First among EqualsJ. Archer (Extract pp. 130-131) The Queen traveled early that July morning to the House of Lords in the Irish State Coach. An escort of the Household Cavalry accompanied her, preceded by a procession of lesser state carriages in which the Imperial State crown and other royal trappings were transported. Charles could remember watching the ceremony from the streets when he was a boy. Now he was taking part in it. When the Queen arrived at the Upper House she was accompanied by the Lord Chancellor through the Sovereign's entrance to the robing room, where her ladies-in-waiting began to prepare her for the ceremony. Charles always considered the State opening of Parliament a special occasion for members of both Houses. As a Whip he watched the members take their seats in the Commons and await the arrival of Black Rod. Once the Queen was seated on the throne the Lord Great Chamberlain commanded the Gentleman Usher of Black Rod to inform the Commons that: " It is Her Majesty's pleasure they attend her immediately in this House." Black Rod, wearing his black topcoat, black waistcoat, black knee-breeches, black stockings, and black shoes, resembled the devil's advocate rather than the Queen's messenger. He marched alone across the great tiled floor joining the two Chambers until he reached the doors of the House of Commons which were slammed in his face when he was just two paces from them. He struck the door three times with his silver tip of his long thin black rod. In response a little window in the door was flicked back to check on who it was - not unlike a sleazy nightclub. Charles's father had once observed. Black Rod was then allowed admittance to the Lower House. He advanced toward the table and made three obeisances to the chair before saying. " Mr. Speaker, the Queen commands this Honorable House to attend Her Majesty immediately in the House of Peers." With that, the Sergeant-at-Arms, bearing the mace, led Mr. Speaker, in full court dress, a gold embroidered gown of black satin damask, back toward the Lords. They were followed by the Clerk of the House and the Speaker's chaplain, behind whom came the Prime Minister, accompanied by the leader of the Opposition, then Government ministers with their opposite members, and finally as many backbenchers as could squeeze into the rear of the Lords' Chamber. The Lords themselves were waiting in the Upper House, dressed in red capes with ermine collars, looking somewhat like benevolent Draculas, accompanies by peeresses glittering in diamonds tiaras and wearing long evening dresses. The Queen was seated on the throne, in her head originally made for George IV. She waited until the procession had filled the Chamber and all was still. The Lord Chancellor shuffled forward and. bending down on one knee, presented her with a printed document. It was the speech, written by the Government of the day, and although she had read over a copy of the script earlier that morning she had made no personal contribution to its contents, as her role on this occasion was only ceremonial. She was looked up at her subjects and began to read. Prvý medzi rovný mi (Translated by J. Galata, s. 136-137) V to jъlovй rá no sa krá lovna vo svojom reprezentač nom koč i, sprevá dzaná krá lovskou jazdou, vydala na cestu do Snмmovnм lordov. V koč iaroch pred тou sa viezla krá lovská koruna a ostatnм symboly moci Britskйho impйria. Charles si spomenul, ako sa za dмtský ch č ias dнval na sprievod z ulice. Teraz sa na ceremonii zъč astтuje priamo. Keп krá lovná priš la do Hornej snмmovnм, lord kancelá r ju odviedol cez vchod pre panovnнka do obliekarne, kde ju jej dvornй dá my zač ali pripravovaќ na slá vnostný obrad. Charles otvorenie parlamentu krá lovnou vž dy považ oval za mimoriadnu udá lost' pre č lenov oboch snмmovnн. Vo funkcii parlamentnйho sekretá ra pozoroval, ako sa poslanci Dolnej snмmovnм usá dzajъ na miesta a č akajъ na prнchod hlavnйho ceremoniá ra Snмmovnм lordov. Keп sa krá lovná usadila na trуn, lord komornнk dal prнkaz