ANNABEL LEE

ANNABEL LEE es un conocidísimo poema de Edgar Allan Poe, que hoy traemos en traducción de Alberto Lasplaces:

Hace ya bastantes años, en un reino más
allá de la mar vivía una niña que podéis conocer
con el nombre de Annabel Lee. Esa niña
vivía sin ningún otro pensamiento que
amarme y ser amada por mí.

Yo era un niño y _ella_ era una niña en ese
reino más allá de la mar; pero Annabel Lee
y yo nos amábamos con un amor que era más
que el amor; un amor tan poderoso que los
serafines del cielo nos envidiaban, a ella y a mí.

Y esa fué la razón por la cual, hace ya bastante
tiempo, en ese reino más allá de la mar
un soplo descendió de una nube, y heló a mi
bella Annabel Lee; de suerte que sus padres
vinieron y se la llevaron lejos de mí para encerrarla
en un sepulcro, en ese reino más allá de
la mar.

Los ángeles que en el cielo no se sentían ni
la mitad de lo felices que éramos nosotros, nos
envidiaban nuestra alegría a ella y a mí. He ahí
porque (como cada uno lo sabe en ese reino
más allá de la mar) un soplo descendió desde
la noche de una nube, helando a mi Annabel
Lee.

Pero nuestro amor era más fuerte que el
amor de aquellos que nos aventajan en edad
y en saber, y ni los ángeles del cielo ni los demonios
de los abismos de la mar podrán separar
jamás mi alma del alma de la bella Annabel
Lee.

Porque la luna jamás resplandece sin traerme
recuerdos de la bella Annabel Lee; y cuando
las estrellas se levantan, creo ver brillar los
ojos de la bella Annabel Lee; y así paso largas
noches tendido al lado de mi querida,–mi
querida, mi vida y mi compañera,–que
está acostada en su sepulcro más allá de la mar,
en su tumba, al borde de la mar quejumbrosa.

1849.

Ver también: Julieta a Romeo

from Fanny

from Fanny[i]I
Fanny was younger once than she is now,
And prettier of course: I do not mean
To say that there are wrinkles on her brow;
Yet, to be candid, she is past eighteen —
Perhaps past twenty — but the girl is shy
About her age, and Heaven forbid that I
II
Should get myself in trouble by revealing
A secret of this sort; I have too long
Loved pretty women with a poet’s feeling,
And when a boy, in day dream and in song,
Have knelt me down and worshipp’d them: alas!
They never thank’d me for’t — but let that pass.
V
Her father kept, some fifteen years ago,
A retail dry-good shop in Chatham-street,
And nursed his little earnings, sure though slow,
Till, having muster’d wherewithal to meet
The gaze of the great world, he breathed the air
Of Pearl-street — and “set up” in Hanover-square.
VI
Money is power, ’tis said — I never tried;
I’m but a poet — and bank-notes to me
Are curiosities, as closely eyed,
Whene’er I get them, as a stone would be,
Toss’d from the moon on Doctor MitchilPs table,
Or classic brickbat from the tower of Babel.
VII
But he I sing of well has known and felt
That money hath a power and a dominion;
For when in Chatham-street the good man dwelt,
No one would give a sous for his opinion.
And though his neighbours were extremely civil,
Yet, on the whole, they thought him — a poor devil,
VIII
A decent kind of person; one whose head
Was not of brains particularly full;
It was not known that he had ever said
Any thing worth repeating — ’twas a dull,
Good, honest man — what Paulding’s muse would call
A “cabbage head” — but he excelled them all
IX
In that most noble of the sciences,
The art of making money; and he found
The zeal for quizzing him grew less and less,
As he grew richer; till upon the ground
Of Pearl-street, treading proudly in the might
And majesty of wealth, a sudden light
X
Flash’d like the midnight lightning on the eyes
Of all who knew him; brilliant traits of mind,
And genius, clear and countless as the dies
Upon the peacock’s plumage; taste refined,
Wisdom and wit, were his — perhaps much more.
‘Twas strange they had not found it out before.
XXV
Dear to the exile is his native land,
In memory’s twilight beauty seen afar:
Dear to the broker is a note of hand,
Collaterally secured — the polar star
Is dear at midnight to the sailor’s eyes,
And dear are Bristed’s volumes at “half price;”
XXVI
But dearer far to me each fairy minute
Spent in that fond forgetfulness of grief;
There is an airy web of magic in it,
As in Othello’s pocket-handkerchief,
Veiling the wrinkles on the brow of sorrow,
The gathering gloom to-day, the thunder cloud to-morrow.
XLI
Since that wise pedant, Johnson, was in fashion,
Manners have changed as well as moons; and he
Would fret himself once more into a passion,
Should he return (which heaven forbid!), and see,
How strangely from his standard dictionary,
The meaning of some words is made to vary.
XLII
For instance, an undress at present means
The wearing a pelisse, a shawl, or so;
Or any thing you please, in short, that screens
The face, and hides the form from top to toe;
Of power to brave a quizzing-glass, or storm —
‘Tis worn in summer, when the weather’s warm.
XLIII
But a full dress is for a winter’s night.
The most genteel is made of “woven air;”
That kind of classic cobweb, soft and light,
Which Lady Morgan’s Ida used to wear.
And ladies, this aerial manner dress’d in,
Look Eve-like, angel-like, and interesting.
1821

See also: PHILIP FRENEAU
[i] Poem of FITZ-GREENE HALLECK (1790-1867). Fitz-Greene Halleck was born in Guilford, Connecticut. He worked at a bank in New York City, mastered what he called “this bank-note world,” and went on to become John Jacob Astor’s personal secretary. In the anthology From Confucius to Cummings, Ezra Pound included selections from Halleck’s narrative poem Fanny, claiming that the American poet compared favorably with Lord Byron. While it is difficult to credit this claim, Halleck’s overlooked narrative demonstrates die vitality of an American comic tradition. A statue of Fitz-Greene Halleck is in Central Park
at East 66th Street in New York City.

Chung Tzu

Te ruego Chung Tzu,
no entres a mi casa,
no te abras camino entre los sauces que he plantado.
No es que me importen los sauces,
sólo temo a mi padre y madre.
Te amo Chung Tzu, tiernamente,
oh, pero temo, realmente temo
lo que mi padre y madre dirán.

Te ruego Chung Tzu,
no saltes mi muro,
no te abras camino entre las moreras que he plantado.
No es que me importen las moreras,
sólo temo a mis hermanos.
Te amo Chung Tzu, tiernamente,
oh, pero temo, realmente temo
lo que mis hermanos dirán.

Te ruego, Chung Tzu,
no entres por mi jardín,
no te abras paso a través del sándalo que he plantado.
No es que me importe el sándalo,
temo a la gente que habla.
Te amo Chung Tzu, tiernamente,
sólo temo, realmente temo
lo que la gente dirá.[1]
Leer también: Cortés
[1] Poema del Clásico de las Canciones (Shu Chung). Poesia China.