed by a wrong interpretation of the cards.

Younger than Morini and Pelletier, Espinoza studied Spanish literature, not German literature, at least for the first two years of his university career, among other sad reasons because he dreamed of being a writer.

He looked all alone and so sad and so blue, so I said, “Oh, dear Bear; there’s a home here for you.

—Y hay más. Tan pronto no van a cortar tu planta de naranja-lima. Cuando la corten estarás lejos y no sentirás nada. Sollozando me abracé a sus rodillas. —Ya no me interesa, papá. No me interesa… Y mirando su rostro, que también se encontraba lleno de lágrimas, murmuré como un muerto: —Ya la cortaron, papá, hace más de una semana que cortaron mi planta de naranja-lima. Los años pasaron, mi querido Manuel Valadares. Hoy tengo cuarenta y ocho años y, a veces, en mi nostalgia, siento la impresión de que continúo siendo una criatura. Que en cualquier momento vas a aparecer trayéndome fotos de artistas de cine o más bolitas. Tú fuiste quien me enseñó la ternura de la vida, mi Portuga querido. Hoy soy yo el que tiene que distribuir las bolitas y las figuritas, porque la vida sin ternura no vale gran cosa. A veces soy feliz en mi ternura, a veces me engaño, lo que es más común. En aquel tiempo… En el tiempo de nuestro tiempo no sabía que muchos años antes un Príncipe Idiota, arrodillado frente a un altar, preguntaba a los iconos, con los ojos llenos de lágrimas: “¿POR QUÉ LES CUENTAN LAS COSAS A LAS CRIATURITAS?” Y la verdad es, mi querido Portuga, que a mí me contaron las cosas demasiado pronto. ¡Adiós!

The day-trippers who pass through on their way to the sandy beaches up the coast go wild for the nets, taking photographs of the pretty little stone and half-timbered houses swathed in the webbing, as their kids buy ice creams, and gaudy plastic buckets. Some of the nets look pristine, as if they were bought straight from the chandler and have never seen the sea, but others have plainly been used, with the rips that put them out of service still visible, chunks of weed and buoys knotted in the strands. I have never liked them, not from the first moment I saw them. They’re somehow sad and predatory at the same time, like giant cobwebs, slowly engulfing the little houses. It gives the whole place a melancholy air, like those sultry southern American towns, where the Spanish moss hangs thick from the trees, swaying in the wind.

Then Jip went up to the front of the ship and smelt the wind; and he started muttering to himself, "Tar; Spanish onions; kerosene oil; wet raincoats; crushed laurel-leaves; rubber burning; lace-curtains being washed--No, my mistake, lace-curtains hanging out to dry; and foxes--hundreds of 'em--cubs; and--" "Can you really smell all those different things in this one wind?" asked the Doctor. "Why, of course!" said Jip. "And those are only a few of the easy smells--the strong ones. Any mongrel could smell those with a cold in the head. Wait now, and I'll tell you some of the harder scents that are coming on this wind--a few of the dainty ones." Then the dog shut his eyes tight, poked his nose straight up in the air and sniffed hard with his mouth half-open. For a long time he said nothing. He kept as still as a stone. He hardly seemed to be breathing at all. When at last he began to speak, it sounded almost as though he were singing, sadly, in a dream. "Bricks," he whispered, very low--"old yellow bricks, crumbling with age in a garden-wall; the sweet breath of young cows standing in a mountain-stream; the lead roof of a dove-cote--or perhaps a granary--with the mid-day sun on it; black kid gloves lying in a bureau-drawer of walnut-wood; a dusty road with a horses' drinking-trough beneath the sycamores; little mushrooms bursting through the rotting leaves; and--and--and--" "Any parsnips?" asked Gub-Gub. "No," said Jip. "You always think of things to eat. No parsnips whatever.

Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.