uvá dzač ovi hlavnйho ceremoniá ra, aby informoval č lenov Dolnej snмmovnм, ž e: " Jej Velič enstvo ich s poteš enнm prijme v Snмmovnн lordov". Hlavný ceremoniá r, celý v č iernom, pripomнnal skуr advoká ta diabla ako posla krá lovnej. Krá č at slá vnostný m krokom po dlaž dicami vykladanej podlahe spá jajъcej obe komory parlamentu až k dverá m Dolnej snмmovnм, ktorй sa pred nim zabuchli vo chvнli, keп sa k nim priblнž il na dva kroky. Ceremoniá r na ne trikrá t zaklopaн strieborný m koncom svojej dlhej č iernej palice. Na dverá ch sa otvorilo malй posuvnй okienko, v ktorom sa objavilo oko, aby zistilo, kto klopм. Trochu to pripomнnalo situá ciu pred dverami pochybnйho noč nйho podniku, ako raz poznamenal Charlesov otec. Potom hlavnйho ceremoniá ra vpustili do Dolnej snмmovnм. Ceremoniá r podiš iel k stolu. Trikrá t sa hlboko uklonil a povedal: Pá n predseda, krá lovná prikazuje ctihodný m poslancom tejto snмmovnм, aby ju hnмп teraz navš tнvili v Snмmovnн lordov. " Predseda snмmovnм obleč ený v dvornom ъbore a plá š ti so zlatý m lemová nнm vstal a krá č al za hlavný m ceremoniá rom do Snмmovnм lordov. Za predsedu sa zaradil jeho poradca a kaplá n, potom ministerský predseda s lidrom opozнcie, vlá dni ministri s tieтový m kabinetom a napokon ostatnн poslanci. Lordi odeti v č ervený ch pelerinach s golierom z hermelнnu, pripomнnajъci benevolentný ch Drakulov, na nich č akali v Hornej snмmovnн v spoloč nosti svojich manž eliek v dlhý ch več erný ch rуbá ch a s diamantový mi č elenkami. Krá lovná sedela na trуne v slá vnostnom ъbore, na hlavм s korunou, povodnм vyrobenou pre Juraja IV. Poč kala, až sprievod zaplnн snemovтu a vš etko stнchne Lord kancelá r sa doš uchtal k trуnu, klakol si na jedno koleno a podal jej vytlač ený dokument. Bol to prejav, ktorý krá lovnej pripravila vlá da. Hocijej kуpiu mala k dispozicii už rá no, k pуvodnйmu textu nepridala nič, pretož e jej ъloha pri tejto prнlež itosti bola iba obradná. Pozrela sa na svojich poddaný ch a zač ala č нtat'. Jonathan Livingston Seagull (R. Bach) It was morning, and the new sun sparkled gold across the ripples of a gentle sea. A mile from the shore a fishing boat chummed the water, and the word for Breakfast Flock flashed through the air, till a crowd of a thousand seagulls came to dodge and fight for bits of food. It was another busy day beginning. But way off alone, out by himself beyond boat and shore, Jonathan Livingston Seagull was practicing. A hundred feet in the sky he lowered his webbed feet, lifted beak, and strained to hold a painful hard twisting curve through his wings. The curve meant that he would fly slowly, and now he slowed until the wind was a whisper in his face, until the ocean stood still beneath him. He narrowed his eyes in fierce concentration, held his breath, forced one... single... more... inch... of... curve... Then his feathers ruffled, he stalled and fell. Seagulls, as you know, never falter, never stall. To stall in the air is for them disgrace and it is dishonor. But Jonathan Livingston Seagull, unashamed, stretching his wings again in that trembling hard curve - slowing, slowing, and stalling once more - was no ordinary bird. Most gulls don't bother to learn more than simplest facts of flight - how to get from shore to food and back again. For most gulls, it is not flying that matters, but eating. For this gull, though, it was not eating that mattered, but flight. More than anything else. Jonathan Livingston Seagull loved to fly. (Extract pp 13-14)
