Joyce, James ``A Portrait of an Artist``-Sn-En-Sp-Xx.p65

Transcripción

Joyce’s Portrait
5
tr. de Dámaso Alonso
A Portrait of the Artist as a
Young Man
by James Joyce
Retrato del artista adolescente
de James Joyce
10
trad. de Dámaso Alonso
15 #4217]
cedida por Editorial Lumen, S. A.
Alianza Editorial, Madrid, 1978, 1979,
1980, 1982, 1985, 1987, 1989, 1991,
1993,1994, 1995, 1996, 1997, 2001
Release Date: July, 2003 [EBook
Et ignotas animum dimittit in artes Ovid, Metamorphoses,
VIII, 188: ‘And he applies his mind to obscure arts.’
The ‘he’ in question is Daedalus, father of Icarus,
who fashioned wings for himself and his son to escape from the Cretan labyrinth he had created to
house the Minotaur, the half-bull, half-man offspring
of Queen Pasiphae and an artificial bull. The name
Daedalus in Greek means ‘cunning artificer’. Icarus
flies too near the sun, his wings melt and disintegrate
and he falls into the sea. Daedalus arrives safely in
Sicily. The father and the son are often taken as
prototypes of the classical and of the romantic artist
respectively.
• Et ignotas animum dimittit in artes. And he sent forth
his spirit among the unknown arts. -Ovid,
Metamorphoses.
Epigraph: Et ignotas animum dimittit in artes: Latin, «And
he applies his mind to unknown arts» [the line
continues, «and changes the laws of nature»].
Description of Daedalus in Ovid’s Metamorphoses,
VIII:188.
20
Et ignotas animum dimittit in artes.
Ovid Metmorphoses, VIII, 188
X
_________________________
_________________________
25
30
35
Chapter 1
Uno
40
Once upon a time The traditional way of beginning a
story for children; ironically, this is one about a child.
Tuckoo was a nickname for the infant Joyce (Letters, III, 212)
Once upon a time and a very
good time it was there was a
moocow coming down along the
road and this moocow that was
45
coming down along the road met a
nicens little boy named baby
tuckoo . . .
Allá en otros tiempos (y bien buenos tiempos que eran), había una vez
una vaquita (¡mu!) que iba por un
caminito. Y esta vaquita que iba por un
caminito se encontró un niñín muy
guapín, al cual le llamaban el nene
de la casa...
50
His father told him that
story: his father looked at him
through a glass: he had a hairy
face.
Éste era el cuento que le contaba su padre. Su padre le miraba a
través de un cristal: tenía la cara
peluda.
55
He was baby tuckoo. The
moocow came down the road
where Betty Byrne lived: she
sold lemon platt.
Él era el nene de la casa. La vaquita venía por el caminito donde vivía Betty Byrne: Betty Byrne vendía trenzas de azúcar al limón.
O, the wild rose blossoms
On the little green place.
Ay, las flores de las rosas silvestres
En el pradecito verde.
through a glass A monocle.
• looked at him through a glass looked at him through a
monocle, an eyeglass for one eye.
slur 1 (insult, stigma): a racist/cowardly ~ un comentario racista/infamante; to cast a ~ on sb injuriar or difamar a algn,
manchar su reputación ( Mus ) ligado; (mark) ligadura
slur 2 (pronounce unclearly): he tends to ~ his words
(together) tiende a arrastrar las palabras, a pronunciar
mal, tragar; (Mus ) ligar
1. lemon platt: a plaited candy stick. . Caramelo. Candy
lemon Platt i.e. ‘plaited’ sticks of sweet tasting of lemon.
lemon platt: lemon-flavoured sticks of barley sugar
O, the wild rose . .. O, the green wothe Song forms a
great part of the background in this novel, and here
the red and green motif is first mentioned. One thinks
immediately of blood and the Emerald Isle, of conflict
recurring. Stephen sings his song lispingly
[cecenado], sleepily, and therefore slurs and
disarranges the syllables.
60
He sang that song. That was
Ésta era la canción que cantaba.
Era su canción.
65 his song.
O, the green wothe botheth: the child’s attempt to sing
‘O, the green rose blossoms’ (should be ‘wild rose’)
O, the green wothe botheth.
Ay, las floles de las losas veles.
1
Joyce’s Portrait
• put on the oilsheet put on an oilcloth, a cotton fabric
made waterproof with oil and pigment; often used
for tablecloths.
sailor’s hornpipe Dance involving a single person,
associated with sailors celebrating.
• the sailor’s hornpipe a lively dance, usually done by
one person; popular with sailors.
When you wet the bed
first it is warm then it gets
cold. His mother put on the
5
oilsheet. That had the
queer smell.
Cuando uno moja la cama, aquello está calentito primero y después
se va poniendo frío. Su madre coloca b a e l h u l e . ¡ Q u é
olor tan raro!
His mother had a nicer smell
than
his father. She played on
10
the piano the sailor’s hornpipe
for him to dance. He danced:
Tralala lala,
Tralala lala.
Su madre olía mejor que
su padre y tocaba en el piano
una jiga de marineros para
que la bailase él. Bailaba: [7]
[8]
Tralala lala,
tralala tralalaina,
Tralala lala,
tralala lala.
Uncle Charles and Dante
clapped. They were older than
his father and mother but uncle
Charles was older than Dante.
Tío Charles y Dante aplaudían. Eran más viejos que su padre y que su madre; pero tío
Charles era más viejo que Dante.
Dante had two brushes in
her press. The brush with the
maroon : castaño, marrón, reddish
maroon velvet back was for
Michael Davitt and the brush
with the green velvet back was
30 for Parnell. Dante gave him a
cachou every time he brought
her a piece of tissue paper.
Dante tenía dos cepillos en
su armario. El cepillo con el respaldo de terciopelo azul era el
de Michael Davitt y el cepillo
con el revés de terciopelo verde,
el de Parnell. Dante le daba una
gota de esencia cada vez que le llevaba un pedazo de papel de seda.
Tralala lala,
15 Tralala tralaladdy,
Dante His ‘baby name’ for his aunt and a reference to
the poet who, like his aunt, was a fervent Roman
Catholic.
• Dante not Dante Alighieri. This is the nickname of the
woman who is Stephen’s nanny, or governess.
press Large, shelved cupboard, usually in the recess of a wall.
• had two brushes in her press had two brushes in her
closet-in this case, an upright piece of furniture used
to hold clothes.
• Michael Davitt Organizer of the land reform league.
Much more of a political agitator than Parnell, Davitt
served seven years in prison for attempting to send
firearms into Ireland. He advocated nationalization
of Irish lands and believed that Parnell was too
moderate in his opposition to English rule.
3. cachou: a candy made from cashew nuts. (G)
cachou A pill used to sweeten the breath.
• gave him a cachou gave him a cashew mint; often
used for disguising bad breath.
A candy and breath freshener
20
25
The Vances lived in number
seven. They had a different
father and mother. They were
Eileen’s father and mother.
When they were grown up
40 h e w a s g o i n g t o m a r r y
Eileen. He hid under the table.
His mother said:
X
35
45
—O,
apologize.
Stephen
X
will
—Stephen tiene que pedir
perdón.
Dante said:
50
4. Pull out his eyes . . . Apologise: derived from song
XXIII of Isaac Watts’ Divine Songs Attempted in Easy
Language for the Use of Children (London, 1715).
(G)
Pull out his eyes . .. Apologize Notice first of all the bird
image, though here with a menacing association
(eagles) and the fact that this poem symbolizes revolt
-for Stephen’s rejection of what is expected gives
rise to it. It contrasts immediately with the innocent
song which is his song and it also anticipates his
later rebellion.
Pull out his eyes: there was a children’s hymn about the
punishment of the wicked: ‘The ravens shall pick out
his eyes/ And eagles eat the same’ (based on the
Bible, Proverbs, 30: 17)
Dante dijo:
—O, if not, the eagles will
come and pull out his eyes.—
Pull out his
Apologize,
55 Apologize,
Pull out his
Apologize,
Pull out his
Pull out his
60
Apologize.
• the prefects teacher-supervisors; often senior pupils, as
well, who are given authority to maintain discipline.
65
—Y si no, vendrán las águilas y le sacarán los ojos.
eyes,
eyes.
eyes,
eyes,
X
***
The wide playgrounds This effectively marks the beginning
of a new section: Stephen’s move to Clongowes.
Los Vances vivían en el número 7.Te n í a n o t r o p a d r e y o t r a
m a d r e d i f e rentes, él se iba a casar con Eileen... ______________
__ _ ___ ___ ____ ______ __ ___
__ __ _____ __ __ ______ ___
Se escondió bajo la mesa. Su
madre dijo:
X
X
The wide playgrounds
were swarming with boys. All
were shouting and the prefects
Le sacarán los ojos.
Pide perdón,
pide perdón
de hinojos.
Le sacarán el corazón.
Pide perdón.
Pide perdón.
___________
_______
Los anchurosos campos de recreo hormigueaban de muchachos.
Todos chillaban y los prefectos
2
2. Michael Davitt ... Parnell: Michael Davitt (1846-igo6)
founded the Land League (1879), an organization financed
by the Irish Republican Brotherhood (IRB), the Fenians
in the USA, and the Irish Parliamentary Party, under
Parnell’s leadership. It was devoted to the abolition of
landlordism and the protection of tenants. Davitt’s
association with Parnell united the revolutionary,
constitutional and agrarian elements in Ireland into a ‘formidable weapon that Charles Stewart Parnell (1846-9r)
wielded with great skill in his campaign for Home Rule that is, the establishment in Dublin of an Irish legislature
with responsibility for domestic affairs. However, it was
Parnell’s irresponsible conduct of his domestic affair with
Katharine O’Shea, the wife of a parliamentary colleague,
that led to his being cited as co-respondent in a divorce
case. As a consequence, he was abandoned by William
Ewart Gladstone, the English Prime Minister and leader
of the Liberal Party, by the Roman Catholic Church in
Ireland and, in a famous series of meetings in Committee
Room 15 of the House of Commons in December 18go,
by the Irish Parliamentary Party of which he was ‘the Chief.
(This is referred to in the title of Joyce’s story ‘Ivy Day in
the Committee Room’ in Dubliners.) Parnell died soon
after, on 6 October 1[891. Davitt and Parnell were in
effective alliance from 11879 to 1882; thereafter the
divergences in their political views became increasingly
sharp. Davitt was one of the first and most vocal of those
who opposed Parnell’s attempt to retain the leadership
after the divorce scandal.
• Parnell Charles Stewart Parnell (1846-91); Irish
Nationalist leader. Fought for Home Rule; urged Irish
Catholics to pay no rents to their Protestant landlords.
His political career was brought to an end when his
adultery with a married woman was made public.
Joyce’s Portrait
thud : a low dull sound as of a blow on a non-resonant
surface. Ruido o chasquido sordo,
flew like a heavy bird Images of birds run through A
Portrait. They become progressively more attractive
as Stephen begins to find himself.
his eyes were weak and watery Important because
Stephen, like Joyce, has poor sight, but the quality
of his inward vision - his imagination - is, if anything,
enhanced.
5. third line: the students were divided into three age
groups: those under thirteen were in the third line;
those from thirteen to fifteen were in the lower line;
and from fifteen to eighteen, in the higher line.
• Kickham had greaves in his number Kickham had
padded, protective shinguards in his locker, which
was numbered for identification.
stink i.e. unpleasant.
6. greaves in his number and a hamper in the refectory: he
has shinguards - to protect him from football injuries in his numbered locker, and special food, provided by
his family, to replace or supplement the school meals.
Kickham seems to have had solicitous parents.
• a hamper in the refectory a box, or basket of food in the
dining hall that belongs to him; probably sent from home.
greaves in his number Each boy had a locker - Roddy
Kickham kept his shin-guards in his.
greaves in his number: shin-pads in his individual
(numbered) locker
dog-in-the-blanket Rolled currant dumpling or jam
pudding.
urged them on with strong cries.
The evening air was pale and
chilly and after every charge
and thud of the footballers the
5
greasy leather orb flew like a
heavy bird through the grey
light. He kept on the fringe of
his line, out of sight of his
10 prefect, out of the reach of the
rude feet, feigning to run now
and then. He felt his body
sma l l a n d w e a k a m i d t h e
throng of the players and
15 his eyes were weak and watery.
Rody K i c k h a m w a s n o t
like that: he would be
c a p t a i n o f the third line all
the fellows said.
les animaban a gritos.<< -El aire de la tarde era pálido y f r í o , y a c a d a v o l e a
_______ de los jugadores, el grasiento globo de cuero volaba como un ave
pesada a través de la luz gris. Stephen se
mantenía en el extremo de su línea,
fuera de la vista del prefecto, fuera
del alcance [9] de los pies brutales, y de
vez en cuando fingía u n a c a r r e r i t a.
Comprendía que s u cuerpo era pequeño y débil comparado con los de la
turba de jugadores, y sentía que
sus ojos eran débiles y aguanosos.
Ro d y K i c k h a m n o e r a
a s í ; s e ría capitán de
l a t e r c e r a división: todos los
chicos lo decían.
Rody Kickham was a
decent fellow but Nasty Roche
was a stink. R o d y K i c k h a m
25 h a d g r e a v e s i n h i s
number and a hamper
in
the
refectory.
N a s t y Roche had big
ha n d s . H e c a l l e d t h e
30 F r i d a y p u d d i n g d o g in-the-blanket. And one
day be had asked:
Rody Kickham era una persona decente, pero Roche el Malo era
un asqueroso. Rody Kickham tenía
unas espinilleras en su camarilla y,
en el refectorio, una cesta de provisiones que le mandaban de casa.
Roche el Malo tenía las manos
grandes y solía decir que el postre
de los viernes parecía un perro en
una manta. Y un día le había preguntado:
20
35
—What is your name?
—¿Cómo te llamas?
Stephen had answered:
Stephen Dedalus.
7. Stephen Dedalus: the name conjoins the first Christian
martyr, St Stephen, stoned to death outside
Jerusalem in 34 AD, and the great pagan
artificer-artist hero, Daedalus.
40
45
Stephen había contestado:
Stephen Dédalus.
Then Nasty Roche had said:
Y entonces Roche había dicho:
—What kind of a name is that?
—¿Qué nombre es ése?
And when Stephen had not
been able to answer Nasty
Roche had asked:
Pero Stephen no había sido capaz de responder. Y entonces Roche
le había vuelto a preguntar:
—What is your father?
—¿Qué es tu padre?
Stephen had answered:
Y él había respondido:
—A gentleman.
—Un señor.
50
55
8. magistrate: after long exclusion, Catholics in the late
nineteenth century had some avenues of
advancement open to them in the judicial system.
Yet even the longing for the social status conferred
by a magistracy rarely outweighed the recognition
that membership of the degraded and degrading legal system in Ireland was, inadvisable for Catholics,
especially in troubled times. Few of the sixty-four
Resident Magistrates in Ireland at that time were
Catholic. During the Land War of 1879-8a, in which
Davitt and Parnell were among the leaders, ‘Special’
Resident Magistrates were appointed.
• a magistrate a judge; to brag that one’s father was a
magistrate is to suggest that one is well-off, well-bred,
and better than most.
Then Nasty Roche had
asked:
Y todavía Roche había vuelto a
preguntarle:
—Is he a magistrate?
—¿Es magistrado?
60
He crept about from
point to point on the fringe
of his line, making little
runs now and then. But his
65 hands were bluish with cold.
He kept his hands in the side
pockets of his belted grey
Se deslizaba de un punto a
otro, siempre en el extremo de una
línea, dando carreritas cortas de
vez en cuando. Pero las manos le
azuleaban de frío. Las metió en los
bolsillos de su chaqueta gris de
cinturón. El cinturón pasaba por
3
decent respetable, bueno, que se precie,
que parece de lo más sensato, cordial,
amable, limpio, correcto, adecuado,
módico
decent adj. 1 a conforming with current
standards of behaviour or propriety. b
avoiding obscenity. 2 respectable. 3
acceptable, passable; good enough. 4
Brit. kind, obliging, generous (was
decent enough to apologize).
decent es uno de esos adjetivos muy usados, tal vez abusados, en inglés moderno; se usa para satisfactorio / pasable, adecuado [salario, alimento], módico [precio], simpático / amable, presentable / ‘visible’ [en ropa, aseo].
A su vez, decente parece enfatizar la
idea moral de honradez en las personas, como honest, honorable,
respectable, y también la idea de limpieza en las cosas como clean, tidy, neat
[aseado].
hamper [+ efforts, work] dificultar; entorpecer [+ movement] obstaculizar; impedir
hamper cesto; canasta generalmente con
tapa
hamper Naut. necessary but cumbersome
equipment on a ship
hamper A noun 1 a basket usually with a
cover 2 shackle, bond, trammel,
trammels a restraint that confines or
restricts freedom (especially something
used to tie down or restrain a prisoner) B
verb 1 hamper, halter, cramp, strangle;
dificultar, obstaculizar prevent the
progress or free movement of; «He was
hampered in his efforts by the bad
weather»; «the imperilist nation wanted
to strangle the free trade between the two
small countries» 2 handicap, hinder, put
at a disadvantage; «The brace I have to
wear is hindering my movements»
Joyce’s Portrait
belted ... belt Already Stephen’s awareness shows.
suit. That was a belt round
his pocket. And belt was also
to give a fellow a belt. One
day a fellow said to
5
Cantwell:
encima del bolsillo. Cinturón,
cinturonazo. Y darle a un chico un
cinturonazo era pegarle con el cinturón. Un día un chico le había dicho a Cantwell:
—I’d give you such a
belt in a second.
—¡Te voy a largar un
cinturonazo!...
10
Y Cantwell le había contestado:
Cantwell had answered:
your match i.e. someone your own size, your equal.
a toe in the rump i.e. a kick in the bottom.
—Go and fight your match.
Give Cecil Thunder a belt.
15 I ’ d l i k e t o s e e y o u . H e ’ d
give you a toe in the rump
for yourself.
20
25
30
fiveshilling Notice that Joyce frequently dispenses with
the hyphen and runs two words into one.
35
9. peach: inform, «tell on».
peach Inform against, turn informer.
• never to peach on a fellow never to tattle or inform on
someone else.
40
10. rector: the rector is the ecclesiastic who has charge
of the government of a college. He is superior to the
prefect of studies and the prefect of discipline, both
of whom are also ecclesiastics. The rector of
Clongowes at this time was the Reverend John
Conmee, S J, who also appears in the Wandering
Rocks episode of Ulysses.
soutane Priest’s cassock, black gown with sleeves.
45
That was not a nice
expression. His mother had told
him not to speak with the rough
boys in the college. Nice
mother! The first day in the hall
of the castle when she had said
goodbye she had put up her veil
double to her nose to kiss him:
and her nose and eyes were red.
But he had pretended not to see
that she was going to cry. She
was a nice mother but she was
not so nice when she cried. And
his father had given him two
five-shilling pieces for pocket
money. And his father had told
him if he wanted anything to
write home to him and,
whatever he did, never to peach
on a fellow. Then at the door
of the castle the rector had
shaken hands with his father
and mother, his soutane
fluttering in the breeze, and the
car had driven off with his
father and mother on it. They
had cried to him from the car,
waving their hands:
—¡Anda y quítate de ahí! Ve a
largarle un cinturonazo a Cecil Thunder.
M e g u s t a r í a v e r t e . Te m e t e
un puntapié en el trasero c o m o
para ti solo.
[10]
Aquella expresión no estaba
muy bien. Su madre le había dicho que no hablara en el colegio
con chicos mal educados. ¡Madre
querida! Al despedirse el día de
entrada en el vestíbulo del castillo, ella se había recogido el velo
sobre la nariz para besarle: y la
nariz y los ojos estaban enrojecidos. Pero él había hecho como
si no se diera cuenta de que su
madre estaba a punto de echarse a llorar. Y su padre le había dado como dinero de bolsillo dos monedas de a cinco
chelines. Y su padre le había
dicho que escribiera a casa si
necesitaba algo, y que, sobre
todo, nunca acusara a un compañero aunque hiciese lo que
hiciese. Después, a la puerta del
c a s t i l l o , e l r e c t o r , c on l a
sotana flotante a la
b r i s a , h a b í a estrechado la
mano a sus padres y el coche había
partido con su padre y su maX d r e d e n tro. ___ _____ ___ _
______ ________ __
50
—Goodbye, Stephen, goodbye!
—¡Adiós, Stephen, adiós!
—Goodbye, Stephen, goodbye!
—¡Adiós, Stephen, adiós!
55
11. scrimmage (escaramuza ): in rugby football, a scrum,
a set piece in which the opposing forwards lock
together to form a low arch into which the ball is fed
and from which it is released again by foot. The game
played here is not, as has sometimes been claimed,
Gaelic football. Stephen seems to be playing in the
line of backs, probably on the wing, and is devoting
his energies to avoiding any contact with either ball
or opposing player. Rugby, like cricket, would have
been considered to be a proper game for a college
like Clongowes with its ‘public school’ ethos. Gaelic
football’s revival dates from 1884, but its later political
victories were not won on the playing fields of
Clongowes.
Se vio cogido entre el remolino
de un pelotón de jugadores y, temeroso de los ojos fulgurantes y de
las botas embarradas, se dobló
completamente mirando por
entre las piernas. Los muchachos pugnaban, bramaban y pataleaban entre restregones de
piernas y puntapiés. De pronto
las botas amarillas de Jack
Lawton lanzaron el balón detrás. Stephen corrió también un
He was caught in the whirl
of a scrimmage and, fearful of
the flashing eyes and muddy
boots, bent down to look
through the legs. The fellows
60
were struggling and groaning
and their legs were rubbing and
kicking and stamping. Then
Jack Lawton’s yellow boots
65 dodged out the ball and all the
other boots and legs ran after.
He ran after them a little way
4
Joyce’s Portrait
12. seventy-seven to seventy-six: the number of days
to go to the end of first term.
seventy-seven to seventy-six i.e. the number of days
before the holidays. Stephen does change this later.
• seventyseven to seventysix Stephen has 76 days until
classes are dismissed for Christmas holidays.
13. He wondered . . . the windows: Archibald Hamilton
Rowan (1[751[-1834) was a member of the radical
United Irishmen organization that had sought to
establish in Ireland a version of French revolutionary
republican ideals. He was arrested in 1794 but
escaped his troop escort and hid in Clongowes Wood
Castle, as it then was. He is reputed to have thrown
his hat from the library window on to the ha-ha
outside, thus deceiving the British soldiers into
believing that he had escaped in that direction. The
legend has it that he hid in a secret room in the castle
until he was smuggled in safety to France some time
later. (G)
Hamilton Rowan (1751-1834) The Irish patriot who hid
at Clongowes and succeeded in throwing the
pursuing English soldiers off the scent.
A ha-ha is a bank or dry moat designed to keep cattle
off the lawns and gardens surrounding a house
without obstructing the view.
ha-ha A sunk fence, or ditch, around parkland or gardens.
ha-ha n. a ditch with a wall on its inner side below ground
level, forming a boundary to a park or garden without
interrupting the view. OD
• the haha a sunken wall or barrier in a ditch, constructed
to divide land without obstructing the landscape.
slugs Irregular shaped bullets.
shortbread crisp, dry, buttery bars.
• lights in the castle the «castle» refers to the complex
that houses, among other things, the rector’s
quarters. The original castle, built in the medieval
era, was destroyed in the seventeenth century and
rebuilt. The Jesuits purchased it in 1814 and founded
the prestigious Clongowes Wood College for boys.
trecho y luego se paró. No tenía objeto el seguir. Pronto se
irían a casa, de vacaciones.
Después de la cena, en el salón
de estudio, iba a cambiar el número que estaba pegado dentro
de su pupitre: de 77 a 76.
It would be better to be in
the study hall than out there in
the cold. The sky was pale and
cold but there were lights in the
castle. He wondered from
which window Hamilton
Rowan had thrown his hat on
the ha-ha and had there been
flowerbeds at that time under
the windows. One day when he
had been called to the castle the
butler had shown him the
marks of the soldiers’ slugs in the
wood of the door and had given
him a piece of shortbread that
the community ate. It was
nice and warm to see the
lights in the castle. It was like
something in a book. Perhaps
Leicester Abbey was like that.
And there were nice sentences
in Doctor Cornwell’s Spelling
Book. They were like poetry
but they were only sentences to
learn the spelling from.
Sería mejor estar en el salón de estudio, que no allí fuera al frío. El cielo estaba pálido y frío, pero en el castillo
había luces. Se quedó pensando
desde qué ventana habría arrojado Hamilton Rowan su s o m b r e r o al foso y si habría ya
e n tonces a rriate s d e f l o r e s
b a j o l a s v e n t a n a s . Un
día que le habían llamado al castillo, el despensero le había enseñado las huellas de las balas de los
soldados en la madera de la puerta y
le había dado un pedazo de torta de
la que comía la comunidad. ¡Qué
agradable y reconfortante era ver
las luces en el [11] castillo! Era
como una cosa de un libro. Tal vez la
Abadía de Leicester sería así. ¡Y qué
frases tan bonitas había en el libro de
lectura del doctor Cornwell! Eran
como versos, sólo q u e e r a n
únicamente frases para
aprender a deletrear.
Wolsey died in Leicester Abbey
Where the abbots buried him.
40 Canker is a disease of plants,
Cancer one of animals.
Wolsey murió en la Abadía de Leicester
donde los abades le enterraron.
Cancro es una enfermedad de plantas;
cáncer, una de animales.
It would be nice to lie on
the hearthrug before the fire,
45
leaning his head upon his
hands, and think on those
sentences. He shivered as if
he had cold slimy water next
50 his skin. That was mean of
Wells to shoulder him into
the square ditch because he X
would not swop his little
s n u f f b o x f o r We l l s ’s
55 seasoned hacking chestnut, the X
conqueror of forty. How cold
and slimy the water had been!
A fellow had once seen a big
rat jump into the scum . X
60
Mother was sitting at the fire
with Dante waiting for Brigid
to bring in the tea. She had her
feet on the fender and her
65 jewelly slippers were so hot and
they had such a lovely warm
smell! Dante knew a lot of
¡Qué bien se estaría echado sobre la esterilla delante del fuego, con
la cabeza apoyada entre las manos y
pensando estas frases! Le corrió un
escalofrío como si hubiera sentido
juntó a la piel un agua fría y viscosa.
