The youthful perspective on the future, the present perspective on the future and the future, mature perspective on the future -- I'd like to try and bring all those three tenses together in one identity tonight. And you could say that the poet, in many ways, looks at what I call "the conversational nature of reality." And you ask yourself: What is the conversational nature of reality? The conversational nature of reality is the fact that whatever you desire of the world -- whatever you desire of your partner in a marriage or a love relationship, whatever you desire of your children, whatever you desire of the people who work for you or with you, or your world -- will not happen exactly as you would like it to happen.
Mlad pogled na budućnost, sadašnji pogled na budućnost i budući, zreo pogled na budućnost -- Večeras ću pokušati povezati ta tri glagolska vremena u jedan identitet. Možemo reći da pjesnik na mnoge načine razmatra "razgovornu prirodu stvarnosti". Pitate se: Što je razgovorna priroda stvarnosti? Razgovorna je priroda stvarnosti činjenica da što god želite od svijeta -- što god želite od bračnog partnera ili ljubavne veze, što god želite od svoje djece, što god želite od ljudi koji rade za vas ili s vama, ili od vašeg svijeta... ne ostvaruje se onako kako biste vi to voljeli.
But equally, whatever the world desires of us -- whatever our partner, our child, our colleague, our industry, our future demands of us, will also not happen. And what actually happens is this frontier between what you think is you and what you think is not you. And this frontier of actual meeting between what we call a self and what we call the world is the only place, actually, where things are real.
Jednako tako, što god svijet želi od nas -- što god naš partner, naše dijete, naš kolega, naša industrija, naša budućnost zahtijeva od nas, jednako se tako neće ostvariti. Ono što se ostvaruje jest granica između onoga što mislite da vi jeste i što mislite da niste. A ta granica stvarnog susreta između onoga što zovemo bićem i onoga što zovemo svijetom zapravo je jedino mjesto na kojem se događa stvarnost.
But it's quite astonishing, how little time we spend at this conversational frontier, and not abstracted away from it in one strategy or another. I was coming through immigration, which is quite a dramatic border at the moment, into the US last year, and, you know, you get off an international flight across the Atlantic, and you're not in the best place; you're not at your most spiritually mature. You're quite impatient with the rest of humanity, in fact. So when you get up to immigration with your shirt collar out and a day's growth of beard, and you have very little patience, and the immigration officer looked at my passport and said, "What do you do, Mr. Whyte?" I said, "I work with the conversational nature of reality."
No zapanjujuće je kako malo vremena trošimo na toj razgovornoj granici, kada nismo odvojeni od nje drugim strategijama. Prošle godine prolazio sam kroz imigracijsku kontrolu, što je danas jedna vrlo dramatična granica, da bih ušao u SAD, i prošli ste međunarodni let preko Atlantskog oceana, i ne osjećate se baš najbolje, niste baš duhovno zreli. Zapravo, nemate baš strpljenja za druge. I kada dođete do imigracijske sa zgužvanim ovratnikom i jednodnevnom bradom, nemate baš strpljenja, a imigracijski službenik pogleda putovnicu i upita: "Čime se bavite, g. Whyte?" Rekao sam "Bavim se razgovornom prirodom stvarnosti."
(Laughter)
(Smijeh)
And he leaned forward over his podium and he said, "I needed you last night."
Nagnuo se preko pulta i rekao "Dobro biste mi došli sinoć".
(Laughter)
(Smijeh)
(Applause)
(Pljesak)
And I said, "I'm sorry, my powers as a poet and philosopher only go so far. I'm not sure I can --" But before we knew it, we were into a conversation about his marriage. Here he was in his uniform, and the interesting thing was, he was looking up and down the row of officers to make sure his supervisor didn't see that we was having a real conversation. But all of us live at this conversational frontier with the future.
