Pius Augustine

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PIUS AUGUSTINE BARRIOS (1885-1944): Born in San Juan Bautista Mission in 1885. Graduated fromNational College of the Capital, soon distinguished himself by his eminent capacity concert guitarist.As a composer he has several works which achieved worldwide renown and are part of the repertoireof all the soloists of international fame to the p resent, as John Williams. He died in San Salvad or in1944. It was declared a cultural heritage of El Salvador. At one point in his career he ado pted thename Mangore Nitsuga as part played in concert and gala party dress with Indian chief outfit. Hiscompositions were universal impact "Danza Paraguaya", "The Cathedral" and a series of madrigalsfor virtuosos.

Source: THE GENERATION OF 900 - A CENTURY LATER. EXAMPLE: CONSTRUCTION AND LEGACY- Fro m th e boo k: PARAGUAY Jou rnalism 1845- 2001 - T HE JOY OF PROFESSION by BEATRIZGONZLEZ DE BOSIO Intercontinental Editora, Asuncion, Paraguay 2008. (2nd edition. 276 pages)

PIO AUGUSTINE BARRIOS: Son of Dorothy and Martina Ferreira Barrios was born in 1885 in San JuanBautista, Misio nes. Like every m usician, fa rmer, self-initiated. Then, in Asuncin con tinued hig hschool at the Colegio Nacional, and in tensified his g uitar studies with Gustavo Sosa Escalada, whonot only teaches the art and secrets of the guitar, plus also introduced into the repertoire of classicalmusic. Insurance and its technical virtuoso difficult instrument, expanded its repertoire with pieces ofuniversal valu e, transcended borders homelands: the Rio de la Plata, Brazil, Chile, Rio de Janeiro,deserved the honor of being invited to solo run at official receptions. Then he wen t to Venezuela,Mexico, Cuba and th e big ju mp; Europe. He gave concerts in Spain, Belgium, Germany, with greatsuccess in the demanding critical and returns to Venezuela, Mexico and Central America, settling in ElSalvador, where he was appointed Professor of Music Conservatory die.

By then already had a vast and admired own pro duction, and a stage name; Nitsuga-Mangoro. Themost valuable addition was JS Bach, but are t heir own works that motivate the keenest praise, and ofthese, a few: A DREAM IN T HE FOREST, N EW FIESTA DE LA LUNA, DIANA GUARAN, that on theissue of Lion H ill Camp were no t written, m eaning that th e au thor of the executing m emory. Andbesides, th ose th at have been writt en: Dan za Paragu aya, JHA C HE VAL LE, IN VOCATION TO MYMOTHER, CONF ESSION, PRAYER, LIVE, ST UDY and Prelu de, Alleg ro Symph ony Ap assionataMAZURKA THE CAT HEDRAL, THE BEES ... Barrios was the first to see the possibilities of musicbeyond the Paraguayan polkas or Kyre-y.

In that sense it was a precursor of JA Flores.

Is due to the dedication of ano ther guitar virtuoso, Cayo Sila Godoy, revelations of the extraordinaryartistic legacy of the former. He continued his journey, reviewed files and papers, found scores andrecordings, interested cultural institutions that prov ided means for ordering the production of largesparse Paraguayan guitarist. This enabled the music of Barrios is now in the repertoire of the mostdistinguished Am erican and Euro pean co ncert. AP B arrios d ied in El Salv ador in 19 44, who segovernment ordered that his remains are preserved in the Pantheon of Illustrious Men of that country.

Source: A B RIEF H ISTORY OF GREAT MEN . LUIS G. Art work BENITEZ. Illustrations L UISMENDOZA, R AUL Beck elmann, M iriam L ezcano, Sat urnino SOTEL O, PEDRO asse mbled. FigureComuneros Industrial, Asuncin - Paraguay. 1986 (390 pages)

Augustin Barrios (Mangore): Born in San Ju an Bautista Mission, 5 May 1885. As a child he beganplaying guitar in his hometown, occasionally integrating Barrios Orchestra made up o f members of

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his family. Towards 1898 was heard by Gustavo Sosa Escalada-principal engine of Paraguayan guitarmovement-who advised him to move to the capital to study at th e Institute of Paraguay. In Asuncion,over Esacalada Sosa recei ved deletions o f Nicolino P ellegrini, parallel side studied at t he NationalCollege, journalism and design. In 1903, act ing as a s tudent, he first p erformed on st age at th eTeatro Municipal de A suncin and in 1908 appeared as soloist at th e Teatro Granados, accompaniedby the Orchestra conducted by Nicolino Pellegrini, and playing a duet with his own Sosa Escaladaarrangements and variations on national airs. In 1910 he undertook his first artistic tour that began inthe city of Corrientes Argentina, extending to other provinces, then to B uenos Aires and Santiago deChile. Having left f or only a few d ays, returned to Paraguay ju st after twelve years, during which,apart from its actions completed his musical training.