Había sido una villanía de Wells
el empujarle dentro de la
fosa______ y todo porque no
l e h a b ía querido cambiar su cajita de rapé por la castaña pilonga de él, de Wells,
por aquella ______ castaña vencedora
en cuarenta co m b a t e s . ¡ Q u é f r í a
y qué pegajosa estaba el
a g u a ! U n c h i c o h a b ía visto
una vez saltar una ____rata al
foso. Madre estaba sentada con
Dante al fuego esperando que
Brígida entrase el té. Tenía los
pies en el cerco de la chimenea
y sus zapatillas adornadas estaban calientes, ¡calientes!, y ¡tenían un olor tan
agradable! Dante sabía la m a r d e c o -
10
15
20
25
30
Clongowes Wood Castle was sold to the Jesuit order in
11814 and became the centre of the complex of
buildings forming Clongowes Wood College, SJ.
Thomas, Cardinal Wolsey (1475?-1530), fell from grace
because he could not persuade the Pope to declare
Henry Vill’s first marriage void. He died at the Abbey
of Saint Mary Pre, near Leicester, in England.
Leicester Abbey - Wolsey (1471-1530). The latter was
Henry VIII’s Cardinal. He was arrested for High
Treason, was taken ill on the way to London, and
died at Leicester Abbey with the famous words on
his lips: ‘Had I but served God as I have served the
King. He would not have forsaken me in my grey
hairs’.
15. square ditch: the square is an open water closet behind
the dormitory; the ditch is the cesspool (charca o fosa
séptica o de aguas residuales) for this WC. (A) The
ditch is an open drain carrying the urinal water.
• shoulder him into the square ditch shove him into the
cesspool or open square sewage.
• Wells’s seasoned hacking chestnut Wells’s chestnut (used
in a game); it has cracked (conquered) 40 others.
16. hacking chestnut: chestnuts were suspended on a
string and one was struck against the other until one
of them broke.
hacking chestnut: his prize concker (horse chestnut). Also
called: conker the nut of this tree (conker: 1 : a horse
chestnut especially when used in conkers 2 plural : a
game in which each player swings a horse chestnut on
a string to try to break one held by the opponent
a big rat jump plop into the scum This image, and others
connected with it, are repeated several times to
indicate Stephen’s sensitivity.
• with her feet on the fender with her feet on a low metal
guard before an open fireplace; a fender is used to
deflect popping, or falling coals
and then stopped. It was useless
to run on. Soon they would be
going home for the holidays.
After supper in the study hall he
5
would change the number
pasted up inside his desk from
seventy-seven to seventy-six.
35
5
14. Doctor Cornwell’s Spelling Book . . . one o f animals:
A Grammar for Beginners (1838), an introduction to
An English School Grammar (x839), both by James
Cornwell and Alexander Allen, were standard in
primary and intermediate schools in Ireland at this
time. The Intermediate Education Act of 1878
established a system of public examinations and
payment to school managers on the basis of results
obtained therein. This encouraged’ systematic
cramming; texts such as these were designed to
cater to this kind of education. Young Stephen’s
frequent quotations from classroom material are
typical of the memorizing of set pieces practised at
Clongowes and other schools.
cater VI. to cater for or (US) to sb’s needs
atender las necesidades de algn; to
cater for or (US) to all tastes atender
a todos los gustos; this magazine
caters for or (US) to the under-21’s
esta revista está dirigida a gente por
debajo de los 21 años
slimy viscoso, baboso,, zalamero, untuoso, pelota
el no aclarar que la fosa es séptica crea
much confusión sobre las fiebres de
Stephen. Tampoco se traduce más adelante cuando sale el vocablo «cesspool»
horse chestnut noun
1 any of several trees of the genus Aesculus, esp. the
Eurasian A. hippocastanum, having palmate leaves,
erect clusters of white, pink, or red flowers, and brown
shiny inedible nuts enclosed in a spiky bur: family
Hippocastanaceae
2 Also called: conker the nut of this tree [ETYMOLOGY:
16th Century: so called from its having been used in
the treatment of respiratory disease in horses]
fender n. 1 a low frame bordering a fireplace to keep
in falling coals etc. 2 Naut. a piece of old cable,
matting, etc., hung over a vessel’s side to protect it
against impact. 3 a a thing used to keep something
off, prevent a collision, etc. b US a bumper or
mudguard of a motor vehicle.
Joyce’s Portrait
Mozambique Channel In Portuguese East Africa, as it
then was, visited by St Francis Xavier.
acedía=acidez, trato áspero, amarillez, listlessness,
depresión, apatía.
acidia=pereza, angustia, apatía
things. She had taught him
where the Mozambique Channel
was and what was the longest
river in America and what was
5
the name of the highest
mountain in the moon. Father
Arnall knew more than Dante
because he was a priest but both
10 his father and uncle Charles
said that Dante was a clever
woman and a well-read woman.
And when Dante made that
noise after dinner and then put
15 up her hand to her mouth: that
was heartburn.
sas. Le había enseñado dónde est a b a e l ca n a l d e M o z a m b i q u e
y cuál era el río más
largo de América, y el
nombre de la montaña
m á s a l t a d e l a luna. El
Padre Arnall sabía más que
Dante porque era sacerdote, pero
tanto su padre como tío Charles decían que Dante era una
mujer muy lista y muy instruida. Y cuando Dante después de
comer hacía aquel ruido y se llevaba la m a n o a la boca, aquello
se llamaba acedía.
A voice cried far out on the
playground:
Una voz gritó desde lejos en el
campo de juego:
20
—All in!
—¡Todo el mundo dentro!
Then other voices cried
Después otras voces gritaron
desde la segunda y la tercera división:
25 f r o m t h e l o w e r a n d t h i r d
lines:
—All in! All in!
The players closed around,
flushed and muddy, and he
went among them, glad to go
in. Rody Kickham held the
35 b a l l b y i t s g r e a s y l a c e . A
fellow asked him to give it one
last: but he walked on without
even answering the fellow.
Simon Moonan told him not to
40 b e c a u s e t h e p r e f e c t w a s
looking. The fellow turned to
Simon Moonan and said:
—¡Todos adentro! ¡Todos adentro!
[12]
Los jugadores se agrupaban sofocados y embarrados, y él se
mezcló con ellos, contento de volver a entrar. Rody Kickham llevaba el balón cogido por la atadura
grasienta. Un chico le dijo que le
pegara todavía la última patada;
pero el otro se metió dentro sin
contestarle. Simón Moonan le dijo
que no lo hiciera porque el prefecto estaba mirando. El chico se volvió a Simón Moonan, y le dijo:
— We a l l k n o w w h y
y o u s p e a k . Yo u a r e
McGlade’s suck.
— To d o s s a b e m o s p o r
qué lo dices. Tú eres el
chupito de Mc Glade.
Suck was a queer word. The
fellow
called Simon Moonan
50
that name because Simon
Moonan used to tie the
prefect’s false sleeves behind
his back and the prefect used
55 to let on to be angry. But the
sound was ugly. Once he had
washed his hands in the
lavatory of the Wicklow Hotel
and his father pulled the
60
stopper up by the chain after
and the dirty water went down
through the hole in the basin.
And when it had all gone down
65 slowly the hole in the basin had
made a sound like that: suck.
Only louder.
Chupito era una palabra
muy rara. Aquel chico le llamaba así a Simón Moonan porque
Simón Moonan solía atar las
mangas falsas del prefecto y el
prefecto hacía como que se enfadaba. Pero el sonido de la
palabra era feo. Una vez se había lavado él las manos en el
lavabo del Hotel Wicklow, y su
padre tiró después de la cadena
para quitar el tapón, y el agua
sucia cayó por el agujero de la
palangana. Y cuando toda el
agua se hubo sumido lentamente, el agujero de la palangana
hizo un ruido así: chup. Sólo
que más fuerte.
30
one last i.e. kick.
45
17. suck: favourite, sycophant ( a servile flatterer;
a toady)
. (slang) someone’s favourite who ‘sucks up’ to the
person in question
suck Once again, Stephen’s early word awareness.
Here it means ‘sucked up to’.
• You are McGlade’s suck. You are McGlade’s bootlicker,
brown-noser, apple-polisher.
the prefect’s false sleeves The reference is to the Prefect
of Studies and to the extra sleeves of his long gown.
His judgment, too, is false, as we can see when he
pandies Stephen.
18. Wicklow Hotel: in Wicklow Street, in central Dublin.
6
[chup-it-o]
Joyce’s Portrait
• there were two cocks there were two faucets-one
marked «hot;’ the other ‘cold:’
To remember that and the
white look of the lavatory
made him feel cold and then
5
hot. There were two cocks that
you turned and water came
out: cold and hot. He felt cold
and then a little hot: and he
10 could see the names printed on
the cocks. That was a very
queer thing.
Y al acordarse de esto y
del aspecto blanco del lavabo, sentía frío y luego calor.
Había dos grifos, y al abrirlos corría el agua: fría y caliente. Y él sentía frío y luego un poquito de calor. Y podía ver los hombres estampados en los grifos. Era una
cosa muy rara.
And the air in the corridor
and wettish. But soon the gas
would be lit and in burning it
made a light noise like a little
song. Always the same: and
20
when the fellows stopped
talking in the playroom you
could hear it.
Y el aire del tránsito le
escalofriaba también. Era un aire
raro y húmedo. Pronto encenderían el gas y al arder haría un ligero ruido como una cancioncilla. Siempre era lo mismo: y, si
los chicos dejaban de hablar en
el cuarto de recreo, entonces se
podía oír muy bien.
25
It was the hour for
sums. Father Arnall
wrote a hard sum on the
board and then said:
Era la hora de los problemas
de aritmética. El Padre Arnall
escribió un problema muy difícil
en el encerado, y luego dijo:
30
—Now then, who will win?
Go ahead, York! Go ahead,
Lancaster!
—¡Vamos a ver quién va a ganar! ¡ H a l a , Y o r k ! ¡ H a l a ,
Lancaster!
Stephen tried his best, but
the sum was too hard and he
felt confused. The little silk
badge with the white rose on it
that was pinned on the breast
40 of his jacket began to flutter.
He was no good at sums, but
he tried his best so that York
m i g h t n o t l o s e . Father
A r n a l l ’s f a c e l o o k e d v e r y
45
black, but he was not in a wax:
he was laughing. Then Jack
Lawton cracked his fingers and
Father Arnall looked at his
50 copybook and said:
Stephen lo hacía lo mejor que
podía, pero la operación era muy
complicada y se hizo un lío. La pequeña escarapela de [13] seda, prendida con un alfiler en su chaqueta,
comenzó a oscilar. Él no se daba
mucha maña para los problemas,
pero trataba de hacerlo lo mejor que
podía para que York no perdiese. La
cara del Padre Arnall parecía muy
ceñuda, pero no estaba enfadado:
se estaba riendo. Al cabo de un
rato, Jack Lawton chascó los dedos, y el Padre Arnall le miró el
cuaderno y dijo:
—Right. Bravo Lancaster!
The red rose wins. Come on
now, York! Forge ahead!
—Bien. ¡Bravo, Lancaster!
L a r o s a r o j a g a n a . ¡ Vamos,
York! ¡Hay que alcanzarlos!
Jack Lawton looked over
from his side. The little silk
badge with the red rose on it
looked very rich because he
60
had a blue sailor top on.
Stephen felt his own face red
too, thinking of all the bets
about who would get first
65 p l a c e i n e l e m e n t s , J a c k
Lawton or he. Some weeks
Jack Lawton got the card for
Jack Lawton le estaba mirando desde su sitio. La pequeña escarapela con la rosa roja
le caía muy bien, porque llevaba una blusa azul de marinero.
Stephen sintió que su cara estaba roja
también, y pensó en todas las apuestas
que había cruzadas sobre quién ganaría el primer puesto en Nociones, Jack
Lawton o él. A lgunas semanas
ganaba Jack Lawton la tarjeta
15 chilled him too. It was queer
like a little song Stephen uses the image - perhaps it
looks back to the ‘little song’ which Stephen regards
as his. It underlines his loneliness here.
• the hour for sums the hour for arithmetic, or
mathematics.
19. York! . . . Lancaster!: the names of the opposing
English houses in the dynastic Wars of the Roses
(x445-85). Ireland supported Yorkshire, whose
emblem was the white rose, against Lancaster, the
red rose. This was noted by the victorious Lancastrian
dynasty. The competitive spirit in learning fostered
by the Jesuits was in accord with the examination
system inaugurated in 1878.
York - .. Lancaster The two houses in the Wars of the
Roses (1453-86). The badge of the former was white,
of the latter red. Henry VII united the claims of both
in his person when he succeeded to the throne after
the battle of Bosworth.
• Go ahead, York! Go ahead, Lancaster! the class is
divided into two teams, each representing one of
the two families (Lancaster, red rose; York, white
rose) that battled for the English throne during the
40-year War of the Roses (1445-85). Shakespeares
Henry Vl, Parts 1,2,3 is set in this turbulent era and
concerns its dynastic struggle for power.
20. a wax: a bad temper.
a wax a temper, (slang) rage.
• he was not in a wax he was not yet seethingly,
passionately angry.
35
55
blue sailor top This form of shirt-like garment was
fashionable at the time.
21. elements: that is, in spelling, grammar, writing,
arithmetic, geography, history and Latin.
elements This would be the first, or ‘elementary’, class
from which Stephen would graduate into ‘third of
grammar’ and thence up the school.
• first place in elements first place in the various required
classesLatin, mathematics, literature, and so forth.
7
Joyce’s Portrait
5
10
15
20
25
22. green rose: possibly the references to red, green
and roses are covert allusions to Ireland, traditionally
associated with the rose in its dark or sacrificially
crimson shades. But it is more likely that Stephen is
here considering the relation between what is
possible in the world and what is possible in words.
30
35
• two prints of butter two pats of butter with patterned
marks, or «prints» on top.
40
clumsy scullion, girt with Notice the style change here
-the language is dated, old-fashioned, perhaps like
Clongowes itself.
• the clumsy scullion the clumsy kitchen servant.
pour v. 1 intr. & tr. (usu. foll. by down, out, over, etc.) flow or
cause to flow esp. downwards in a stream or shower.
2 tr. dispense (a drink, e.g. tea) by pouring.
3 intr. (of rain, or with it as subject) fall heavily.
4 intr. (usu. foll. by in, out, etc.) come or go in profusion or
rapid succession (the crowd poured out; letters poured in; poems
poured from her fertile mind).
5 tr. discharge or send freely (poured forth arrows).
6 tr. (often foll. by out) utter at length or in a rush (poured out
their story; poured scorn on my attempts).
it never rains but it pours misfortunes rarely come singly.
pour cold water on see cold.
pour oil on the waters (or on troubled waters) calm a
disagreement or disturbance, esp. with conciliatory words.
45
50
hogwash i.e. fit only for pigs.
55
first and some weeks he got
the card for first. His white
silk badge fluttered and
fluttered as he worked at the
next sum and heard Father
Arnall’s voice. Then all his
eagerness passed away and he
felt his face quite cool. He
thought his face must be white
because it felt so cool. He
could not get out the answer
for the sum but it did not
matter. White roses and red
roses: those were beautiful
colours to think of. And the
cards for first place and
second place and third place
were beautiful colours too:
pink and cream and lavender.
Lavender and cream and pink
roses were beautiful to think
of. Perhaps a wild rose might
be like those colours and he
remembered the song about
the wild rose blossoms on the
little green place. But you
could not have a green rose.
But perhaps somewhere in the
world you could.
de primero, y otras él. Su escarapela de seda blanca vibraba y vibraba, mientras trabajaba en el siguiente problema
y oía la voz del Padre Arnall.
Después, todo su ahínco pasó,
y sintió que tenía la cara completamente fría. Pensó que debía de tener la cara blanca,
pues la notaba tan fría. No podía resolver el problema, pero
no importaba. Rosas blancas y
rosas rojas: ¡qué colores tan
bonitos para estarse pensando
en ellos! Y las tarjetas del primer puesto y del segundo y del
tercero también tenían unos
colores muy bonitos: rosa,
crema y azul pálido. Y también era hermoso pensar en
rosas crema y rosas rosa. Tal
vez una rosa silvestre podría
tener esos colores, y se acordó de la canción de las flores
de las rosas silvestres en el
pradecito verde. Pero lo que no
podría haber era una rosa verde.
Quizá la hubiera en alguna
parte del mundo.
The bell rang and then the
classes began to file out of the
rooms and along the corridors
towards the refectory. He sat
looking at the two prints of butter
on his plate but could not eat
the damp bread. The
tablecloth was damp
and limp. But he drank
off the hot weak tea which the
clumsy scullion, girt with a white apron,
poured into his cup. He wondered
whether the scullion’s apron
was damp too or whether all
white things were cold and
damp. Nasty Roche and Saurin
drank cocoa that their people
sent them in tins. They said
they could not drink the tea;
that it was hogwash. Their
fathers were magistrates, the
X
fellows said.
Sonó la campana, y los alumnos comenzaron a salir de la clase hacia el refectorio, a lo largo
de los tránsitos. Se s entó mirando
los dos moldes de mantequilla que
había en su plato, pero no
pudo comer el pan húmedo.
El mantel estaba húmedo y
blando. Se bebió de un trago,
sin embargo, el té que le [14]
e c h ó en la taza un marmitón zafio,
ceñido de un delantal blanco. Pensaba si
el delantal del marmi t ó n e s taría
húmedo también, o si todas las
cosas blancas serían húmedas
y frías. Roche el Malo y Saurín
bebían cacao: se lo enviaban
sus familias en latas. Decían que
no podían beber aquel té, porque
era como agua de fregar. Decían que
sus padres eran magistrados _ ____ _ _
_ __ __ __ __.
All the boys seemed to him
very strange. They had all
60
fathers and mothers and
different clothes and voices. He
longed to be at home and lay his
head on his mother’s lap. But
65 he could not: and so he longed
for the play and study and
prayers to be over and to be in
Todos los chicos le parecían
muy extraños. Todos tenían padres y madres, y trajes y voces diferentes. Y deseaba estar en casa
y reclinar la cabeza en el regazo
de su madre. Pero no podía; y lo
que quería; por lo menos, era que
se acabaran el juego y el estudio
y las oraciones para estar en la
8
Joyce’s Portrait
bed.
cama.
He drank another cup of hot
tea and Fleming said:
Bebió otra taza de té caliente y Fleming le dijo:
—What’s up? Have you a
pain or what’s up with you?
—¿Qué tienes? ¿Te duele
algo o qué es lo que te pasa?
5
10
sick in your breadbasket Slang for ‘you have a
stomach-ache’.
• sick in your breadbasket sick at the stomach.
—No sé —dijo Stephen.
—I don’t know, Stephen said.
—Sick in your breadbasket,
Fleming said, because your
face looks white. It will go
15 away.
—Lo que tú tienes malo es el saco del
pan —dijo Fleming—, porque
estás muy pálido. ¡Eso te
pasa!
—O yes, Stephen said.
20
25
30
like a train One of Stephen’s favourite comparisons; he
is often thinking of journeys - all of which lead to his
final decision.
23. Dalkey: a village on the coast, eight miles south-east
of Dublin and one of the stops on the railway journey
from the more southerly Bray, where Joyce’s family
lived, to Dublin.
Dalkey. Suburb of Dublin. Joyce taught there for a short
time in 1903.
35
40
45
higher line: boys fifteen to eighteen
But he was not sick there.
He thought that he was sick in
his heart if you could be sick
in that place. Fleming was
very decent to ask him. He
wanted to cry. He leaned his
elbows on the table and shut
and opened the flaps of his
ears. Then he heard the noise
of the refectory every time he
opened the flaps of his ears.
It made a roar like a train at
night. And when he closed the
flaps the roar was shut off like
a train going into a tunnel. That
night at Dalkey the train had
roared like that and then, when
it went into the tunnel, the roar
stopped. He closed his eyes
and the train went on, roaring
and then stopping; roaring
again, stopping. It was nice to
hear it roar and stop and then
roar out of the tunnel again and
then stop.
—Sí, sí—dijo Stephen.
Pero la enfermedad no estaba allí. Pensó que lo que tenía
enfermo era el corazón, si el
corazón podía estarlo. ¡Qué
amable había estado Fleming
interesándose por él! Sentía
ganas de llorar. Apoyó los codos en la mesa y se puso a taparse y destaparse los oídos.
Cada vez que destapaba los oídos, se oía el ruido del comedor.
Era un estruendo como el del tren por
la noche. Y cuando se tapaba los oídos, el estruendo cesaba, como el
de un tren dentro de un túnel. Aquella noche en Dalkey el tren había
hecho el mismo estruendo, y, luego, al entrar en el túnel, el estrépito
había cesado. Cerró los ojos, y
el tren siguió sonando y callando; sonando otra vez y callando. ¡Qué susto daba oírlo
callar y volver de nuevo a sonar fuera del túnel y luego salir otra vez!
Then the higher line fellows
began to come down along the
50 matting in the middle of the
refectory, Paddy Rath and
Jimmy Magee and the Spaniard
who was allowed to smoke
cigars and the little Portuguese
55 who wore the woolly cap. And
then the lower line tables and
X
the tables of the third line. And
every single fellow had a
different way of walking.
60
He sat in a corner of the
playroom pretending to watch
a game of dominoes and once
65 or twice he was able to hear for
an instant the little song of the
gas. The prefect was at the door
9
Comenzaron a venir a
l o la r g o d e l a estera del centro del refectorio los de la primera división, Paddy Rath y
Jimmy Magee, y el español
al que le dejaban fumar cigarros, y el portuguesito
de la gorra d e l a n a . _
_ _ _ _ _ _ _ _______ ___
_________ ______ ____ _ Y
cada uno tenía su manera
d i s t i n t a d e a n d a r.
[15]
Se sentó en un rincón del salón de recreo, haciendo como
que miraba un partido de dominó, y por dos o tres veces pudo
oír la cancioncilla del gas. El
prefecto estaba a la puerta con va-
módico
[aseado].
Joyce’s Portrait
• knotting his false sleeves Moonan is knotting two cloth
streamers [cintas, serpentinas] that are attached to
the shoulders of the prefect’s gown, or soutane.
24. Tullabeg: in 1886, St Stanislaus’s College, Tullabeg,
became the home of the Jesuit Novitiate in Ireland.
It closed in 1990.
Tullabeg Jesuit school closed earlier, the pupils moving
on to Clongowes.
with some boys and Simon
Moonan was knotting his false
sleeves. He was telling them
something about Tullabeg.
rios m u c h a c h o s y S i m ó n Moonan
le estaba atando las mangas falsas del hábito de los jesuitas ingleses. Estaba contando algo acerca de Tullabeg.
Then he went away from the
door and Wells came over to
Stephen and said:
Por fin se marchó de la
p u e r t a y We l l s s e a c e r c ó a
Stephen y le dijo:
—Tell us, Dedalus, do you
kiss your mother before you
go to bed?
—D i n o s , D é d a l u s ,
¿besas a tu madre por la noche antes
de irte a la cama?
¿añadido explicativo que traiciona el punto
de vista de Stephen?
5
streamer n.1 a long narrow flag. 2 a long narrow strip of ribbon or
paper, esp. in a coil that unrolls when thrown. 3 a banner
headline. 4 (in pl.) the aurora borealis or australis.
Banderolas, gallardetes, serpentinas, cintas
10
25. kiss your mother: probably a reference to St Aloysius
Gonzaga (1568-91 ), a famous Jesuit who is reputed
to have avoided even looking at his mother. This
version of the Oedipal complex understandably
worries Stephen. Kissing his mother or being kissed
by her is an anxiety that recurs within a few
paragraphs and again on pp. 118, 263.
15
Stephen answered:
Stephen contestó:
—I do.
—Sí.
Wells turned to the other
fellows and said:
We l l s s e v o l v i ó a l o s
otros y dijo:
—O, I say, here’s a fellow
says he kisses his mother every
25 night before he goes to bed.
—Mirad, aquí hay uno que
dice que besa a su madre todas
las noches antes de irse a la cama.
The other fellows stopped
their game and turned round,
laughing. Stephen blushed
30 under their eyes and said:
Los otros chicos pararon
de jugar y se volvieron para
mirar, riendo. Stephen se sonrojó ante sus miradas y dijo:
20
35
—I do not.
—No, no la beso.
Wells said:
Wells dijo:
—O, I say, here’s a fellow
says he doesn’t kiss his mother
before he goes to bed.
—Mirad, aquí hay uno que
dice que él no besa a su madre
antes de irse a la cama.
They all laughed again.
Stephen tried to laugh with them.
He felt his whole body hot and
confused in a moment.
45
What was the right answer
to the question? He had
g i v e n t w o a n d s t i l l We l l s
l a u g h e d . B u t We l l s m u s t
50 know the right answer for he
was in third of grammar. He
tried to think of Wells’s mother but
he did not dare to raise his eyes to
Wells’s face. He did not like Wells’s face.
55 It was Wells who had shouldered him
into the square ditch the day before
because he would not swop his
little snuff box for Wells’s
seasoned hacking chestnut,
60
th e c o n q u e r o r o f forty. I t
w as a mean thing to do; al l
the fellows said it was.
A n d h o w c old and slimy the
65 water had been! And a fellow
had once seen a big rat jump
plop into the scum.
Todos se volvieron a reír.
Stephen trató de reír con ellos. En
un momento, se azoró y sintió una
oleada de calor por todo el cuerpo.
¿Cuál era la debida respuesta?
Había dado dos y, sin embargo, Wells se reía. Pero Wells
debía saber cuál era la respuesta, porque estaba en tercero de
gramática. Trató de pensar en la
madre de Wells, pero no se atrevía a
mirarle a él a la ca r a . N o l e g u s t a b a l a c a r a d e We l l s . We l l s h a bía sido el que le habí a t i r a d o
a la fosa el día anterior porque no había querido cambiar su cajita de rapé por
l a c a s t a ñ a p i l o n g a d e We l l s ,
p o r a q u e l l a c a s t a ña vencedora
en cuarenta partidos. Había sido una
villanía: todos los chicos lo habían dicho. ¡Y qué fría y q u é v i s c o s a estaba el agua! Y un muchacho había visto
una vez una rata muy grande saltar y, ¡plum!,
zambullirse de cabeza en el légamo.