Odgovorio sam "Žao mi je, kao pjesnik i filozof, imam ograničene mogućnosti. Nisam siguran da mogu --" I prije nego što smo se snašli, razgovarali smo o njegovom braku. Stajao je tamo u svojoj odori, i što je najzanimljivije, stalno je pogledavao u ostale službenike kako bi se uvjerio da njegov nadređeni ne vidi da vodi stvaran razgovor. No svi mi živimo na toj razgovornoj granici prema budućnosti.
I'd like to put you in the shoes of my Irish niece, Marlene McCormack, standing on a cliff edge on the western coast of Spain, overlooking the broad Atlantic. Twenty-three years old, she's just walked 500 miles from Saint Jean Pied de Port on the French side of the Pyrenees, all the way across Northern Spain, on this very famous, old and contemporary pilgrimage called the Camino de Santiago de Compostela -- the Path to Santiago of Compostela. And when you get to Santiago, actually, it can be something of an anticlimax, because there are 100,000 people living there who are not necessarily applauding you as you're coming into town.
Želim vam predstaviti pogled svoje irske nećakinje Marlene McCormack, koja stoji na rubu litice na zapadnoj obali Španjolske i gleda u veliki Atlantski ocean. Ima dvadeset i tri godine i upravo je propješačila 800 km od Saint Jean Pied de Porta na francuskoj strani Pireneja, preko cijele sjeverne Španjolske, na poznatom, starom i suvremenom, hodočašću Camino de Santiago de Compostela -- Put do Santiaga de Compostele. A kada dođete do Santiaga, možete doživjeti antiklimaks, jer tamo živi 100.000 ljudi koji vam ne salutiraju kada dođete u grad.
(Laughter)
(Smijeh)
And 10,000 of them are trying to sell you a memento of your journey. But you do have the possibility of going on for three more days to this place where Marlene stood, called, in Spanish, Finisterre, in English, Finisterre, from the Latin, meaning "the ends of the earth," the place where ground turns to ocean; the place where your present turns into the future. And Marlene had walked this way -- she just graduated as a 23-year-old from the University of Sligo with a degree in Irish drama. And she said to me, "I don't think the major corporations of the world will be knocking on my door." I said, "Listen, I've worked in corporations all over the world for decades; a degree in drama is what would most prepare you for the adult --
A njih 10.000 pokušava vam prodati uspomenu na putovanje. Ali imate mogućnost nastaviti još tri dana do tog mjesta gdje je Marlene stajala, na španjolskom se zove Finisterre, i na engleskom Finisterre, iz latinskog, što znači "rubovi zemlje", mjesto gdje se zemlja pretvara u ocean; mjesto gdje se sadašnjost pretvara u budućnost. I Marlene je propješačila do tamo -- 23-godišnjakinja koja je na Sveučilištu u Sligu diplomirala irsku dramu, rekla mi je "Ne vjerujem da će me velike svjetske korporacije tražiti." Rekao sam "Slušaj, radio sam za korporacije diljem svijeta desetljećima; studij drame najbolje te priprema za odrasli --
(Laughter)
(Smijeh)
corporate world."
korporativni svijet."
(Applause)
(Pljesak)
But she said, "I'm not interested in that, anyway. I don't want to teach drama, I want to become a dramatist. I want to write plays. So I walked the Camino in order to give myself some courage, in order to walk into my future." And I said, "What was the most powerful moment you had on the whole Camino, the very most powerful moment?" She said, "I had many powerful moments, but you know, the most powerful moment was post-Camino, was the three days you go on from Santiago and come to this cliff edge. And you go through three rituals. The first ritual is to eat a tapas plate of scallops" -- or if you're vegetarian, to contemplate the scallop shell.
Ali rekla je: "To me ionako ne zanima. Ne želim predavati dramu, želim postati dramaturginja. Želim pisati drame. Prošla sam Camino da bih se ohrabrila, da bih išla prema svojoj budućnosti." Pitao sam: "Koji ti je bio najmoćniji trenutak u Caminu, onaj baš najsnažniji trenutak?" Rekla je: "Doživjela sam mnoge snažne trenutke, ali onaj najmoćniji je kada prođeš Camino, ona tri dana kada prođeš Santiago i dođeš do ruba litice. Prolaziš kroz tri rituala. Prvi je pojesti platu kapica" -- ili ako ste vegetarijanac, diviti se školjkama kapica.
