:

First among Equals




J. 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 rovnými

(Translated by J. Galata, s. 136-137)

V to jlov ráno sa královna vo svojom reprezentačnom koči, sprevádzaná královskou jazdou, vydala na cestu do Snmovn lordov. V kočiaroch pred ou sa viezla královská koruna a ostatn symboly moci Britskho impria. Charles si spomenul, ako sa za dtských čias dval na sprievod z ulice. Teraz sa na ceremonii zčastuje priamo. Ke královná prišla do Hornej snmovn, lord kancelár ju odviedol cez vchod pre panovnka do obliekarne, kde ju jej dvorn dámy začali pripravova na slávnostný obrad.

Charles otvorenie parlamentu královnou vždy považoval za mimoriadnu událost' pre členov oboch snmovn. Vo funkcii parlamentnho sekretára pozoroval, ako sa poslanci Dolnej snmovn usádzaj na miesta a čakaj na prchod hlavnho ceremoniára Snmovn lordov. Ke sa královná usadila na trn, lord komornk dal prkaz uvádzačovi hlavnho ceremoniára, aby informoval členov Dolnej snmovn, že: "Jej Veličenstvo ich s potešenm prijme v Snmovn lordov". Hlavný ceremoniár, celý v čiernom, pripomnal skr advokáta diabla ako posla královnej. Kráčat slávnostným krokom po dlaždicami vykladanej podlahe spájajcej obe komory parlamentu až k dverám Dolnej snmovn, ktor sa pred nim zabuchli vo chvli, ke sa k nim priblžil na dva kroky.

Ceremoniár na ne trikrát zaklopa strieborným koncom svojej dlhej čiernej palice. Na dverách sa otvorilo mal posuvn okienko, v ktorom sa objavilo oko, aby zistilo, kto klop.

Trochu to pripomnalo situáciu pred dverami pochybnho nočnho podniku, ako raz poznamenal Charlesov otec. Potom hlavnho ceremoniára vpustili do Dolnej snmovn. Ceremoniár podišiel k stolu. Trikrát sa hlboko uklonil a povedal: Pán predseda, královná prikazuje ctihodným poslancom tejto snmovn, aby ju hn teraz navštvili v Snmovn lordov. "

Predseda snmovn oblečený v dvornom bore a plášti so zlatým lemovánm vstal a kráčal za hlavným ceremoniárom do Snmovn lordov. Za predsedu sa zaradil jeho poradca a kaplán, potom ministerský predseda s lidrom opozcie, vládni ministri s tieovým kabinetom a napokon ostatn poslanci.

Lordi odeti v červených pelerinach s golierom z hermelnu, pripomnajci benevolentných Drakulov, na nich čakali v Hornej snmovn v spoločnosti svojich manželiek v dlhých večerných rbách a s diamantovými čelenkami. Královná sedela na trne v slávnostnom bore, na hlav s korunou, povodn vyrobenou pre Juraja IV. Počkala, až sprievod zapln snemovu a všetko stchne

Lord kancelár sa došuchtal k trnu, klakol si na jedno koleno a podal jej vytlačený dokument. Bol to prejav, ktorý královnej pripravila vláda. Hocijej kpiu mala k dispozicii už ráno, k pvodnmu textu nepridala nič, pretože jej loha pri tejto prležitosti bola iba obradná. Pozrela sa na svojich poddaných a začala čtat'.

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 odrážali pablesky zlatistých lčov sviežeho rannho slnka.

Okolo rybárskeho člna, ktorý čeril vodn hladinu jednu mlu od pobrežia, poletovalo asi tisc čajok. Ich hlasný škrekot sa ozýval v povtr a oznamoval, že členovia Krdla zvádzaj nelutostn sboje o ksočky jedla. obnutie suseda ostrým zobákom spsobovalo čajkám nevýslovná radost'. Začnal sa alši namáhavý de.