Beauty is frightening," they will tell you — Lazily you will arrange A Spanish shawl on your shoulders, A red rose in your hair. "Beauty is simple," they will tell you — Clumsily with a motley shawl You will cover a child up, A red rose on the floor. But, distractedly heeding All the words sounding around you, Sadly lost in thought You will say about yourself: 'I am neither frightening nor simple; I am not so frightening, that I would simply Kill; I am not so simple That I do not know how frightening life is.' ("For Anna Akhmatova")

There are books for when you're bored. Plenty of them. There are books for when you're calm. The best kind, in my opinion. There are also books for when you're sad. And there are books for when you're happy. There are books for when you're thirsty for knowledge. And there are books for when you're desperate. - 'The Savage Detectives

There was no response. Soon afterward, a skiff flying the Spanish flag approached the Charleston. Two Spanish officers came aboard and apologized for not having returned the American “salute” because they had no gunpowder left in their arsenal. It turned out that they had not been resupplied for months and did not know the United States and Spain were at war. The next morning an American lieutenant went ashore. At 10:15 he handed the Spanish commandant a message demanding surrender of the island within thirty minutes. The commandant retired to his quarters. Twenty-nine minutes later he emerged with a reply. “Being without defenses of any kind and without any means for meeting the present situation,” he had written, “I am under the sad necessity of being unable to resist such superior forces and regretfully accede to your demands.

O my dark Rosaleen,     Do not sigh, do not weep! The priests are on the ocean green,     They march along the deep. There’s wine from the royal Pope,     Upon the ocean green;    And Spanish ale shall give you hope,        My Dark Rosaleen!     My own Rosaleen! Shall glad your heart, shall give you hope, Shall give you health, and help, and hope,     My Dark Rosaleen! Over hills, and thro’ dales,     Have I roam’d for your sake; All yesterday I sail’d with sails     On river and on lake. The Erne, at its highest flood,     I dash’d across unseen, For there was lightning in my blood,     My Dark Rosaleen!     My own Rosaleen! O, there was lightning in my blood, Red lighten’d thro’ my blood.     My Dark Rosaleen! All day long, in unrest,     To and fro, do I move. The very soul within my breast     Is wasted for you, love! The heart in my bosom faints     To think of you, my Queen, My life of life, my saint of saints,     My Dark Rosaleen!     My own Rosaleen! To hear your sweet and sad complaints, My life, my love, my saint of saints,     My Dark Rosaleen! Woe and pain, pain and woe,     Are my lot, night and noon, To see your bright face clouded so,     Like to the mournful moon. But yet will I rear your throne     Again in golden sheen; ‘Tis you shall reign, shall reign alone,     My Dark Rosaleen!     My own Rosaleen! ‘Tis you shall have the golden throne, ‘Tis you shall reign, and reign alone,     My Dark Rosaleen! Over dews, over sands,     Will I fly, for your weal: Your holy delicate white hands     Shall girdle me with steel. At home, in your emerald bowers,     From morning’s dawn till e’en, You’ll pray for me, my flower of flowers,     My Dark Rosaleen!     My fond Rosaleen! You’ll think of me through daylight hours My virgin flower, my flower of flowers,     My Dark Rosaleen! I could scale the blue air,     I could plough the high hills, Oh, I could kneel all night in prayer,     To heal your many ills! And one beamy smile from you     Would float like light between My toils and me, my own, my true,     My Dark Rosaleen!     My fond Rosaleen! Would give me life and soul anew,     My Dark Rosaleen! O, the Erne shall run red,     With redundance of blood, The earth shall rock beneath our tread,        And flames wrap hill and wood, And gun-peal and slogan-cry     Wake many a glen serene, Ere you shall fade, ere you shall die,     My Dark Rosaleen!     My own Rosaleen! The Judgement Hour must first be nigh, Ere you can fade, ere you can die,     My Dark Rosaleen!