40
• he was in the third of grammar he was an older student.
third of grammar: the class above Stephen’s
10
azorar : 1. tr. Asustar, perseguir o alcanzar el azor a
las aves. 2. fig. Conturbar, sobresaltar. 3. fig. Irritar, encender, infundir ánimo.
Joyce’s Portrait
The cold slime of the ditch
covered his whole body; and,
when the bell rang for study and
the lines filed out of the
playrooms, he felt the cold air
of the corridor and staircase
inside his clothes. He still tried
to think what was the right
answer. Was it right to kiss his
mother or wrong to kiss his
mother? What did that mean, to
kiss? You put your face up like
that to say good night and then
his mother put her face down.
That was to kiss. His mother put
her lips on his cheek; her lips
were soft and they wetted his
cheek; and they made a tiny
little noise: kiss. Why did
people do that with their two
faces?
[16]
La viscosidad fría del foso le
cubría todo el cuerpo; y cuando
sonó la campana para el estudio
y las divisiones salieron de los
salones de recreo, sintió dentro
de la ropa el aire frío del tránsito y de la escalera. Todavía trató de pensar cuál era la verdadera contestación. ¿Estaba bien
besar a su madre o estaba mal?
Y, ¿qué significaba aquello, besar? Poner la cara hacia arriba,
así, para decir buenas noches y
que luego su madre inclinara la suya.
Eso era besar. Su madre ponía
los labios sobre la mejilla de él;
aquellos labios eran suaves y le
humedecían la cara; y luego hacía
un ruidillo muy pequeño: beso. ¿Por
qué se hacía así con
la cara?
Sitting in the study hall he
opened the lid of his desk and
changed the number pasted up
inside from seventy-seven to
30 seventy-six. But the Christmas
vacation was very far away:
but one time it would come
because the earth moved round
35 always.
Sentado ya en el salón de
estudio, abrió la tapa de su
pupitre y cambió el número
que estaba pegado dentro de
77 en 76. Pero las vacaciones
de Navidad estaban muy lejos
todavía; y sin embargo, habían de llegar, porque la tierra giraba siempre.
There was a picture of the
earth on the first page of his
geography: a big ball in the
40 middle of clouds. Fleming had
a box of crayons and one night
during free study he had
coloured the earth green and
the clouds maroon. That was
45
like the two brushes in Dante’s press,
the brush with the green velvet
back for Parnell and the brush
with the maroon velvet back
50 for Michael Davitt. But he
had not told Fleming to colour
them those colours. Fleming
had done it himself.
Había un grabado de la tierra en la primera página de la
Geografía una pelota muy grande entre nubes. Fleming tenía
una caja de lápices y una noche
en el estudio libre había iluminado la tierra de verde y las nubes de marrón. Era como los dos
cepillos en el armario de Dante:
el cepillo con el respaldo verde
para Parnell y el cepillo con el
respaldo marrón para Michael
Davitt. Pero él no le había dicho a Fleming que las pintara
de aquellos colores: lo había hecho Fleming de por sí.
55
Abrió la Geografía para estudiar la lección, pero no se podía
acordar de los nombres de lugares
de América. Y sin embargo, todos
ellos eran sitios diferentes que tenían diferentes nombres. Todos
estaban en países que tenían diferentes nombres. Todos estaban en
países distintos y los países estaban en continentes y los continentes estaban en el mundo y el mundo era el universo.
5
10
15
20
25
but one time it would come Notice how Joyce gets inside
a young child’s mind.
green ... maroon Another mention (and they are frequent)
of one of the recurring motifs.
He opened the geography
to study the lesson; but
he could not learn the names of
places in America. S t i l l
they
were
all
60
different
places
that had different
n a m e s . They were all in
different countries and the countries
65 were in continents and the
continents were in the world and the
world was in the universe.
11
Joyce’s Portrait
• turned to the flyleaf turned to the blank page in the
front of the book.
26. for a cod: for a joke.
a cod a hoax, a joke or prank .
• do something for a cod do something for a joke.
Stephen Dedalus ... heaven my expectation Even
this simple verse carries its particular irony, for
Stephen is to leave Ireland and, before that, to
reject the way to heaven.
He turned to the flyleaf of
the geography and read what
he had written there: himself,
5
his name and where he was.
Stephen Dedalus
Class of Elements
10 Clongowes Wood College
Sallins
County Kildare
Ireland
Europe
15 The World
The Universe
//Pasó las hojas de la Geografía
hasta llegar a la guarda y leyó lo que
él había escrito allí. Allí estaban él,
su nombre y su residencia.
[16]
Stephen Dédalus
Clase de Nociones
Colegio de Clongowes Wood
Sallins
Condado de Kildare
Irlanda
Europa
El Mundo
El Universo
That was in his writing: and
Fleming one night for a cod had
20
written on the opposite page:
Esto estaba escrito de su mano. Y
Fleming había escrito por broma en
la página opuesta:
Stephen Dedalus is my name,
Ireland is my nation.
25 Clongowes is my
dwellingplace
And heaven my expectation.
Stephen Dédalus es mi nombre
e Irlanda mi nación.
Clongowes
donde yo vivo
y el cielo mi aspiración.
He
read
the
verses
30 backwards but then they were
Dieu Again the whole sequence round this word shows
Stephen’s childlike concern with words.
not poetry. Then he read the
flyleaf from the bottom to the
top till he came to his own name.
35 That was he: and he read down
the page again. What was after
the universe? Nothing. But was
there anything round the
universe to show where it
40 stopped before the nothing place
began? It could not be a wall;
but there could be a thin thin line
there all round everything. It was
very big to think about
45
everything and everywhere.
Only God could do that. He tried
to think what a big thought that
must be; but he could only think
50 of God. God was God’s name
just as his name was Stephen.
DIEU was the French for God
and that was God’s name too;
and when anyone prayed to
55 God and said DIEU then God
knew at once that it was a
French person that was
praying. But, though there
were different names for God
60
in all the different languages in
the world and God understood
what all the people who prayed
s a i d i n t h e i r d i ff e r e n t
65 languages, still God remained X
always the same God and
God’s real name was God.
12
Leyó los versos del revés, pero
así dejaban de ser poesía. Y luego
leyó de abajo a arriba lo que había
en la guarda hasta que llegó a su
nombre. Aquello era él: y entonces volvió a leer la página hacia
abajo. ¿Qué había después del universo? Nada. Pero, ¿es que había
algo alrededor del universo para
señalar dónde se terminaba, antes de
que la nada comenzase? No podía
haber una muralla. Pero podría haber allí una línea muy delgada, muy
delgada, alrededor de todas las cosas. Era algo inmenso el pensar en
todas las cosas y en todos los sitios.
Sólo Dios podía hacer eso. Trataba
de imaginarse qué pensamiento tan
grande tendría que ser aquél, pero
sólo podía pensar en Dios. Dios era
el nombre de Dios, lo mismo que su
nombre era Stephen. Dieu quería
decir Dios en francés y era también
el nombre de Dios; y cuando alguien
le rezaba a Dios y decía Dieu, Dios
conocía desde el primer momento que era un francés el que estaba rezando. Pero aunque había diferentes nombres para
Dios en las distintas [18] lenguas del mundo y aunque Dios
entendía lo que le rezaban en
todas las lenguas, sin embargo,
Dios permaneceía siempre el
mismo Dios, y el verdadero
nombre de Dios era Dios.
Joyce’s Portrait
5
10
15
20
25
27. something in the paper about it: the fictive time of
the novel is a little elusive. Parnell died on 6 October
18911. The most intense newspaper coverage of the
split in the Irish Parliamentary Party and in the country
at large over Parnell’s leadership took place between
November and December 11890. But the effects of
the spin reverberated for a generation.
fellows in poetry and rhetoric: boys in the two ‘higher
line’ forms
It was like a train going in and out of tunnels One of
Stephen’s favourite images as a child. Ironically it
looks forward to his train journeys from Blackrock to
Dublin and from Dublin to Cork, both of which are
sad.
It made him very tired to
think that way. It made him
feel his head very big. He
turned over the flyleaf and
looked wearily at the green
round earth in the middle of
the maroon clouds. He
wondered which was right, to
be for the green or for the
maroon, because Dante had
ripped the green velvet back off
the brush that was for Parnell
one day with her scissors and
had told him that Parnell was a
bad man. He wondered if they
were arguing at home about
that. That was called politics.
There were two sides in it:
Dante was on one side and his
father and Mr Casey were on the
other side but his mother and
uncle Charles were on no side.
Every day there was something
in the paper about it.
Se cansaba mucho pensando
estas cosas. Le hacía experimentar la sensación de que le crecía
la cabeza. Pasó la guarda del libro y se puso a mirar con aire
cansado a la tierra verde y redonda entre las nubes marrón.
Se preguntaba qué era mejor: si
decidirse por el verde o por el
marrón, porque un día Dante
había arrancado con unas tijeras el respaldo de terciopelo
verde del cepillo dedicado a
Parnell y le había dicho que
Parnell era una mala persona.
Se preguntaba si estarían discutiendo sobre eso en casa. Eso se
llamaba la política. Había dos
partidos: Dante pertenecía a un
partido, y su padre y el señor
Casey a otro, pero su madre y
tío Charles no pertenecían a
ninguno. El periódico hablaba
todos los días de esto.
It pained him that he did not
Le disgustaba el no comprender
bien lo que era la política y el no saber dónde terminaba el universo. Se
sentía pequeño y débil. ¿Cuándo sería él como los mayores que estudiaban retórica y poética? Tenían unos
vozarrones fuertes y unas botas muy
grandes y estudiaban trigonometría.
Eso estaba muy lejos. Primero venían las vacaciones y luego el siguiente trimestre, y luego vacación
otra vez y luego otro trimestre y luego otra vez vacación. Era como un
tren entrando en túneles y saliendo
de ellos y como el ruido de los chicos al comer en el refectorio, si uno
se tapa los oídos y se los destapa luego. Trimestre, vacación; túnel, y salir del túnel; ruido y silencio. ¡Qué
lejos estaba! Lo mejor era irse a la
cama y dormir. Sólo las oraciones en
la capilla, y, luego, la cama. Sintió
un escalofrío y bostezó. ¡Qué bien
se estaría en la cama cuando las sábanas comenzaran a ponerse calientes! Primero, al meterse, estaban
muy frías. Le dio un escalofrío de
pensar lo frías que estaban al principio. Pero luego se ponían calientes
y uno se dormía. ¡Qué gusto daba
estar cansado! Bostezó otra vez. Las
oraciones de la noche y luego la ]19]
cama: sintió un escalofrío y le dieron ganas de bostezar. ¡Qué bien se
iba a estar dentro de unos minutos!
Sintió un calor reconfortante que se
30 know well what politics meant
and that he did not know where
the universe ended. He felt
small and weak. When would he
35 be like the fellows in poetry and
rhetoric? They had big voices
and big boots and they studied
trigonometry. That was very far
away. First came the vacation
40 and then the next term and then
vacation again and then again
another term and then again the
vacation. It was like a train
going in and out of tunnels
45
and that was like the noise of
the boys eating in the refectory
when you opened and closed
the flaps of the ears. Term,
50 vacation; tunnel, out; noise,
stop. How far away it was! It
was better to go to bed to sleep.
Only prayers in the chapel and
then bed. He shivered and
55 yawned. It would be lovely in
bed after the sheets got a bit
hot. First they were so cold to
get into. He shivered to think
how cold they were first. But
60
then they got hot and then he
could sleep. It was lovely to be
tired. He yawned again. Night
prayers and then bed: he
65 shivered and wanted to yawn.
It would be lovely in a few
minutes. He felt a warm glow
13
Joyce’s Portrait
iba deslizando por las sábanas frías,
cada vez más caliente, más caliente, hasta que todo estaba caliente.
¡Caliente, caliente!; y sin embargo,
aún tiritaba un poco y seguía sintiendo ganas de bostezar.
The bell rang for night
prayers and he filed out of the
study hall after the others and
down the staircase and along
the corridors to the chapel. The
corridors were darkly lit and the
chapel was darkly lit. Soon all
would be dark and sleeping.
There was cold night air in the
chapel and the marbles were the
colour the sea was at night. The
sea was cold day and night: but
it was colder at night. It was
co l d a n d d a r k u n d e r t h e
seawall beside his father ’s
house. But the kettle would be
on the hob to make punch.
La campana llamó a las oraciones de la noche y él salió del salón
de estudio en fila detrás de los demás; bajó la escalera y siguió a lo
largo de los tránsitos hacia la capilla. Los tránsitos estaban escasamente alumbrados y lo mismo la
capilla. Pronto, todo estaría oscuro y dormido. En la capilla había
un ambiente nocturno y frío y los
mármoles tenían el color que el
mar tiene por la noche. El mar estaba frío día y noche. Pero estaba
más frío de noche. Estaba frío y
X oscuro debajo del dique, junto a su
casa. Mas la olla del agua estaría
al fuego para preparar el ponche.
The prefect of the chapel
prayed above his head and his
30 memory knew the responses:
El prefecto estaba rezando casi
por encima de su cabeza y él se sabía de memoria las respuestas:
O Lord open our lips
And our mouths shall
35 announce Thy praise.
Incline unto our aid, O God!
O Lord make haste to help us!
Oh, señor, abre nuestros labios:
y nuestras bocas anunciarán tus alabanzas.
¡Dígnate venir en nuestra ayuda, oh, Dios!
¡Oh, Señor, apresúrate a socorrernos!
There was a cold night smell
Había en la capilla un frío olor
a noche. Pero era un olor santo. No
era como el olor de los aldeanos viejos que se ponían de rodillas a la
parte de atrás en la misa de los domingos. Aquél era un olor a aire, a
lluvia, a turba, a pana. Pero eran
unos aldeanos muy piadosos. Le
echaban el aliento sobre el cogote desde detrás y suspiraban
al rezar. Decía un chico que vivían en Clane: había allí unas
cabañitas, y él había visto una
mujer a la puerta de una cabaña
al pasar en los coches viniendo
de Sallins. ¡Qué bien, dormir
una noche en aquella cabaña,
ante el humeante fuego de turba, en la oscuridad iluminada
por el hogar, en la oscuridad caliente, respirando [20] el olor
de los aldeanos, aire y lluvia y
turba y pana! Pero ¡oh!: ¡qué
oscuro se hacía el camino hacia allá, entre los árboles! Se
perdería uno en la oscuridad.
Le daba miedo de pensar lo
10
15
20
• the seawall a strong embankment to prevent the sea
from coming up; a breakwater.
• the kettle would be on the hob the kettle would be on
the shelf around the fireplace where families kept
saucepans, teapots, matches, and so forth.
hob: shelf at back or side of a fireplace
28. O Lord, open our lips . . . to help us!: the opening
lines of Matins in the Divine Office; the second and
fourth lines are the responses. (G) The office was
recited daily from the Breviary; it was an obligation
for all in holy orders to recite the office at the canonical
hours - Matins and Lauds, Prime, Tierce, Sext, None,
Vespers and Compline.
creeping up from the cold
shivering sheets, warmer and
warmer till he felt warm all
over, ever so warm and yet he
5
shivered a little and still
wanted to yawn.
25
40 in the chapel. But it was a holy
29. Clane . . . Sallins: a village one and a half miles from
the college and a village just over four miles from
Clongowes, respectively.
• the fire of the smoking turf turf is the name of blocks of
peat which are cut from Irish bogs and burned for
fuel.
smell. It was not like the smell
of the old peasants who knelt at
the back of the chapel at Sunday
mass. That was a smell of air
45
and rain and turf and corduroy.
But they were very holy peasants.
They breathed behind him On
his neck and sighed as they
50 prayed. They lived in Clane, a
fellow said: there were little
cottages there and he had seen
a woman standing at the halfdoor of a cottage with a child
55 in her arms as the cars had come
past from Sallins. It would be
lovely to sleep for one night in
that cottage before the fire of
smoking turf, in the dark lit by
60
the fire, in the warm dark,
breathing the smell of the
peasants, air and rain and turf
and corduroy. But O, the road
65 there between the trees was
dark! You would be lost in the
dark. It made him afraid to think
14
Joyce’s Portrait
of how it was.
30. Visit, we beseech Thee . . . Amen: the last prayer
before the conclusion of Compline, the last of the
canonical hours in the Divine Office.
Visit, we beseech thee Notice this interpolation of a
fragment of prayer to underline the child’s fear.
que sería.
He heard the voice of the
prefect of the chapel saying the
5
last prayers. He prayed it too
against the dark outside under
the trees.
Oyó la voz del prefecto
que decía la última oración,
y él rezó también para librarse de la oscuridad de afuera,
bajo los árboles.
V I S I T, W E B E S E E C H T H E E , O
Vi s i t a , t e l o r o g a m o s ,
o h , S e ñ o r, e s t a v i v i e n d a
y aparta de ella todas
las asechanzas del enem i g o . Vi v a n t u s á n g e l e s
aquí para conservarnos
en paz; y sea tu bendición siempre sobre nosotros, por Cristo Nuestro
S e ñ o r. A m é n .
10
L O R D , T H I S H A B I TA T I O N A N D
DRIVE
A WA Y
FROM
IT
ALL
T H E S N A R E S O F T H E E N E M Y.
MAY
15
THY
HOLY
ANGELS
DWELL HEREIN TO PRESERVE
US IN PEACE AND MAY THY
B L E S S I N G S B E A L WAY S U P O N
US
20
so that he might not go to hell when he died This reflects
childish fear. The fact that the idea has been
drummed into him may account for Stephen’s later
rejection of the Jesuits. the white cloak of a marshal
This’is a reference to a legend that one of the
previous owners appeared as a ghost to the servants.
He was supposedly killed at the Battle of Prague
(1757).
THROUGH
CHRIST
OUR
LORD. AMEN.
His fingers trembled as he
undressed himself in the
dormitory. He told his fingers
25 to hurry up. He had to undress
and then kneel and say his own
prayers and be in bed before the
gas was lowered so that he
might not go to hell when he
30 died. He rolled his stockings off
and put on his nightshirt quickly
and knelt trembling at his
bedside and repeated his
35 prayers quickly, fearing that the
gas would go down. He felt his
shoulders shaking as he
murmured:
Le temblaron los dedos al
desnudarse en el dormitorio. Les
mandó que se dieran prisa. Para
no irse al infierno cuando muriera, era necesario desnudarse
y luego arrodillarse y decir sus
oraciones particulares y estar en
la cama antes de que bajaran el
gas. Se sacó las medias, se puso
rápidamente el camisón de dormir, se arrodilló al lado de la
cama y repitió deprisa sus oraciones, temiendo a cada paso
que iban a apagar el gas. Sintió
que se le estremecían las espaldas, mientras murmuraba.
40 God bless my father and my
Bendice, oh Dios, a mis padres y consérvamelos,
bendice, oh Dios, a mis hermanitos y consérvamelos,
bendice, oh Dios, a Dante y a
tío Charles y consérvamelos.
mother and spare them to me!
God bless my little brothers and
sisters and spare them to me!
God bless Dante and Uncle
45
Charles and spare them to me!
looked keenly
He blessed himself and
climbed quickly into bed and,
50 t u c k i n g t h e e n d o f t h e
nightshirt under his feet, curled
himself together under the cold
white sheets, shaking and
trembling. But he would not go
55 to hell when he died; and the
shaking would stop. A voice
bade the boys in the dormitory
good night. He peered out for
an instant over the coverlet
60
and saw the yellow curtains
round and before his bed
that shut him off on all
sides. The light was lowered
65 quietly.
Se santiguó y trepó rápidamente a la cama, enrollando el extremo del camisón
entre los pies, haciéndose un
ovillo bajo las frías sábanas
blancas, estreme ciéndose, tiritando. Pero no iría al infierno cuando se muriera; y se le
pasaría el tiritón. Alguien daba las
buenas noches a los muchachos
desde el dormitorio . Miró un
momento por encima del cobertor y
vio alrededor de la cama las cortinas
q u e
l e
amarillas
a i s l a ban por todas
partes. La luz bajó
pasito.
[21]
Los zapatos del prefecto se
The prefect’s shoes went
15
Joyce’s Portrait
marcharon. ¿Adónde? ¿Escaleras
abajo y por los tránsitos, o a su cuarto situado al extremo del dormitorio? Vio la oscuridad. ¿Sería cierto
lo del perro negro que se paseaba allí
por la noche con unos ojos tan grandes como los faroles de un carruaje? Decían que era el alma en pena
de un asesino. Un largo escalofrío
de miedo le refluyó por el cuerpo.
Veía el oscuro vestíbulo de
entrada del castillo. En el
cuarto de plancha, en lo alto de la escalera, había unos criados viejos vestidos
con trajes antiguos. Era hacía mucho tiempo.
Los criados viejos estaban inmóviles. Allí había lumbre, pero el vestíbulo estaba oscuro.
Un personaje subía, viniendo del v e s t í bulo, por la escalera. Llevaba el manto blanco de mariscal; su cara era extraña y pálida; se apretaba con una
mano el costado. Miraba con
unos ojos extraordinarios a
los c riados. Ellos le miraban también, y al ver la cara y el manto
de su señor, comprendían que
venía herido de muerte. Pero sólo
era a la oscuridad a donde miraban: sólo al aire oscuro y silencioso. Su amo había recibido la
herida de muerte en el campo de
batalla de Praga, muy lejos, al
otro lado del mar. Estaba tendido sobre el campo; con una mano
se apretaba el costado. Su cara
era extraña y estaba muy pálida.
Llevaba el manto blanco de
mariscal.
O how cold and strange
it was to think of that! All
the dark was cold and
strange. There were pale
strange faces there, great eyes
50 l i k e c a r r i a g e - l a m p s . T h e y
were the ghosts of murderers,
the figures of marshals who
had received their deathwound on battlefields far
55 away over the sea. What did
they wish to say that their faces
were so strange?
¡Qué frío daba, qué extraño era el pensar en esto! Toda
la oscuridad era fría y extraña. Había allí caras extrañas y
pálidas, ojos grandes como faroles de carruaje. Eran las almas en pena de los asesinos,
las imágenes de los mariscales heridos de muerte en los
campos de batalla, muy lejos,
al otro lado del mar. ¿Qué era
lo que querían decir con aquellas caras tan raras?
VISIT, WE BESEECH [BEG] THEE, O
Visita, te lo rogamos, ¡oh
Señor!, esta vivienda y aparta de ella todas...
5
10
ironing-room: room where armor was formerly stored
15
20
31. the white cloak of a marshal: Maximilian Ulysses,
Count von Browne, was the Austrian-born son of an
Irish Jacobite whose family had owned Clongowes
Wood in the eighteenth century. He became a
marshal in the Austrian army and was killed at the
battle of Prague in 11757. It is said that on the day of
his death his blood-stained ghost appeared to the
servants in his ancestral home.
a w a y. W h e r e ? D o w n t h e
staircase and along the
corridors or to his room at the
end? He saw the dark. Was it
true about the black dog that
walked there at night with eyes
as bi g a s c a r r i a g e - l a m p s ?
They said it was the ghost of
a murderer. A long shiver of
fear flowed over his body. He
saw the dark entrance hall of the
castle. Old servants in old dress
were in the ir oning-room
above the staircase. It was long
ago. The old servants were
quiet. There was a fire there,
but the hall was still dark. A
figure came up the staircase
from the hall. He wore the
white cloak of a marshal; his
face was pale and strange; he
held his hand pressed to his
side. He looked out of
strange eyes at the old
servants. They looked at him
and saw their master ’s face
and cloak and knew that he
had received his deathwound. But only the dark was
where they looked: only dark
silent air. Their master had
received his death-wound on
the battlefield of Prague far
away over the sea. He was
standing on the field; his
hand was pressed to his side;
his face was pale and strange
and he wore the white cloak
of a marshal.
25
30
35
40
45
60
LORD, THIS HABITATION AND DRIVE
AWAY FROM IT ALL...
Going
home
for
¡Irse a casa de vacaciones!
Debía ser algo magnífico: se lo
habían dicho los chicos. Montar en los coches una mañana
the
65 h o l i d a y s ! T h a t w o u l d b e
cars Wheeled vehicles, horse-drawn.
• getting up on the cars competing with the railroads,
these cars were long vehicles used for transport and
lovely: the fellows had told
him. Getting up on the cars in
16
Joyce’s Portrait
were pulled by horses.
the early wintry morning outside
the door of the castle. The cars
were rolling on the gravel.
Cheers for the rector!
[22] de invierno, tempranito,
a la puerta del castillo. Los
coches rodaban sobre la grava. ¡Vivas al rector!
5
Hurray! Hurray! Hurray!
The cars drove past
the chapel and all caps
were raised. They drove
merrily along the country
roads.
The
drivers
pointed with their whips
t o Bodenstown. The fellows
cheered. They passed the
farmhouse of the Jolly Farmer.
Cheer after cheer after cheer.
Thr ough Clane they drove,
cheering and cheered. The
peasant women stood at the
half-doors, the men stood here
and there. The lovely smell
there was in the wintry air:
the smell of Clane: rai n and
wintry air and turf smouldering
and corduroy.
Los coches pasaban por delante de la capilla y todas las cabezas se descubrían. Corrían
alegremente por los caminos,
entre los campos. Los conductores señalaban con el látigo
hacia Bodenstown. Los chicos
lanzaban alegres aclamaciones.
Pasaban por la granja del Alegre Granjero. Vivas y gritos y
aclamaciones. Pasaban por
Clane gritando y alborotando.
Las aldeanas estaban a las puertas, los hombres, esparcidos
aquí y allá. Un olor delicioso
flotaba en el aire invernal: el
olor de Clane, a lluvia y a aire
invernizo y a rescoldo de turba
y a pana.
30
The train was full of
fellows: a long long chocolate
train with cream facings.
