English followed by une version en français y una versión en español. There is also a Notes section in English (avec un peu de français y español al final).

Diptych

Or, Another metaphysical poem inhibited in its aim

She is a slim-hipped runner, though last I spoke with her an injury was limiting her miles.
She was born in France, but her childhood was spent among the huts and open spaces of central Africa, her parents being missionaries of some sort.
She has an engaging, open-mouthed smile,
Which at times seems reserved for me.

With a few lines you can draw a portrait or a diptych.
And there are artists for whom the subject’s forms and psychology are an excuse, or a launching pad, for their art-making.
And there are artists for whom the subject is everything, all their art is devoted to capturing—or celebrating!—this other person.
I am somewhere in the middle, where people are most often meet?

But I do not know this runner’s name (or I would gladly make it the title of this poem).
And I would also show her the poem,
If I did not know that my words are increasing
The distance between us.

Notes

• The English critic Samuel Johnson (1709–1784) coined the term “metaphysical poets” to describe a loose group of seventeenth-century English poets whose work was characterized, inter alia, by a greater emphasis on the spoken rather than lyrical quality of their verse. It is thought that Johnson’s term was inspired by a witticism of the English writer John Dryden (1631–1700), who said of the poet John Donne (1571 or 1572 to 1631): “He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love.”
• In Das Unbehagen in der Kultur (Civilization and Its Discontents; El malestar en la cultura; Malaise dans la civilisation), Freud postulates “einer zielgehemmte Regung,” which James Strachey brought into English as an “impulse inhibited in its aim.” The love of beauty—Strachey, after Freud, writes—“seems a perfect example of an impulse inhibited in its aim.” One might speculate on how many human actions are products of such impulses. All the things we do when, for example, what we would really like is to be loved and to be able to love?

Freud’s phrase has been translated into français une “tendance inhibée quant au but” and into español “una tendencia coartada en su fin”.

Français

Diptyque

Ou, Un autre poème métaphysique inhibé quant au but

Elle est une coureuse à la silhouette élancée ; cependant, la dernière fois que je lui ai parlé, une blessure limitait ses kilomètres.
Elle est née en France, mais son enfance s’est passée dans les huttes et les grands espaces d’Afrique centrale, ses parents étant des sortes de missionnaires.
Elle a un sourire engageant, la bouche ouverte.
Parfois je le crois réservé à moi.

En quelques lignes, on peut dessiner un portrait ou un diptyque.
Et il y a des artistes pour qui les formes et la psychologie de l’autre sont une excuse, ou une rampe de lancement, pour faire leur art.
Et il y a des artistes pour qui le sujet est tout, tout leur art est consacré à capturer – ou à célébrer ! – cette autre personne.
Je suis quelque part au milieu, là où les gens se rencontrent le plus souvent ?

Mais le nom de la coureuse ? (Si je le connaissais, j’en ferais avec plaisir le titre de ce poème).
Et, aussi, je lui montrerais le poème,
Si je ne savais pas que mes mots augmentent
La distance entre nous.

Español

Díptico

O, Otro poema metafísico coartado en su fin

Es una corredora de talle esbelto, aunque la última vez que hablé con ella una lesión limitaba sus kilómetros.
Nació en Francia, pero su infancia transcurrió entre las cabañas y los espacios abiertos de África central, pues sus padres eran misioneros de algún tipo.
Tiene una sonrisa cautivadora, la boca abierta.
A veces pienso que es sólo para mí.

Con unas pocas líneas se puede dibujar un retrato o un díptico.
Y hay artistas para los que las formas y la psicología del otro son una excusa, o una plataforma de lanzamiento, para hacer su arte.
Y hay artistas para quienes el sujeto lo es todo, todo su arte está dedicado a captar -o a ¡celebrar!- a esa otra persona.
Estoy en un punto intermedio, ¿donde la gente se encuentra más a menudo?

Pero, ¿el nombre de la corredora? (Si lo conociera, con gusto lo convertiría en el título de este poema).
Y también le enseñaría el poema,
si no supiera que mis palabras aumentando
la distancia entre nosotros.


— Poem(s) and drawings by William Eaton. Many thanks to Louise de Fleury, the model for these drawings. She is not the woman of the poem, but is herself a poet. Many thanks, too, to the Cercle d’art de Gentilly, which organized the drawing session with Louise.