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Question 1

Actualmente, vive en Rapallo, en el castillo de una de sus hijas, casada con un aristócrata italiano.

Answer 1

Currently, he [Pound] lives in Rapallo, in the castle of one of his daughters, [who is] married to an Italian aristocrat.

Question 2

La obra de Pound consta de poemas, ensayos polémicos y traducciones del chino, el latín, el anglosajón, el provenzal, el italiano y el francés.

Answer 2

The work of Pound consists of poems, polemical essays, and translations from Chinese, Latin, Anglo-Saxon, Provencal, Italian, and French.

Question 3

Estas últimas han sido severamente censuradas por los eruditos, que parecen no haber comprendido los fines buscados por Pound.

Answer 3

These last [translations] have been severely criticized by scholars, who seem not to have understood the ends [purposes] sought by Pound.

Question 4

A éste le importa menos el sentido del texto original que el sonido de las palabras y la reproducción del ritmo.

Answer 4

To him [Pound] the meaning of the original text matters less than the sound of the words and the reproduction of the rhythm.

Question 5

La obra capital de Pound son los Cien cantos, que ahora está concluyendo y de los que ha publicado más de noventa.

Answer 5

Pound’s major work is the Cantos, which now he is concluding and of which he has published more than ninety.

Question 6

Según declaran sus exegetas, la unidad del poeta era, antes de Pound, la palabra; ahora puede ser un extenso pasaje ajeno.

Answer 6

As declared by its exegetes, unity for the poet was, before Pound, the word; now it can be an extensive alien [irrelevant] passage.

Question 7

Así, el primer canto consta de tres páginas traducidas, en admirable verso libre, del libro XI de la Odisea y de un juicio sobre Guido Calvancanti, con interpolaciones de este poeta en italiano.

Answer 7

Thus, the first canto consists of a three-page translation, in admirable free verse, from the eleventh book of The Odyssey and a judgment about Guido Calvancanti, with interpretations of his work in Italian.

Question 8

En los últimos cantos abundan citas de Confucio, en caracteres chinos no traducidos.

Answer 8

In the last cantos there abound citations from Confucius, in untranslated Chinese characters.

Question 9

Este curioso procedimiento ha sido definido como una ampliación de las unidades poéticas.

Answer 9

This curious procedure has been defined as an amplification of the poetic unities.

Question 10

Pound declara que le fue sugerido por los ideogramas de la escritura china, donde una línea horizontal es la rama de un árbol, y el círculo, el sol poniente.

Answer 10

Pound declares that it was suggested to him by the ideograms of the Chinese writing, where one horizontal line is the branch of a tree, and the circle, [is] the setting sun.

Question 11

Los últimos cantos son menos poéticos que didácticos.

Answer 11

The last cantos are less poetic than didactic.

Question 12

La obra es de difícil o imposible lectura.

Answer 12

The work is difficult or impossible reading.

Question 13

Pound encierra ternuras imprevisibles y, a veces, reminiscencias de Whitman.

Answer 13

Pound enclosed unpredictable tenderness and, sometimes, reminiscences of Whitman.

Question 14

Thomas Stearns Eliot (1888 – 1965) nació en St. Louis, Missouri, a orillas del Mississippi, del cual diría: The river is a strong, brown god.

Answer 14

Thomas Stearns Eliot (1888 – 1965) was born in St. Louis, Missouri, on the banks of the Mississippi, of which he would say: “The river is a strong brown god.”

Question 15

Su familia procedía de Nueva Inglaterra.

Answer 15

His [Eliot’s] family came from New England.

Question 16

Eliot estudió en Harvard, en la Sorbona y en Oxford.

Answer 16

Eliot studied at Harvard, the Sorbonne, and Oxford.

Question 17

Colaboró en diversas publicaciones: The Harvard Advocate (1909 – 1910), Poetry (1915), el Egoist (1917), que corresponde al imagismo, y finalmente Criterion (1922 – 1939), que dirigió.

Answer 17

He [Eliot] collaborated on [contributed to] diverse [various] publications: The Harvard Advocate (1909 – 1910), Poetry (1915), the Egoist (1917), which corresponded to [became the voice of] imagism, and finally Criterion (1922 – 1939), which he directed [edited].

Question 18

Trabajó en el banco de Lloyd’s.

Answer 18

He [Eliot] worked in Lloyd’s bank.

Question 19

En 1918 trató de enrolarse, sin éxito, en la marina norteamericano. En 1927 se hizo súbdito británico.

Answer 19

In 1918 he [Eliot] tried to enroll, without success, in the American navy. In 1927 he became a British subject.

Question 20

Regresó al cabo de dieciocho años a los Estados Unidos y dictó en Harvard la cátedra de Poesía.

Answer 20

He [Eliot] returned at the end of [after] eighteen years to the United States and held at Harvard the professorship of Poetry.

Question 21

En 1922 recibió el premio Dial por el poema The Waste Land; en 1947 el premio Nobel de literaria y la Orden del Mérito.

Answer 21

In 1922 he [Eliot] received the Dial Prize for the poem The Waste Land; in 1947 the Nobel Prize for Literature and the Order of Merit.

Question 22

Eliot ejerció la crítica literaria, el arte dramático y la poesía, pero al pensar en él tendemos a olvidar lo múltiple de sus actividades y lo vemos ante todo como poeta y como crítico.

Answer 22

Eliot exercised [practiced] literary criticism, dramatic art, and poetry, but in thinking of him we tend to forget the multiplicity of his activities and see him before all as a poet and critic.

Question 23

En sus primeros ensayso críticos, redactados en una prosa muy límpida, exaltó a Ben Jonson, Donne, Dryden y Matthew Arnold, y atacó a Milton y a Shelley.

Answer 23

In his [Eliot’s] first critical essays, written in very limpid [clear] prose, he exalted [praised] Ben Jonson, Donne, Dryden, and Matthew Arnold and attacked Milton and Shelley.