The guards went to and fro
35 o p e n i n g , c l o s i n g , l o c k i n g ,
unlocking the doors.
They were men in dark blue
and silver; they had silvery
whistles and their keys made
40 a quick music: click, click:
click, click.
El tren estaba lleno de chicos.
Un tren largo, largo, de chocolate, con paramentos de c r e m a .
Los empleados iban de un
lado a otro, cerrando y
abriendo las portezuelas.
Estaban vestidos de azul oscuro y plata; tenían silbatos
de plata y sus llaves hacían
un ruido rápido: clic-clac,
clic-clac.
And the train raced on over
the flat lands and past the Hill
45
of Allen. The telegraph poles
were passing, passing. The train
went on and on. It knew. There
were lanterns in the hall of his
50 father ’s house and ropes of
green branches. There were
holly and ivy round the pierglass
and holly and ivy, green and red,
twined round the chandeliers.
55 T h e r e were red holly and green
ivy round the old portraits on the
walls. Holly and ivy for him and
for Christmas.
Y el tren corría sobre las tierras llanas y pasaba la colina de
Allen. Los postes del telégrafo
iban pasando, pasando. El tren
seguía y seguía. ¡Sabía bien por
dónde! Había faroles en el vestíbulo de su casa y guirnaldas
de ramos verdes. Ramos de acebo y y e d r a alrededor del gran
espejo; y acebo y yedra, rojo
y ve rde, entrelazados por entre
las lámparas. Acebo ____ y yedra
verde, alrededor de los antiguos retratos
de las paredes. Acebo y yedra, por ser
las Navidades y por venir él.
10
32. Bodenstown: this townland in County Kildare
contains the churchyard in which Wolfe Tone, the
father of Irish republicanism, is buried. Tone’s
reputation was emerging from comparative eclipse
as the centenary of the 1798 rebellion approached.
Perhaps it is to Tone’s grave that the drivers are
pointing their whips.
15
20
25
encandecida
a long long chocolate train with cream facings The image
is Stephen’s, and perhaps reflects his desire for
sweets after the Clongowes food.
twine bramante 1 a strong thread or string
of two or more strands of hemp or cotton
etc. twisted together. 2 a coil or twist. 3
a tangle; an interlacing.
1 twine 1 tr. form (a string or thread etc.) by twisting
strands together. 2 tr. form (a garland etc.) of
interwoven material. 3 tr. (often foll. by with) garland
(a brow etc.). 4 intr. (often foll. by round, about) coil
or wind. 5 intr. & refl. (of a plant) grow in this way.
Ceñirse, enroscarse, retorcerse, grimper,
s’enrouler
2 twine 1 tr. & intr. a join intimately together. b (foll. by
with) pair.
red holly ... green ivy Again the reference, with
associations of the shedding of blood perhaps. The
red-coated soldiers of England, the green flag, the
Emerald Isle - these run through the text on various
levels.
¡Hurra! ¡Hurra! ¡Hurra!
60
X
Lovely...
Delicioso...
33. Was that right?: see note 25, above.
34. a marshal now: either Stephen is confusing his father
with the marshal Browne who reputedly haunted
Clongowes or he has been told that his father’s new
position as a functionary in the corporation
tax-gatherer’s office merits the title. The word can
be used in this way and Simon Dedalus would readily
appropriate it to inflate his menial status. Worries
about social status and sex are among the early gifts
bestowed upon Stephen by his parents.
All the people. Welcome
home, Stephen! Noises of
65 welcome. His mother kissed
him. Was that right? H i s
father was a marshal now :
Toda la familia. ¡Bienvenido, Stephen! Algazara de
bienvenida. Su madre le
besa. ¿Está eso bien? Su padre es ahora un mariscal:
17
smouldering incandescente, latente, en
ascuas, abrasadora, encandecido,
smoulder 1 burn slowly with smoke but
without a flame; slowly burn internally
or invisibly; burn withing, . 2 (of emotions
etc.) exist in a suppressed or concealed
state. 3 (of a person) show silent or
suppressed anger, hatred, etc.
Joyce’s Portrait
higher than a magistrate.
Welcome home, Stephen!
más que un magistrado.
¡Bienvenido, Stephen!
Noises...
Ruidos...
5
There was a noise of
curtain-rings running back
along the rods, of water being
10 splashed in the basins. There
was a noise of rising and
dressing and washing in the
dormitory: a noise of
clapping of hands as the
15 p r e f e c t w ent up and down
telling the fellows to look sharp.
A pale sunlight showed the
yellow curtains drawn back, the
tossed beds. His bed was very
20
hot and his face and body were
very hot.
Había un ruido de anillas de
cortina que se corren a lo largo
de las barras, y de agua vertida
en jofainas. Había en el dormitorio un ruido de gente que se
levanta y se viste y se [23] lava.
Un ruido de palmadas: el prefecto que pasaba de un lado a otro
excitando a los chicos para que
avivasen. La luz de un sol pálido dejaba ver las cortinas separadas y las camas revueltas.
Su cama estaba muy caliente,
y él tenía la cara y el cuerpo
ardiendo.
He got up and sat on the
//Se levantó y se sentó en el
borde de la cama. Estaba débil. Trató de ponerse las medias. Se sentía horriblemente
mal. La luz del sol era fría y
extraña.
25 side of his bed. He was weak.
He tried to pull on his
stocking. It had a horrid
rough feel. The sunlight was
queer and cold.
30
Fleming said:
Fleming le dijo:
—Are you not well?
—¿No estás bueno?
35
He did not know; and
Fleming said:
No lo sabía. Fleming
añadió:
—Get back into bed. I’ll tell
—Vuélvete a la cama. Le voy a decir a Mc Glade que no estás bueno.
40 McGlade you’re not well.
45
—He’s sick.
—Está enfermo.
—Who is?
—¿Quién?
—Tell McGlade.
—Díselo a Mc Glade.
—Get back into bed.
—Vuélvete a la cama.
—Is he sick?
—¿Es que está enfermo?
50
A fellow held his arms while
he loosened the stocking
55 clinging to his foot and climbed
back into the hot bed.
Un chico sostuvo sus brazos
mientras se soltaba la media que
colgaba del pie, y se metió de
nuevo en la cama.
He crouched down between
the sheets, glad of their tepid
60
glow. He heard the fellows talk
among themselves about him as
they dressed for mass. It was a
mean thing to do, to shoulder
65 him into the square ditch, they
were saying.—Then their
voices ceased; they had gone.
//Se arrebujó entre las sábanas,
halagado por el tibio calor del lecho. Oía a los chicos que hablaban de él, mientras se vestían
para ir a misa. Estaban diciendo
que había sido una cobardía el
empujarle así dentro de la fosa.
< -Después cesaron las voces; se
habían ido. Una voz sonó al lado
18
Joyce’s Portrait
35. don’t spy on us, sure you won’t?: that is, don’t inform
against me.
• don’t spy on us another way of saying don’t «peach /or
inform) on us.
A voice at his bed said:
de su cama:
—Dedalus, don’t spy on us,
sure you won’t?
—Oye, ¿no nos irás a acusar, verdad?
Wells’s face was there. He
looked at it and saw that Wells
was afraid.
Aquélla era la cara de
We l l s . L e m i r ó y n o t ó q u e
Wells tenía miedo.
—I didn’t mean to. Sure you
won’t?
—No fue con intención. ¿Seguro que no lo harás?
His father had told him,
Su padre le había dicho que
nunca acusara a un compañero, hiciera lo que hiciera. Meneó la
cabeza, dijo que no, y se sintió
satisfecho.
5
10
15 whatever he did, never to peach on
a fellow. He shook his head
and answered no and felt
glad.
20
Wells said:
Wells dijo:
—I didn’t mean to, honour
bright. It was only for cod. I’m
25 sorry.
Sorry because he was afraid The rest of this sequence
is ‘stream of consciousness’, with Stephen’s thoughts
jumbled together.
The face and the voice went
away. Sorry because he was
afraid. Afraid that it was some
30 disease. Canker was a disease
of plants and cancer one of
animals: or another different.
That was a long time ago then
35 out on the playgrounds in the
evening light, creeping from
point to point on the fringe of
his line, a heavy bird flying low
through the grey light. Leicester
40 Abbey lit up. Wolsey died there.
The abbots buried him
themselves.
—No fue con intención, palabra de honor. Fue sólo por broma. Lo siento.
[24]
Lo sentía porque tenía miedo. Miedo de que fuese alguna
enfermedad. Cancro era una enfermedad de plantas; cáncer, de
animales. Cáncer u otra distinta. Eso era hace mucho tiempo,
fuera, en los campos de recreo,
a la luz del atardecer, arrastrándose de un lado a otro, en el extremo de su línea, un pájaro pesado volaba bajo, a través de la
luz gris. Se iluminó la Abadía
de Leicester. Wolsey murió allí.
Los mismos abades fueron
quienes le enterraron.
It was not Wells’s face, it
was the prefect’s. He was not
foxing. No, no: he was sick
really. He was not foxing. And
he felt the prefect’s hand on his
50 forehead; and he felt his
forehead warm and damp
against the prefect’s cold damp
hand. That was the way a rat
felt, slimy and damp and cold.
55 Every rat had two eyes to look out of.
Sleek slimy coats, little little
feet tucked up to jump, black
slimy eyes to look out of. They
could understand how to jump.
60
But the minds of rats could not
u n d e r s t a n d t r i g o n o m e t r y.
When they were dead they lay
on their sides. Their coats
65 dried then. They were only
dead things.
No era la cara de Wells, era
la del prefecto. No eran
marrullerías. No, no: estaba malo
realmente. No eran marrullerías. Y
sintió la mano del prefecto sobre su
frente. Y sintió el contraste de su
frente calurosa y húmeda, contra la
mano húmeda y fría del prefecto.
Así debía ser la sensación que diera una rata: viscosa, fría, húmeda.
Las ratas tenían dos ojillos atisbones.
Una piel suave y viscosa, unas
patitas diminutas encogidas para el
salto y unos ojos negros, viscosos
y atisbones. ¡Bien que sabían saltar! Pero las inteligencias de las ratas no podían saber trigonometría.
Cuando estaban muertas, se quedaban tendidas de costado. Se les secaba la piel. Y ya no eran más que
cosas muertas.
45
foxing i.e. pretending.
• not foxing not pretending.
19
marrullería : Astucia con que, halagando a uno, se pretende alucinarlo
Joyce’s Portrait
36. Father Minister: vice-rector, a priest appointed by
the rector as a housemaster whose duties are distinct
from academic matters.
Father Minister Priest in charge, responsible to the Rector.
The prefect was there again
and it was his voice that was
saying that he was to get up, that
Father Minister had said he
5
was to get up and dress and go
to the infirmary. And while he
was dressing himself as quickly
as he could the prefect said:
El prefecto estaba allí otra
vez y su voz estaba diciendo que
se tenía que levantar, que el Padre Ministro había dicho que se
tenía que levantar y vestir e ir a
la enfermería. Y mientras se estaba vistiendo todo lo de prisa
que podía, el prefecto añadió:
infirmary n. (pl. -ies) 1 a hospital. 2 a
place for those who are ill in a
monastery, school, etc.; enfermería
10
—We must pack off to
Brother Michael because we
have the collywobbles!
—¡Tenemos que largarnos a
visitar al hermano Michael porque nos ha entrado mieditis!
He was very decent to say that.
That was all to make him laugh.
But he could not laugh because his
cheeks and lips were all shivery:
and then the prefect had to
20
laugh by himself.
Se portaba muy bien el prefecto. Porque le decía a quello sólo
por hacerle reír. Pero no se pudo
reír porque le tembloteaban las
mejillas y los labios. Así es que el prefecto se tuvo que reír él solo.
Brother Michael: a man bound to the Jesuit order by
vows but not educated as a priest would be; usually
assigned housekeeping duties
collywobbles Joyce is adept at capturing the slang cliché, and many occur in the infirmary sequence.
Strictly this word means ‘rumbling in the intestines’.
adept hábil, experto en,
diestro, perito, versado
15
The prefect cried:
37. Hay foot! Straw foot!: after the practice of tying a
wisp of hay to a rural recruit’s left foot, a wisp of
straw to his right, to teach him how to march. (G)
Hayfoot! Strawfoot! Equivalent of Left right! Left right!
Derived from the American Civil War.
Hayfoot! Strawfoot!: Left, Right (Hay and straw were
tied to the feet of rural recruits who might not master
the distinction between left and right)
El prefecto gritó:
—Quick march! Hayfoot!
Strawfoot!
—¡Paso ligero! ¡Pata de paja!
¡Pata de heno!
They went together down
the staircase and along the
30 corridor and past the bath. As
he passed the door he
remembered with a vague fear the
warm turf-coloured bogwater,
35 the warm moist air, the noise
of plunges, the smell of the
towels, like medicine.
Bajaron juntos la escalera,
siguieron por el tránsito y pasaron los baños. Al pasar por
la puerta, Stephen recordó con
[25] un vago terror el agua tibia, terrosa y estancada, el aire
húmedo y tibio, el ruido de los
chapuzones, el olor, como de
medicina, de las toallas.
25
Brother
Michael
was
40 standing at the door of the
38. Brother Michael: a brother is a member of the second
of the six grades of membership in the Company of
Jesus – a temporal coadjutor. He would perform
many household duties and services.
Brother Michael Not ordained, a lay brother.
infirmary and from the door of
the dark cabinet on his right
came a smell like medicine.
That came from the bottles on
45
the shelves. The prefect spoke
to Brother Michael a n d
Brother Michael answered
a n d c a l l e d t h e p r e f e c t s i r.
50 H e h a d r e d d i s h h a i r m i x e d
with grey and a queer look.
It was queer that he would
a l w a y s b e a b r o t h e r. I t w a s
queer too that you could
55 n o t c a l l h i m s i r b e c a u s e h e
was a brother and had a
d i ff e r e n t k i n d o f l o o k . Wa s
he not holy enough or why
could he not catch up on
60
the others?
?
There were two beds in the
room and in one bed there was
65 a fellow: and when they went
in he called out:
El hermano Michael estaba a la puerta de la enfermería, y por la puerta del oscuro
gabinete, a su derecha, venía
un olor como a medicina. Era
de los botes que había en los
estantes. El prefecto habló
con el hermano Michael y el
hermano, al contestarle, le llamaba señor. Tenía el pelo rojizo, veteado de gris, y una expresión extraña. Era curioso
que tuviera que seguir siempre
siendo hermano. Y era curioso que no le pudiera llamar señor porque era hermano y porque tenía un aspecto distinto
de los otros. ¿Es que no era
bastante sano, o por qué no
podía llegar a ser lo que los
demás?
Había dos camas en la habitación y en una estaba un
chico, que cuando los vio entrar, exclamó:
20
módico
[aseado].
es probable que sea una errata por «santo»
Joyce’s Portrait
— H e l l o ! I t ’s y o u n g
Dedalus! What’s up?
—¡Anda! ¡Si es el peque de
Dédalus! ¿Qué te trae por aquí?
—The sky is up, Brother
Michael said.
—Las piernas le traen —dijo
el hermano Michael.
He was a fellow out of the
third of grammar and, while
10 Stephen was undressing, he
asked Brother Michael to bring
him a round of buttered toast.
Era un alumno de tercero de gramática. Mientras Stephen se desnudaba, el otro le pidió al hermano
Michael que le trajera una rebanada
de pan tostado con manteca.
5
—Ah, do! he said.
—¡Ande usted! —suplicó.
15
Butter you up! Again the cliche slang, here meaning
‘Make a fuss of .
—Butter you up! said
Brother Michael. You’ll get
your walking papers in the
morning when the doctor
20
comes.
—¡Sí, sí, manteca! —dijo el hermano Michael—. Lo que te vamos
a dar van a ser tus papeles. Y esta
misma mañana, tan pronto como
venga el doctor.
—Will I? the fellow said.
I’m not well yet.
—¿Sí? —dijo el chico—. ¡Si no
estoy bueno todavía!
25
El hermano Michael repitió:
Brother Michael repeated:
—You’ll get your walking
papers. I tell you.
—Te daremos tus papeles.
Te lo aseguro.
He bent down to rake the
fire. He had a long back like the
long back of a tramhorse. He
35 shook the poker gravely and
nodded his head at the fellow
out of third of grammar.
Se agachó para atizar el fuego. Tenía los lomos largos, como
los de un caballo del tranvía. Meneaba el atizador gravemente y le
decía que sí con la cabeza al de
tercero de gramática.
Then Brother Michael
fellow out of third of grammar
turned in towards the wall
and fell asleep.
Después se marchó el hermano Michael. Y al cabo de un
rato, el chico de tercero de gramática se volvió hacia la pared
y se quedó dormido.
That was the infirmary. He
was sick then. Had they written
home to tell his mother and
father? But it would be quicker
50 for one of the priests to go
himself to tell them. Or he
would write a letter for the
priest to bring.
Aquello era la enfermería.
Luego estaba enfermo. ¿Habían escrito a casa para decírselo a sus padres? Pero sería
más rápido [26] que fuera uno
de los padres a decirlo. O si
no escribiría él una carta para
que la llevara el padre.
walking papers i.e. discharge, have to return to school.
30
• like the long back of a tramhorse a tram was a
horse-drawn passenger vehicle, much like a
streetcar.
40 went away and after a while the
45
55
60
65
«Querida madre:
Dear Mother,
I am sick. I want to go home.
Please come and take me home.
I am in the infirmary.
Estoy malo. Quiero ir a casa.
Haz el favor de venir y llevarme a
casa. Estoy en la enfermería.
Your fond son,
Stephen
Tu hijo que te quiere,
Stephen»
How far away they were!
There was cold sunlight outside
the window. He wondered if he
¡Qué lejos estaban! Había
un sol frío al otro lado de la
ventana. Pensaba si se iría a mo21
Joyce’s Portrait
39. dead mass: a Mass for the dead, a Requiem Mass.
The colours of the vestments for such a Mass would
be black and gold.
• a dead mass a mass said for someone who has died.
rir. Se podía uno morir lo mismo
en un día de sol. Se podía morir
antes de que viniera su madre.
Entonces, habría una misa de difuntos en la capilla como la vez
que le habían contado los chicos,
cuando se había muerto Little.
Todos los alumnos asistirían ala
misa vestidos de negro, todos
con las caras tristes. Wells estaría también, pero nadie querría mirarle. El rector irla vestido con una capa negra y de
oro, y habría grandes cirios
amarillos ante el altar y alrededor del catafalco. Y sacarían lentamente el ataúd de la
capilla y le enterrarían en el
pequeño cementerio de la comunidad al otro lado de la
gran calle de tilos. Y Wells
sentiría entonces lo que había
hecho. Y la campana doblaría
lentamente.
He could hear the tolling.
He said over to himself the song
30 that Brigid had taught him.
L a o í a d o b l a r. Y s e r e c i taba la canción que Brígida
le había enseñado.
Dingdong! The castle bell!
Farewell, my mother!
35 Bury me in the old churchyard
Beside my eldest brother.
My coffin shall be black,
Six angels at my back,
Two to sing and two to pray
40 And two to carry my soul
away.
¡Din-don! ¡La campana del castillo!
¡Madre mía, adiós!
Que me entierren en el viejo cementerio
junto a mi hermano mayor.
Que sea negra la caja.
Seis ángeles detrás vayan:
dos para cantar, dos para rezar
y dos para que se lleven mi alma a
volar.
[27]
¡Qué hermoso y qué triste era
aquello! ¡Qué hermosas las palabras
cuando decía: «Que me entierren en
el viejo cementerio!» Un estremecimiento le pasó por el cuerpo. ¡Qué
triste y qué hermoso! Le daban ganas de llorar mansamente, pero no
de llorar por él, de llorar por aquellas palabras tristes y hermosas como
música. ¡La campana! ¡La campana!
¡Adiós! ¡Oh, adiós!
5
when Little had died A real contemporary of Joyce’s at
Clongowes.
10
cope a long cloak worn by ecclesiastics in processions.
cope of black and gold: a long vestment in the colors
appropriate for a Funeral Mass
15
• the catafalque a raised structure on which a corpse is
laid out for viewing.
20
25
40. Dingdong! ... carry my soul away: anonymous
nursery rhyme.
Dingdong! The castle bell! Look carefully at this
song, with its ‘Farewell, my mother!’ which
anticipates Stephen’s ultimate departure, not to
death but to life.
would die. You could die just
the same on a sunny day. He
might die before his mother
came. Then he would have a
dead mass in the chapel like the
way the fellows had told him it
was when Little had died. All
the fellows would be at the
mass, dressed in black, all with
sad faces. Wells too would be
there but no fellow would look
at him. The rector would be
there in a cope of black and
gold and there would be tall
yellow candles on the altar and
round the catafalque. And they
would carry the coffin out of the
chapel slowly and he would be
buried in the little graveyard of
the community off the main
avenue of limes. And Wells
would be sorry then for what he
had done. And the bell would
toll slowly.
How beautiful and sad that
was! How beautiful the words
45
were where they said BURY ME
IN THE OLD CHURCHYARD ! A
tremor passed over his body.
How sad and how beautiful! He
50 wanted to cry quietly but not
for himself: for the words, so
beautiful and sad, like music.
The bell! The bell! Farewell!
O farewell!
55
• a bowl of beeftea a bowl of rich bouillon, or beef broth.
The cold sunlight was
weaker and Brother Michael
was standing at his bedside
with a bowl of beef-tea. He
60
was glad for his mouth was
hot and dry. He could hear
them
playing
in
the
playgrounds. And the day was
65 going on in the college just as
if he were there.
La fría luz solar era aún
más débil y el hermano
Michael estaba a la cabecera de
la cama con un cuenco de caldo.
Le vino bien, porque tenía la
boca ardiente y seca. Les oía
jugar en los campos de recreo.
Y la distribución del día continuaba en el colegio como si
él estuviera allí.
22
cal / liga / tilo / lima
Joyce’s Portrait
El hermano Michael iba a salir y el muchacho de tercero de
gramática le dijo que no dejara
de volver para contarle las noticias del periódico. Luego le dijo
a Stephen que su nombre era
Athy y que su padre tenía la mar
de caballos de carreras que
saltaban pistonudamente; y
que su padre le daría una buena propina al hermano Michael
siempre que lo necesitase, porque era bueno para con él y
porque le contaba las noticias
del periódico que se recibía todos los días en el castillo. Había
noticias de todas clases en el
periódico: accidentes, naufragios,
deportes y política.
—Now it is all about politics
in the papers, he said. Do your
25 people talk about that too?
—Ahora los periódicos no traen
más que cosas de política —dijo—.
¿Hablan también en su casa de eso?
5
41. Athy: a town in County Kildare, forty-three miles
southwest of Dublin.
spiffing Slang for ‘fine, first-rate’.
10
spiffy 1 neat and precise, esp. in dress
or movement; dashing, jaunty,
natty, raffish, rakish, smart, spiffy,
snappy , spruce, apuesto, pulcro, atractivo,
marked by
smartness in dress and manners; «a
dapper young man»; «a jaunty red
hat» 2 sprightly, animoso, fogoso, vivo
15
snappy
1 brisk, full of zest. 2 neat and
elegant (a snappy dresser). 3 snappish
1 (un animal) que muerde (una persona) irritable (una respuesta) cortante
2 familiar rápido,-a: make it snappy!,
¡rápido! 3 fam (ropa, etc) elegante 4
(un eslogan) conciso,-a
snappy 1 (= quick) rápido; (= energetic)
enérgico, vigoroso; make it snappy!
¡date prisa!, ¡apúrate! (esp LAm)
2 (= smart) elegante; he’s a snappy
dresser se viste con elegancia
3 ( = punchy) [slogan] conciso
snappy adj. 1 brisk, full of zest. 2 neat
and elegant (a snappy dresser). 3
snappish.
Then Brother Michael was
going away and the fellow out
of the third of grammar told him
to be sure and come back and
tell him all the news in the
paper. He told Stephen that his
name was Athy and that his
father kept a lot of racehorses
that were spiffing jumpers and
that his father would give a
good tip to Brother Michael any
t ime he wanted it because
Brother Michael was very decent
and always told him the news
out of the paper they got every
day up in the castle. There was
every kind of news in the paper:
accidents, shipwrecks, sports,
and politics.
20
—Yes, Stephen said.
—Sí —dijo Stephen.
—Mine too, he said.
—En la mía también —dijo él.
30
35
Then he thought for a
moment and said:
Después se quedó pensando
un rato, y añadió:
—You have a queer name,
Dedalus, and I have a queer
name too, Athy. My name is the
name of a town. Your name is
like Latin.
—Dédalus, tú tienes un
apellido muy raro, y el mío es
muy raro también. Mi apellido
es el nombre de una ciudad. Tu
nombre parece latín.
40
Then he asked:
45
—Are
riddles?
you
Después preguntó:
good
at
—¿Qué tal maña te das para
acertijos?
Stephen answered:
Stephen contestó:
—Not very good.
—No muy buena.
50
Then he said:
—Can you answer me this
one? Why is the county of
55 K i l d a r e l i k e t h e l e g o f a
fellow’s breeches?
El otro dijo:
[28]
—A ver si me puedes acertar
éste: ¿En qué se parecen el condado de Kildare y la pernera de los
pantalones de un muchacho?
Stephen thought what could
be the answer and then said:
Stephen estuvo pensando cuál
podría ser la respuesta y luego dijo:
60
—I give it up.
a thigh A play of words, but Stephen, always interested
in words, will not say the answer because he is
sensitive - and perhaps wants Athy to have the
pleasure of telling him what it is.
—Me doy por vencido.
—Because there is a thigh
—En que los dos contienen
«un muslo». ¿Comprendes el chiste? Athy es la ciudad del condado
de Kildare y a thig [un muslo] lo
65 in it, he said. Do you see the
joke? Athy is the town in the
county Kildare and a thigh is
23
decent respetable, bueno, que se
precie, que parece de lo más
sensato, cordial, amable, limpio,
correcto, adecuado, módico
standards of behaviour or propriety.
b avoiding obscenity. 2 respectable.