From 1912 it was estab lished four years in Montevideo, Uruguay where he m et Martin Pagola Bordaand who was, friend, confidant and trustee of his manuscripts for decades. In 1916 he went to Brazil,first in Sao Paulo and th en vis iting citie s and to wns acro ss th e cou ntry fo r f ifteen y ears, on lyinterrupted by t ours to oth er co untries an d a b rief st ay in Paragu ay. Curiously in 1 918, du e t oconfusion with a musician of the same name, the newspapers (The newspaper, Nation and the liberal)from Asuncion, announced his death with two articles allegedly occurred in the city of Melo, Uruguaybeing taught and written laudatory comments in tribute. The information was corrected the same yearand to learn from the fact Barrios reacted with humor, recalling years later "I attended my own funeral,the death thing is rich ." In 1922 h e r eturned h ome and of fered a few mo nths remaining, with hisbrother Francisco, playwright and poet, numerous concerts and recitals in the capital and the interior,alternating inst rumental performances with poetry readings. Sometimes ac ted guitar du o with histeacher Sosa Escalada and others with Dionicio Basualdo. In 1923, this time with his brother, made abrief swing through the Am ericas. In 1925 he went bac k to Brazil by l aunching an extensive tour o fthe world without returning to his death, to Paraguay. That year, in the city of Pelotas married Gloria,a Brazilian national, who became his inseparable companion until his last days. The guitarist was aneccentric character and cyclo thymic, depressive suf fering fro m lon g perio ds in wh ich evenabandoned the practice of the g uitar an d the creation, drawing on their friends for moral support,other days dominated by the euphoria was locked to study and compose obsessively, without controlof time. By 1930, advised by entrepreneurs who wanted to exploit art by a dvertising their deep and

mysterious face, m arked In dian f eatures, h e adopted the n ickname of Nit suga Ma ngore (Nitsugainversion of Au gustine and M angor by th e n ame of a chief Thimphu from colonial times .) In hisperformances of that time, which was presented as the Paganini of the guitar the jungles of Paraguay,in part acted in even ing dress and the second with Indian chief outfit. This m ethod generatedconsiderable public appeal in one hand and strong criticism from specialists. A mid 30's, advised byhis friends, decided to stop using that nickname, but so far in many parts of America is best known asMangore. In 1932 and 1933 gav e concert in Port of Spain, Trinidad, Venezuela, Colombia, Panama,Costa Rica, El Salvador, Nicaragua, H onduras, Guatemala and Mexico . In 1934 with th e support ofThomas Salom oni, Paraguayan diplomat, travele d first to Cuba and then to Europe where he gaveconcerts at the Royal Conservatory of Brussels, Belgium and other European cities, and radio showsin Be rlin, Ge rmany. In 1936 he returned to Venezuela, where more than twenty afreci recitals,appeared in 1937 in Port au Prince, Haiti and the Dom inican Republic, in 1938 in Costa Rica an dMexico. While in Mexico he fell into the crisis of an ancient disease, syphilis, and early heart disease.In 1939 he received the offer of the President of El Salvador to settle in that country to promote thecreation of a gu itar school, he was appointed professor of guitar at the Conservatory of Music in SanSalvador, where he trained many disciples and posterity as seen in the national genius ofthatcountry.He died in San Salvador on August 7, 1944, at age 59, of a heart attack. His last words were recordedby his students "do not fear the past but do not know if I can overcome the mystery of the night.