(Laughter)
(Smijeh)
Because the scallop shell has been the icon and badge of your walk, and every arrow that you have seen along that way has been pointing underneath a scallop shell. So really, this first ritual is saying: How did you get to this place? How did you follow the path to get here? How do you hold the conversation of life when you feel unbesieged, when you're unbullied, when you're left to yourself? How do you hold the conversation of life that brings you to this place? And the second ritual is that you burn something that you've brought. I said, "What did you burn, Marlene?" She said, "I burned a letter and two postcards." I said, "Astonishing. Twenty-three years old and you have paper. I can't believe it."
Ipak su školjke kapica postale simbol hodočašća i sve strelice duž puta prikazane su ispod školjki kapica. Stoga se prvi ritual sastoji od pitanja: Kako sam došao ovamo? Koji sam put slijedio da bih došao? Kako razmišljaš o životu kada se osjećaš neopsjednut, nenapadnut, kada si prepušten sebi? Kako razmišljaš o životu koji te doveo ovamo? A drugi je ritual spaliti nešto što si donio sa sobom. Pitao sam: "Što si spalila, Marlene?" Rekla je: "Spalila sam pismo i dvije razglednice." Rekao sam: "Zapanjujuće. Imaš dvadeset i tri godine i uza sebe papir. Ne mogu vjerovati."
(Laughter)
(Smijeh)
I'm sure there's a Camino app where you can just delete a traumatic text, you know?
Siguran sam da postoji aplikacija za Camino u kojoj možeš jednostavno izbrisati traumatičnu poruku.
(Laughter)
(Smijeh)
It will engage the flashlight, imbue it with color and disappear in a firework of flames. But you either bring a letter or you write one there, and you burn it. And of course we know intuitively what is on those letters and postcards. It's a form of affection and love that is now no longer extant, yeah?
Koja pali svjetiljku, ispunjava je bojom i nestaje u vatrometu. Ali možeš donijeti pismo ili ga napisati tamo pa spaliti. A intuitivno naravno znamo što piše u tim pismima i na tim razglednicama. To je oblik privrženosti i ljubavi koja više ne postoji, zar ne?
And then the third ritual: between all these fires are large piles of clothes. And you leave an item of clothing that has helped you to get to this place. And I said to Marlene, "What did you leave at the cliff edge?" She said, "I left my boots -- the very things that I walked in, actually. They were beautiful boots, I loved those boots, but they were finished after seven weeks of walking. So I walked away in my trainers, but I left my boots there."
A zatim treći ritual: između tih ognjišta velike su hrpe odjeće. Ostavite odjevni predmet koji vam je pomogao stići. Pitao sam Marlene: "Što si ostavila na rubu litice?" Rekla je: "Ostavila sam čizme -- upravo one u kojima sam došla. To su bile prekrasne čizme, obožavala sam ih, ali bile su gotove nakon sedam tjedana hoda. Stoga sam otišla u tenisicama, a čizme sam ostavila tamo."
She said, "It was really incredible. The most powerful moment was, the sun was going down, but the full moon was coming up behind me. And the full moon was illuminated by the dying sun in such a powerful way that even after the sun had dropped below the horizon, the moon could still see that sun. And I had a moon shadow, and I was looking at my moon shadow walking across the Atlantic, across this ocean. And I thought, 'Oh! That's my new self going into the future.' But suddenly I realized the sun was falling further. The moon was losing its reflection, and my shadow was disappearing. The most powerful moment I had on the whole Camino was when I realized I myself had to walk across that unknown sea into my future."