Daleko od člna i od pobrežia sa vnovala nácviku niektorých prvkov letovho umenia čajka Jonathan Livingston. Vznášala sa vo výš ke sto stp nad morom, spšala nožičky s plávacou blanou, napriamovala hlavičku so zobáčikom a opisujc krivku, s bolestným vypátim napnala krdla. Pri pomalom lete načvala nžnmu šepotu vetrka a piesam morských vln. Prižmrila oči, sstredila sa. Zadržala dych zvýšila rýchlos ...a, dokázala to - zváčšila dlžku o jeden palec! Vtom sa jej však našuchorilo perie, stratila rýchlos, a preto sa začala prepadávat'.

Iste viete, že let čajok je ladný a že pri lete nikdy nestrácaj rýchlos. Strati vo vzduchu rýchlos je pre ne potupou a ozajstnou hanbou.

Jonathan Livingston sa však nenechal odradit' nespechom, opá rozprestrel kridla a na oblohe vykreslil parádnu krivku. Lenže po chvli zase stratil rýchlos a padal dole ako kame. Jonathan nebol len takou obyčajnou čajkou.

Váčšina čajok sa neunva naučit' ani len základná abecedu lietania. Stač im, ke dokážu vzlietnu nad more za potravou a vrátit' sa na breh s plným žaldkom. Ani im nezide na um, žeby sa mohli zdokonalovat' v lietani. Ale čajka, o ktorej je tento prbeh, sa váčšmi zaujmala o lietanie než o jedlo. Lietanie miloval Jonathan nadovšetko.

 

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 nabdku

vyrazil ku sme svoju náklonnost'.

Pol. Náklonnost'. Ejha. Ozaj paštekuješ

sa z bavlnky by papl'uh, neobutý v takomto nebezpečnom prpade. Nuž, a či verš tomu nábitku, či jak to voláš?

Ofel. Sama neviem, otče,

čo si mám myslie.

Pol. Bodajže ho. Ja

a naučm priam: mysl si, žes 'bába, bo akiste t aks' nabdku za berný peniaz vzalas', kdežto babky niet platnho v tom veru nábytku. Vieš, slovn tam si pomoc na bitku, za drahšiu drž sa jadrom smyslu, ináč,- - by výraz, chudák, dušou nepukol, ke štveme ho tak, - mne ak bláznivho dopraješ nápitku.

Ofel. On pane, lásku svoju obecal mi

počestným spsobom.

Pol. Hm, spsobom

to zovieš? Iže, i.

Ofel. A výpovediam

tým svojim dodal váhy v nádavku tak rieknuc všetkých svátých sl'ubov nebies.

Pol. Hm, sl'uby lapat' sluky. Ja už viem,

ke hori krv, jak marnotratn duša dodává sl'uby jazyku. No plam ten, dcra, viae čo svtla dá než tepla,- i obidvoje hasne medzitým, čo znej sl'uby, vatrou nakladan- dák' nepokladaj za ohe. Z tých čias, hej, dcra, bu dač skpšia a panenskou tou prtomnosou svojou, svojich zábav odhadni cenu vyššie, než jak znie kýs' rozkaz kpohovoru. Ohl'adom Hamleta, jemu ver len natoko, že mladoch je i smie sa pohybovat' v priestranstve širšom, než jak pre teba je vymeran. Zkrátka, Oflia, tým sl'ubom jeho nedveruj: s to leda zvodnici, a niet tej známky.čo odedzou im dáva vzozrenia, lež obcovan čisto smvselných len navrhovatelia, dýchajci posvátných, zbožných svázkom

kadidlom: tým 1'ahšie ošiali mc. Nadovšetko však toto ti: ja jednoducho nechcem, od dneška počnc, abys' čo i len okamih prázdných chvil' tak znectila, že slovčko či hovor zamnš si s pánom Hamletom. To zachovaj si, ti nakladám, i hybaj svojou cestou.