Most scholars of his work as Sila Godoy and Bacon Prado Duarte of Paraguay, Venezuela Alirio Diaz,Abel Carlevaro from Uruguay, Cuba Leo Brower, John Williams of England, Richard Stover of the USAand man y ot hers, fu lly agre e on tran scendence an d un iversal scree ning of his wo rk, placing th ecomposer as th e mo st o utstanding and represe ntative o perator of g uitar music in Am erica. Alsoobserved in hu ndreds of com positions, th e pres ence of th ree well-def ined sty les d isplayed i nchronological o rder throughout his life, p resented in parall el with its own t echnical train ing an dpersonal experiences. Thus, in his youth discover the baroque world of so und Through the figure ofBach, later romantic force of th e music o f Chopin, both artists exercised considerable influence onthe m ajority o f his compositions. In ano ther f acet of its pro duction highlights th e p resence o frhythms and m elodies of L atin Am erican m usic an d works based o n national a irs an d cuecas,sambas, mussels, tangos, Havana, Spanish themes and popular pieces of Paraguayan folklore andinspired other Aboriginal music.

About the value of his work relates Bacon Duarte Barrios Prado in his book, a gen ius island "withinthe design aesthetics of Barrios, o ccupies a co nspicuous place the value o f artistic honesty, whichassigned a vertebral site. This devout inclination for such quality is simply no transcript of his ownpersonality, which is clearly singled out by the presence of this moral virtue in any circumstance andoccasion. It is no teworthy as a peculiar no te of his arti stic personality, the f act that Barrios wasequipped with a p owerful and com prehensive versatility, a q uality invaluable translated in po wer tograsp intuitively and almost sudden tumult the centrality of the life and style the villages he visited, toidentify with them by a kind of spiritual phagocytosis, sympathy and affinity open, resulting in such away an intimate and reliable testimony of its powerful musical genius ". As Sila Godoy in his articlethe death of the p oet of the guitar: Agustin Barrios said "t he most lively an d interesting artist of hispersonality lies in the fact that he express and feel, without resorting to easy resources position effector the peculiarity of A merican music intimate. " His teacher Gustavo Sosa Escalada, to analyze thecompositions o f t he latter, in th e d ecade o f 3 0, wrote "W hile s aying t hat Barrios is an innovativegender composition is not what we mean. After the invention of the symphony, the sonata that is justa recap, we'll see what happens to geniuses with their system is based modulation of the line spacingor p osition or separate th e man has ch anged literature of t he ins trument. If thi s (harmony) t ostructural m odular c ompositions B arrios a dded t hat ete rnally counterpoint abounds in th einstrumentation of all his musical ideas, reco rd o nly found in t he g reat au thors su ch as Sor andAguado, who have produced for guitar melodic complexity of the links used in the modulation patternof the frequently travel around a circle to link harmonic chords simple and naturally linked, its easy tomodulate at a distance, almost always resolved, and original and unexpected way, a field fraught withdissonance thing if alread y dif ficult in th eory, mu ch more on the fin gerboard of th e guitar, that




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investment is the rule, and direct construction, the exception, we can n ot doubt that our g reat artisthas prod uced, say s Martin Gill, a revo lution instrumental guit ar and harm onica. " The Australianguitarist John Williams says in t he commentary at tached to y our album "Barrios was the g reatestguitar co mposer o f all tim e" and th e composer Leo Brower cub ado stat ement "Barrios is the fi rstguitar composer of the New World, recognized and important universal. His music solidly based onthe gu itar tec hnique: scales , arpeggios, tremolos, use melo dic bass acco mpaniment in th e acut eeffect of harmonics and drum. Barrios's compositions are perfect. "

Works: Between 1910 a nd 1918: BEES, Paraguayan dance, STUDIO CONCERT, Mazurka, excite, thecathedral ( completed in 19 38), VALSES 3 and 4, IN VOCATION TO MY MOTHER , Contemplation, ADREAM IN THE FOREST, CONFESSION, MADRIGAL , gavotte and ALLEGRO SYMPHONIC.

Other wo rks: Danse Macabre, LO NG MARCH HEROIC, SONATA TO MY MOTHER, FAD, LORELEY,album pag es, MEMORY OF A DREA M, Can zonetta, MA DRIGAL,, Gu arani leg end, Maxixe (1928),Aconquija (1928 ), Ta rantella (1 928) , C ontemplation (192 8), Min uet in B m ajor, ROMANZA,INVOCATION A LA LUNA DANCE GUARAN, DIANA GUARAN, CHORO De Saudade (1929), PRELUDE,MEMORIES OF THE PA CIFIC AMER ICAN RHA PSODY, J ota Arag onesa, H ARMONY OF AMERIC APRAYER AFTERNOON, DANCE IN RE MINOR, AIR PARAGUAY, ALLEGRO Symphony COUNTRY FAN,SPANISH WHIM, SHO E Caribbean, ALMS F OR THE L OVE OF GOD, BAD L IGHT, AIR WAR, K YGUSEE, YOU AND I-gavotte, MABELITA-gavotte, SERENADE MORISCA, CHILEAN DANCE, GREAT JOTA,Confession (192 3), Julio Flores (19 38), po tpourri LYR IC OPERA OF P IECES, BICHO FEO-TANGOHumorous, MEL ODY IN T HE SU N, DAWN GUARAN, TREMOLO, SONG O F THE SPINN ER, G avotteSTYLE OLD (1941), CHRISTMAS CAROL (1943), Last Song (1944) all for solo guitar.