Count all these sufferings from here to the end of the endless sky which is no sky and see how many you can add together to make a figure to impress the Boss of Dead Souls in the Meat Manufactory in city City CITY everyone of them in pain and born to die, milling in the streets at 2 A M underneath those imponderable skies”—their enormous endlessness, the sweep of the Mexican plateau away from the Moon—living but to die, the sad song of it I hear sometimes on my roof in the Tejado district, rooftop cell, with candles, waiting for my Nirvana or my Tristessa—neither come, at noon I hear “La Paloma” being played on mental radios in the fallways between the tenement windows—the crazy kid next door sings, the dream is taking place right now, the music is so sad, the French horns ache, the high whiney violins and the deberratarra-rabaratarara of the Indian Spanish announcer. Living but to die, here we wait on this shelf, and up in heaven is all that gold open caramel, ope my door—Diamond Sutra is the sky.

exulansis n. the tendency to give up trying to talk about an experience because people are unable to relate to it—whether through envy or pity or mere foreignness—which allows it to drift away from the rest of your story, until it feels out of place, almost mythical, wandering restlessly in the fog, no longer even looking for a place to land. Latin exulans, exile, wanderer, derived from the Latin name of the Wandering Albatross, diomedea exulans, who spend most of their life in flight, rarely landing, going hours without even flapping their wings. The albatross is a symbol of good luck, a curse, and a burden, and sometimes all three at once. Pronounced “ek-suh-lan-sis.” la cuna n. a twinge of sadness that there’s no frontier left, that as the last explorer trudged his armies toward the last blank spot on the map, he didn’t suddenly turn for home, leaving one last island unexplored so we could set it aside as a strategic reserve of mystery. Latin lacuna, an unfilled space or hole + Spanish la cuna, cradle. Pronounced “lah koo-nuh.

Wearing Deni's huge vicuna coat with the si cap over my ears, in cold biting winds of December New York, Irwin and Simon led me up to the Russian Tea Room to meet Salvador Dali. He was sitting with his chin on a finely decorated tile headed cane, blue and white, next to his wife at the Cafe table. He had a cane, blue and white, next to his wife at the Cafe table. He had a little wax moustache, thin. When the waiter asked him what he wanted he said 'One grapefruit...peenk!' and he had big blue eyes like a baby, a real or Spaniard. He told us no artist was great unless he made money. Was he talking about Uccello, Ghianondri, Franca? We didn't even know what money really was or what to do with it. Dali had already read an article about the 'insurgent' 'beats' and was interested. When Irwin told him (in Spanish) we wanted to meet Marlon Brando (who ate in this Russian Tea Room) he said, waving three fingers at me, 'He is more beautiful than M. Brando.' I wondered why he said that but he probably had a tiff with old Marlon. But what he meant was my eyes, which were blue, like his, and my hair, which is black, like his, and when I looked into his eyes, and he looked into my eyes, we couldn't stand all that sadness. In fact, when Dali and I look in the mirror we can't stand all that sadness. To Dali sadness is beautiful.

When we came out of the cookhouse, we found the boy's father, the Indian man who had been grazing the horses in the pasture, waiting for us. He wanted someone to tell his troubles to. He looked about guardedly, afraid that the Señora might overhear him. 'Take a look at me' he said. I don't even know how old I am. When I was young, the Señor brought me here. He promised to pay me and give me a plot of my own. 'Look at my clothes' he said, pointing to the patches covering his body. 'I can't remember how many years I've been wearing them. I have no others. I live in a mud hut with my wife and sons. They all work for the Señor like me. They don't go to school. They don't know how to read or write; they don't even speak Spanish. We work for the master, raise his cattle and work his fields. We only get rice and plantains to eat. Nobody takes care of us when we are sick. The women here have their babies in these filthy huts.' 'Why don't you eat meat or at least milk the cows?' I asked. 'We aren't allowed to slaughter a cow. And the milk goes to the calves. We can't even have chicken or pork - only if an animal gets sick and dies. Once I raised a pig in my yard' he went on. 'She had a litter of three. When the Señor came back he told the foreman to shoot them. That's the only time we ever had good meat.' 'I don't mind working for the Señor but I want him to keep his promise. I want a piece of land of my own so I can grow rice and yucca and raise a few chickens and pigs. That's all.' 'Doesn't he pay you anything?' Kevin asked. 'He says he pays us but he uses our money to buy our food. We never get any cash. Kind sirs, maybe you can help me to persuade the master . Just one little plot is all I want. The master has land, much land.' We were shocked by his tale. Marcus took out a notebook and pen. 'What's his name?'. He wrote down the name. The man didn't know the address. He only knew that the Señor lived in La Paz. Marcus was infuriated. 'When I find the owner of the ranch, I'll spit right in his eye. What a lousy bastard! I mean, it's really incredible'. 'That's just the way things are,' Karl said. 'It's sad but there's nothing we can do about it.