Ofel. Poslcham, otče.

Hamlet. Translated by J. Kot, 1973

 

Ofel. Vposlednom čase prejavuje mi

dos často náklonnost'

Pol. Pcha, náklonnost'!

Rozprávaš ako nesksen dievča, Čo nevyzná sa v takých nástrahách. Ty vážn verš jeho nežnostiam?

Ofel. Raz neviem, čo si o tom myslie mám.

Pol. Tak počvaj: si ako nemluvná,

Ak jeho priaze cenš si sa zmenku, Hocije nesplatná. Ty ce sa vyššie, Lebo ak mám daza tým všetkým bodku, Aj v mojich očiach klesneš na cene.

Ofel. Počestne vyznával mi svoju lásku.

Pol. Nečestne - to znie lepšie, chod' s tým, chod'!

Ofel. A k slovám lásky vzal si na pomoc

bezmála všetky svát prsahy.

Pol. Siel s bubnom na vrabce. Ja dobr viem:

ke zovrie krv, tak z duše márnotratne šlahaj prsahy. Tie plamene, čo váčšmi osluj ako hrej a zhasnu skr než stihnu vyšahn, si nesmieš mýlit's ohom. Odteraz nemrhaj tol'ko svojou prtomnosou, maj vyššie nároky, hn netancuj, ke niekto zapska, ver iba faktu, že princ je mladk, čo smie vyššie rba, než sden je tebe: jedným slovom prsahám never, s to handliari, čo klam ligotavým zovajškom, a prosebnci hanebnost, čo ako svátci k nebu zbožn hl'adia, aby tým váčšmi klamali. Nuž teda:

od tejto chvle neželám si viacej, aby si kalila svoj volný čas jediným slovom s princom Hamletom. Tak pozor na to a cho svojou cestou.

Ofel. Poslchnem, otec.

Hamlet. Translated by C. Feldek

 

Ofel. Vposlednom čase sa mi častejšie a milo prihovoril.

Pol. Milo! Pch! Vravš ako hlpa žaba, čo poskakuje rovnako do nešastia. Milo! Ty verš takej milot?

Ofel. Ke neviem, čo si mžem o tom myslie.

Pol. Tak ja a poučm. Si ako dečko, čo so striebrom si mýl staniol falošnej miloty. Hn milovat'? Omyl je na skok, láska na mile. Dos žartov. Mýlit' sa je nemil.

Ofel. Naliehal na ma, otecko, no celkom počestne.

Pol. Počestne a naliehal!

Ofel. Prisahal, otecko, a za svdka si privolával vždy aj nebesá.

Pol. Chytáky na vtáky. To poznáme.

Ke hor krv, hn márnotratná duša rozvazuje i jazyk. Tieto luče, dcrka, svietia, no nehrej. Sl'ub zadus sa, Skr než ho sta stihn vvdýchnu. Tak si to nemý s ohom. Ododnes mu dávaj menej priležitosti na stretnutia a stpne tvoja cena. Netancuj ako pská. Je to princ - Mžeš mu veri len to, že je mladý, a tak si mže dovolit' aj veci, čo ty si nesmieš. Skrátka, Oflia, pozor na jeho šlová - kupliarky s to, aj ke s vyparádn, spod parády im trč nehanebnos, táraj o posvátných mysloch a chc a zvies. Nuž deftnitvne: odteraz trvám na tom, že už nikdy nebudeš stráca ani minutu tým hrktanm s princom Hamletom. Musš ma poslchnu. A mžeš s.

Ofel. Poslchnem, otecko.