Bibliography. MUSIC AN D MU SICIANS OF PARA GUAY BO ETTNER MAX JO HN (Ed . Au thorsParaguayos As ociados A PA 1957 ). AGUSTIN BA RRIOS A G ENIUS O F B ACON ISL AND D UARTEPRADO (Ed. Araver 1985). Mangore, 5 NUMBERS Sanjuanino JOURNAL OF TAKING CENTER (1988).AGUSTIN BARRIOS, YOUR WORLD, YOUR TIME AN D DRAMA OF PEREZ F ERREIRA Saturnino (Ed.Comuneros 1990 ). Agustin B arrios Mangore. THE PAGANINI OF THE GUITAR FROM THE JU NGLE

OF PARAGUAY FOR RICHARD D. STOVER (Master R ecords EU) . SIX OF R. Silve rs MOOMBEAMSSTOVER (Querico Publications. 1992 U.S.). Mangoro. LIFE AND WORKS O F AGUSTIN BARRIOS BYLUIS GODOY Szaro and SILA (Ed. anduti lives. 1994).

Discography: Barrios as a performer was t he first concert guitarist in t he world to make recordings.From 1910 a nd u ntil t he las t days of his lif e in 1944, h e recorded numerous alb ums. For At lantastamps an d Artigas Uruguay, between 19 10 and 1 913 rec orded: N.2 TANGO, TANGO DON PER EZFREIRE, V ALS POME, vid alitas WITH VARIATIONS, JOTA, Milonga (Creo le style ), A MI MADRE(Sonatina), wandering, LA Bananito (tango), Creole AIRES, ramb le CREOLE, GOLD AND SILVER (F.Lehar waltz), MARCH PARAGUAYAN DUPUY, LA PALOMA (Yradier habanera), Matilda and wanderingmusic of Chopin G. GARCA TOLSA, MADRIGAL (gavotte) of G. Sosa Escalada, SAN LORENZO (GASilva progress). Between 1922 and 1929 he recorded for Odeon in Bu enos Aires, Argentina and SaoPaulo, Brazil, ZA MBA A IR, DAN CE PARA GUAY, baked, Max ixe, SUITE A conquija OF AMERIC A,MADRIGAL (gavotte), Contemplation (waltz), PARAKEET, Confession (album page), SOUVENIR D'unReve (a dream in the forest), VALS N. 3, THE CATHEDRAL, PRAYER, N. WALTZ 4, HARMONY OFAMERICA, IN VOCATION T O MY MO THER, TH E GR EATEST Minuetto, CO RDOBA, AIR C REOLE,SARITA, Mazurka, LUZ MA LA (st yle), NEXT TO YOUR HEA RT, AIR ZAMBA, IN VOCATION TO THEMOON, LAC ONCEICAO T arantella, Minu et BEETHOVEN, FA D ARA B F. Tarrega, Caazap OF R.Traumerei SCHUMANN, F. Minuet SOR.

In 1942 home recordings made by Crosley in El Salvador: INVOCATION TO THE MOON, THE DREAMOF DOLL (waltz) and Diana Guarani (Paraguayan dance).

Many guitarists have recorded Barrio s world in recen t decades main ly standing discs recorded byJohn W illiams from 1977 , wh ich fol lowed t he l ikes o f: L aurindo Alm eida, Er nesto Bit etti, Ab elCarlevaro, Alirio Diaz, Ro berto Lara Seb astian Tapajos Tirao Cacho, T oquinho, Baltazar Bentez andmany more.

Paraguay recorded in his works: Sila Godoy, Felipe Sosa, Berta Rojas and Luz Mara Bobadilla.