Jonathan Livingston Seagull (Translated by M. Dujnič) Rozvidnelo sa a na jemne zvlnenom mori sa odrá ž ali pablesky zlatistý ch lъč ov sviež eho rannйho slnka. Okolo rybá rskeho č lna, ktorý č eril vodnъ hladinu jednu mнlu od pobrež ia, poletovalo asi tisнc č ajok. Ich hlasný š krekot sa ozý val v povмtrн a oznamoval, ž e č lenovia Krdla zvá dzajъ nelutostnй sъboje o kъsoč ky jedla. Пobnutie suseda ostrý m zobá kom spуsobovalo č ajká m nevý slovná radost'. Zač нnal sa пalš i namá havý deт. Daleko od č lna i od pobrež ia sa vмnovala ná cviku niektorý ch prvkov letovйho umenia č ajka Jonathan Livingston. Vzná š ala sa vo vý š ke sto stуp nad morom, spъš ќala nož ič ky s plá vacou blanou, napriamovala hlavič ku so zobá č ikom a opisujъc krivku, s bolestný m vypá tim napнnala krнdla. Pri pomalom lete nač ъvala nмž nйmu š epotu vetrнka a piesтam morský ch vln. Priž mъrila oč i, sъstredila sa. Zadrž ala dych zvý š ila rý chlosќ...a, doká zala to - zvá č š ila dlž ku o jeden palec! Vtom sa jej vš ak naš uchorilo perie, stratila rý chlosќ, a preto sa zač ala prepadá vat'. Iste viete, ž e let č ajok je ladný a ž e pri lete nikdy nestrá cajъ rý chlosќ. Stratiќ vo vzduchu rý chlosќ je pre ne potupou a ozajstnou hanbou. Jonathan Livingston sa vš ak nenechal odradit' neъspechom, opá ќ rozprestrel kridla a na oblohe vykreslil pará dnu krivku. Lenž e po chvнli zase stratil rý chlosќ a padal dole ako kameт. Jonathan nebol len takou obyč ajnou č ajkou. Vá č š ina č ajok sa neunъva nauč it' ani len zá kladná abecedu lietania. Stač н im, keп doká ž u vzlietnuќ nad more za potravou a vrá tit' sa na breh s plný m ž alъdkom. Ani im nezide na um, ž eby sa mohli zdokonalovat' v lietani. Ale č ajka, o ktorej je tento prнbeh, sa vá č š mi zaujнmala o lietanie než o jedlo. Lietanie miloval Jonathan nadovš etko.
Change of Idiom An Englishman went to visit a friend who owned a large fruit-growing estate in Jamaica. Greatly impressed by the enormous quantity of fruit he saw, and realizing that it was too perishable to be exported when ripe, he exclaimed: " But what do you do with all this fruit. You surely can't eat it all yourselves." " Oh, " replied his friend, taking advantage of his familiarity with American usage to make a pun, " we eat what we can, and can what we can't." This greatly amused the Englishman, who resolved to remember it for the benefit of his friends at home. Shortly after his return to England he attended a dinner, at which he was asked to give his impressions of Jamaica. He did so, and decided to use his friend's joke as a climax to his speech; so after recounting his experiences he added: " My friend made a rather neat pun while he was showing me his estate. I was struck by the large amount of fruit he had, and asked him what they did with it, to which he replied: 'We eat what we can, and we tin what we can't. While his listeners were racking their brains trying to find the pun, the speaker, oblivious of having substituted an English usage for the original American one, was wondering why nobody laughed. (In: R. Kingdom English Intonation Practice)
Appendix 5: Dramatic texts W. Shakespeare: Hamlet (Act 1, scene 3) Oph. He hath, my lord, of late made many tenders Of his affection to me. Pol. Affection! pooh! You speak like a green girl, Unsifted in such perilous circumstance. Do you believe his tenders, as you call them? Oph. I do not know, my lord, what I should think. Pol. Marry, I'll teach you: think yourself a baby; That you have ta'en these tenders for true pay, Which are not sterling. Tender yourself more dearly. Or - not to crack the wind of the poor phrase, Running it thus - you'll tender me a fool. Oph. My lord, he hath importuned me with love In honourable fashion. Pol. Ay, fashion you may call it; go to, go to. Oph. And hath given countenance to his speech, my lord, With almost all the holy vows of heaven. Pol. Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows; these blaze, daughter, Giving more light than heat, extinct in both, Even in their promise, as it is a-making, You must not take for fire. From this time Be somewhat scanter of your maiden presence; Set your entreatments at a higher rate Than a command to parley. For Lord Hmlet, Believe so much in him, that he is young and with a larger tether may he walk Than may be given you: in few, Ophelia, Do not believe his vows; for they are brokers, Not of that dye which their investments show, But mere implorators of unholy suits, Breathing like sanctified and pious bawds, The better to beguile. This is for all: I would not, in plain terms, from this time forth, Have you so slander any moment leisure, As to give words or talk with the Lord Hamlet. Look to't I charge you: come your ways. Oph. I shall obey, my lord. Hamlet. Translated by P. O. Hviezdoslav