Rekla je: "Bilo je nevjerojatno. Najsnažniji trenutak bio je kada je sunce zalazilo, a pun mjesec izlazio je iza mene. Pun mjesec bio je osvijetljen zalazećim suncem na tako moćan način da je čak i nakon što je zašlo iza obzora, mjesec i dalje vidio to sunce. Imala sam sjenu od mjeseca, i gledala sam svoju mjesečevu sjenu kako ide preko Atlantika, preko tog oceana. I pomislila sam: "O pa to sam nova ja koja odlazim u budućnost." Odjedanput sam shvatila da sunce i dalje zalazi. Mjesec je gubio odsjaj, a moja je sjena nestajala. Najsnažniji trenutak koji sam doživjela u Caminu bio je kada sam shvatila da moram prijeći to nepoznato more prema svojoj budućnosti."
Well, I was so taken by this story, I wrote this piece for her. We were driving at the time; we got home, I sat on the couch, I wrote until two in the morning -- everyone had gone to bed -- and I gave it to Marlene at breakfast time. It's called, "Finisterre," for Marlene McCormack.
Toliko me obuzela ta priča da sam napisao pjesmu za nju. Vozili smo se; došli smo kući, sjeo sam na kauč i pisao do dva ujutro -- svi su otišli na spavanje -- i dao sam je Marlene za doručkom. Zove se "Finisterre" za Marlene McCormack.
"The road in the end
"Cesta na kraju
the road in the end taking the path the sun had taken
cesta na kraju ide putem sunca
the road in the end taking the path the sun had taken into the western sea
cesta na kraju ide putem hoda u zapadno more
the road in the end taking the path the sun had taken into the western sea
cesta na kraju ide putem sunca u zapadno more
and the moon
a mjesec
the moon rising behind you as you stood where ground turned to ocean:
mjesec koji se diže iza tebe dok stojiš na mjestu gdje zemlja postaje ocean:
no way to your future now
sada nema puta prema budućnosti
no way to your future now except the way your shadow could take, walking before you across water, going where shadows go,
sada nema puta prema budućnosti osim onoga kojim bi išla tvoja sjena, koja ide ispred tebe preko vode, ide kamo sjene idu,
no way to make sense of a world that wouldn't let you pass except to call an end to the way you had come, to take out each letter you had brought and light their illumined corners; and to read them as they drifted on the late western light;
ne može se objasniti svijet koji te ne bi pustio da prođeš osim da proglasiš kraj puta kojim dolaziš, izvadiš svako pismo koje donosiš i zapališ njegove osvijetljene rubove; i čitaš dok ga nosi kasno zapadno svjetlo;
to empty your bags
isprazniš torbe
to empty your bags; to sort this and to leave that
isprazniš torbe nešto razvrstaš, a nešto ostaviš
to sort this and to leave that; to promise what you needed to promise all along
nešto razvrstaš, a nešto ostaviš; obećaš ono što si davno trebao
to promise what you needed to promise all along, and to abandon the shoes that brought you here right at the water's edge,
obećaš ono što si davno trebao, i napustiš cipele kojima si došao tamo na obali,
not because you had given up
ne zato što odustaješ
not because you had given up but because now, you would find a different way to tread, and because, through it all, part of you would still walk on, no matter how, over the waves."
ne zato što odustaješ već zato što sada znaš drugi put kojim bi išao, i zato što nakon svega, dio tebe želi ići dalje, na bilo koji način, preko valova."
"Finisterre." For Marlene McCormack --
"Finisterre." Za Marlene McCormack --
(Applause)
(Pljesak)
who has already had her third play performed in off-off-off-off-Broadway -- in Dublin.
čija je treća predstava izvedena u alternativnom alternativnom kazalištu -- u Dublinu.
(Laughter)
(Smijeh)
But she's on her way.
Ali slijedi svoj put.
This is the last piece. This is about the supposed arrival at the sum of all of our endeavors. In Santiago itself -- it could be Santiago, it could be Mecca, it could be Varanasi, it could be Kyoto, it could be that threshold you've set for yourself, the disturbing approach to the consummation of all your goals.