The picture of human life in the market-place, though its general tint was the sad gray, brown, or black of the English emigrants, was yet enlivened by some diversity of hue. A party of Indians—in their savage finery of curiously embroidered deerskin robes, wampum-belts, red and yellow ochre, and feathers, and armed with the bow and arrow and stone-headed spear—stood apart with countenances of inflexible gravity, beyond what even the Puritan aspect could attain. Nor, wild as were these painted barbarians, were they the wildest feature of the scene. This distinction could more justly be claimed by some mariners—a part of the crew of the vessel from the Spanish Main—who had come ashore to see the humours of Election Day. They were rough-looking desperadoes, with sun-blackened faces, and an immensity of beard; their wide short trousers were confined about the waist by belts, often clasped with a rough plate of gold, and sustaining always a long knife, and in some instances, a sword. From beneath their broad-brimmed hats of palm-leaf, gleamed eyes which, even in good-nature and merriment, had a kind of animal ferocity. They transgressed without fear or scruple, the rules of behaviour that were binding on all others: smoking tobacco under the beadle's very nose, although each whiff would have cost a townsman a shilling; and quaffing at their pleasure, draughts of wine or aqua-vitae from pocket flasks, which they freely tendered to the gaping crowd around them. It remarkably characterised the incomplete morality of the age, rigid as we call it, that a licence was allowed the seafaring class, not merely for their freaks on shore, but for far more desperate deeds on their proper element. The sailor of that day would go near to be arraigned as a pirate in our own. There could be little doubt, for instance, that this very ship's crew, though no unfavourable specimens of the nautical brotherhood, had been guilty, as we should phrase it, of depredations on the Spanish commerce, such as would have perilled all their necks in a modern court of justice. But the sea in those old times heaved, swelled, and foamed very much at its own will, or subject only to the tempestuous wind, with hardly any attempts at regulation by human law. The buccaneer on the wave might relinquish his calling and become at once if he chose, a man of probity and piety on land; nor, even in the full career of his reckless life, was he regarded as a personage with whom it was disreputable to traffic or casually associate. Thus the Puritan elders in their black cloaks, starched bands, and steeple-crowned hats, smiled not unbenignantly at the clamour and rude deportment of these jolly seafaring men; and it excited neither surprise nor animadversion when so reputable a citizen as old Roger Chillingworth, the physician, was seen to enter the market-place in close and familiar talk with the commander of the questionable vessel.

Sometimes you're sad because of what others say, but they won't be there for the most magical moments of each day. Those moments are for you, one-of-a-kind you, and there will be many if your 'you' stays honest and true.

With an air somewhat distraught, nostalgic, and sad, a Spanish teenager glanced at the face and bust of a Sicilian-speaking postulant selling holy paraphernalia, who shook hundreds of small statues of Christ out of numerous plastic bags, letting them fall crackling into a trunk, while his father, rooting around in the bowl, taking one tiny crucifix after another in his hands, stared at them appraisingly.

