Page 40 Flashcards
En efecto, hay composiciones de Frost, a primera vista triviales, que encierran un sentido complejo.
In effect, there are compositions by Frost, at first sight trivial, which enclose [contain] a complex feeling.
Pueden leerse así, en varios planos, el de lo declarado y el de lo sugerido y latente.
They can therefore be read on various [several] planes [levels], of what is declared and of what is suggested and latent.
Ese procedimiento corresponde al understatement, al no decir del todo las cosas, que es tan característico de Inglaterra y de Nueva Inglaterra.
That procedure corresponds to understatement, to the [practice] of not saying everything, which is so characteristic of England and New England.
Lo rural y lo cotidiano le sirven para la suficiente y laconica sugestión de realidades espirituales.
The rural and the everyday serve him [Frost] for sufficient and laconic [brief] suggestion of spiritual realities.
Es a la vez tranquilo y enigmatico.
He [Frost] is at the same time tranquil and enigmatic.
Desdeñoso del verso libre, ha cultivado siempre las formas clásicas y las maneja con secreta maestría y sin apariencia de esfuerzo.
Disdainful of free verse, he [Frost] has always cultivated the classical forms and handles them with secret [hidden] mastery and without apparent effort.
Los poemas no son obscuros; cada uno de los planos que encierran y que podemos interpretar de diverso modo satisface nuestra imaginación, pero su número es indefinido.
The poems are not obscure, each one of the planes – that are enclosed and that we could interpret in many modes [ways] – satisfies our imagination, but their number is indefinite.
Así, para un lector “Acquainted with the night” es una confesión de antiguas experiencias clandestinas en barrios bajos; para otro, la palabra noche puede no ser un emblema del mal sino de la miseria, de la muerte o del misterio.
Thus, for one reader “Acquainted with the Night” is a confession of old clandestine experiences in low neighborhoods [quarters]; for another, the word night cannot become an emblem of evil but of misery, death or mystery.
“Stopping by woods on a snowy Evening” refiere un episodio verdadero o imaginario, de innegable gracia visual; es lícito leerlo literalmente, pero también como una larga metáfora.
“Stopping by the Woods on a Snowy Evening” relates a true or imaginary episode, of undeniable visual grace; it is lawful [right, permissible] to read it literally, but also as a long metaphor.
Lo mismo cabría decir del poema “The road not taken,” cuyo primer verso nos muestra un bosque amarillo, que empieza por ser real, y que al fin es también un símbolo de la nostalgia que hay en toda elección.
The same could be said of the poem “The Road Not Taken,” whose first verse shows us a yellow forest, which starts by being real, and which at the end [finally] becomes also a symbol of the nostalgia that is in every choice.
Muerto Robert Frost, Carl Sandburg (1878), que de algún modo es su reverso, es ahora el poeta más conocido de los Estados Unidos, si bien una parte de su nombradía se debe a la monumental Vida de Abraham Lincoln en seis volúmenes, que le valió en 1950 el premio Pulitzer.
[With] Robert Frost dead, Carl Sandburg (1878 – ), who in some mode is his reverse, is now the best-known poet of the United States, although one part of his reputation is owing to [is based on] the monumental Life of Abraham Lincoln in six volumes, which won him the Pulitzer Prize in 1950.
Hijo de inmigrantes suecos, nació en Galesburg, Illinois.
Son of Swedish immigrants, he [Sandburg] was born in Galesburg, Illinois.
Fue sucesivamente repartidor de leche, camionero, albañil, cosechero, lavaplatos, soldado en Puerto Rico durante la guerra con España, periodista y estudiante de letras.
He [Sandburg] was successively milkman, truck driver, bricklayer, harvester, dishwasher, soldier in Puerto Rico during the war with Spain, journalist, and student of letters [literature].
Su primera obra In Reckless Ecstasy, publicada en 1904, no hallo eco.
His [Sandburg’s] first work, In Reckless Ecstasy, published in 1904, did not find eco [found little acceptance].
Diez años después le dieron fama sus colaboraciones en la revista Poetry de Harriet Monroe en Chicago.
Ten years later he [Sandburg] was given fame by [became famous through] his contributions in the Harriet Monroe’s magazine Poetry in Chicago.