Ovo je zadnje djelo. Ovo je pretpostavljeno ostvarenje svih naših nastojanja. Dolazak u sam Santiago -- to može biti Santiago, može biti Meka, može biti Benares, može biti Kyoto, može biti granica koju ste si postavili, uznemirujuć pristup ispunjenju svih ciljeva.
And one of the difficulties about walking into your life, about coming into this body, into this world fully, is you start to realize that you have manufactured three abiding illusions that the rest of humanity has shared with you since the beginning of time.
A jedna od teškoća kod ulaska u život, ulaska u tijelo, potpuno u svijet, jest kada shvatite da ste proizveli tri trajne iluzije koje čovječanstvo dijeli otpočetka svijeta.
And the first illusion is that you can somehow construct a life in which you are not vulnerable. You can somehow be immune to all of the difficulties and ill health and losses that humanity has been subject to since the beginning of time. If we look out at the natural world, there's no part of that world that doesn't go through cycles of, first, incipience, or hiddenness, but then growth, fullness, but then a beautiful, to begin with, disappearance, and then a very austere, full disappearance. We look at that, we say, "That's beautiful, but can I just have the first half of the equation, please? And when the disappearance is happening, I'll close my eyes and wait for the new cycle to come around." Which means most human beings are at war with reality 50 percent of the time. The mature identity is able to live in the full cycle.
Prva je iluzija da nekako stvarate život u kojem niste ranjivi. Na neki način možete biti imuni na sve poteškoće i bolesti i gubitke kojima je čovječanstvo podložno otpočetka svijeta. Ako pogledamo prirodni svijet, nema niti jednog njegovog dijela koji ne ide kroz cikluse: prvo je početak ili skrivenost, zatim rast, potpunost, za početak, prekrasno nestajanje, a zatim vrlo surovo, potpuno nestajanje. Gledamo u to i kažemo: "To je prekrasno, ali mogu li dobiti samo prvi dio jednadžbe? A kada dođe do nestajanja, zatvorit ću oči i čekati sljedeći ciklus." Što znači da većina ljudi ratuje sa stvarnošću 50 posto svog vremena. Zreli identitet može živjeti u punom krugu.
The second illusion is, I can construct a life in which I will not have my heart broken. Romance is the first place we start to do it. When you're at the beginning of a new romance or a new marriage, you say, "I have found the person who will not break my heart." I'm sorry; you have chosen them out unconsciously for that exact core competency.
Druga je iluzija da mogu izgraditi život u kojem moje srce neće biti slomljeno. Zaljubljenost je prva točka. Kada ste na početku nove veze ili novog braka, govorite: "Pronašao sam osobu koja mi neće slomiti srce." Žao mi je: odabrali ste ju nesvjesno upravo zbog te sposobnosti.
(Laughter)
(Smijeh)
They will break your heart. Why? Because you care about them. You look at parenting, yeah? Parenting: "I will be the perfect mother and father." Your children will break your heart. And they don't even have to do anything spectacular or dramatic. But usually, they do do something spectacular or dramatic --
Slomit će vam srce. Zašto? Zato što vam je stalo do nje. Pogledajmo roditeljstvo. Roditeljstvo: "Bit ću savršena majka, savršen otac." Djeca će vam slomiti srce. A ne moraju nužno učiniti ništa spektakularno ni dramatično. Obično učine nešto spektakularno ili dramatično...
(Laughter)
(Smijeh)
to break your heart. And then they live with you as spies and saboteurs for years, watching your every psychological move, and spotting your every weakness. And one day, when they're about 14 years old, with your back turned to them, in the kitchen, while you're making something for them --
i slome vam srce. I žive s vama kao špijuni ili saboteri godinama, prate svaki vaš psihološki korak, i uočavaju svaku vašu slabost. I jednog dana, kada napune 14 godina, dok ste im okrenuti leđima u kuhinji, dok im nešto pripremate --
(Laughter)
(Smijeh)
the psychological stiletto goes in.
psihološki nož dolazi na scenu.