Christopher Columbus and his brothers were no different from many of the Spanish adventurers of the time. They were a roughhewn lot, who wrote the rules by which they lived. As with their fellow conquistadors, they had a code of honor that sadly did not include the Indians. Since most of the Indians were never baptized, killing or enslaving them was not considered sinful. Human life was cheap to them, as they lived and died by the sword. The same was not true of the gentry or the clergy, many of whom saw that their responsibility was to administer “the Great Commission” as mentioned in the Bible, which was to convert the heathens to Christianity. However, many of the Spanish Adventurers never got outside of their own bubble and had no idea what the World was really all about. It is interesting that Columbus Day is celebrated, when in fact he was not the first to discover America, nor was he really an honorable person, as we understand the word “honorable” now. It can only be said that things were different. Things were the way they were!

On 12 August 1521, not long before the fall of Tenochtitlan, defended now mainly by women and children, the young Cuauhtémoc gave a speech to the four winds so that it would spread throughout the Empire, a speech full of poetry and truth. 2 It was preserved in the oral tradition and nowadays there are seven different versions of it, all very similar, including one that was written down in Spanish in the Aztecs’ former temple, the Templo Mayor. I will quote only a small fragment of this speech, to which the world is now responding: Our sun has gone down in darkness. It is a sad evening for Tenochtitlan, Texcoco, Tlatelolco. 3 The moon and the stars are winning this battle, Leaving us in darkness and despair. Let’s lock ourselves up in our houses, Let’s leave the paths and the marketplaces deserted, Let’s hide deep in our hearts our love for the codices, the ball game, the dances, the temples, Let’s secretly preserve the wisdom that our honourable grandparents taught us with great love, And this knowledge will pass from parents to children, from teachers to students, Until the rising of the Sixth Sun, When the new wise men will bring it back and save Mexico. In the meantime, let’s dance and remember the glory of Tenochtitlan, The place where the winds blow strongly.

He looked all alone and so sad and so blue, so I said, “Oh, dear Bear; there’s a home here for you.

Tis a dream that I in sadness Here am bound, the scorn of fate; 'Twas a dream that once a state I enjoyed of light and gladness. What is life? 'Tis but a madness. What is life? A thing that seems, A mirage that falsely gleams, Phantom joy, delusive rest, Since is life a dream at best, And even dreams themselves are dreams.

Give up Spanish, give up anything in the language that broke our hearts. Do not be tempted by English, the language that breaks our souls. Speak only in the tongue of tongues before any white man came.

Our current cultural ethos is that achieving happiness is like achieving other goals. If we simply work hard at it, we can master happiness, just as we can figure out how to use new computer software, play the piano or learn Spanish. However, if the goal of becoming happier is different from these other goals, efforts devoted to augmenting happiness may backfire, disappointing -and potentially depressing- us because we can't achieve our expected goal.

Widespread violence against civilians also demonstrated that the Spanish Civil War was, sadly enough, not a unique case in modern history: such terror has been a common component in many civil wars, including those in twentieth-century Russia, Yugoslavia, Greece, and Finland.

...somehow, I had managed to leave my trust - my willingness to fall in love ever again - somewhere across the ocean.