3 acceptable, passable; good
enough. 4 Brit. kind, obliging,
generous (was decent enough to
apologize).
decent es uno de esos adjetivos muy
usados, tal vez abusados, en inglés
moderno; se usa para satisfactorio /
pasable, adecuado [salario, alimento],
módico [precio], simpático / amable,
presentable / ‘visible’ [en ropa, aseo].
A su vez, decente parece enfatizar
la idea moral de honradez en las
personas, como honest, honorable,
respectable, y también la idea de
limpieza en las cosas como clean, tidy,
neat [aseado].
Joyce’s Portrait
the other thigh.
que hay en una pernera.
—Oh, I see, Stephen said.
5
—¡Ah, ya caigo! —dijo Stephen.
—That’s an old riddle, he
said.
—Es un acertijo muy viejo —
dijo el otro.
After a moment he said:
Y después de un momento:
—I say!
—¡Oye!
—What? asked Stephen.
—¿Qué? —dijo Stephen.
—You know, he said, you
can ask that riddle another
way.
—¿Sabes? Se puede preguntar ese acertijo de otro
modo.
10
15
that riddle another way Stephen is too naive to see what
Athy is getting at - the leg could be a female’s just as
well as a fellow’s.
20
—Can you? said Stephen.
—¿Se puede? —dijo Stephen.
—The same riddle, he said.
Do you know the other way to
ask it?
—El mismo acertijo. ¿Sabes la otra manera de preguntarlo?
25
—No, said Stephen.
—No.
—Can you not think of the
other way? he said.
—¿No te puedes imaginar
la otra forma?
He looked at Stephen
over the bedclothes as he
spoke. Then he lay back on
35 the pillow and said:
Y miraba a Stephen por encima
de las ropas de la cama mientras hablaba. Después se reclinó sobre la
almohada y dijo:
—There is another way but
I won’t tell you what it is.
—Hay otra manera, pero no
te la quiero decir.
Why did he not tell it? His
father, who kept the racehorses,
must be a magistrate too like
Saurin’s f a t h e r a n d N a s t y
Roche’s father. He thought of
45
his own father, of how he sang
songs while his mother played
and of how he always gave him
a shilling when he asked for
50 sixpence and he felt sorry for
him that he was not a
magistrate like the other boys’
fathers. Then why was he sent
to that place with them? But his
55 father had told him that he
would be no stranger there
because his granduncle had
presented an address to the
liberator there fifty years
60
before. You could know the
people of that time by their old
dress. It seemed to him a solemn
time: and he wondered if that
65 was the time when the fellows
in Clongowes wore blue coats
with brass buttons and yellow
¿Por qué no lo decía? Su padre, que tenía una cuadra de caballos de carreras, debía de ser
también magistrado como el padre de Saurín y el de Rocke el
Malo. Pensó en su propio padre,
en las canciones que cantaba
mientras su madre tocaba, y en
cómo le daba un chelín cada vez
que le pedía seis peniques, y sintió pena por él porque no era magistrado como los padres de los
otros chicos. Entonces, ¿por qué
le había mandado a él allí con
ellos? Pero su padre le había dicho que no se sentiría extraño allí
porque en aquel mismo sitio su
tío abuelo había dirigido una alocución al libertador, hacía cincuenta años. Se podía reconocer
a la gente de aquella época por
los trajes antiguos. Y se preguntaba si era en aquel tiempo [29]
cuando los estudiantes de
Clongowes llevaban trajes azules con botones de latón y cha-
30
40
42. the liberator: Daniel O’Connell (1775-1847), the
leader of Catholic Ireland in the first four decades of
the nineteenth century. He wrested Catholic
emancipation from a reluctant British government in
1829 and thereby earned himself the soubriquet, ‘the
Liberator’.
the liberator Daniel O’Connell (1775-1847) was known
by this name. He took his seat in the House of
Commons in 1829, and was renowned for his
physical strength.
• the liberator usually the «1» is capitalized. The term
refers to Daniel O’Connell who was, in 1775, Ireland’s
leading Catholic politician, advocating the right of
Catholics to hold public office.
24
Joyce’s Portrait
themes Close study of nouns and verbs, particularly
involved with the adding of inflexions.
lecos amarillos y gorras de piel
de conejo y bebían cerveza
como la gente mayor y tenían
traíllas de galgos para correr
liebres.
He looked at the window
and saw that the daylight had
10 grown weaker. There would be
cloudy grey light over the
playgrounds. There was no
noise on the playgrounds. The
class must be doing the
15 themes or perhaps Father Arnall
was reading out of the book.
Miró a la ventana y vio
que la luz del día se había
hecho más débil. En los campos de juego debía de haber
una luz nubosa y gris. Ya no
se oía ruido_______. D e b í a n
de estar en clase haciendo
los temas o tal vez el Padre
Arnall les estaba leyendo.
20
25
30
lovely foreign names in it Stephen always has a wish to
travel, and this is one of the early manifestations of
it. But notice once more that he is interested in the
words!
waistcoats and caps of
rabbitskin and drank beer like
grown-up people and kept
greyhounds of their own to
5
course the hares with.
35
X
It was queer that they
had not given him any
medicine.
Perhaps
Brother Michael would
bring it back when he
came. They said you got
s t i n k i n g stuff to drink when
you were in the infirmary. But
he felt better now than before.
It would be nice getting better
slowly. You could get a book
then. There was a book in the
library about Holland. There
we r e lovely foreign names
in it and pictures of
strange looking cities and
ships. It made you feel so
h a p p y.
Era raro que no le hubiesen
dado ninguna medicina. Tal vez
se las traería el hermano Michael
cuando volviera. Le habían dicho que cuando se estaba en la
enfermería había que beber muchos mejunjes repugnantes.
Pero ahora se sentía mejor. Sería
una cosa que estaría muy bien,
irse poniendo bueno, poquito a
poco. En ese caso, le darían un
libro. En la biblioteca había un
libro que trataba de Holanda. Tenía unos nombres extranjeros
encantadores y dibujos de ciudades de aspecto muy raro y de
barcos. ¡Se ponía uno tan contento de verlos!
How pale the light was at
¡Qué pálida, la luz, en la ventana! Pero hacía muy bonito. El
resplandor del fuego subía y bajaba por la pared. Hacía como las
olas. Alguien había echado carbón
y él había sentido que hablaban.
Estaban hablando. Era el ruido
de las olas. O quizás las olas
estaban hablando entre sí, al
subir y al bajar.
40 the window! But that was nice.
The fire rose and fell on the
wall. It was like waves.
Someone had put coal on and
he heard voices. They were
45
talking. It was the noise of the
waves. Or the waves were
talking among themselves as
they rose and fell.
50
He saw the sea This is again from the consciousness,
but it is in the form of a dream or vision.
He saw the sea of waves,
long dark waves rising and
falling, dark under the
moonless night. A tiny light
55 t w i n k l e d a t t h e pierhead
where the ship was entering:
and he saw a multitude of
people gathered by the waters’
edge to see the ship that was
60
entering their harbour. A tall
man stood on the deck, looking
out towards the flat dark land:
and by the light at the pierhead
65 he saw his face, the sorrowful
face of Brother Michael.
Vio el mar de olas, de amplias olas oscuras que se levantaban y caían, oscuras bajo la
noche sin luna. Una lucecilla
brillaba al final de la escollera,
por donde el barco estaba entrando. Y vio una muchedumbre
congregada a la orilla del agua
para ver el barco que entraba en
el puerto. Un hombre alto estaba de pie sobre cubierta mirando hacia la tierra oscura y llana.
A la luz de la escollera se le podía ver la cara: era la cara triste
del hermano Michael.
25
Joyce’s Portrait
He saw him lift his hand
towards the people and heard
him say in a loud voice of
sorrow over the waters:
Le vio levantar la mano
hacia la multitud y le oyó decir por encima de las aguas,
con voz potente y triste:
—He is dead. We saw him
lying upon the catafalque. A
wail of sorrow went up from
10 the people.
—Ha muerto. Le hemos visto
yacer tendido sobre el catafalco.
[30] Un gemido de pena se elevó de
la muchedumbre.
—Parnell! Parnell! He is
dead!
—¡Parnell! ¡Parnell! ¡Ha
muerto!
They fell upon their knees,
moaning in sorrow.
Todos cayeron de rodillas, sollozando de dolor.
And he saw Dante in a
m a ro o n v e l v e t d r e s s a n d
20
with a green velvet mantle
hanging from her shoulders
walking proudly and silently
past the people who knelt by
25 the water ’s edge.
Y vio a Dante con un traje
de terciopelo marrón y con un
manto de terciopelo verde
pendiente de los hombros, que se
alejaba, altiva y silenciosa, por
entre la muchedumbre, arrodillada a la orilla del mar.
5
43. Parnell! Parnell! He is dead!: Parnell’s body was
brought from England, where he died, to Dun
Laoghaire (then Kingstown) on ii October. It was met
by a large and grieving crowd among which was
Yeats, there to meet Maud Gonne. Yeats described
the funeral and burial of Parnell as the event that
closed the Irish nineteenth century.
Dante in a maroon velvet dress By association, in the
dream, Dante is for Davitt and not Parnell, which is
why she walks ‘proudly and silently’ past the people
who are kneeling in respect to the dead Parnell. This
dream anticipates the next section and its conflict the Christmas dinner.
• a green velvet mantle a mantle is a loose, sleeveless
cloak.
15
*****
***
A great fire, banked high
En el hogar llameaba una
gran fogata roja, bien apilada
contra el muro; y bajo los brazos
adornados con yedra de la lámpara, estaba puesta la mesa de
Navidad. Habían venido a casa
un poco tarde y, sin embargo, la
cena no estaba lista aún. Pero su
madre había dicho que iba a estar en un periquete. Estaban esperando a que se abriera la puerta del comedor y entraran los
criados llevando las grandes
fuentes tapadas con sus pesadas
coberteras de metal.
30 and red, flamed in the grate
and under the ivy-twined
branches
of
the
chandelier the Christmas
35 t a b l e w a s s p r e a d . T h e y
had come home a little
late and still dinner was
not ready: but it would be
r e a d y in a jiffy his mother had
40 said. They were waiting for the
door to open and for the
servants to come in, holding the
big dishes covered with their
heavy metal covers.
in a jiffy in a momment, in a instant, en
un satiamén, in a blink of an eye, en
un periquete, enseguida
slang or colloq., meaning ‘soon’.
45
1.2
boss: a sort of hassock (cojín) or footrest
44. boss: a kind of footstool.
toasted boss The footstool, which was very warm.
• his feet resting on the toasted boss his feet are resting
by the fireplace on a very low, warm stool which has
ornamental ‘ears;’ or bosses.
• looked at himself in the pierglass a pierglass is a tall
mirror which fills the space between two windows.
All were waiting: uncle
Charles, who sat far away in the
shadow of the window, Dante and
50 Mr Casey, who sat in the easychairs at either side of the hearth,
Stephen, seated on a chair
between them, his feet resting on
the toasted boss. Mr Dedalus
55 look ed at himself in the
pierglass
above
the
mantelpiece, waxed out his
moustache ends and then,
parting his coattails, stood with
60
his back to the glowing fire: and
still from time to time he
withdrew a hand from his coattail to wax out one of his
65 moustache ends. Mr Casey
leaned his head to one side and,
smiling, tapped the gland of his-
Todos estaban esperando: tío
Charles, sentado lejos, en lo oscuro de la ve n t a n a ; D a n t e y
míster Casey, en sendas butacas,
a ambos lados del hogar:
Stephen, entre ellos, en una silla y con los pies apoyados sobre un requema do taburete.
Míster Dédalus se estuvo mirando un rato en el espejo de encima
de la chimenea, atusándose las
guías de los bigotes, y luego se
quedó en pie, vuelto de espaldas
al hogar y con las manos metidas
por la abertura de atrás de la chaqueta, no sin que de vez en cuando
retirara una para darse un último
toque a los bigotes. Míster Casey
inclinaba la cabeza hacia un lado,
sonriendo, y se daba golpecitos con
26
Joyce’s Portrait
los dedos en la nuez. Y Stephen sonreía también porque ahora sabía ya
que no era verdad que míster Casey
tuviera una bolsa de plata en la garganta. Se reía de pensar cómo le había engañado aquel ruido argentino
que míster Casey acostumbraba a
hacer. Y una vez que había intentado abrirle la mano para ver si es que
tenía [31] escondida allí la bolsa de
plata, había visto que no se le podían enderezar los dedos. Y míster
Casey le había dicho que aquellos dedos se le habían quedado
agarrotados de una vez que había querido hacerle un regalito a
la Reina Victoria, por sus días.
Míster Casey se golpeaba la nuez
y le sonreía a Stephen con ojos
soñolientos. Míster Dédalus comenzó a hablar.
—Yes. Well now, that’s all
right. O, we had a good walk,
h a d n ’ t w e , J o h n ? Ye s . . . I
w o n d e r i f t h e r e ’s a n y
likelihood of dinner this
30 evening. Yes...O, well now, we
got a good breath of ozone
r o u n d t h e H e a d t o d a y.
Ay, bedad.
—Sí. Bien, bueno está. ¡Oh!,
nos hemos dado un buen paseo,
¿no es verdad, John? Sí... No
hay nada comparable a la cena
de esta noche. Sí... Bien, bien:
nos hemos g a n a d o h o y u n a
b u e n a r a c i ó n de ozono,
dando la vuelta a la Punta.
¡Vaya que sí!
5
10
15
45- cramped fingers . . . Queen Victoria: Mr Casey was
a Fenian (Irish revolutionary) prisoner who had been
sentenced to hard labour, picking oakum, in one of
Her Majesty’s (Queen Victoria’s) prisons.
those three cramped fingers making a birthday present
for Queen Victoria The original on which Casey was
modelled had spent some time in prison and claimed
to have damaged his fingers.
a birthday present for Queen Victoria: Casey was
probably picking oakum as hard labor in prison for
political activities
neck with his fingers. And
Stephen smiled too for he knew
now that it was not true that Mr
Casey had a purse of silver in
his throat. He smiled to think
how the silvery noise which Mr
Casey used to make had
deceived him. And when he had
tried to open Mr Casey’s hand
to see if the purse of silver was
hidden there he had seen that
the fingers could not be
straightened out: and Mr
Casey had told him that he
had got those three cramped
fingers making a birthday
present for Queen Victoria. Mr
Casey tapped the gland of his
neck and smiled at Stephen
with sleepy eyes: and Mr
Dedalus said to him:
20
25
ozone Here Mr Dedalus is referring to the refreshing air.
46. the Head: Bray Head, a promontory overlooking the
seaside town.
• a good breath of ozone round the Head John and Simon
have walked to Bray Head, a hill outside Bray, close
to the sea.
bedad Irish version of ‘By God’.
• Ay, bedad! Irish for ‘by God!»
35
He turned to Dante and said:
Se volvió hacia Dante, y dijo:
—You didn’t stir out at all,
Mrs Riordan?
—¿Usted no se ha movido en
todo el día, mistress Riordan?
Dante frowned and
said shortly:
Dante frunció el entrecejo, y
respondió escuetamente:
40
45
• went over to the sideboard a piece of dining room
furniture with shelves, doors, and drawers, used for
holding tablecloths, linens, and silverware.
whet 1 sharpen (a scythe or other tool) by grinding. 2
stimulate (the appetite or a desire, interest, etc.).
1 the act or an instance of whetting.
—No.
—No.
Mr Dedalus dropped his
coat-tails and went over to
the sideboard. He brought
50 f o r t h a g r e a t s t o n e j a r o f
whisky from the locker and
filled the decanter slowly,
bending now and then to see
how much he had poured in.
55 Then replacing the jar in the
locker he poured a little of
the whisky into two glasses,
added a little water and came
back with them to the
60
fireplace.
Míster Dédalus abandonó
los faldones de su chaqueta, y
se dirigió hacia el aparador.
Sacó de él un gran frasco de
barro lleno de whisky, y comenzó a echar lentamente el líquido en una botella de mesa, inclinándose de vez en cuando
para ver si había vertido bastante. Después volvió a colocar el
frasco en su cajón, echó un poquito de whisky en dos vasos,
añadió algo de agua y volvió
con ellos a la chimenea.
—A thimbleful, John,
he said, just to whet your
65 a p p e t i t e .
—John, una dedalada de whisky —dijo—. Únicamente para abrir
el apetito.
Mr Casey took the glass,
Míster Casey cogió el vaso,
27
Joyce’s Portrait
47. that champagne: explosives.
manufacturirng that champagne The implication may be
that the hotel-keeper is a swindler, or even that he
has been involved in something of which Dante would
not approve.
drank, and placed it near him
on the mantelpiece. Then he
said:
bebió, y lo colocó cerca de sí, sobre la repisa de la chimenea. Después dijo:
5
— We l l , I c a n ’ t h e l p
thinking of our friend
Christopher manufacturing.
—Pues bien: no puedo dejar de
pensar en cómo nuestro amigo
Christopher fabrica...
10
He broke into a fit of
laughter and coughing and
added:
Le dio un ataque de
risa y tos, hasta que pudo
continuar:
—Manufacturing that champagne
—... fabrica el champán
para la gente aquella.
15 for those fellows.
laughed
Míster Dédalus se echó a reír
ruidosamente.
—Is it Christy? he said.
There’s more cunning in one
of those warts on his bald
head than in a pack of jack
25 foxes.
He inclined his head,
closed his eyes, and, licking
his lips profusely, began to
30 speak with the voice of the
hotel keeper.
—¿Se trata de Christy? —
dijo—. Hay más astucia en una
sola de aquellas verrugas de su
calva, que en toda una manada de
zorras.
[32]
Inclinó la cabeza, cerró los
ojos y, después de haberse—lamido a su sabor los labios, comenzó a hablar, imitando la voz
del dueño del hotel.
—And he has such a soft
mouth
when he’s speaking to
35
you, don’t you know. He’s very
moist and watery about the
dewlaps, God bless him.
—Y pone una boca tan dulce cuando le está hablando a
usted, ¿sabe usted? Parece que
le está chorreando la baba por
el papo, así Dios le salve.
40
Mr Casey was still
struggling through his fit of
coughing and laughter. Stephen,
seeing and hearing the hotel
keeper through his father’s face
45
and voice, laughed.
Míster Casey estaba aún
debatiéndose entre su ataque de risa y tos. Stephen
se echó a reír al ver y escuchar al hotelero a través
de la voz de su padre.
Mr Dedalus put up his
eyeglass and, staring down at
50 him, said quietly and kindly:
Míster Dédalus se colocó el monóculo y, bajando la vista hacia él,
dijo con tono tranquilo y afable:
—What are you laughing at,
you little puppy, you?
—¿De qué te estás
riendo tú, muñeco?
The servants entered
and placed the dishes on
the table. Mrs Dedalus
followed and the places
were arranged.
Entraron los criados y colocaron las fuentes sobre la mesa: Tras
ellos entró mistress Dédalus,
quien, una vez hecha la distribución de los sitios, dijo:
Mr Dedalus
loudly.
20
jack foxes: male foxes
• moisty and watery about the dewlaps dewlaps refer to
the loose, wrinked skin under the throat.
55
60
—Sit over, she said.
—Siéntense ustedes.
Mr Dedalus went to the end
Míster Dédalus se adelantó hasta la cabecera de la mesa y dijo:
65 of the table and said:
—Now, Mrs Riordan, sit over.
—Vamos, mistress Riordan,
28
Joyce’s Portrait
John, sit you down, my hearty.
my hearty i.e. my good fellow.
siéntese usted __________.
X
He looked round to
where uncle Charles sat
5
and said:
Volvió la vista hacia el sitio
donde tío Charles estaba sentado,
y le llamó:
—Now then, sir, there’s a
bird here waiting for you.
—¡Eh, señor!: que aquí hay un
ave que está esperando por usted.
When all had taken their
seats he laid his hand on the
cover and then said quickly,
withdrawing it:
Cuando todos hubieron ocupado sus sitios, colocó una mano sobre la cubierta de la fuente; mas la
retiró de pronto y dijo:
10
15
—¡Vamos, Stephen!
—Now, Stephen.
20
48. Bless us, O Lord . . . Amen: a standard prayer recited
before meals.
bounty 1 (= generosity) generosidad; munificencia 2
(= reward) recompensa (military) premio m de enganche compound bounty hunter noun
cazarrecompensas
bounty 1 : something that is given generously 2 :
liberality in giving : GENEROSITY 3 : yield especially
of a crop. 4 : a reward, premium, or subsidy
especially when offered or given by a government:
pearled . .. with glistening drops Somewhat
commonplace poetic image.
truss 1 a : to secure tightly : secure with or as if with ropes;
«tie down the prisoners»; «tie up the old newspapes and bring
them to the recycling shed» ; b : tie the wings and legs of
a bird before cooking it ; to arrange for cooking by
binding close the wings or legs of (a fowl) 2 : to support,
strengthen, or stiffen by or as if by a truss; support
structurally; «truss the roofs»; «trussed bridges» 3 Brit. a
bundle of old hay
skewer: ensartar, espetar
49. Dunn’s of D’Olier Street: a fashionable shop in central Dublin.
prod 1 tr. poke with the finger or a pointed object.
Pinchar, aguijonear, insistir 2 tr. stimulate to
action. 3 intr. (foll. by at) make a prodding
motion. n. 1 a poke or thrust. 2 a stimulus to
action. 3 a pointed instrument.
50. Ally Daly: Dublin slang for the genuine article,
the best. (slang) first-class, the best
the real Ally Daly That’s the pick of the lot.
• that’s the real Ally Daly that’s a first-class turkey,
the best!
51. pandybat ... turkey?: a pandybat is a reinforced
leather strap, used for punishment in schools. Mr
Barrett calls it a turkey because it makes the hands,
when struck, turn red.
pandybat: a leather strap strengthened with bone, used
for corporal punishment
studded tachonado, cuajado
Stephen se levantó de su
asiento y dijo el Benedícite:
Stephen stood up in his place
to say the grace before meals:
Bless us, O Lord, and these
Thy gifts which through
Thy bounty we are about to
25 receive through Christ
our Lord. Amen.
—Bendícenos, Señor, y
a estos tus dones, que de
tu liberalidad vamos a rec i b i r, p o r C r i s t o , N u e s t r o
S e ñ o r. A m é n .
All blessed themselves and
Mr Dedalus with a sigh of
30 pleasure lifted from the dish
t h e h e a v y c o v e r pearled
around the edge with glistening
drops.
To d o s s e s a n t i g u a r o n y
míster Dédalus, dando un suspiro de satisfacción, levantó la tapadera de la fuente, toda perlada
de gotitas brillantes alrededor del
borde.
35
Stephen looked at the
plump turkey which had lain,
trussed and skewered, on the
kitchen table. He knew that his
40 father had paid a guinea for it
in Dunn’s of D’Olier Street
and that the man had prodded it
often at the breastbone to show X
how good it was: and he
45
remembered the man’s voice
when he had said:
Stephen contemplaba el
p a v o c e bón que había visto yac e r
a tado con bramante y espetado sobre la mesa de la cocina. [33] Sabía
que su padre había pagado por él una
guinea en la tienda de Dunn, el de
D’Olier Street, y recordaba cómo el
vendedor había sobado y resobado el
esternón del ave para mostrar su buena calidad, y también la voz del hombre cuando decía:
—Take that one, sir. That’s
the
real Ally Daly.
50
—Lleve usted éste, señor.
Es cosa superior.
Why did Mr Barrett in
Clongowes
call
his
p a n d y b a t a t u r k e y ? But
55 Clongowes was far away: and
the warm heavy smell of
turkey and ham and celery
rose from the plates and dishes
and the great fire was banked
60
high and red in the grate and
the green ivy and red holly
made you feel so happy and
when dinner was ended the big
65 plum pudding would be carried
in, studded with peeled
almonds and sprigs of holly,
¿Por qué razón acostumbraba a
llamar míster Barret en Clongowes
«mi pava» a su palmeta ? Pero
Clongowes estaba muy lejos, y el tibio y denso olor del pavo, del jamón
y del apio se elevaba de los platos y
de la fuente, y en el hogar llameaba
un gran fuego rojo, bien apilado contra la pared de la chimenea; y la yedra
verde y el acebo encarnado ¡le hacían
sentirse a uno tan feliz! Y luego, al
acabarse la cena, entrarían el gran
plumpudding, tachonado de almendras peladas, todo rodeado
de llamitas azules oscilantes al29
Joyce’s Portrait
Eton jacket A boy’s short coat reaching only to the waist.
lopsided Uneven, i.e.- he is more dishonest than honest.
irregular, unbalanced
any sauce Mrs Dedalus is speaking practically, but Mr
Dedalus is certain to give Mrs Riordan ‘sauce’ in the
conversational exchanges to come.
with bluish fire running around
it and a little green flag flying
from the top.
rededor, de aquí para allá y con
su banderita verde flameante en
la cima.
5
It was his first Christmas
dinner and he thought of his
little brothers and sisters who
were waiting in the nursery, as
10 he had often waited, till the
pudding came. The deep low
collar and the Eton jacket
made him feel queer and
oldish: and that morning when
15 his mother had brought him
down to the parlour, dressed
for mass, his father had cried.
That was because he was
thinking of his own father. And
20
uncle Charles had said so too.
Era su primera cena de Navidad
y pensaba en sus hermanitos y sus
hermanitas, recluidos en el cuarto de
los niños, esperando, como él tantas
veces lo había hecho, a que llegase
la hora del pudding. Su amplio cuello bajo y su chaquetilla de colegial
la hacían extrañarse de sí mismo y
sentirse más hombre. Y aquella misma mañana, cuando su madre le había conducido a la sala vestido para
misa, su padre se había echado a llorar. Era porque le había recordado a
su propio padre. Y tío Charles le había dicho lo mismo.
Mr Dedalus covered the
dish and began to eat hungrily.
25 Then he said:
Míster Dédalus cubrió la
fuente y comenzó a devorar.
Al cabo de un rato, dijo:
— P o o r o l d C h r i s t y,
h e ’s n e a r l y l o p s i d e d n o w
w i t h r o g u e r y.
—¡Vaya con el pobre Christy!
Ahí le tenéis, doblegado con el
peso de tanta truhanería.