Ofel. On, pane, posledne až v nabнdku vyrazil ku sme svoju ná klonnost'. Pol. Ná klonnost'. Ejha. Ozaj paš tekuješ sќa z bavlnky by papl'uh, neobutý v takomto nebezpeč nom prнpade. Nuž, a č i verнš tomu ná bitku, č i jak to volá š? Ofel. Sama neviem, otč e, č o si má m myslieќ. Pol. Bodajž e ho. Ja ќa nauč нm priam: myslн si, ž es 'bá ba, bo akiste tъ akъs' nabнdku za berný peniaz vzalas', kdež to babky niet platnйho v tom veru ná bytku. Vieš, slovnъ tam si pomoc na bitku, za drahš iu drž sa jadrom smyslu, iná č, - - by vý raz, chudá k, duš ou nepukol, keп š tveme ho tak, - mne ak blá znivйho dopraješ ná pitku. Ofel. On pane, lá sku svoju obecal mi poč estný m spуsobom. Pol. Hm, spуsobom to zovieš? Iпž e, iп. Ofel. A vý povediam tý m svojim dodal vá hy v ná davku tak rieknuc vš etký ch svá tý ch sl'ubov nebies. Pol. Hm, sl'uby lapat' sluky. Ja už viem, keп hori krv, jak marnotratnй duš a dodá vá sl'uby jazyku. No plam ten, dcйra, viae č o svмtla dá než tepla, - i obidvoje hasne medzitý m, č o znejъ sl'uby, vatrou nakladanй- dá k' nepokladaj za oheт. Z tý ch č ias, hej, dcйra, buп dač skъpš ia a panenskou tou prнtomnosќou svojou, svojich zá bav odhadni cenu vyš š ie, než jak znie ký s' rozkaz kpohovoru. Ohl'adom Hamleta, jemu ver len natoнko, ž e mladoch je i smie sa pohybovat' v priestranstve š irš om, než jak pre teba je vymeranй. Zkrá tka, Ofйlia, tý m sl'ubom jeho nedуveruj: sъ to leda zvodnici, a niet tej zná mky.č o odedzou im dá va vzozrenia, lež obcovanн č isto smvselný ch len navrhovatelia, dý chajъci posvá tný ch, zbož ný ch svá zkom kadidlom: tý m 1'ahš ie oš ialiќ mуcќ. Nadovš etko vš ak toto ti: ja jednoducho nechcem, od dneš ka poč nъc, abys' č o i len okamih prá zdný ch chvil' tak znectila, ž e slovнč ko č i hovor zamмnнš si s pá nom Hamletom. To zachovaj si, ti nakladá m, i hybaj svojou cestou. Ofel. Poslъcham, otč e. Hamlet. Translated by J. Kot, 1973
Ofel. Vposlednom č ase prejavuje mi dosќ č asto ná klonnost' Pol. Pcha, ná klonnost'! Rozprá vaš ako neskъsenй dievč a, Č o nevyzná sa v taký ch ná strahá ch. Ty vá ž nй verнš jeho než nostiam? Ofel. Raz neviem, č o si o tom myslieќ má m. Pol. Tak poč ъvaj: si ako nemluvná, Ak jeho priazeт cenнš si sќa zmenku, Hocije nesplatná. Ty ceт sa vyš š ie, Lebo ak má m daќza tý m vš etký m bodku, Aj v mojich oč iach klesneš na cene. Ofel. Poč estne vyzná val mi svoju lá sku. Pol. Neč estne - to znie lepš ie, chod' s tý m, chod'! Ofel. A k slová m lá sky vzal si na pomoc bezmá la vš etky svá tй prнsahy. Pol. Siel s bubnom na vrabce. Ja dobrй viem: keп zovrie krv, tak z duš e má rnotratne š lahajъ prнsahy. Tie plamene, č o vá č š mi oslтujъ ako hrejъ a zhasnu skуr než stihnu vyš нahnщќ, si nesmieš mý lit's ohтom. Odteraz nemrhaj tol'ko svojou prнtomnosќou, maj vyš š ie ná roky, hnмп netancuj, keп niekto zapнska, ver iba faktu, ž e princ je mladнk, č o smie vyš š ie rъbaќ, než sъdenй je tebe: jedný m slovom prнsahá m never, sъ to handliari, č o klamщ ligotavý m zovтajš kom, a prosebnнci hanebnostн, č o ako svá tci k nebu zbož nй hl'adia, aby tý m vá č š mi klamali. Nuž teda: od tejto chvнle než elá m si viacej, aby si kalila svoj volný č as jediný m slovom s princom Hamletom. Tak pozor na to a choп svojou cestou. Ofel. Poslъchnem, otec. Hamlet. Translated by C. Feldek