Dylan, Duende, Death and Lorca Does Bob Dylan have Duende? DUENDE dancers perform moving, unique, unrepeatable performances Does Bob Dylan have duende? Do you have duende? What is duende? Duende is a Spanish word with two meanings. A duende is a goblin or a pixie that probably lives at the bottom of the garden and gives three wishes to old ladies who deserve a break. The duende was best defined by Spain’s great poet Federico García Lorca during a lecture he gave in New York in 1929 on Andalusian music known as cante jondo, or deep voice. ‘The duende,’ he said, ‘is a momentary burst of inspiration, the blush of all that is truly alive, all that the performer is creating at a certain moment.’ The difference between a good and a bad singer is that the good singer has the duende and the bad singer doesn’t. ‘There are no maps nor disciplines to help us find the duende. We only know that he burns the blood like a poultice of broken glass, that he exhausts, that he rejects all the sweet geometry we have learned.’ Some critics say Bob Dylan does not have a great voice. But more than any other performer since the birth of recorded music, Dylan has revealed the indefinable, spine-tingling something captured in Lorca’s interpretation of duende. ‘It is an inexplicable power of attraction, the ability to send waves of emotion through those watching and listening to them.’ ‘The duende,’ he continues, ‘resembles what Goethe called the demoniacal. It manifests itself principally among musicians and poets of the spoken word, for it needs the trembling of the moment and then a long silence.’ painting off hell by Hieronymus Bosch Hell & Hieronymus Bosch Four elements can be found in Lorca’s vision of duende: irrationality, earthiness, a heightened awareness of death and a dash of the diabolical. I agree with Lorca that duende manifests principally among singers, but would say that same magic may touch us when confronted by great paintings: Picasso’s Guernica, Edvard Munch’s The Scream, the paintings of heaven and hell by Hieronymus Bosch. The duende is found in the bitter roots of human existence, what Lorca referred to as ‘the pain which has no explanation.’ Artists often feel sad without knowing why. They sense the cruel inevitability of fate. They smell the coppery scent of death. All artists live in a permanent state of angst knowing that what they have created could have been better. Death with Duende It is not surprising that Spain found a need for the word duende. It is the only country where death in the bullring is a national spectacle, the only nation where death is announced by the explosion of trumpets and drums. The bullring, divided in sol y sombre – the light and shade, is the perfect metaphor for life and death, a passing from the light into darkness. Every matador who ever lived had duende and no death is more profound than death in the bullring.

Where my sis was this puzzle piece that fit anywhere at the first try, I had always seemed to struggle with finding my place. Somehow, I always managed to be missing a little corner or have an extra edge that pushed me to keep trying somewhere I might fit better.

Whipple reported seeing as many as six hundred Indians in a single day in his camp. Few spoke Spanish; most communicated with the whites using hand gestures. Whipple noticed “several sad-looking fellows in the crowd” who were slaves taken in an expedition against the Cocopas, but he saw no white girls, and more significantly, was never approached by the Oatmans, who either remained in their village above the campgrounds or socialized with the others, passing as Mohaves. 15 Either scenario is telling. If they were hidden from the Whipple party, this omission from Olive’s biography is glaringly conspicuous: it was not just her first opportunity for escape during her captivity but also one of the more dramatic events of her Mohave life. And if she wasn’t hidden, she was in a situation where she roamed freely with Mohaves of all ages, but never sought help from any of the hundred-odd whites in the area. Three years into their captivity, with no knowledge that their brother had survived the Oatman massacre, seventeen-year-old Olive and twelve-year-old Mary Ann had crossed the threshold of assimilation.

Kummerspeck. In German, that means "the bacon of sadness." The weight you gain when you're unhappy.

legs. Soon I would sing-play the melodrama of the chorus through tears. Miraculous: to be saturated in feeling. The fact of my sadness, no longer sad. The notes did that. They soared where English and Spanish failed. All testimony and evocation, no mistranslation.

mercy and with this heat, you know—and my anemia.” She sighed. “My brain’s already turned to mush.” “Sit down.” Concerned now, he guided her to a small spindle-back chair in the landing’s corner. “I’ve got a message for an attendee. His name’s Antoine. I’ve never met him, monsieur.” She gave a big sigh. “Very sad. This comes from Rafael Santos, Professor Neliad’s assistant at the Polytechnic,” she said, ready to launch into the story she’d fabricated on the long ride. Rafael, an actual Spanish engineering student Kate had known in ’37, had become the assistant to his advisor, Professor Neliad, a short squat perfectionist Raphael had mimicked incessantly. “I hate to trouble you, monsieur, but it’s important I speak with Antoine. Please.” The man set down his folder, which was labeled école polytechnique. “But what’s so important?” She had to make this credible. Make him believe her. She sniffled and shook her head. “There’s horrible news. Antoine’s mother . . .” She paused for effect. “A terrible accident in front of her apartment. The bus