—Simon,
said
Mrs
Dedalus, you haven’t given
Mrs Riordan any sauce.
—Simón —dijo mistress
Dédalus—, mira que no has servido
salsa a mistress Riordan.
Mr Dedalus seized the
sauceboat.
Míster Dédalus cogió la
salsera.
—Haven’t I? he
Mrs Riordan,
pity the poor blind.
Dante covered her plate with
her hands and said:
—¿Es posible? —exclamó—.
Mistress Riordan, tenga usted
compasión de este pobre ciego.
[34] Dante puso ambas manos sobre el plato y dijo:
30
35
40 c r i e d .
pity the poor blind i.e. forgive me for not seeing.
45
—No; gracias.
—No, thanks.
Mr Dedalus turned to
uncle Charles.
Míster Dédalus se volvió entonces hacia tío Charles.
—How are you off,
sir?
—¿Cómo anda usted de todo,
señor?
—Right as the mail,
—Ando que ni una locomotora,
Simón.
50
Right as the mail i.e. just right.
55 S i m o n .
—¿Y tú, John?
—You, John?
—I’m all right. Go on
yourself.
—Perfectamente. Preocúpate de
ti mismo.
—Mary? Here, Stephen,
here’s something to make your
65 hair curl.
—¿Mary?...
Mira,
Stephen, aquí hay algo para
que se te rice el pelo.
He poured sauce freely
Vertió salsa en abundancia
60
30
Joyce’s Portrait
o v e r S t e p h e n ’s p l a t e a n d
set the boat again on the
table. Then he asked
uncle Charles was it
5
tender. Uncle Charles
could not speak because
his mouth was full; but he
nodded that it was.
en el plato de Stephen y volvió
a colocar la salsera sobre la
mesa. Después preguntó a tío
Charles si estaba tierno. Tío
Charles no pudo contestar porque tenía la boca llena. Pero
hizo signos con la cabeza de que
sí lo estaba.
10
• an answer to the canon an answer to the clergy’s
condemnation of Parnell.
—That was a good
answer our friend made
to the canon. W h a t ? s a i d
Mr Dedalus.
—Ha sido una respuesta de primera —dijo míster Dédalus la que
nuestro común amigo ha dado al canónigo. ¿Qué les parece?
—I didn’t think he had that
much in him, said Mr Casey.
—Yo no creí que se le pudiera ocurrir otro tanto —dijo míster Casey.
15
I’ll pay your dues The implication is that the speaker will
attend church when the priest ceases to take politics
as his theme there.
INTO A POLLING-BOOTH.
—Padre, yo pagaré los
diezmos cuando ustedes dejen
de convertir la casa de Dios en
una agencia electoral.
— A n i c e a n s w e r, s a i d
Dante, for any man
calling himself a catholic
to give to his priest.
—Una respuesta muy bonita
—dijo Dante—, para ser dada a
un sacerdote por cualquiera que
se llame católico.
30
—They
have
only
themselves to blame, said Mr
Dedalus suavely. If they took a
fool’s advice they would
35 confine their attention to
religion.
—Ellos son los que
tienen la culpa —dijo
con tono suave míster Dédalus—
. El más lerdo les había de decir
que se redujeran estrictamente a los
asuntos religiosos.
—It is religion, Dante said.
They are doing their duty in
40 warning the people.
—Eso es religión también —
dijo Dante—. Cumplen con su deber previniendo al pueblo.
—We go to the house of
God, Mr Casey said, in all
humility to pray to our Maker
45
and not to hear election
addresses.
—A lo que vamos a la casa
de Dios —intervino míster
Casey—, es a rogar humildemente a nuestro Criador y no a
escuchar arengas electorales.
—It is religion, Dante
s
a
i
d again. They are
50
right. They must direct
their flocks.
—Eso es religión también
—volvió a afirmar Dante—.
Hacen bien. Están obligados a
dirigir sus ovejas.
—And preach politics
—Pero, ¿es religión el hacer política desde el altar? —preguntó
míster Dédalus.
[35]
—Ciertamente —contestó
Dante—. Es una cuestión de moralidad pública. Un sacerdote dejaría de ser sacerdote si dejara de
advertir a sus fieles qué es lo bueno y qué es lo malo.
20
PAY
YOUR
DUES,
WHEN
YOU
CEASE
TURNING THE HOUSE OF GOD
25
suave (En.) polite, sophisticated, afable, fino
cortés, diplomático / zalamero (cajoling)
suave (Sp.) liso, even, blando, mild, lento, dócil
— I’LL
FATHER,
55 from the altar, is it? asked
Mr Dedalus.
—Certainly, said Dante.
It is a question of public
60
m o r a l i t y. A p r i e s t w o u l d
not be a pri e st i f he did not
tell his flock what is right
and what is wrong.
65
Mrs Dedalus laid
down her knife and
Mistress Dédalus abandonó sobre el plato el cuchillo y el tenedor
31
Joyce’s Portrait
fork, saying:
para decir:
—For pity sake and for
pity sake let us have no
5
political discussion on this
day of all days in the year.
—Por el amor de Dios, por el
amor de Dios, no nos metamos en
discusiones políticas en este día único entre todos los días del año.
—Quite right, ma’am, said
uncle
Charles. Now, Simon,
10
that’s quite enough now. Not
another word now.
—Me parece muy bien, señora —dijo tío Charles— ¡Vamos,
Simón, ya es bastante! Ni una palabra más sobre el asunto.
—Yes, yes, said Mr Dedalus
—Sí, sí —dijo rápidamente
míster Dédalus.
15 quickly.
20
He uncovered the dish
boldly and said:
Destapó impetuosamente la
fuente y añadió:
—Now then, who’s for more
turkey?
—Vamos a ver: ¿quién quiere
más pavo?
Nobody answered. Dante
Nadie contestó. Dante volvió a insistir:
25 said:
—Nice language for any
catholic to use!
—¡Bonito lenguaje en boca
de un católico!
—Mrs Riordan, I appeal to
you, said Mrs Dedalus, to let the
matter drop now.
—Mistress Riordan, le suplico —dijo mistress Dédalus— que
deje ya el asunto en paz.
Dante turned on her
and said:
Dante se volvió hacia ella
y exclamó:
—And am I to sit
here and listen to the
40 p a s t o r s o f m y c h u r c h
b eing flouted?
—Pero es que he de estar
aquí sentada con toda calma
o y e n d o q u e s e h a c e m o f a de
los pastores de mi Iglesia?
—Nobody is saying a
word against them, said Mr
45
Dedalus, so long as they
d o n ’t m e d d l e i n p o l i t i c s .
—Nadie tendrá lo más mínimo
que decir contra ellos, simplemente
con que se reduzcan a no mezclarse
en política —dijo míster Dédalus.
—The bishops and priests
of
Ireland
have spoken, said
50
Dante, and they must be
obeyed.
—Los obispos y los sacerdotes de Irlanda han hablado —
dijo Dante—. Hay que obedecerlos.
—Let them leave politics
people may leave their church
alone.
—Que abandonen la política
—agregó
míster
Casey—, o el pueblo abandonará su Iglesia.
— Yo u h e a r ? s a i d
Dante, turning to Mrs
Dedalus.
—¿Oye usted? —exclamó
Dante, volviéndose hacia
mistress Dédalus.
—Mr Casey! Simon! said
—¡Míster Casey! ¡Simón! ¡Vamos a dejarlo ya de una vez!
30
35
5 2 . T h e b i s h o ps . . . t h e E n g l i s h p e o p l e ? : in
November 18go, Parnell’s divorce case came
u p f o r t r i a l . T h e B r i t i s h P r i m e M i n i s t e r,
Gladstone, published a letter on 2.6 November
in which he informed the Irish Parliamentary
Party that so long as Parnell remained leader
there could be no alliance with the British Liber a l P a r t y. P a r n e l l r e f u s e d t o r e s i g n h i s
chairmanship of the Party. On 29 November he
published his Manifesto to the Irish People, an
intemperate attack on his enemies. The Catholic
hierarchy intervened decisively in December,
just before the Parliamentary Party met to
consider Parnell’s position. Forty-four members
went against Parnell, twenty-seven stayed loyal
t o h i m . P a r n e l l ’s s u b s e q u e n t b y - e l e c t i o n
campaigns were attended by great bitterness,
denunciations of and by the clergy, and an
appeal by Parnell to the physical-force
movement, the Fenians, traditional enemies of
the clergy. Parnellites saw their leader as
betrayed by the Gladstonian Liberals, the Irish
Catholic clergy and his own Party. Others (like
Michael Davitt) saw the choice as one between
Home Rule and Parnell. The Fenian Mr Casey’s
support for Parnell would have confirmed
middle-class Irish Catholic hostility to him.
55 alone, said Mr Casey, or the
60
65 Mrs Dedalus, let it end now.
— T o o b a d ! To o b a d !
—¡Demasiado fuerte! ¡Dema32
flout 1 tr. express contempt for (the law,
rules, etc.) by word or action; mock;
insult (flouted convention by shaving
her head).
flout no prestar atención a, [ law] incumplir, desobedecer, desacatar, burlarse,
pasar por alto
Usage often confused with flaunt .
flaunt ostentar, hacer alarde, show off 1 (often
refl.) display ostentatiously (oneself or one’s
finery); show off; parade (liked to flaunt his gold
cuff-links; flaunted themselves before the
crowd). 2 intr. (often foll. by at) mock or scoff at.
Joyce’s Portrait
said uncle Charles.
Were we to desert him The reference is, of course, to
Parnell. (See the section on Political and religious
background.) Other references are to Parnell’s
adultery.
siado fuerte! —dijo tío Charles.
—What?
cried
Mr
D e d a l u s . We re w e t o
5
desert him at the bidding
of the English people?
—Pero, ¿qué? ¿Es que
habíamos de hacerle traición sólo porque nos lo
mandaran los ingleses?
—He was no longer worthy
to
lead,
said Dante. He was a
10
public sinner.
—Se había hecho indigno
del mando —dijo Dante—.
Era un pecador público.
[36]
—Todos somos pecadores, y
empecatados pecadores —masculló
fríamente míster Casey.
— We a r e a l l s i n n e r s
and black sinners, said Mr
15 C a s e y c o l d l y.
— ¡ Ay d e a q u e l p o r q u i e n
el escándalo se comete! —
dijo mistress Riordan—.
Más le valdría atarse una
rueda de molino al cuello y
s e r a r ro j a d o a l o s p r o f u n dos del mar antes que escandalizar a uno de mis
p e q u e ñ u e l o s . Ta l e s e l l e n guaje del Espíritu Santo.
—WOE BE TO THE MAN BY WHOM
53. Woe be to the man . . . little ones: Luke 17:1-2.
Woe be to the man In fact Mrs Riordan is referring to
Luke 17, 1 and 2.
THE SCANDAL COMETH! said Mrs
20
Riordan. IT WOULD BE BETTER FOR
HIM THAT A MILLSTONE WERE TIED
ABOUT HIS NECK AND THAT HE WERE
CAST INTO THE DEPTHS OF THE SEA
RATHER THAN THAT HE SHOULD
25 SCANDALIZE ONE OF THESE, MY
That is the
language of the Holy Ghost.
LEAST LITTLE ONES.
s a i d M r D e d a l u s c o o l l y.
—Y muy mal lenguaje, si he de
decir mi opinión —dijo con frialdad míster Dédalus.
—Simon! Simon! said
uncle
Charles. The boy.
35
—¡Simón! ¡Simón! —exclamó
tío Charles—. ¡El niño!
— Ye s , y e s , s a i d M r
Dedalus. I meant about the...I
was thinking about the bad
40 l a n g u a g e o f t h e r a i l w a y
porter. Well now, that’s all
right. Here, Stephen, show me
your plate, old chap. Eat away
now. Here.
—Sí, sí —dijo míster
Dédalus—. Quería decir el...
Estaba pensando en el mal lenguaje de aquel mozo de estación. Bueno, perfectamente.
¡Vamos a ver, Stephen! Enséñame tu plato, barbián. Toma:
cómete eso.
He heaped up the food on
Stephen’s plate and served uncle
Charles and Mr Casey to large
50 pieces of turkey and splashes of
sauce. Mrs Dedalus was eatin g
little and Dante sat with
her hands in her lap. She
was red in the face. Mr
55 D e d a l u s r o o t e d w i t h t h e
carvers at the end of the
dish and said:
Llenó hasta los bordes el
plato de Stephen y sirvió
grandes pedazos de pavo y
chorreones de salsa a tío Charles y a míster Casey. Mistress
Dédalus comía poco. Y Dante estaba sentada con las manos sobre la falda: tenía la cara arrebatada. Míster Dédalus desenterró
algo con el cubierto en un extremo de la fuente y dijo:
—There’s a tasty bit here
we call the pope’s nose . If
any lady or gentleman...
—Aquí hay un pedazo suculento
al que se suele llamar el obispillo. Si
alguna señora o caballero...
He held a piece of fowl up
Y sostenía un pedazo de
ave en la punta del trinchante. Nadie habló. Se lo puso en
su propio plato diciendo:
—And
very
bad
30 l a n g u a g e i f y o u a s k m e ,
45
60
pope’s nose The rump of the bird, equivalent to the
‘parson’s nose’.
• the pope’s nose the triangular-shaped «tail» of a
chicken or a turkey, where the tail fathers are
attached.
pope’s nose: part of the turkey’s rump
65 on the prong of the carving fork.
Nobody spoke. He put it on his
own plate, saying:
33
empecatado 1. adj. De extremada travesura, de mala
intención, incorregible. 2. Dícese de la persona a
quien salen mal las cosas, como si estuviera dejada de la mano de Dios.
Joyce’s Portrait
I’m not well in my health lately Mr Dedalus is ironically
referring to his lack of spiritual health.
— We l l , y o u c a n ’ t
say
but
you
were
asked. I think I had
5
better eat it myself
because I’m not well
i n m y h e a l t h l a t e l y.
—Bueno, no podrán ustedes
decir que no se lo he ofrecido.
Pero creo que haré mejor comiéndolo yo mismo, porque no me encuentro bien de salud de algún
tiempo a esta parte.
He winked at Stephen
and, replacing the dishcover, began to eat again.
Le guiñó un ojo a Stephen y volviendo a colocar la tapadera se puso
a comer de nuevo.
There was a silence
Todos permanecieron callados
mientras él comía. Al cabo de un rato
dijo:
10
15 w h i l e h e a t e . T h e n h e
said:
—Well now, the day kept up
fine after all. There were
20
plenty of strangers down too.
—Por fin ha acabado el día
con buen tiempo. Y han venido
la mar de forasteros a la ciudad.
Nobody spoke. He
said again:
—I think there were
more strangers down than
last Christmas.
Todo el mundo continuaba callado. Volvió a hablar de nuevo:
[37]
—Creo que han venido más
forasteros este año que las últimas
Navidades.
He looked round at the
others whose faces were bent
towards their plates and,
receiving no reply, waited for a
35 moment and said bitterly:
Pasó revista a las caras de los demás y las encontró inclinadas sobre
los platos. Y como no recibiera respuesta, esperó un momento, para decir por fin amargamente:
—Well, my Christmas dinner
has been spoiled anyhow.
—¡Vaya! Ya se me ha aguado la cena de Navidad.
—There could be neither
luck nor grace, Dante said, in a
house where there is no respect
for the pastors of the church.
—No puede haber ni buena
suerte ni gracia en una casa en
donde no existe respeto para
los pastores de la Iglesia.
Mr Dedalus threw his
knife and fork noisily on
his plate.
Míster Dédalus arrojó ruidosamente el cuchillo y el tenedor
sobre el plato.
50
—Respect! he said. Is it
for Billy with the lip or for
the tub of guts up in
Armagh? Respect!
—¡Respeto! —dijo—. ¿A
quién? ¿A Billy el Morrudo o al
otro tonel de tripas, al de
Armagh? ¡Respeto!
55
—Princes
of
the
church, said Mr Casey
with slow scorn.
—¡Príncipes de la Iglesia! —
dijo míster Casey saboreando despectivamente las palabras.
—Lord Leitrim’s coachman,
yes, said Mr Dedalus.
—Sí: el cochero de lord Leitrim
—dijo míster Dédalus.
— T h e y a r e t h e L o r d ’s
anointed, Dante said. They are
65 an honour to their country.
—Son los ungidos del Señor —exclamó Dante—. Son
la honra de su nación.
— Tu b o f g u t s , s a i d M r
—Es un tonel de tripas —
25
30
40
45
Billy with the lip ... the tub of guts up in Armagh Insulting
remarks about two leading Catholic churchmen who
had helped to bring down Parnell - the Archbishop
of Dublin and the Bishop of Armagh.
• Billy with the lip William J. Walsh, archbishop of Dublin;
he worked in league with Parnell for land reform, but
refused to give Parnell vocal or political support when
the O’Shea scandal broke.
• the tub of guts up in Armagh Michael Logue, another
archbishop who didn’t, but probably could have, used
his influence to dispel the general condemnation of
Parnell. Reference is taken from Hamlet.
Lord Leitrim’s coachman Mr Dedalus is being sarcastic,
for Lord Leitrim had been murdered by what he
regarded as loyal Irish, and the coachman who tried
to defend his much-hated Englishman would, in Mr
Dedalus’s eyes, be a traitor.
• Lord Leitrim’s coachman the reference here is to an
Irish coachman who was more loyal to his English
landlord than he was to his Irish compatriots who
attempted to kill Lord Leitrim. A person who is labeled
as «Lord Leitrim’s coachman» would be a lackey,
subservient to England and having no patriotism for
Ireland.
60
34
vicious no es vicioso, sino feroz / fiero [perro, animal], bad-tempered, spiteful, furioso, de mil de demonios [temperamento], despiadado / sanguinario, , con saña
[criminal], virulento, fuerte [dolor], arisco [caballo], malicioso, rencoroso, malsano, nocivo, atroz / horrible [crimen],
malintencionado, y se usa para describir personas, animales o cosas. En cambio vicioso solo se aplica a personas
para licentious, depraved / perverted y,
en tono menos serio, defective, faulty,
habit-forming, spoiled [mimado] y, refiriéndose a bosque o jungla, luxuriant /
lush / thick [frondoso].
54- Billy . . . tub of guts up in Armagh?: respectively,
William Joseph Walsh (x841-1921), Catholic
archbishop of Dublin (1885-1921), and Michael
Logue (1839-1924), archbishop of Armagh and
Roman Catholic Primate of All-Ireland (18871924).
Walsh’s appointment to the See of Dublin was
strongly opposed by the British government because
of his strong nationalist sympathies. He was a strong
supporter of Parnell and played a leading role in
restraining the Irish clergy from involvement in the
crisis. But on 3 December 1890 he sent a telegram
to the Irish Parliamentary Party, then in session in
Committee Room 15, calling on it to ‘act manfully’ that is, to get rid of Parnell as leader. Michael Logue
opposed Parnell’s leadership of the Irish
Parliamentary Party after the divorce. He became a
cardinal in 1893.
55. Lard Leitrim’s coachman: William Sydney Clements,
Earl of Leitrim (x806-78), was a conservative
politician and notoriously vicious landlord with large
estates in counties Leitrim and Donegal in the
north-west of Ireland. He was assassinated in 1878
by three local men who were never arrested, although
a memorial to them was erected in 196o. The
assassination was a prelude to the Land War, which
broke out a year later. Leitrim’s coachman tried to
save him; the phrase indicates contempt for an
Irishman who would slavishly try to protect or support
his own and his people’s oppressor. The Catholic
Church has often been accused of performing this
role because of its regular, if strategically enthusiastic,
support for the British government in Ireland.
Joyce’s Portrait
Dedalus coarsely. He has a
handsome face, mind you, in
repose. You should see that
fellow lapping up his bacon
5
and cabbage of a cold winter’s
day. O Johnny!
prorrumpió sin miramientos
míster Dédalus—. Bonita cara,
sí, en visita. Pero tendrían ustedes que ver al amigo atiborrándose de berzas con tocino un día
de invierno. ¡Je, Johnny!
He twisted his features
i
n
t
o a grimace of heavy
10
bestiality and made a
lapping noise with his lips.
Contrajo sus facciones hasta
darles una apariencia de crasa
brutalidad, mientras hacía un
ruido hueco con los labios.
— R e a l l y,
Simon,
you
before Stephen. It’s not right.
—Simón, de verdad que no deberías hablar de ese modo delante
de Stephen. No está bien.
—O, he’ll remember all
this when he grows up, said
20
Dante hotly—the language
he heard against God and
religion and priests in his
own home.
—Bien que se acordará él cuando sea mayor —dijo acaloradamente
Dante—; bien que se acordará del
lenguaje que oyó en su propia casa
contra Dios y contra la religión y sus
ministros.
15 should not speak that way
25
pawn 1 n. 1 Chess a piece of the smallest size and
value. 2 a person used by others for their own
purposes.
—Let him remember
too, cried Mr Casey to her
from across the table, the
l a n g u a g e with which the
30 priests and the priests’ pawns
broke Parnell’s heart and hounded
him into his grave. Let him remember
that too when he grows up.
—Pues que se acuerde también
—gritó míster Casey dirigiéndose a
Dante a través de la mesa—, que se
acuerde también del lenguaje con el
que los sacerdotes y su cuadrilla remataron a Parnell y le llevaron a la
sepultura. Que se acuerde también
de esto cuando sea mayor.
35
tear apart
like rats in a sewer Ironically, Mr Dedalus uses a figure of speech much in Stephen’s mind!
—Sons of bitches!
cried Mr Dedalus. When
he was down they turned
on him to betray him and
40 r e n d h i m l i k e r a t s i n a
sewer. Low-lived dogs!
And they look it! By
Christ, they look it!
45
—¡Hijos de perra! —gritó
míster Dédalus—. Cuando estuvo caído, se echaron sobre él
como ratas de alcantarilla para [38]
traicionarle y arrancarle la carne a pedazos. ¡Miserables perros! ¡Y que lo parecen! ¡Por
Cristo, que lo parecen!
—They behaved rightly,
cried Dante. They obeyed their
bishops and their priests.
Honour to them!
— Obraron rectamente —
exclamó Dante—. Obedecían
a sus obispos y a sus sacerdotes. ¡Honor a ellos!
— We l l ,
it
is
perfectly dreadful to
say that not even for
one day in the year, said
55 M r s D e d a l u s , c a n w e b e
free from these dreadful
disputes!
—Vaya, que es verdaderamente terrible el decir que no
ha de haber ni un solo día en
el año —dijo mistress
Dédalus— en el que nos podamos ver libres de estas tremendas disputas.
Uncle Charles raised
his hands mildly and
said:
Tío Charles levantó ambas
manos tratando de imponer paz,
y dijo:
—Come now, come now,
—Vamos, vamos, vamos.
¿Pero es que no se puede seguir
teniendo nuestras ideas, sean las
que fueren, sin usar esos modales
50
60
65 come now! Can we not have
our opinions whatever they
are without this bad temper
35
Joyce’s Portrait
y esas palabras gruesas? Verdaderamente que es una desgracia.
Mrs Dedalus spoke to
Dante in a low voice but
Dante said loudly:
Mistress Dédalus se inclinó para
hablar a Dante en voz baja, pero
Dante contestó levantando la voz:
—I will not say nothing. I
will
defend my church and my
10
religion when it is insulted and
spit on by renegade catholics.
—No me he de callar. Defenderé mi Iglesia y mi religión siempre que sean insultadas y escupidas
por católicos renegados.
Mr Casey pushed his plate
table and, resting his elbows
before him, said in a hoarse
voice to his host:
Míster Casey empujó rudamente su plato hasta el centro de la mesa, e hincando
los codos delante de él, dijo
con voz ronca a su huésped:
—Tell me, did I tell you
that story about a very
famous spit?
—¿Te he contado alguna vez
la historia de aquel célebre
escupitinajo?
— Yo u d i d n o t , J o h n ,
said Mr Dedalus.
—No, John, no me lo has contado —contestó míster Dédalus.
—Why then, said Mr
C a s e y, i t i s a m o s t
30 i n s t r u c t i v e
s t o r y.
It
happened not long ago in the
county Wicklow where we
are now.
—¿No? —dijo míster Casey—,
pues es una historia la mar de instructiva. Ocurrió no hace mucho
tiempo en este mismo condado de
Wicklow en el cual nos encontramos
ahora.
5
56. renegade catholics: Mr Casey is referring to the
practice, quite common under the Penal Laws in
Ireland, of changing one’s faith from Catholicism to
Protestantism in order to retain property or the means
of survival. A proper nationalist pedigree would bear
no such stain. The boast is perfectly compatible with
the anti-clericalism that accompanies it.
• renegade catholics those Catholics who desert their
faith.
and this bad language? It is
too bad surely.
15 rudely into the middle of the
20
25
35
H e b r o k e o ff a n d ,
turning towards Dante,
said
with
quiet
indignation:
Se interrumpió de pront o y, v o l v i é n d o s e h a c i a
Dante, dijo con reposada
indignación:
—And I may tell you,
ma’am, that I, if you mean
me, am no renegade
catholic. I am a catholic as
45
my father was and his
father before him and his
father before him again,
when we gave up our lives
50 r a t h e r t h a n s e l l o u r f a i t h .
—The more shame to
y o u n o w, D a n t e s a i d , t o
speak as you do.
—Y le puedo decir a usted, señora, si es a mí a quien usted se refiere, que yo no soy un católico renegado. Yo soy tan católico como
eran mi padre y el padre de mi padre
y el padre del padre de mi padre, en
aquellos tiempos en que estábamos
dispuestos a dar nuestras vidas antes que traicionar nuestra fe.
[39]
—Pues más vergonzoso aún
para usted —dijo Dante— el hablar
como usted lo hace ahora.
—The story, John, said
Mr Dedalus smiling. Let us
have the story anyhow.
—¡La historia, John! —dijo
míster Dédalus sonriente—. Conozcamos esa historia antes que nada.
—Catholic
indeed!
repeated Dante ironically. The
blackest protestant in the land
would not speak the language I
65 have heard this evening.
—¡Católico, católico! —repitió
irónicamente Dante—. El más
e m p e c a t a d o protestante no
hablaría con el lenguaje que yo
he oído esta noche.