Ofel. Vposlednom č ase sa mi č astejš ie a milo prihovoril. Pol. Milo! Pch! Vravнš ako hlъpa ž aba, č o poskakuje rovnako do neš ќastia. Milo! Ty verнš takej milotм? Ofel. Keп neviem, č o si mуž em o tom myslieќ. Pol. Tak ja ќa pouč нm. Si ako deč ko, č o so striebrom si mý lн staniol faloš nej miloty. Hnмп milovat'? Omyl je na skok, lá ska na mile. Dosќ ž artov. Mý lit' sa je nemilй. Ofel. Naliehal na mтa, otecko, no celkom poč estne. Pol. Poč estne a naliehal! Ofel. Prisahal, otecko, a za svмdka si privolá val vž dy aj nebesá. Pol. Chytá ky na vtá ky. To pozná me. Keп horн krv, hnмп má rnotratná duš a rozvazuje i jazyk. Tieto luč e, dcйrka, svietia, no nehrejъ. Sl'ub zadusн sa, Skуr než ho ъsta stihnъ vvdý chnuќ. Tak si to nemý ќ s ohтom. Ododnes mu dá vaj menej prilež itosti na stretnutia a stъpne tvoja cena. Netancuj ako pнská. Je to princ - Mуž eš mu veriќ len to, ž e je mladý, a tak si mуž e dovolit' aj veci, č o ty si nesmieš. Skrá tka, Ofйlia, pozor na jeho š lová - kupliarky sъ to, aj keп sъ vypará dмnй, spod pará dy im trč н nehanebnosќ, tá rajъ o posvá tný ch ъmysloch a chcъ ќa zviesќ. Nuž deftnitнvne: odteraz trvá m na tom, ž e už nikdy nebudeš strá caќ ani minutu tý m hrkъtanнm s princom Hamletom. Musнš ma poslъchnuќ. A mуž eš нsќ. Ofel. Poslъchnem, otecko. (Odнdu) That's your Problem (H.Pinter) Two men in a park. One on the grass, reading. The other making cricket strokes with umbrella. A. (stopping in mid-stroke): Eh, look at that bloke, what's he got on his back, he's got a sandwich board on his back. B. What about it? A. He wants to take it off, he'll get a headache. B. Rubbish. A. What do you mean? B. He won't get a headache. A. I bet he will. B. The neck! It affects his neck! He'll get a neck ache. A. The strain goes up. B. Have you ever carried a sandwich board? A. Never. B. Then how do you know which way the strain goes? (Pause.) It goes down! The strain goes down, it starts with the neck and it goes down. He'll get a neckache and a backache. A. He'll get a headache in the end. B. There's no end. A. That's where the brain is. B. That's where the what is? A. The brain. B. It's nothing to do with the brain. Oh, isn't it? It won't go anywhere near his brain. A. That's where you're wrong. B. I'm not wrong. I'm right. (Pause.) You happen to be talking to a man who knows what he's talking about. (Pause.) His brain doesn't come into it. If you've got a strain, it goes down. It's not like heat. A. What do you mean? B. (ferociously) If you've got a strain it goes down! Heat goes up! (Pause.) A. You mean sound. B. I what? A. Sound goes up. B. Sound goes anywhere it likes! It all depends where you happen to be standing, it's a matter of physics, that's something you're just completely ignorant of, but you just try carrying a sandwich board and you'll find out soon enough. First the neck, then the shoulders, then the back, then it worms into the buttocks, that's where it worms. The buttocks. Either the right or the left, it depends how you carry your weight. Then right down the thighs - a straight drop to his feet and he'll collapse. He hasn't collapsed yet. A. He will. Give him a chance. A headache! How can he get a headache? He hasn't got anything on his head! I'm the one who's got the headache. (Pause.) You just don't know how to listen to what other people tell you, that's your trouble. B. You don't know what your trouble is, my friend. That's your trouble.
Appendix 6: Poetic texts Marina Andrej Sladkovič (extracts) Translated by J. J. Vajda
The Raven E.A. Poe (Extracts) (1) Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore – While I nodded, nearly napping, suddenly there came a tapping. As of some one gently rapping, rapping at my chamber door. " Tis some visiter, " I muttered, " tapping at my chamber door – Only this and nothing more." (18) And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor; Shall be lifted - nevermore! Havran (Translated by V.Roy) (1) Už polnoč nй zlietli tone, mysel'v ќaž kej dumм tonie, hlavu klonнm ponad listy dá vný ch spisov starý ch vier, sen už temer sadnul v riase, v prнš er plnom noč nom č ase, zrazu suchot, klepot, v hlase č udnom znie od mojich dvier. " Pozdný hosќ, sná п- myslнm stajme - tá pe hen u mojich dvier." Tolko len a nič viae, ver. (18) Havran nepohne sa ani, ž havý m okom na mna gá ni – z Palladinej hielej sochy, sponad č ela mojich dvier, zraky ani dйmon snivý, koldът sќa, č o vidi divy, nad nнm pablesk lampy ž ivý jeho tутu vrhá z dvier, a mуj duch viae nesprostн sa nikdy tуne jeho pier, nikdy, nikdy - nikdy ver!