(Oddu)

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

(41) Možno mi tvojich st sa odriekn Možno mi ruky nedostat'. Možno mi v dial'ky žial'ne utieknu. Možno mi nemilým osta, Možno mi stam smadom umiera. Možno mi žiali v samot, Možno mi život v pšach zaviera. Možno mi neži v živote. Možno mi seba samho zhubit': - Nemožno mi a ncPbi!     I might perhaps forego your lips forever, I might survive without your touch, I might take flight to some forsaken river, I might remain a loveless wretch, I might be perishing for just one kiss, I might dwell in a lonely hall, I might trade this life for a wilderness, I might live on and yet not live at all, I might destroy myself for thinking of you I still could not but love you!    
(185) A čo je mlados? - Dvadsapa rokov? Ržových tvár hla jará? Či dov sila? Či strmost' krokov? Toto sa všetko zostará! Mlados je tžba živá po kráse. Je hlas nebeský v zemskom ohlase. Je nepokoj duš svatý, Je tá mohutnos, čo slávu hladá. Je kvtin lásky rajská záhrada. Je anjel v prachu zaviaty!     And what is youth? Years twenty and five. The springtime glow of rosy cheek? Strong limbs, a step that's brisk and live? The one gets slow, the other week! Youth is the breathless pursuit of beauty. The service of heaven with no trace of duty, The restless response to the soul's "I must!" It is the drive that seeks out glory, A garden of love, fragrant and flowery. It is an angel garbed in dust!    
(291) Marna moja! teda tak sme my, Ako tie božie plamene, Ako tie kvty na chladnej zemi, Ako tie drah kamene: Padaj hviezdy, aj my padneme. Vadnu tie kvty, aj my zvadneme, A klenoty hruda kryje: Ale tie hviezdy predsa svietili, A pkný život tie kvty žili, A diamant v hrud nezhnije!     Marina mine! How much are we Like those flickering flames divine, Like flowers on the frosty lea. Like jewels in a mine: The stars are falling, so will we. The flowers are fading, so will we. The jewels are hidden in clay: And yet those stars shone nonetheless. Those flowers lived in loveliness, The buried diamond will not decay.    
The Prisoner of Chillon G.G. Byron My hair is grey, but not with years Nor grew it white In the single night As men grown from sudden fears; My limbs are bowed, though not with toil, But rusted with a vile repose, For they have been a dungeon's spoil And mine has been the fate of those To whom the goodly earth and air Are banned, and barred - forbidden fare; But this was for my father's faith I suffered chains and courted death; That father perished at the stake For tenets he would not forsake; And for the same his lineal race In darkness found a dwelling place; We were seven - who now are one, Six youth, one in age, Finished as they had begun, Proud of Persecution's rage; One in five, and two in field, Their belief with blood have sealed, Dying as their father died. For the God their foes denied; - Three were in dungeon cast, Of whom this week is left the last. Chillonský vaze (Translated by J.Buzássy a Z. Hegedusová) Nie rokmi zbelela mi hlava a nešla skvie sa za noc še na nej, ako sa v strachu stává: mám dy cel skrven nie prácou - hrázou nečinnosti, lebo ich zhltlo vazenie, som jeden z jeho trpkých host, pre ktorých zem, vzduch zostáva vždy zakázaná potrava: tie muky - pre otcovu vieru ma v putách smrti neraz ber; popravil máj ho otca kat pre princip, čo si nedal vzia, a jeho de ti pre to is t len vo trne našli točišt. Boli sme siedmi - dnes som sám, šes mladých. Jeden starý žije. Skončili, vrni zásadám, pyšn i na hnev Tyranie, na ohni jeden, dvaja v boji, kde sa krv viery v peča spoj, umierajc, jak otec mrel za Boha - smial sa nepriateF: - troch bratov vrhli do žalára, z nich troska posledná tu zhára.
       

 

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 polnočn zlietli tone, mysel'v ažkej dum tonie,

hlavu klonm ponad listy dávných spisov starých vier,

sen už temer sadnul v riase, v pršer plnom nočnom čase,

zrazu suchot, klepot, v hlase čudnom znie od mojich dvier.

"Pozdný hos, sná- myslm stajme - tápe hen u mojich dvier."

Tolko len a nič viae, ver.