Source: DICTIONARY O F MUSIC IN PARAGUAY by LUIS Sza ro. Edit J esuitenmission Nrnberg,Germany 2007. 507 p ages. Digital Edit ion: http://translate.googleusercontent.com/translate_c?hl=en&sl=es&u=http://www.luisszaran.org/&prev=/search%3Fq%3DBorda%2By%2BPagola%26start%3D50%26hl%3Den%26client%3Dopera%26sa%3DN%26rls%3Den%26channel%3Dsuggest%26prmd%3Divnsb&rurl=translate.google.ca&usg=ALkJrhh5LJCiwWA-X9wOZhSLOaJ7jxAKhw .

BARRIOS, AGUSTIN PIO: The greatest composer of guitar music of Paraguay not only educated, butof Ame rica, accord ing to sch olars, it was a fin e and virtuoso pe rformer of t his class ic musicalinstrument. The most important performers of the guitar around the world, like the Englishman JohnWilliams, the Venezuelan Alipio Daz, the Cuban Leo Stover and the Paraguayans Sila Godoy, BertaRojas, Lu z Mara Bo badilla and Felipe Sosa, included in its repe rtoire th e works of Au gustine P oBarrios, known as "the Paganini of the Guitar."

Born in San Juan Bau tista Mission on May 5, 188 5, son of D orothy Ba rrios, an A rgentine born inCorrientes, and Martina Ferreira, Paraguay. At school he played the drum, but his father initiated himinto the execution of the guitar, later being a disciple of the Argentine-Paraguayan professor GustavoSosa Escalad a, who direc ted and perf ected in th e difficult instrument. Sosa Escalada b rought toAsuncion to continue their studies at school. Soon, in 1903, an evening at the National Theatre, nowCity, appeared on stage for the first time, there already loomed as a performer.

In May 1906 he h ad the opportunity to participate in a new co ncert held at t he National Theatre, wasdirector of t he orchestra Italian master Nic olino Pe llegrini, who was wit h o ther lead ing f igures o f




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Paraguayan music, as Jose A. Flores, Remberto Gimnez, Florentin Gimenez and Mauricio CardozoFlores Pellegrini qu ota will b e a ma ster key in t he musical aspect to t he formation of Ag ustn PoBarrios, because it was the merit of learning theory. That night, ran on guitar Barrios "El Delirio" deArcas, picking an answer from the general public ovation.

In 1908, at a concert on the same stage asunceno, delighted the audience with several pieces, one ofthem was a beautiful "Fantasia on Grounds of Santa Fe" and in Villarrica, in the same year, performeda duet with Dio nisio B asualdo, "Cielit o Po rteo" from the teacher Gustavo So sa Esc alada, am ongother topics.

From 1910 and until a few days before his death, Barrios recorded many albums. Thus, it was the firstconcert of guitar in the world to perform sound recordings. In Buenos Aires, Argentina, it was withthe help of Mario Villar Saenz Valiente, director of "The Nation", who co ntacted the in tellectual andartistic circles of that city.

In 1912 he settled in Montevideo, Uruguay, and in 1916 went on to establish residency in Brazil, wherehe made extensive tours of towns and cities, making their art. ** In 1922 he returned to Paraguay for afew months, and covered with glory and artistic prestige. Here, amid a bloody civil war, appeared inconcert in th eaters Granad os and Be lvedere, also t oured t he countryside: Villarrica , Caazap ,Ypacara, Carapegu, Concepcin, and Encarnacin. Following a request from the Nat ional Schoolpupils, and th e refusal of t hen president o f t he University of Parag uay, to give a con cert i n theirfacilities, presumably because Barrios "do not know music," the truth, it was because he was f riendswith "red" took to the Plaza Uru guaya by scenario: no sound, your program is no t heard. Left thecountry disappointed never to return.

In October 1925 Uruguay was in the form of intense artistic activity in 1926 recorded some albums forOdeon in Bu enos Aires in 192 9 returned to Brazil again, performing in cit ies of Rio Grande Do Sul,then Sao Paulo and Rio de Janeiro . In this city, in the famous carnival in Rio, he met Gloria, a mulattowoman who became his companion until the end of his life.

Around the same time introduced one of the changes in his artistic profile: created "Nitsuga Mangore,Agustin meaning invested in the order and an a llusion to the strong Indian repertoire. Subsequentlysubmitted in no rthern Brazil, Venezuela and t hen moved to C olombia, Panama, Ecuador, Costa Rica,El Salvador, Honduras, Mexico and Guatemala.