Translated by J. Kantorová -Balнková (1) Bola polnoc - č as zlý, krutý, - a ja slabý, pochudnutý š tudoval som starй spisy v hrubý ch zvá zkoch zviazanй. Sadal na mтa opar driemot, odo dvier vš ak zaznмl klepot, tichý klepot z noč ný ch temnot, tajuplnй ќukanie. " Nмjaký hosќ", snaž il som sa vysvмtlit' to ќukanie, " iba hosќ, a nič viae nie." (18) Ako usadil sa vtedy, stá le sedн, stá le sedн nad dverami č ierny havran diabolsky a ukrutnй. V jeho vá ž nom, zamrač enom zrazu sнdli temný dйmon, obrys premietnutý tieтom na koberci mohutnie, duš u privalil mi tieт, č o na koberci mi mohutnie, nevzchopн sa, veru nie.
Translated by L. Feldek (1) Decembrová polnoc bola a ja som bdмl už len spola nad zvá zkom zabudnutý ch vied, plný mi zvlá š tnych rá d. Z driemot som sa zrazu v noci strhol na klopanie, hoci mohol to byќ iba pocit, z ktorйho ma striasol chlad. „Nмjaký hosќ", mrmlal som si, „klopм, až ma striasol chlad – Host' chce u mтa pookriaќ. " (18) Ten havran ja ako z medi - stбle sedн, stбle sedн, Tam, na Palladinej bustм, nad dverami akurбt. Podia oин teraz je on celkom ako spiaci dйmon, A svit lampy s jeho tieтom na duљi mi hodil plбt. Jeho tieт na mojej duљi leћн ako ќaћkэ plбt. Nezlietne aћ... Uћ to skrбќ! The Raven/Havran (E.A. Poe) And the silken, sad, uncertain rustling of each purple curtail Tu zhvb kortyny sa zvlnн, steskom, ћasom duљu plnн, (V.Roy) Tajomnэ љum љarlбtovэch zбclon ma vљak obral o dych, (J. Kantorovб-Balнkovб) Zl'ahulinka љelest plnэ smutku purpur zбclon zvlnн - (E. Feldek) Thrilled me - filled me with fantastic terrors never felt before; 1) zvlnн, plnн hodvбb љumnэ srdce desom, ako mor, (V. Roy) 2) srdce bilo ako nikdy, ъzkostnй a zdesene. (J. Kantorovб-Balнkovб) 3) naplnн ma tajuplnэ strach - v ћivote prvэkrбt! (E. Feldek) So that now, to still the beating of my heart, 1 stood repeating divo, divљie srdce bъљi, duљa temnu sudbu tuљн. (V.Roy) " To niи nie je, iba ktosi zaklopal mi vprostred noci (J. Kantorovб - Balнkovб) Krotнm srdce, pшнliљ bije, vzdorujem hrбm fantбzie: (E. Feldek) " Tis some visiter entreating entrance at my chamber door - " Pozdnэ hosќsnбп- tнљim strachy - tбpe hen u mojich dvier, (V.Roy) na dveшe", - tak vravel som si, tнљiac svoje vzruљenie. (J. Kantorovб- Balнkovб) " Nмjakэ host'za dveшmi je a z toho ma striasa chlad. (E. Feldek) Some late visiter entreating entrance at my chamber door; - iste, iste host' to pozdnэ vstъpiќ chce do mojich dvier, (V.Roy) " Niekto klope vprostred noci, naиo tol'kй vzruљenie (J. Kantorovб- Balнkovб) " Neskorэ host'za dveшmi je a z toho ma striasa chlad - (E. Feldek) This is and nothing more." tol'ko len a niи viae, ver. " (V.Roy) Nмjakэ host'-inй nie." (J. Kantorovб-Balнkovб) Len host' ako mnohokrбt (E. Feldek)
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