(Laughter)
(Smijeh)
(Applause)
(Pljesak)
And you say, "How did you know exactly where to place it?"
Pitate: "Kako si znao kamo ubosti?"
(Laughter)
(Smijeh)
And they say, "I've been watching you for --
A on kaže: "Pratim te već --
(Laughter)
(Smijeh)
a good few years."
nekoliko godina."
And then we hope that our armored, professional personalities will prevent us from having our heart broken in work. But if you're sincere about your work, it should break your heart. You should get to thresholds where you do not know how to proceed. You do not know how to get from here to there. What does that do? It puts you into a proper relationship with reality. Why? Because you have to ask for help.
Zatim se nadamo da smo stvorili profesionalni oklop koji će nas zaštititi od slomljenog srca na poslu. Ali ako ste iskreni u svom poslu, trebao bi vam slomiti srce. Trebate doći do granica gdje ne znate kako dalje. Ne znate kako doći od točke A do točke B. Čemu to služi? Stavlja vas u ispravan odnos sa stvarnošću. Zašto? Zato što morate tražiti pomoć.
Heartbreak. We don't have a choice about heartbreak, we only have a choice of having our hearts broken over people and things and projects that we deeply care about.
Slomljeno srce. Nemamo izbora oko slomljenog srca, imamo samo izbor da nam srce slome ljudi i stvari i projekti za koje marimo.
And the last illusion is, I can somehow plan enough and arrange things that I will be able to see the path to the end right from where I'm standing, right to the horizon. But when you think about it, the only environment in which that would be true would be a flat desert, empty of any other life. But even in a flat desert, the curvature of the earth would take the path away from you. So, no; you see the path, and then you don't and then you see it again.
A zadnja je iluzija da mogu dovoljno planirati i organizirati tako da vidim cestu do kraja upravo s ovog mjesta na kojem stojim, sve do obzora. Ali kada razmislite malo, jedino okruženje u kojemu to može biti tako jest ravna pustinja, bez ikakvog oblika života. No čak i u praznoj pustinji, zaobljenost zemlje oduzela bi vam put. Stoga, ne; vidite put, a zatim više ne, zatim ga opet vidite.
So this is "Santiago," the supposed arrival, which is a kind of return to the beginning all at the same time. We have this experience of the journey, which is in all of our great spiritual traditions, of pilgrimage. But just by actually standing in the ground of your life fully, not trying to abstract yourself into a strategic future that's actually just an escape from present heartbreak; the ability to stand in the ground of your life and to look at the horizon that is pulling you -- in that moment, you are the whole journey. You are the whole conversation.
To je, dakle, "Santiago", pretpostavljeni dolazak, koji je istovremeno oblik povratka na početak. Imamo doživljaj putovanja, koji se pojavljuje u svim duhovnim tradicijama, hodočašća. Ali ako potpuno stojite na zemlji i ne pokušavate se strateški dohvatiti budućnosti, to je zapravo samo bijeg od slomljenog srca u sadašnjosti; mogućnost stajanja na zemlji i gledanja u obzor koji vas privlači... u tom trenutku, vi ste cijelo putovanje. Vi ste cijeli razgovor.
"Santiago."
"Santiago".