What kind of male swears at a woman?” “Well, sir,” murmured Tiller after a discreet cough, “in fiction it is the—ah—Dashiell Hammett type, sir.” “Ah. Heart of gold beneath hardboiled exterior?” “Yes, sir. Blasphemy, the use of violence…” “Let’s restrict ourselves to life as it is lived, Tiller. By the way, I infer you’re an addict of detective fiction.” “Oh, yes, sir! And I’ve read many of your own, sir, and—” “Hmm,” said Ellery hastily. “Let that pass. In real life, Tiller?” “I fear,” said the valet in a sad murmur, “that there are few hearts of gold in real life, sir. Hard exteriors, certainly. I should say, sir, that there are two general types of woman-abusing men. Confirmed misogynists, sir, and—husbands.

Some firebreathers have to use props, gasoline, all that extra stuff," explains the Ringmaster. "But not this one. He's real. That's why I gave him the stage name Dragon. "And the clowns? Why do they look so sad?" "Ah, yes. Their girlfriend ran off with the strongman yesterday." "Their girlfriend?" "Yes, she was a contortionist. And clowns share everything.

The Reverent Theodore Parker, Unitarian minister in Boston, combined eloquent criticism of the war with contempt for the Mexican people, whom he called 'a wretched people; wretched in their origin, history, and character,' who must eventually give way as the Indians did. Yes, the United States should expand...by 'the steady advance of a superior race, with superior ideas and a better civilization...by being better than Mexico, wiser, humaner, more free and manly'. ...The racism for Parker was widespread. Congressmen Delano of Ohio...opposed the war because he was afraid of Americans mingling with an inferior people who 'embrace all shades of color....a sad compound of Spanish, English, Indian, and negro bloods...and resulting, it is said, in the production of a slothful, ignorant race of beings'.

Hola,” my daughter offered meekly. “¿Cuál es su nombre?” the woman asked. What is her name? “Stella.” “Hmm?” “Stella.” The woman still looked puzzled. Drew jumped in. “Estella.” She broke into a smile. “Ah, Estella.” “Sí.” I smiled, too. “Y tu hijo?” she asked, running her hand over our son’s blond head. He shook his head impatiently. “Cole,” I replied. “Col?” she asked, again looking puzzled. “Sí.” Everyone wanted to call Stella “Estella,” and sometimes she’d get mistaken for chela, the Mexican slang for beer. Cole, on the other hand, is a Spanish word, at least how it’s pronounced. It’s Catalan as well, which is the second language in Barcelona (or first, depending on who you ask). Cole is pronounced like the Spanish word col and means “cabbage.” We accidentally named our son after the slightly smelly vegetable they put in cocidos and ensaladas. Meet our children: Beer and Cabbage. Apparently it didn’t matter, as the abuelita quickly launched into a story about her three children and eight grandchildren (who all lived outside the city, sadly) and her hand injury that had only recently healed. I nodded and Drew offered, “Sí, sí, vale, vale,” the usual Spanish murmurs of agreement. The bus stopped and we said our good-byes as she departed. After the bus had started rolling again, I leaned over to Drew and whispered, “If we have another baby, we are naming her Alejandra—or Javier if it’s a boy—something so Spanish no one ever asks us twice.” He grinned. “Agreed.

The Manor, Old Windsor, (a curiously incongruous name and address for a house entirely Spanish in character) was looking very lovely when we drove up to it that morning. The sun was shining on its pale walls and the ‘shrubberies’—really, a beautifully laid-out plantation. The house, although rather near to a road, is perfectly secluded from it. The small park into which the plantation gradually recedes gives the whole a feeling of great spaciousness. I notice that I am writing as if it all still existed, but in fact I believe that after it was sold the land was cut up and that a number of houses were built on it. It seems very sad when once it was so perfect, and whenever I have subsequently been in the neighbourhood I have made a point of never going to see it and never driving in that direction.