In 1 934, t he Parag uayan am bassador to Mexico , Th omas Salo moni, Barrio s det erred b y th eirindigenous attire and name Mangore, Salomoni became a sort of patron and Agustin Barrios met hischerished dream of reaching Europe.

In September 1934, performed concerts at the Royal Conservatory of Brussels, Belgium, then movedto Paris and th en to Berlin where he m ade some recordings for German Rad io, th en en ded up inSpain, where he acquired a guitar brand Moran, who to date preserved in San Salvador. After a fewmonths in Spain, who was at the beginning of the civil war of '36, returned to Caracas, later appearedin Haiti and Cuba. In Havana made one of his recent compositions: "Prelude", the first movement of"The Cathedral", one of his masterpieces.

Some of the best known works of this great cultivator of the classical guitar are:

"He Che Valle"

"London Karapa"

"Danza Paraguaya"

"Caazap"

"Madrigal"

"Pericn"

"Prayer", among numerous other creations.

The last da ys of his life found him in concerts thro ughout Central Am erica and Mexico. In theireagerness to reach the U.S., where h e was fulfilling a contract for 20 concerts, he took his f irst heartattack, so he returned to El Salvador, where he settled permanently. There he taught as a professor at

the National Conservatory, in addition to giv ing concerts fo r radio an d record some albums fo r thelabel Crosley.

In 1944 he p roduced his second and last encounter with the great Spanish maestro Andres Segovia,who praised him publicly, saying it was a true genius.

** A trip to the U.S., where he had a contract to carry some recordings for RCA Victor, was frustratedagain as a second and final stroke caught him in the morning of Au gust 7, 1944, at his hom e in 1stAvenida Norte No. 23 , the city of San Salvador, far from their land. Mangore could not be repatriatedand that the authorities ensure that Central American country that this should hold a plebiscite, as thepantheon of the musician was declared a National Monument.

(Source: CREATORS OF A LMA GUARAN - STORIES OF THE GREAT COMPOSERS AND NATIONALPOETS b y Ivan i AMA MBAY an d TORAL DAN IEL ** Pu blished wit h t he s upport of FOND EC an dEditorial Servilibro, Asuncion, Paraguay 2005 editorial ** Address: ** Snchez Vidalia 228 pages)




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AGUSTIN BARRIOS was a magician's art. Known throughout the music world for his uncanny abilityto pluck the strings of the guitar, which he knew to a strange sound and suggestive in his youth wasalso a writer o f prose style lmpido.CRNICA was one o f his stands. They are f ound in its columnsBarrios works relating to int ellectual and artist ic orientations prevailing in tho se days of 1913, an dstudies on, especially his favorite instrument: the guitar.

Agustin Barrios was born in Sa n Juan Bautista Mission, in 1885, belonged to a family of intellectuallineage. They were h is b rothers, Hector, a p oet, t eacher an d journalist, Virgilio , jo urnalist an dacademic man , Fran cisco Martin, p laywright and poe t of fine sensibility. Teacher was to GustavoSosa Escalada. Educse in the Paraguayan Institute, and then traveling the world.

Wandering curiosity walked through all the continents. Nomadic bohemian, lyrical unrepentant, hiswhole life was a lege nd. Adopted a n ame sug gestive in his p ilgrimage of art : Ca ciqueNitsugaMangore. Covered with t he mask, ha s p ressed th e st rings o f h is g uitar un der distant skie s, t odemanding audiences.

Poet and prose writer in the lyrics, composer and virtuoso performer in music, always self-taught, herartistic conquistle trial crit ical acclaim in th e literary and the consecration undisputed unanimousTrregay in the art of Segovia.

Agustin Barrios died in San Salvador in 1944.

It is from his pen, Bohemia, the only sonnet that is known. Here it is:

THE BOHEMIAN

How swift is my turn! I am vane

that pulse moving target

going crazy dancing in turmoil

to the four winds of the planet.

I carry in me a restless life plasmo

and in my wandering uncertain pilgrim

Art is going to light my way

if it were a great comet.

I am brother in glory and in pain

of those medieval troubadours

suffered romantic madness.

Like them, too, when he died,

God only knows what distant port

I'll find my rough grave!

(Source: HISTORY OF PA RAGUAY LETTERS - VOLUME III . By CARLOS R . CENTURION . EPOCAREGIONAL. A YACUCHO EDIT ORIAL SRL B UENOS A IRES, A RGENTINA ( 1951), 5 00 p p. - Digit alversion: LIBRARY OF PARAGUAY (BVP))


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