"The road seen, then not seen
"Cesta koju vidiš pa ne vidiš
the road seen, then not seen
cesta koju vidiš pa ne vidiš
the hillside hiding then revealing the way you should take
brdo koje skriva pa otkriva put kojim moraš ići
the road seen, then not seen
cesta koju vidiš pa ne vidiš
the hillside hiding then revealing the way you should take, the road dropping away from you as if leaving you to walk on thin air, then catching you, catching you, holding you up, when you thought you would fall,
brdo koje skriva pa otkriva put kojim moraš ići, cesta koja te odvlači od tebe kao da te stavlja na tanak led, zatim hvata, hvata, zadržava kad pomisliš da padaš,
catching you, holding you up, when you thought you would fall,
hvata, zadržava kad pomisliš da padaš,
and the way forward
a put prema naprijed
the way forward always in the end the way that you came,
put prema naprijed uvijek na kraju put kojim si došao,
the way forward always in the end the way that you came, the way that you followed, the way that carried you into your future, that brought you to this place,
put prema naprijed uvijek na kraju put kojim si došao, put koji si slijedio put koji te nosi u budućnost, koji te doveo ovamo,
that brought you to this place, no matter that it sometimes had to take your promise from you, no matter that it always had to break your heart along the way:
koji te doveo ovamo, bez obzira što je ponekad tražio obećanja, bez obzira što uvijek lomi tvoje srce;
the sense the sense of having walked from deep inside yourself out into the revelation, to have risked yourself for something that seemed to stand both inside you and far beyond you, and that called you back in the end to the only road you could follow, walking as you did, in your rags of love
osjećaj osjećaj da si došao iz dubine sebe u otkrivenje, da si se doveo u opasnost radi nečega što je postojalo u tebi i daleko izvan tebe, i što te dovelo natrag na kraju na jedini put kojim možeš ići, dok hodaš kao uvijek u dronjcima ljubavi
walking as you did, in your rags of love and speaking in the voice that by night became a prayer for safe arrival, so that one day
dok hodaš kao uvijek u dronjcima ljubavi i govoriš glasom koji noću postaje molitva za siguran uspjeh, tako da jednog dana
one day you realized that what you wanted had actually already happened
jednog dana shvatiš da se sve što si želio već ostvarilo
one day you realized that what you wanted had actually already happened and long ago and in the dwelling place in which you lived before you began, and that
jednog dana shvatiš da se sve što si želio već ostvarilo i to davno i na mjestu na kojem si prije živio, s kojeg si krenuo i da
and that every step along the way, every step along the way, you had carried the heart and the mind and the promise that first set you off and then drew you on, and that
i da si svakim korakom svakim korakom nosio srce i um i obećanje koji su te pokrenuli i održavali i da
and that you were more marvelous in your simple wish to find a way
i da si bio čarobniji u jednostavnoj želji da pronađeš put
you were more marvelous in your simple wish to find a way than the gilded roofs of any destination you could reach
bio si čarobniji u jednostavnoj želji da pronađeš put od pozlaćenih krovova bilo kojeg odredišta
you were more marvelous in that simple wish to find a way than the gilded roofs of any destination you could reach: as if, all along, you had thought the end point might be a city with golden domes, and cheering crowds, and turning the corner at what you thought was the end of the road, you found just a simple reflection, and a clear revelation beneath the face looking back and beneath it another invitation, all in one glimpse
bio si čarobniji u jednostavnoj želji da pronađeš put od pozlaćenih krovova bilo kojeg odredišta: kao da si cijelim putem mislio da je krajnji cilj grad sa zlatnim kupolama, i razdragano mnoštvo, a kad si skrenuo iza ugla tamo gdje si mislio da je kraj puta, stajao je jednostavan odraz, i jasno otkrivenje ispod lica koja te gleda, i ispod toga još jedan poziv, sve u jednom pogledu
all in one glimpse: like a person
sve u jednom pogledu: poput osobe
like a person or a place you had sought forever
poput osobe ili mjesta koje oduvijek tražiš
like a person or a place you had sought forever, like a bold field of freedom that beckoned you beyond; like another life
poput osobe ili mjesta koje oduvijek tražiš, poput hrabrog polja slobode koje te doziva; poput drugog života
like another life, and the road the road still stretching on."
poput drugog života, a cesta cesta nastavlja dalje."
(Applause)
(Pljesak)
Thank you.
Hvala.
(Applause)
(Pljesak)
Thank you.
Hvala.
(Applause)
(Pljesak)
Thank you very much. Thank you.
Puno hvala. Hvala.
You're very kind. Thank you.
Jako ste dragi. Hvala.
(Applause)
(Pljesak)