Page 12 Flashcards

1
Q

El problema immediate era justificar la monótona repetición de esa palabra por un ser racional; un ser irracional y capaz de habla podia resolverlo.

A

The immediate problem was to justify the monotonous repetition of that word by a rational being; a being that is irrational and capable of talking could resolve it [the problem].

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2
Q

Pensó en un loro, pero el cuervo se impuso por su mayor dignidad y melancholia.

A

He [Poe] thought of a parrot, but the raven impressed him by its greater dignity and melancholy.

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3
Q

Consideró después que nada es más melancólico que la muerte y que la muerte de una mujer hermosa es el tema poético por excelencia.

A

He [Poe] then considered that nothing is more melancholy than death and that the death of a beautiful woman is the poetic theme par excellence.

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4
Q

Se trataba ahora de combinar los dos conceptos: el de un enamorado que llora la muerte de la amada y el de un cuervo que al fin de cada estrofa repite Nevermore.

A

Now he [Poe] tried to combine both concepts: that of the lover that cries about the death of the beloved and that of the raven that at the end of each verse repeats “nevermore.”

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5
Q

La palabra, siempre la misma, tenía que cambiar de sentido cada vez que la repitieran.

A

The word, always the same, had to change in meaning each time that it was repeated.

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6
Q

El único medio era que el enamorado formulara preguntas.

A

The unique means would be that the lover would formulate questions.

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7
Q

Estas, triviales al principio, tenían que ser extraordinarias al fin.

A

These [questions], trivial at the start, would have to become extraordinary at the end.

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8
Q

El amante, sabedor de antemano de la contestación ominosa, se atormentaría provocándola.

A

The lover, prescient of the ominous answer, would torment himself by asking questions.

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9
Q

Le pregunta al fin si algún día volverá a encontrar a su amada.

A

He [the lover] asks himself at the end if someday he will live to find his beloved.

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10
Q

El cuervo le contesta Nevermore.

A

The raven answers him [the lover] “nevermore.”

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11
Q

La estrofa en que esto ocurre, una de las últimas del poema, fue la primera que el poeta escribió.

A

The verse in which this occurs, one of the last of the poem, was the first one that the poet [Poe] wrote.

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12
Q

En lo que a la versificación se refiere, buscó ante todo la originalidad.

A

Insofar as versification is concerned, he [Poe] looked before everything [else] for originality.

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13
Q

Combinó versos de medida distinta y usó la aliteración y la rima.

A

He [Poe] combined verses various meters and used alliteration and rhyme.

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14
Q

?Donde unir el enamorado y el cuervo?

A

Where to connect the lover and the raven?

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15
Q

Pensó en los campos o en un bosque, pero un ámbito cerrado le pareció más apto para concentrar la impression que buscaba.

A

He [Poe] thought about the country or the forest, but a closed field seemed to him more apt in order to concentrate the impression for which he was looking.

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16
Q

Resolvió situar al amante en un cuarto poblado de memorias de la mujer ausente.

A

He [Poe] resolved to situate the lover in a room filled with memories of the absent woman.

17
Q

?Cómo hacer que el pájaro entrara?

A

How to make the bird enter?

18
Q

La idea de una ventana era inevitable.

A

The idea of a window was inevitable.

19
Q

Para justificar que el cuervo buscara refugio convenía que fuera tempestuosa la noche.

A

In order to justify that the raven would look for refuge it was suitable that the night was stormy.

20
Q

Además, la tempestad externa contrastaría con la serenidad de una habitación.

A

Additionally, the outside storm would contrast with the serenity of the room.

21
Q

El cuervo se posa sobre un busto de Palas Atenea.

A

The raven placed himself atop the bust of Pallas Athena.

22
Q

Tres razones justifican el busto: el contraste del plumaje negro y del mármol, lo adecuado de semejante imagen, símbolo de la sabiduría, en una biblioteca, y la sonoridad del nombre, con sus dos vocales abiertas.

A

Three reasons justify the bust: the contrast between the black feathers and the [white] marble, the appropriateness of such an image, a symbol of wisdom, in a library, and the sound of the name, with its two open vowel.

23
Q

Un poco en broma, el enamorado pregunta al cuervo cómo lo llama en las riberas plutónicas de la noche.

A

A little in jest, the lover asks to the raven what he is called on the plutonian shores of night.

24
Q

El cuervo responde Nevermore.

A

The raven responds “nevermore.”

25
Q

El diálogo prosigue; de lo fantastic se pasa a lo melancólico.

A

The dialogue continues; of the fantastic it passes itself into melancholy.

26
Q

El cuervo sobre el mármol impresiona gradualmente al enamorado, y también al lector, y prepara así el desenlace, que no tarda en llegar.

A

The raven atop the marble gradually impresses the lover, and also the reader, and he prepares like this the outcome, which is not late in arriving.

27
Q

El hombre comprende que el ave solo puede articular Nevermore, pero deliberadamente se tortura haciéndole preguntas que admiten esa triste contestación.

A

The man understands that the bird can only say “nevermore,” but he deliberately tortures himself by asking the bird questions that admit this sad answer.

28
Q

Hasta este punto, la composición es concreta, pero el poeta ya había resuelto que fuera también alegórica.

A

Until this point, the composition is concrete, but the poet already had resolved that it would also be allegorical.

29
Q

El cuervo simboliza la memoria imperecedera de una interminable desventura.

A

The raven symbolizes the imperishable memory of an interminable misadventure [misfortune].

30
Q

Tal es el análisis del poema nos propone Poe.

A

Such is the analysis of the poem proposed to us by Poe.