- The other ambassadors I warn of famine, of extortions, conspiracies, or inform me of the turquoise mines new discovery rates in the skins of martens, the proposed supply of blades damask. And you? - Churches in the Great Khan Polo. - Returning home from countries as far and tell me everything I know are thoughts that come to people who take the cool evening sitting on the doorstep. What you need, then, so much travel?
- It 'evening, we sat on the steps of your building, blowing a bit' of wind, - Marco Polo said. - Any country evoke my words around you, you'll see from an observatory situated like yours, even if the place of the palace there is a village on piles and where the breeze carries the smell of a muddy estuary.
- My look is for those who are absorbed and meditate, I admit. But yours? You cross islands, tundra, mountain ranges. You might as well do not you moved here. The Venetian
Kublai knew that when they pick him it was better to follow the thread of his argument and that his answers were objection and their place in a discourse that already took place on his own, the head of the Great Kan. That is, each was indifferent to questions and solutions were set to loud or that each of the two would continue to brood silently. In fact, they were silent, eyes half-closed, resting on cushions, swinging in hammocks, smoking long pipes of amber. Marco Polo
imagined responding (or Kublai imagined his answer) that p ver was lost in unknown areas of distant cities, most understood the other cities he had crossed to get up there, and retrace the steps of his travels, and learn about the port from which he had set sail, and the familiar places of his youth, and the surroundings of the house, and a little square of Venice where he ran as a child.
Now Kublai Khan interrupted him to interrupt or imagined, or imagined Marco Polo to be interrupted with a question such as: - Step back with his head turned always? - Or - What you see is always behind you? - Or better: - Your trips will be made only in the past? All because
Marco Polo could explain or imagine to explain or explain or be thought to finally explain to himself that q uello that he was looking for was something in front of him, and even if it was the past was a past changed as he progressed in his journey, because the traveler's past changes according to the accomplished, do not say the recent past that every day that passes adds a day, but the more distant past. Coming
in each new city, the traveler finds his past that he did not know to have: the foreignness of what you are no longer or have more awaits you at the pass in strange places and not owned.
Marco enters a city, he sees someone in a square in a life or a moment that could be his, instead of man hours would be if he had stopped in time so long ago, or if so long ago at a crossroads instead of taking a road that had taken away and after a long tour had come to be at the place of man in that square. now, from what its real or hypothetical past, he is excluded, can not stop, must continue until another city where he expects another of his past, or maybe it was something that was a possible future and now this is someone else's. Future classes are just not made in the past: deadwood.
- Travel to relive your past? - It was at this point the question of Kan, which could also be formulated as follows: - Travel to find your future?
Mark's response: - The elsewhere is a mirror in the negative. The traveler recognizes the little that is his, discovering the much he has not had and will not.
- It 'evening, we sat on the steps of your building, blowing a bit' of wind, - Marco Polo said. - Any country evoke my words around you, you'll see from an observatory situated like yours, even if the place of the palace there is a village on piles and where the breeze carries the smell of a muddy estuary.
- My look is for those who are absorbed and meditate, I admit. But yours? You cross islands, tundra, mountain ranges. You might as well do not you moved here. The Venetian
Kublai knew that when they pick him it was better to follow the thread of his argument and that his answers were objection and their place in a discourse that already took place on his own, the head of the Great Kan. That is, each was indifferent to questions and solutions were set to loud or that each of the two would continue to brood silently. In fact, they were silent, eyes half-closed, resting on cushions, swinging in hammocks, smoking long pipes of amber. Marco Polo
imagined responding (or Kublai imagined his answer) that p ver was lost in unknown areas of distant cities, most understood the other cities he had crossed to get up there, and retrace the steps of his travels, and learn about the port from which he had set sail, and the familiar places of his youth, and the surroundings of the house, and a little square of Venice where he ran as a child.
Now Kublai Khan interrupted him to interrupt or imagined, or imagined Marco Polo to be interrupted with a question such as: - Step back with his head turned always? - Or - What you see is always behind you? - Or better: - Your trips will be made only in the past? All because
Marco Polo could explain or imagine to explain or explain or be thought to finally explain to himself that q uello that he was looking for was something in front of him, and even if it was the past was a past changed as he progressed in his journey, because the traveler's past changes according to the accomplished, do not say the recent past that every day that passes adds a day, but the more distant past. Coming
in each new city, the traveler finds his past that he did not know to have: the foreignness of what you are no longer or have more awaits you at the pass in strange places and not owned.
Marco enters a city, he sees someone in a square in a life or a moment that could be his, instead of man hours would be if he had stopped in time so long ago, or if so long ago at a crossroads instead of taking a road that had taken away and after a long tour had come to be at the place of man in that square. now, from what its real or hypothetical past, he is excluded, can not stop, must continue until another city where he expects another of his past, or maybe it was something that was a possible future and now this is someone else's. Future classes are just not made in the past: deadwood.
- Travel to relive your past? - It was at this point the question of Kan, which could also be formulated as follows: - Travel to find your future?
Mark's response: - The elsewhere is a mirror in the negative. The traveler recognizes the little that is his, discovering the much he has not had and will not.
- from Invisible Cities, Italo Calvino -
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