(18)

Havran nepohne sa ani, žhavým okom na mna gáni

z Palladinej hielej sochy, sponad čela mojich dvier,

zraky ani dmon snivý, kold sa, čo vidi divy,

nad nm pablesk lampy živý jeho tu vrhá z dvier,

a mj duch viae nesprost sa nikdy tne jeho pier,

nikdy, nikdy - nikdy ver!

 

Translated by J. Kantorová-Balková

(1)

Bola polnoc - čas zlý, krutý, - a ja slabý, pochudnutý

študoval som star spisy v hrubých zvázkoch zviazan.

Sadal na ma opar driemot, odo dvier však zaznl klepot,

tichý klepot z nočných temnot, tajupln ukanie.

"Njaký hos", snažil som sa vysvtlit' to ukanie,

"iba hos, a nič viae nie."

(18)

Ako usadil sa vtedy, stále sed, stále sed

nad dverami čierny havran diabolsky a ukrutn.

V jeho vážnom, zamračenom zrazu sdli temný dmon,

obrys premietnutý tieom na koberci mohutnie,

dušu privalil mi tie, čo na koberci mi mohutnie,

nevzchop sa, veru nie.

 

Translated by L. Feldek

(1)

Decembrová polnoc bola a ja som bdl už len spola

nad zvázkom zabudnutých vied, plnými zvláštnych rád.

Z driemot som sa zrazu v noci strhol na klopanie, hoci

mohol to by iba pocit, z ktorho ma striasol chlad.

Njaký hos", mrmlal som si, klop, až ma striasol chlad

Host' chce u ma pookria. "

(18)

Ten havran ja ako z medi - stle sed, stle sed,

Tam, na Palladinej bust, nad dverami akurt.

Podia o teraz je on celkom ako spiaci dmon,

A svit lampy s jeho tieom na dui mi hodil plt.

Jeho tie na mojej dui le ako ak plt.

Nezlietne a ... U to skr!

The Raven/Havran(E.A. Poe)

And the silken, sad, uncertain rustling of each purple curtail

Tu zhvb kortyny sa zvln, steskom, asom duu pln, (V.Roy)

Tajomn um arltovch zclon ma vak obral o dych, (J. Kantorov-Balkov)

Zl'ahulinka elest pln smutku purpur zclon zvln - (E. Feldek)

Thrilled me - filled me with fantastic terrors never felt before;

1) zvln, pln hodvb umn srdce desom, ako mor, (V. Roy)

2) srdce bilo ako nikdy, zkostn a zdesene. (J. Kantorov-Balkov)

3) napln ma tajupln strach - v ivote prvkrt! (E. Feldek)

So that now, to still the beating of my heart, 1 stood repeating

divo, divie srdce bi, dua temnu sudbu tu. (V.Roy)

"To ni nie je, iba ktosi zaklopal mi vprostred noci (J. Kantorov - Balkov)

Krotm srdce, pli bije, vzdorujem hrm fantzie: (E. Feldek)

"Tis some visiter entreating entrance at my chamber door -

"Pozdn hossn- tim strachy - tpe hen u mojich dvier, (V.Roy)

na dvee", - tak vravel som si, tiac svoje vzruenie. (J. Kantorov- Balkov)

"Njak host'za dvemi je a z toho ma striasa chlad. (E. Feldek)

Some late visiter entreating entrance at my chamber door; -

iste, iste host' to pozdn vstpi chce do mojich dvier, (V.Roy)

"Niekto klope vprostred noci, nao tol'k vzruenie (J. Kantorov- Balkov)

"Neskor host'za dvemi je a z toho ma striasa chlad - (E. Feldek)

This is and nothing more."

tol'ko len a ni viae, ver. " (V.Roy)

Njak host'-in nie." (J. Kantorov-Balkov)

Len host' ako mnohokrt (E. Feldek)

 

 







: 2014-11-10; : 426.


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