Mr Dedalus began to
Míster Dédalus comenzó a
40
55
60
57. blackest Protestant: that is, a Protestant of the
deepest antiCatholic dye; a common epithet in
Ireland.
36
empecatado 1. adj. De extremada travesura, de mala
intención, incorregible. 2. Dícese de la persona a
quien salen mal las cosas, como si estuviera dejada de la mano de Dios.
Joyce’s Portrait
menear la cabeza a un lado y otro
canturreando a la manera de un
cantor rústico.
—I am no protestant, I
tell you again, said Mr
C a s e y, f l u s h i n g .
—Yo no soy protestante, se lo
repito a usted —dijo míster Casey
poniéndose arrebatado.
Mr
Dedalus,
still
10
crooning and swaying his
head, began to sing in a
grunting nasal tone:
Míster Dédalus seguía aún canturreando y meneando la cabeza;
luego se puso a entonar con unos a
manera de gruñidos nasales:
15 O, come all you Roman catholics
Oh, vosotros, romanocatólicos
que jamás asististeis a misa.
crooning like a country singer This, and the two lines he
sings, are calculated to provoke Dante by their
irreverent tone.
5
58. O, come all .. . to mass: a parody of the standard
Irish ballad that begins with ‘Come all ye (or you) . .
.’.
sway his head to and fro,
crooning like a country
singer.
That never went to mass.
He took up his knife
and fork again in good
20
humour and set to eating,
saying to Mr Casey:
Volvió a coger de nuevo el tenedor y el cuchillo y se dispuso a comer dando señales de buen humor y
mientras decía a míster Casey:
—Let
spoiled nun i.e. one who intended to be a nun, but gave
up because of the rigours of the life.
• a spoiled nun a woman who, for whatever reason, has
turned away from her calling to be a nun.
59- chainies: flawed or damaged chinaware. Mrs
Riordan, the original for Dante, is said by Richard
Ellmann to have forsaken her ambition to become a
nun when her brother left her a fortune, made out of
trading with African natives.
chainies Irish dialect plural of ‘china’.
• the trinkets and the chainies geegaws, cheap jewelry,
and china dishes.
the litany of the Blessed Virgin . . . Tower of Ivory... House
of Gold Both are present in the Litany as marks of
purity and rarity.
60. Tower of Ivory .. . House of Gold!: a Litany is a
form of united prayer by alternate sentences, in
which the clergy lead and the people respond. The
Litany of Our Lady came into general use about
the thirteenth century, spread by pilgrims who heard
it sung in the Santa Casa of Loreto in Italy. It is
usually sung or chanted at Benediction. It is one of
the four forms of Litany recognized by the Church.
Devotion to Mary was often repudiated by
Protestants as an infantile form of Catholic idolatry.
25 s t o r y ,
us have the
John. It will
help us to digest.
—Cuéntanos esa historia,
John. Nos servirá para hacer
la digestión más fácilmente.
Stephen looked with
a ff e c t i o n a t M r C a s e y ’s
30 f a c e w h i c h s t a r e d a c r o s s
the table over his joined
h a n d s . He liked to sit near
him at the fire, looking up at
35 his dark fierce face. But his
dark eyes were never fierce
and his slow voice was good
to listen to. But why was he
then against the priests?
40 B e c a u s e D a n t e m u s t b e
right then. But he had heard
his father say that she was
a s p o i l e d nun and that she
had come out of the convent
45
in the Alleghanies when her
brother had got the money
from the savages for the
trinkets and the chainies.
50 Perhaps that made her severe
against Parnell. And she did
not like him to play with
Eileen because Eileen was a
protestant and when she was
55 young she knew children that
used to play with protestants
and the protestants used to
make fun of the litany of the
B l e s s e d Vi r g i n. TO W E R O F
60
IVORY they used to say, HOUSE
OF GOLD! How could a woman
be a tower of ivory or a house
of gold? Who was right then?
65 A n d h e r e m e m b e r e d t h e
evening in the infirmary in
Clongowes, the dark waters,
Stephen contemplaba con afecto la
cara de míster Casey, el cual, desde el
otro lado de la mesa, miraba con fijeza al
frente, por encima de sus manos.
< -A Stephen le gustaba estar
sentado cerca de la lumbre, contemplando aquella cara sombría y
torva. Pero los ojos miraban
benignamente y la despaciosa voz
resultaba grata al oído. Y, entonces, ¿cómo era posible que atacase a los sacerdotes? Porque Dante
debía de tener razón. Y, sin embargo, había oído decir a su padre que
Dante era una monja fracasada y
que había salido del convento
donde estaba en Alleghanies
cuando su hermano hizo dinero
vendiéndoles a los salvajes baratijas y cacharros de loza. Tal vez
ésa era la razón [40] por la cual
se mostraba tan severa con
Parnell. Y además no le gustaba
que él jugase con Eileen, porque
Eileen era protestante, y cuando
Dante era joven había conocido
niños que jugaban con protestantes y los protestantes se solían
burlar de las letanías de la Santísima Virgen. Torre de Marfil, solían decir, Casa de Oro: ¿cómo
es posible que una mujer pueda
ser una torre de marfil o una casa
de oro? ¿Pues, quién tenía razón
entonces? Y recordó aquella tarde en la enfermería de
Clongowes, las aguas sombrías,
37
flush 1 v. & n. 1 intr. a blush, redden (he
flushed with embarrassment). b glow
with a warm colour (sky flushed pink). 2
tr. (usu. as flushed adj.) cause to glow
or blush (often foll. by with: flushed with
pride). 3 tr. a cleanse (a drain, lavatory,
etc.) by a rushing flow of water. b (often
foll. by away, down) dispose of (an
object) in this way (flushed away the
cigarette). 4 intr. rush out, spurt. 5 tr.
flood (the river flushed the meadow). 6
intr. (of a plant) throw out fresh shoots.
— n. 1 a a blush. b a glow of light or colour.
2 a a rush of water. b the cleansing of a
drain, lavatory, etc. by flushing. 3 a a
rush of emotion. b the elation (euforia,
alegría] produced by a victory etc. (the
flush of triumph). 4 sudden abundance.
5 freshness; vigour (in the first flush of
womanhood). 6 a (also hot flush) a
sudden feeling of heat during the
menopause. b a feverish temperature.
c facial redness, esp. caused by fever,
alcohol, etc. 7 a fresh growth of grass
etc.
flush 2 adj. & v. — adj. 1 (often foll. by with)
in the same plane; level; even (the sink
is flush with the cooker; fitted it flush with
the wall). 2 (usu. predic.) colloq. a having
plenty of money. b (of money) abundant,
plentiful. 3 full to overflowing; in flood.
— v.tr. 1 make (surfaces) level. 2 fill in (a
joint) level with a surface.
flush 3 n. a hand of cards all of one suit,
esp. in poker.
flush 4 v. 1 tr. cause (esp. a game bird) to
fly up. 2 intr. (of a bird) fly up and away.
flush out 1 reveal. 2 drive out.
despaciosa: espaciosa, lenta
Joyce’s Portrait
long white hands Notice how the association of ‘white’
has set Stephen on a sensual train of thought.
tig A game in which one person tries to touch the other
players. [tetoqué]
tig: a game like hide-and-seek [escondite]
the light at the pierhead and the
moan of sorrow from the
people when they had heard.
la luz de la escollera y el gemido de pena de la muchedumbre
al escuchar la noticia.
Eileen had long white
hands. One evening when
playing tig she had put her
hands over his eyes: long
10 a n d w h i t e a n d t h i n a n d
cold and soft. That was
ivory: a cold white thing.
That was the meaning of
Eileen tenía las manos largas y
blancas. Y una vez, jugando a uno
de los juegos de niños, ella le había puesto las manos sobre los
ojos: largas y blancas y finas y frías
y suaves. Aquello era lo que era
marfil: una cosa fría y blanca.
Aquello era lo que quería decir
Torre de Marfil.
5
TOWER OF IVO RY .
Tower of Ivory: epithet for the Blessed Virgin Mary from
the Roman Catholic Litany of Our Lady
15
the chief died i.e. Parnell.
• not long before the chief died not long before Parnell
died.
—The story is very short
and sweet, Mr Casey said. It
was one day down in Arklow,
a cold bitter day, not long
20
before the chief died. May
God have mercy on him!
—La historia es sumamente corta y muy interesante —dijo míster
Casey—. Sucedió un día en Arklow,
en un día de frío glacial, no mucho
tiempo antes de la muerte del jefe;
¡Dios tenga piedad de su alma!
He closed his eyes wearily
a bone from his plate and tore
some meat from it with his
teeth, saying:
Cerró con aire cansado los ojos
e hizo una pausa. Míster Dédalus
cogió un hueso del plato y arrancó con los dientes un residuo de
carne, diciendo:
—Before he was killed, you
mean.
—Querrás decir antes de que lo
mataran.
Mr Casey opened his eyes,
sighed
and went on:
35
Míster Casey abrió los ojos, suspiró y siguió adelante.
—It was down in Arklow
one day. We were down there
at a meeting and after the
40 meeting was over we had to
make our way to the railway
station through the crowd.
Such booing and baaing,
man, you never heard. They
45
called us all the names in the
world. Well there was one old
l a d y, a n d a d r u n k e n o l d
harridan she was surely, that
50 paid all her attention to me.
She kept dancing along
beside me in the mud
bawling and screaming into
my face: PRIEST-HUNTER!
—And what did you do,
John? asked Mr Dedalus.
—Ello sucedió cierto día en
Arklow. Habíamos ido allí a un mitin
y después del mitin tuvimos necesidad de abrirnos paso por entre la multitud para llegar a la estación del ferrocarril. Seguramente no has oído en
tu vida un abucheo y unos alaridos
semejantes. Nos llamaban todas las cosas que se pueden
llamar en este mundo. Y había allí entre la gente una
harpía vieja —y amiga del mosto
que debía ser por cierto— que todos sus
insultos me los dedicaba a mí. Andaba todo
el tiempo danzando entre el barro en torno
a mí, desgañitándose y gritándome a
la cara: ¡Perseguidor del clero! ¡Los
dineros de París! ¡Míster Fox!
¡Kitty O’Shea!
[41]
—¿Y qué hacías tú? —preguntó míster Dédalus.
—I let her bawl away, said
Mr Casey. It was a cold day and
to keep up my heart I had
65 (saving your presence, ma’am)
a quid of Tullamore in my
mouth and sure I couldn’t say a
—Yo la dejaba que se desahogara a placer. Era un día de frío,
y para reconfortarme tenía (con
el perdón de usted, señora) una
brizna de tabaco de Tullamore en
la boca y, desde luego, no podía
25 and paused. Mr Dedalus took
30
Arklow Coastal town south of Dublin
belated adj. 1 coming late or too late. 2 overtaken by
darkness
tardío, retardado, retrasado, atrasado,
trasnochado
harridan A vixen (of a woman).
• a drunken old harridan a drunken old hag.
harridan a scolding (even vicious) old woman , a
bad-tempered old woman, vixen, harpía, bruja
61. Priesthunter!: not so much a reference to Parnell’s
belated attacks on the clergy who had condemned
him, as an insult to those Catholics who, in supporting
Parnell, were akin to the priesthunters who had in
penal times collected bloodmoney by informing on
the proscribed clergy.
62. The Paris Funds! Mr Fox! Kitty O’Sbeah the Irish
Parliamentary Party held funds in Paris to avoid
sequestration of them by the British government.
Parnell used these to finance his last campaign. It
was rumoured that he used these moneys to finance
his affair with Katharine O’Shea. Fox was one of the
pseudonyms he used in his communications with
her. The diminutive form ‘Kitty’ for ‘Katharine’ was
sexually insulting.
The Paris Funds! Mr Fox! Kitty O’Shea! This is running
the gamut of Parnell’s supposed misdemeanours.
He was accused of taking money for himself, money
held in Paris for the National League, and he
sometimes assumed the name of Mr Fox when meeting Kitty O’Shea.
63. Tullamore: Tullamore, fifty miles west of Dublin,
produced a famous ‘plug (or chewing) tobacco’.
a quid of Tullamore A lump of tobacco, presumably
originating from the town of that name.
55 THE PARIS FUNDS! MR FOX!
KITTY O’SHEA!
60
38
• Mr. Fox the pseudonym used by Parnell when he wrote
letters to Kitty O’Shea.
Joyce’s Portrait
word in any case because my mouth
was full of tobacco juice.
hablar palabra, porque mi boca estaba llena de jugo de tabaco.
—Well, John?
—¿Y?...
5
— We l l . I l e t h e r b a w l
away, to her heart’s content,
KITTY O’SHEA and the rest of
it
till at last she called that
10
lady a name that I won’t sully
this Christmas board nor your
ears, ma’am, nor my own lips
by repeating.
—¡Verás! Conque la dejo que se desgañite
a su sabor gritando Kitty
O’Shea, y todo lo demás, hasta que
va y da a esta dama un nombre que
yo no me atrevería a repetir aquí, por
no manchar esta cena de Navidad, ni
sus oídos de usted, señora, ni aun mis
propios labios.
15
20
He paused. Mr Dedalus,
lifting his head from the bone,
asked:
Hizo otra pausa. Míster
Dédalus, apartando la cabeza
de hueso, preguntó:
—And what did you do,
John?
—¿Y tú, qué hicieste,
John?
—Do! said Mr Casey. She
when she said it and I had my
mouth full of tobacco juice. I
bent down to her and PHTH!
says I to her like that.
—¿Que qué hice? La vieja había pegado su cara a la mía para
decirlo, y yo tenía la boca llena
de jugo de tabaco. Con que me inclino hacia ella, y no hago más
que hacer con la boca así: ¡pss!
He turned aside and made
the act of spitting.
Se volvió de lado e hizo la acción de escupir.
—PHTH! says I to
her like that, right
into her eye.
—Con que voy y le hago con la
boca pss, dirigiéndole bien la puntería hacia el ojo.
25 stuck her ugly old face up at me
30
35
X
He clapped his hand to his
Se aplicó una mano contra
el ojo, imitando un alarido de
dolor.
40 eye and gave a hoarse scream
of pain.
— O J E S U S , M A RY A N D
JOSEPH! s a y s s h e . I’M
45
BLINDED! I’M BLINDED AND
DROWNDED!
— ¡ A y, J e s ú s , M a r í a y
José! —grita la vieja—. ¡Que
me han cegado! ¡Que ______
X me han anegado!
He stopped in a fit of
coughing
and laughter, repeating:
50
Se detuvo con un ataque de risa
y tos, repitiendo a intervalos:
BLINDED
—¡Que me han cegado completamente!
Mr Dedalus laughed
loudly and lay back in
his chair while uncle
Charles swayed his head
to and fro.
Míster Dédalus se reía
sonoramente a carcajadas, echándose hacia atrás en la silla, mientras
tío Charles meneaba la cabeza a un
lado y otro.
Dante looked terribly
angry and repeated while
they laughed:
Dante parecía terriblemente furiosa, y repitió mientras
los otros reían:
— Ve r y n i c e ! H a ! Ve r y
nice!
—¡Muy bonito! ¡Ja! ¡Muy
bonito!
—I ’ M
E N T I R E L Y.
55
60
65
39
Joyce’s Portrait
It was not nice about the
spit in the woman’s eye.
[42]
No estaba bien aquello de escupirle a una mujer en el ojo.
But what was the name the
woman had called Kitty
O’Shea that Mr Casey would
not repeat? He thought of Mr
Casey walking through the
crowds of people and making
speeches from a wagonette.
That was what he had been in
prison for and he remembered
that one night Sergeant O’Neill
had come to the house and had
stood in the hall, talking in a low
voice with his father and
chewing nervously at the
chinstrap of his cap. And that
night Mr Casey had not gone
to Dublin by train but a car
had come to the door and he
had heard his father say
something
about
the
Cabinteely road.
//Pero, ¿cuál era el nombre
que la mujer había dado a Kitty
O’Shea, y que míster Casey no se
atrevía a repetir? Se imaginó a
míster Casey avanzando entre
una multitud de gente y echando
discursos desde una vagoneta.
Era por eso por lo que había estado en la cárcel: y recordaba que
una noche el sargento O’Nell
había venido a casa y había estado hablando en voz baja con
su padre, en el vestíbulo, mientras mordía nerviosamente el
barbuquejo de la gorra. Y aquella noche no había ido míster Casey
a Dublín en el tren, sino que un
coche había venido hasta la puerta, y él había oído decir a su padre algo acerca de la carretera de
Cabinteely.
He was for Ireland and
father: and so was Dante
too for one night at the
band on the esplanade she
35 h a d h i t a g e n t l e m a n o n t h e
head with her umbrella
because he had taken off
his hat when the band
p l a y e d G O D S AV E T H E Q U E E N
40 a t t h e e n d .
Míster Casey era partidario
de Irlanda y de Parnell, y lo mismo su padre. Y Dante había sido
también así a lo primero, porque
una noche que estaba tocando la
banda en la explanada, había
golpeado en la cabeza con un
paraguas a un caballero que se
había descubierto al ejecutar la
banda, al final, el God save the
Queen.
Mr Dedalus gave a snort of
contempt.
Míster Dédalus dio un bufido
de desprecio:
5
10
15
20
chinstrap Passing under the jaw, thus holding (the cap)
in place.
25
64. Cabinteely road: Mr Casey had gone by car on the
inland route towards Dublin, through the village of
Cabinteely, possibly to avoid arrest. Sergeant O’Neill
may have been warning him of his imminent arrest
at the railway station.
30 P a r n e l l a n d s o w a s h i s
65. It is true for them: an expression taken from Irish; it
means, ‘They (the clergy) are in control, have the
upper hand.’
66. priest-ridden: the reorganization of the Catholic
Church in Ireland after the Famine was undertaken
by Cardinal Paul Cullen (1803-78). He wanted the
Irish Parliamentary Party to become, in effect, a
Catholic lobby and to link itself closely to the British
Liberal Party. He was deeply opposed to the Fenians.
45
—Ah, John, he said. It is true
for them. We are an unfortunate
pr i e s t - r i d d e n r a c e
a n d a l w a y s w e r e
50 a n d a l w a y s w i l l b e
till the end of the chapter.
till the end of the chapter i.e. until things come to an
end. ,as a whiteboy The whiteboys were a secret
Irish organization and, in the 1760s, they perpetrated
certain outrages. They were named after the white
smocks they wore on their nightly raids.
— Ay , J o h n — d i j o —
X . S o m o s u n a r a z a ______
manejada por los curas, y
lo hemos sido siempre, y
lo seremos hasta la consumación de los siglos.
Uncle Charles shook his
head, saying:
Tío Charles meneó la cabeza diciendo:
—A bad business! A bad
business!
—¡Mala cosa! ¡Mala
cosa!
55
60
65
Míster Dédalus repitió:
Mr Dedalus repeated:
—A priest-ridden Godforsaken race!
—Una raza gobernada por los curas y dejada de la mano de Dios.
He pointed to the portrait
of his grandfather on the wall
to his right.
Señaló hacia el retrato de su
abuelo, que pendía en la pared
a su derecha:
40
barbuquejo 1. m. barboquejo, cinta
para sujetar bajo la barba.
Joyce’s Portrait
• condemned to death as a whiteboy whiteboys were
somewhat like eighteenth-century KKK members;
they wore white garbs at night and threatened
Protestant landlords who were raising rents
inordinately.
whiteboy: member of a group working for land and tax
reform sometimes using terrorist means
67. whiteboy: the Whiteboys were an agrarian secret
society that flourished initially in the 1760s. They wore
white garments to help identify one another at night
during their raids on stock, farmhouses and the like.
Their grievances were payments of tithes, raised
rents, enclosures and various taxes. Whiteboyism
endured, in different forms, into the nineteenth
century. The movement was condemned on several
occasions by the Catholic Church.
68. put his two feet under his mahogany: sit at his table,
receive his hospitality.
ma hogany table.
—Do you see that old
chap up there, John? he
said. He was a good
5
Irishman when there was
no money In the job. He
was condemned to death
as a whiteboy. But he
10 h a d a s a y i n g a b o u t o u r
clerical friends, that
he would never let one
o f them put his two feet
u n d e r his mahogany.
—¿Ves aquel valiente que está
ahí encima, John? —dijo—. Fue
un buen irlandés en aquellos tiempos en que se combatía sin esperanza de recompensa. Le condenaron a muerte acusado de pertenecer a la sociedad de los Whiteboys.
Pues él acostumbraba a decir de
nuestros amigos, los curas, que
[43] jamás permitiría poner los
pies a ninguno de ellos bajo el tablero de su mesa de comedor.
15
in
Dante no pudo ya reprimir su
cólera y exclamó:
—If we are a priestridden race we ought to
be proud of it! They are
t h e a p p l e o f G o d ’s e y e .
TOUCH THEM NOT , says
25 C h r i s t , F O R T H E Y A R E T H E
—Pues si somos una raza
gobernada por los sacerdotes,
debemos estar orgullosos de
ello. Ellos son la niña del ojo
de Dios. No los toquéis, dice
C r i s t o , p o rq u e e l l o s s o n l a
niña de mi ojo.
Dante
angrily:
broke
20
Touch them not . . . apple o f My eye: Zachariah 2:8.
Touch them not: Dante is getting mixed up. These are
not Christ’s words but occur in the Bible, Zechariah
2: 8-9
A P P L E O F M Y E Y E.
—And can we not love
our country then? asked
30 M r C a s e y. A r e w e n o t t o
follow the man that was
born to lead us?
—Según eso, ¿no debemos
amar a nuestro país? —preguntó míster Casey—. ¿Y no hemos
de seguir al hombre que había
nacido para conducirnos?
—A traitor to his
country! replied Dante. A
t r a i t o r, a n a d u l t e r e r ! T h e
priests were right to
abandon him. The priests
40 were always the true friends
of Ireland.
—¿A un traidor a su patria?
—replicó Dante—. ¡A un traidor, a un adúltero! Los sacerdotes hicieron bien en abandonarle. Los sacerdotes han sido
siempre los verdaderos amigos
de Irlanda.
35
70. Lanigan . . . Cornwallis: James Lanigan (d. 1812)
was Bishop of Ossory. He presented a complimentary
address to Lord Cornwallis in 1799, on foot of a
decision by the Catholic hierarchy to accept a
proposal of Catholic emancipation in exchange for
granting to the British government the right to veto
the appointment of Catholic bishops. Charles
Cornwallis, first marquis and second earl, who had
surrendered to Washington at Yorktown in 1781, was
Commander-in-Chief and Lord Lieutenant of Ireland
(1798-1801). He suppressed the rebellion of 1798
and worked to secure the Union of Great Britain and
Ireland. He was authorized to assure the Catholic
hierarchy that emancipation would follow union. He
resigned when King George III refused to honour
the promise of emancipation. The Act of Union
abolished the Irish parliament and made provision
for Irish representation at Westminster. It remained
in force from 18oi to 1922.
71. catholic emancipation: the act of 1829 admitted
Catholics to a wide range of public offices from which
they had been excluded. The measure was
vigorously supported by the Catholic Church, which
had helped Daniel O’Connell, the Liberator (see note
42, above), to mobilize the Catholic population in his
campaign.
72. fenian movement ... confessionbox: ‘Fenians’ was
the name given to the republican organization
founded on St Patrick’s Day, 1858, in New York,
simultaneously with the Irish Republican Brotherhood
(IRB), founded in Dublin. The name commemorated
the ancient warriors of Ireland, the Fianna. The
Fenians supplied men to the IRB and were subject
to the Supreme Council of the IRB. The Catholic
clergy denounced both the Fenians and the IRB and
generally regarded both organizations as one.
Absolution was sometimes withheld at confession
from those who admitted membership of the
movement, although the hierarchy was more hostile
than the regular clergy.
73. Terence Bellew MacManus: MacManus (1823-60)
had been a supporter of O’Connell, a Young Irelander
faith?
—¿Qué me cuenta? ¿En serio?
—dijo míster Casey.
He threw his fist on
the table and, frowning
a n g r i l y, p r o t r u d e d o n e
50 f i n g e r a f t e r a n o t h e r.
Dejó caer el puño sobre la mesa
y, frunciendo el entrecejo
coléricamente, se puso a contar por
los dedos, enderezándolos uno a uno.
—Didn’t the bishops of
Ireland betray us in the time
of the union when Bishop
55 Lanigan presented an address
of loyalty to the Marquess
C o r n w a l l i s ? D i d n ’t t h e
bishops and priests sell the
aspirations of their country in
60
1829 in return for catholic
emancipation? Didn’t they
denounce
the
fenian
movement from the pulpit and
65 in the confession box? And
didn’t they dishonour the
a s h e s o f Te r e n c e B e l l e w
—¿Acaso no nos hicieron
traición los obispos de Irlanda en tiempos de la Unión,
cuando el obispo Lanigan dirigió un mensaje de lealtad al
marqués Cornwallis? ¿No
vendieron los obispos y los
sacerdotes las aspiraciones de
su propio país en 1829 a cambio de obtener la emancipación católica? ¿No desaprobaron el movimiento feniano
desde el púlpito y en el confesionario? ¿Y no profanaron
las cenizas de Terence Bellew
45
— We r e t h e y,
s a i d M r C a s e y.
41
Bishop Lanigan ... Marquess Cornwallis The Lord
Lieutenant of Ireland who resigned in 1801
because he had promised Catholic
Emancipation but the King (George III) had
withheld his Royal assent. Lanigan believed
that the Catholics were to be emancipated,
hence his address’ of loyalty. The Catholic
Emancipation Act was passed in 1829;
certainly the Church opposed the Fenian
movement because of its emphasis on freeing
Ireland by force of arms. Throughout this, and
in order to provoke Dante, Mr Dedalus is taking
the extreme view.
• the fenian movement inspired by the American
Civil War, these Irish-Americans returned to
Ireland to stage a revolt of their own. They were
quickly and successfully put down.
Joyce’s Portrait
and a Fenian. He was transported to Australia,
escaped and made his way to the USA, where he
died eight years later. The IRB brought his body home
for burial; Cardinal Paul Cullen (1803-78) refused
permission for a lying-in-state in the Catholic
Pro-Cathedral in Dublin and banned participation by
the Catholic clergy. The ban was broken by one
priest, the funeral was one of the largest ever seen
in Dublin and a propaganda success for the Fenians.
Terence Bellew MacManus See the note below on Paul
Cullen. MacManus, who had taken part in the 1848
rebellion, died in America, but his body was brought
back to Ireland and there was a public funeral.
MacManus?
Mac Manus?
His face was glowing with
anger and Stephen felt the
5
glow rise to his own cheek as
the spoken words thrilled
him. Mr Dedalus utt ered a
gaffaw of coarse scorn.
Tenía el rostro resplandeciente de
cólera y a Stephen se le arrebataban
también las mejillas sólo con la conmoción que aquellas palabras causaban en él. Míster Dédalus lanzó una
risotada de _______ desprecio.
10
74. Paul Cullen: Cullen (see above) was the first Irish
cardinal (r866) and a resolute organizer of the
Catholic Church. (See also note 66, above.)
• old Paul Cullen another Irish archbishop who was
anti-nationalist.
—O, by God, he cried,
I forgot little old Paul
Cullen! Another apple of
G o d ’s e y e !
—¡Por Cristo! —exclamó—
. ¡Que se nos olvidaba el
chiquitín de Paul Cullen! Otra
niña del ojo de Dios.
Dante bent across the
table and cried to Mr
Casey:
Dante avanzó el cuerpo por encima de la mesa y gritó dirigiéndose
a míster Casey:
—Right! Right! They
were always right! God and
morality and religion come
first.
—¡Han hecho bien! ¡Han hecho bien! ¡Han obrado siempre
bien! Dios, moralidad y religión
son antes que nada.
[44]
Mistress Dédalus, viendo su
excitación, le dijo:
15
20
25
Mrs Dedalus, seeing her
excitement, said to her:
—Mistress Riordan, no se excite contestándoles.
—Mrs Riordan, don’t excite
30 yourself answering them.
___ _____ ____ _____ _ ___
—God and religion before
everything! Dante cried. God
35 and religion before the world.
X _ ____ ______ _____ _____ ____
Mr Casey raised his
clenched fist and brought it
down on the table with a crash.
Míster Casey levantó un
puño crispado y lo dejó caer
sobre la mesa con estrépito.
—Very well then, he
shouted hoarsely, if it comes to
that, no God for Ireland!
—Muy bien —gritó con voz
ronca—. Pues si vamos a parar ahí,
¡que no haya Dios para Irlanda!
—John! John! cried Mr
Dedalus, seizing his guest by
the coat sleeve.
—¡John, John! —exclamó
míster Dédalus cogiéndole por
la manga de la chaqueta.
Dante stared across the
table, her cheeks shaking.
Mr Casey struggled up
from his chair and bent
across the table towards
55 h e r, s c r a p i n g t h e a i r f r o m
before his eyes with one
hand as though he were
tearing aside a cobweb.
Dante, desde su sitio, con las
mejillas trémulas, clavó sus ojos espantados en míster Casey. Éste pugnaba por levantarse de la silla y, doblando el tronco en dirección a ella
por encima de la mesa, gritó, mientras con una mano arañaba el aire
delante de él como si tratara de destruir una tela de araña:
_ __ __ ______ _ ________
40
hoarsely roncamente
45
50
as though he were tearing aside a cobweb Joyce is adept
at the casually effective image.
no God for Ireland! These words, uttered in the passion
of the moment, have a long term effect in the action
of A Portrait, for Stephen is ultimately to reject God
and Ireland.
60
—No God for Ireland!
h e c r i e d . We h a v e h a d t o o
much God In Ireland.
Aw a y w i t h G o d !
—¡Que no haya Dios para Irlanda!
_______ ¡Es ya mucho Dios el
que hemos tenido en Irlanda!
¡Afuera con él!
—Blasphemer!
Devil!
screamed Dante, starting to her
—¡Blasfemo! ¡Demonio! —chilló Dante, po-
65
42
• Terence Bellew MacManus when the body of the exiled
MacManus was returned to Ireland for burial, church
officials protested his burial in hallowed ground.
Joyce’s Portrait
feet and almost spitting in his
face.
niéndose en pie y casi escupiéndole al rostro.
Uncle Charles and Mr
Dedalus pulled Mr Casey
back into his chair again,
talking to him from both
s i d e s r e a s o n a b l y. H e
10 s t a r e d b e f o r e h i m o u t o f
his dark flaming eyes,
repeating:
Tío Charles y míster Dédalus
pugnaban por reducir a míster
Casey de nuevo a su asiento, tratando de aplacarle, cada uno por
su lado, a fuerza de buenas razones. Y él, con la mirada estática,
lanzando llamaradas sombrías por
los ojos, repetía:
5
—Away with God, I say!
—Afuera con él, he dicho.
15
• upsetting her napkinring a napkin ring is a ring of china, metal, or wood that holds a folded napkin.
Dante shoved her chair
violently aside and left the
table, upsetting her napkinring which rolled slowly along
20
the carpet and came to rest
against the foot of an easyc h a i r. M r s D e d a l u s r o s e
quickly and followed her
25 towards the door. At the door
Dante turned round violently
and shouted down the room,
her cheeks flushed and
quivering with rage:
Dante empujó violentamente
su silla hacia un lado y abandonó la mesa derribando el servilletero, que rodó lentamente por la alfombra y fue a quedar inmóvil al pie de una butaca. Mister Dédalus se levantó rápidamente y siguió a Dante
hacia la puerta. Al llegar a ella,
Dante se volvió de pronto con
violencia y clamó con l a s
mejillas arrebatadas y
trémula de ira:
30
We crushed him to death Again, the reference is to
Parnell.
—Devil out of hell!
We w o n ! We c r u s h e d
him to death! Fiend!
—¡Demonio de los infiernos! ¡Le hemos vencido! ¡Le hemos aplastado la
cabeza! ¡Enemigo malo!
The door slammed behind
her.
La puerta se cerró de golpe tras
ella.
Mr Casey, freeing his arms
Míster Casey, libertándose de
los que le sujetaban, abatió repentinamente la cabeza entre las manos con un sollozo de dolor.
35
40 from his holders, suddenly
bowed his head on his hands
with a sob of pain.
75. My dead king!: one of Parnell’s soubriquets was ‘the
uncrowned king of Ireland’.
45
—Poor Parnell! he cried
loudly. My dead king!
He sobbed loudly and
bitterly.
—¡Pobre Parnell! —exclamó—. ¡Mi rey muerto!
[45]
Y sollozó ruidosamente, amargamente.
Stephen, raising his terrorstricken face, saw that his
father ’s eyes were full of
tears.
Stephen levantó la cara aterrada y vio que los ojos de su
padre estaban llenos de lágrimas.
*****
***
The fellows talked together
in little groups.
Los alumnos charlaban en
grupitos.
50
his father’s eyes were full of tears Mr Dedalus is often
emotional, sentimental. Later Stephen is to be
ashamed of this.
55
60
One fellow said:
76. Hill of Lyons: a hill six miles east of Clongowes Wood
College.
• They were caught near the Hill of Lyons. «They» refers
to five students.
Uno dijo:
—They were caught near the
—Los han cogido cerca de la
colina de Lyons.
65 Hill of Lyons.
—Who caught them?
—¿Quién los cogió?
43
‘sonrojadas, coloradas’ y dudosamente
«arrebatadas» aunque signifique en la acepción supuesta airadas o enfurecidas por la
ira
fiend 1 (diablo) demonio 2 desalmado, malvado, 3 familiar fanático
Joyce’s Portrait
77. minister: the vice-rector.
78. car: a two-wheeled horse-drawn vehicle.
—Mr Gleeson and the
minister. They were on a
car. The same fellow added:
—Míster Gleeson y el
Padre Ministro. Iban en un
coche. El mismo muchacho añadió:
—A fellow in the higher
line told me.
—Me lo ha dicho uno de la primera división.
5
higher line i.e. Upper school.
10
15
79. fecked: stolen.
fecked stolen.
• they had fecked cash they had stolen cash.
20
Fleming asked:
Fleming preguntó:
—But why did they run
away, tell us?
—Pero, dinos, ¿por qué se
escapaban?
— I k n o w w h y, C e c i l
Thunder said. Because they
had fecked cash out of the
rector ’s room.
— Yo s é p o r q u é — d i j o
Cecil Thunder—. Porque habían robado el dinero del
c u a r t o d e l r e c t o r.
—Who fecked it?
—¿Quién lo robó?
—Kickham’s brother. And
they all went shares in it.
—El hermano de Kickham. Y
se lo repartieron entre todos.
—But that was stealing.
How could they have done that?
// ¡Pero aquello era robar! ¿Cómo
podían haber hecho aquello?
—A fat lot you know about
—¡Sí que sabes tú mucho,
Thunder! —dijo Wells—. Yo sé por
qué se han largado ésos.
25
80. scut: ran away.
scut fled.
• I know why they scut I know why they tried to escape.
«Scut» is defined in the dictionary as the tail of a rabbit,
held high while running. In America, the verb form
«high-tail it» is similar in meaning to the verb «scut:’
scut: literally, tail of a rabbit; here, «turned tail and ran»
30 it, Thunder! Wells said. I know
why they scut.
—Tell us why.
—Dinos por qué.
35
—I was told not to, Wells
said.
—Me han dicho que no lo dijera.
— O , g o o n , We l l s , a l l
—¡Anda, Wells! ¡Ya nos lo puedes contar! —exclamaron todos—.
¡Que no se lo diremos a nadie!
40 s a i d . Yo u m i g h t t e l l u s . We
won’t let it out.
sacristy Place for keeping vessels and vestments of the
church.
• the press in the sacristy a closet (a large piece of
furniture) in the room where the sacred vessels and
vestments are kept.
Stephen bent forward his
head to hear. Wells looked
45
round to see if anyone was
coming. Then he said secretly:
Stephen inclinó la cabeza hacia
adelante para oír. Wells miró alrededor para ver si venía alguien. Después dijo en tono de secreto:
—You know the altar wine
they
keep in the press in the
50
sacristy?
—¿Sabéis el vino de misa que
está guardado en el armario de
la sacristía?
—Yes.
55
60
65
—Sí.
—Well, they drank that
and it was found out who did
it by the smell. And that’s
why they ran away, if you
want to know.
And the fellow who had
spoken first said:
—Bueno; pues se lo bebieron y han sabido quiénes eran
por el olor. Y por eso fue por
lo que se escaparon, si es que
queréis saber por qué.
[46]
Y el chico que había hablado
primero dijo:
—Yes, that’s what I heard
too from the fellow in the higher
line.
—Sí, eso fue también lo
que me dijo el de la primera
división.
44
Joyce’s Portrait
5
crimped Compressed into plaits or folds.
• the crimped surplices stiffly folded, white linen gowns
worn over priests’ cassocks.
81. boatbearer:the server who carries the vessel that
holds the incense before it is transferred to the censer
(or thurible, a vessel with chains attached) in the rite
of Benediction. In this rite the priest takes the Host
from the tabernacle, places it in the monstrance and
then-places the monstrance on a throne above the
tabernacle. The incense is then transferred to the
thurible, burnt and the thurible swung before the Host.
boatbearer i.e. the boy who carried the vessel which
held the incense.
• boatbearer he who carries the container with the dry
incense during mass.
10
15
20
82. the little altar in the wood: there is an altar in the
wood or park adjoining Clongowes at which
Benediction was performed.
• censer the vessel in which the incense is burned.
25
30
35
The fellows all were silent.
Stephen stood among them,
afraid to speak, listening. A
faint sickness of awe made him
feel weak. How could they have
done that? He thought of the
dark silent sacristy. There were
dark wooden presses there
where the crimped surplices lay
quietly folded. It was not the
chapel but still you had to
speak under your breath. It
was a holy place. He
remembered the summer
evening he had been there to
be dressed as boatbearer, the
evening of the Procession to
the little altar in the wood. A
strange and holy place. The
bo y t h a t h e l d t h e c e n s e r
had swung it lifted by
the middle chain to
keep the coals lighting.
That was called charcoal: and
it had burned quietly as the
fellow had swung it gently and
had given off a weak sour
smell. And then when all were
vested he had stood holding
out the boat to the rector and
the rector had put a spoonful
of incense in it and it had
hissed on the red coals.
Todos se quedaban callados.
Stephen estaba entre ellos, escuchando, asustado de hablar. Sentía un
leve malestar, un desfallecimiento de
pavor. ¿Cómo podían haber hecho
aquello? Se imaginaba la sacristía
oscura y silenciosa. Había en ella
unos armarios de madera oscura en
donde yacían inmóviles las rizadas
sobrepelli c e s . N o e r a l a c a p i l l a y, s i n e m b a rg o , h a b í a
que hablar allí en voz baja.
E r a u n l u g a r s a n t o. Y recordaba la tarde de verano cuando
había estado allí pana revestirse
y llevar la naveta del inciens o
en la procesión hasta el
altarcillo colocado en el bos que.
Un lugar extraño y santo. El muchacho que llevaba el incensario lo había estado balanceando, cogido por
la cadena de en medio, para que los
carbones prendieran bien.
<-Aquello se llamaba carbón de
leña, y ardía suavemente cuando el
chico lo balanceaba con cuidado y
exhalaba un ligero olor agrio.
Y l u e go, cuando todos estuvieron revestidos, él le había presentado la naveta al rector. E l r e c t o r p u s o u n a c u c h a r a da de incienso en el incensario. Y el incienso
silbaba al caer sobre los carbones encendidos.
The fellows were talking
Los alumnos charlaban en
pequeños grupos, aquí y allá,
por los campos de recreo. Le
d a b a l a sensación de que los
muchachos se habían empequeñecido. Y era que un ciclista ,
a uno de segundo de gramática, le había atropellado el
d í a a n t e r i o r. L a b i c i c l e t a le
había arrojado sobre la pista de escorias y se le habían
roto las gafas en tres pedazos y algunas partículas de
escorias le habían entrado en
la boca.
40 together in little groups here
83. a sprinter: a racing cyclist.
sprinter: someone training in short-distance bicycle
racing
machine i.e. bicycle.
and there on the playground.
The fellows seemed to him to
have grown smaller: that was
because a sprinter had knocked
45
him down the day before, a
fellow out of second of
grammar. He had been thrown
by the fellow’s machine lightly
50 on the cinder path and his
spectacles had been broken in
three pieces and some of the grit
of the cinders had gone Into his
mouth.
55
84. cricket was coming: rugby football, a winter sport,
was giving way to cricket, a summer game.
85. prof: captain of the cricket team.
prof A professional cricket coach for the school. One
wonders if the reference could be to the legendary
S. F. Barnes.
That was why the fellows
seemed to him smaller and
farther away and the
goalposts so thin and far and
60
the soft grey sky so high up.
But there was no play on the
football grounds for cricket
was coming: and some said
65 that Barnes would be prof
and some s a i d i t w o u l d be
Flowers. And all over the
// Y por eso le parecían los muchachos más pequeños y más
distantes y las porterí a s t a n l e janas y delgadas y tan alto
el cielo apacible y gris.
Pero nadie jugaba en los
campos de fútbol porque iba a empezar la temporada de cricket. Unos decían que Barnes sería el entrenador,
y otros, que lo s e r í a F l o w e r s .
Por todos lados había
45
Joyce’s Portrait
86. rounders: a mild version of baseball.
rounders: British ball game
87. twisters and lobs: names for different kinds of bowling
in cricket.
lob 1 hit or throw (a ball or missile etc.) slowly or in
a high arc. 2 send (an opponent) a lobbed ball.
1 a a ball struck in a high arc. b a stroke producing
this result. 2 Cricket a slow underarm ball.
Slang for a penny Arrojar en parábola
pick, pack, pock, puck: little drops of water Stephen, his
sight impaired, takes great pleasure in the sounds
he can hear, and the image invests them with a poetic
significance. He is to repeat the exact phrasing later.
playgrounds they were
playing rounders and
bowling twisters and lobs .
An d f r o m h e r e a n d
5
from there came the
sounds of the cricket
bats through the soft grey
a i r. T h e y s a i d : p i c k , p a c k ,
10 pock, puck: little drops of
water i n a f o u n t a i n s l o w l y
falling in the brimming
bowl .
15
X
Athy, que había estado callado hasta entonces, dijo:
Athy, who had been silent,
said quietly:
—Todos estáis equivocados.
—You are all wrong.
20
muchachos que ensayaban en lanzar pelotas
mu e r t a s y p e l o t a s con
e f e c t o . [47] Y de aquí y
de allá venían a través del
aire suave y gris los golpes de las palas del
cricket . Hac í a n : p i c ,
p a c , p o c , p uc; c o m o
gotitas de agua a l
c a e r s o b r e e l t azón repleto de una fuente.
Todos se volvieron hacia él con
curiosidad.
All turned towards him
eagerly.
—Why?
—¿Por qué?
—Do you know?
—¿Es que tú sabes?...
—Who told you?
—¿Quién te lo dijo?
—Tell us, Athy.
—Cuéntanos, Athy.
25
30
Athy señaló al otro lado del
campo de recreo, hacia donde
estaba Simón Moonan paseándose, llevándose por delante una
piedra a patadas.
Athy pointed across the
playground to where Simon
35 M o o n a n w a s w a l k i n g b y
himself kicking a stone
before him.
—Preguntadle a ése —dijo.
—Ask him, he said.
40
Los chicos miraron hacia allá y
dijeron:
The fellows looked there
and then said:
45
—Why him?
—¿Por qué a ése?
—Is he in it?
—¿Tiene que ver con ello?
Athy lowered his voice and said:
Athy bajó la voz y dijo:
50
55
60
the square The area which enclosed the toilets.
• in the square in the school bathroom.
square: the school latrine or urinal
—Do you know why those
fellows scut? I will tell you but
you must not let on you know.
—¿Sabéis por qué se largaron
esos? Oslo diré, pero tenéis que hacer como que no lo sabéis.
—Tell us, Athy. Go on. You
might if you know.
—Dínoslo, Athy. Sigue. Dínoslo, si lo sabes.
He paused for a moment and
then said mysteriously:
Hizo una pausa y luego dijo misteriosamente:
—They were caught with
Simon Moonan and Tusker
Boyle in the square one night.
—Los pescaron con Simón
Moonan y Boyle, el de los camellos,
una noche en los lugares.
The fellows looked at him
and asked:
Los chicos le miraron sin comprender y preguntaron.
65
46
Joyce’s Portrait
—Caught?
—¿Los pescaron?
—What doing?
—¿Qué estaban haciendo?
5
amorous relating sexual love, apasionado, sensual, amatorio, enamoradizo, mujeriego, philandering
Athy said:
womanizing, having amorous affair
88. smugging: amorous homosexual behaviour
(toqueteando, metiéndose mano).
Smugging i.e. masturbating. Stephen reveals that he
has no idea what Athy is talking about.
• smugging perhaps a combination of «smuggling» /
suggesting something done clandestinely) and
«smug» (meaning, to «make pretty»/; here, the term
refers to the secret homosexual horseplay (payasadas) that five students were caught at, including
Simon Moonan and «Lady» Boyle («Tusker’’ Boyle).
smugging: probably a mild sort of homosexual play
—Smugging.
—Besuqueándose.
10
All the fellows were silent:
and Athy said:
Todos se quedaron callados. Y
Athy añadió:
—And that’s why.
—Y ésa es la razón.
15
Stephen looked at the faces
of the fellows but they were all
looking across the playground.
He wanted to ask somebody
about it. What did that mean
about the smugging in the
square? Why did the five
fellows out of the higher line
run away for that? It was a joke,
he thought. Simon Moonan had
nice clothes and one night he
had shown him a ball of creamy
sweets that the fellows of the
football fifteen had rolled down
to him along the carpet in the
middle of the refectory when he
was at the door. It was the night
of the match against the Bective
Rangers; and the ball was made
just like a red and green apple
only it opened and it was full
of the creamy sweets. And one
day Boyle had said that art
elephant had two tuskers
instead of two tusks and that
was why he was called Tusker
Boyle but some fellows called
him Lady Boyle because he
was a l w a y s a t h i s n a i l s ,
paring them.
Stephen observó las caras de sus
compañeros, pero todos estaban mirando hacia el otro lado del campo.
Necesitaba preguntar a alguien.
¿Qué significaba aquello de
besuquearse en los lugares? ¿Por
qué se habían escapado por eso
los muchachos de la [48] primera
división? Era una broma, pensaba. Simón Moonan tenía unos trajes muy bonitos y una noche le
había enseñado una bola de bombones de crema que los jugadores del equipo de fútbol le habían
enviado rodando a lo largo de la
alfombra del centro del comedor. Era la noche del partido
contra el equipo de los Bective
Rangers, y la bola presentaba
exactamente una manzana roja y
verde, sólo que se abría y estaba llena de bombones de crema.
Y un día Boyle había dicho que un
elefante tenía dos camellos, en lugar de dos colmillos, y era por eso
por lo que le llamaban Boyle el de
los camellos, pero algunos chicos
le llamaban la señorita Boyle,
porque siempre se estaba
arreglando las uñas.
Eileen had long thin cool
white hands too because she
was a girl. They were like
ivory; only soft. That was the
meaning of TOWER OF IVORY
55 but protestants could not
understand it and made fun of
it. One day he had stood beside
her looking into the hotel
grounds. A waiter was running
60
up a trail of bunting on the
flagstaff and a fox terrier was
scampering to and fro on the
sunny lawn. She had put her
65 h a n d i n t o h i s p o c k e t
w h e r e h i s ha n d w a s a n d h e
had felt how cool and thin
Eileen tenía también las manos
finas, frescas y delgadas, porque
era una chica. Eran como mármol,
sólo que blandas. Aquello era lo
que quería decir Torre de Marfil, pero los protestantes no lo
podían entender y se reían de
ello. Un día estaba él al lado
de ella mirando los campos
del hotel. Un criado izaba una
banderola e n s u m á s t i l y
un perro foxterrier
daba huidas locas de acá para allá sobre el césped soleado. Ella le metió
la mano en el bolsillo donde él
tenía la suya propia y Stephen sintió entonces el frescor, la delgadez
20
25
30
35
40
45
always at his nails, paring them Ironic that the effeminate
Boyle should practise what Stephen sees as one of
the attributes of the artist.
50
• a trail of bunting a trail of festive streamers.
She had put her hand into his pocket Eileen is a little
precocious, perhaps sexually aware; Stephen
manifestly is not.
47
scamper escabullirse; to scamper in/out
entrar/salir corriendo; to scamper
along ir corriendo, corretear
v.intr. (usu. foll. by about, through) run
and skip impulsively or playfully.
Joyce’s Portrait
By thinking of things you could understand them This
reflection shows Stephen’s capacity to work out his
ultimate salvation.
a n d s o f t h e r h and w a s .
She had said that pockets
were funny things to have:
and then all of a sudden she
5
had broken away and had run
laughing down the sloping curve
of the path. Her fair hair had
streamed out behind her like
10 gold in the sun. TOWER OF IVORY.
HOUSE OF GOLD. By thinking of
things you could understand
them.
y la tersura de aquella mano.
Ella le había dicho que el tener bolsillos era una cosa bien
chistosa, y luego, de pronto,
había echado a correr cuesta
abajo por el sendero en c u r v a .
Su cabello rubio le ondeaba por detrás, como oro al
s o l . To r re d e M a r f i l . C a s a
de Oro. H a b í a q u e p e n s a r l a s c o s a s para entenderlas.
15
Balbus was building a wall.
Pero, ¿por qué en los lugares?
Allí se iba cuando se tenía alguna
necesidad. Era aquél un sitio formado todo de gruesas planchas de pizarra, donde el agua goteaba continuamente a través de unos agujeritos
pequeñitos, como hechos con alfileres, y donde había un extraño olor
a agua corrompida. Y detrás de la
puerta de uno de los retretes había
un dibujo a lápiz rojo de un hombre
barbudo en traje romano y con un
par de ladrillos en las manos, y debajo estaba escrito el título:
[49]
Balbo construyendo un muro.
Some fellow had drawn it
there
for a cod. It had a funny
35
face but it was very like a man
with a beard. And on the wall
of another closet there was
written in backhand in
40 beautiful writing:
Algún chico lo había pintado allí
por broma. Tenía una cara chistosa,
pero representaba muy bien un hombre con barba. Y en la pared de otro
retrete había este letrero, escrito con
hermosos caracteres inclinados hacia la izquierda:
Julius Caesar wrote The
Calico Belly.
Julio César escribió de Bello
Galgo.
Perhaps that was why they
were there because it was a
place where some fellows wrote
things for cod. B u t a l l t h e
50 s a m e i t w a s q u e e r w h a t
A t h y s a i d and the way he
said it. It was not a cod
because they had run away.
He looked with the others
55 a c r o s s t h e p l a y g r o u n d a n d
began to feel afraid.
Tal vez estaban allí porque aquél era un sitio donde
los chicos escribían cosas
por broma . Y sin embargo, era
muy raro lo que había dicho
Athy, y sobre todo, la manera de
decirlo. Y no era una broma,
puesto que se habían escapado.
Miró con los demás hacia la otra
parte del campo de juego, y comenzó a sentirse asustado.
But why in the square?
Yo u w e n t t h e r e w h e n y o u
wanted to do something. It
was all thick slabs of slate
and water trickled all day
20
out of tiny pinholes and there
was a queer smell of stale
water there. And behind the
door of one of the closets
25 t h e r e was a drawing in red
pencil of a bearded man in a
Roman dress with a brick in
each hand and underneath was
the name of the drawing:
89. Balbus . . . wall: probably a translation of a paradigm
[modelo] sentence in a Latin primer.
Balbus was building a wall A simple Latin construction.
backhand i.e. with the strokes of the letters sloping
backwards.
90. Julius Caesar . . . Belly: Julius Caesar wrote
Commentarii de Bello Gallico (Commentaries on the
Gallic War).
Julius Caesar wrote The Calico Belly Schoolboy parody
of the Latin for Caesar’s Concerning the Gallic Wars.
• The Calico Belly a satiric play on words. Julius Caesar
wrote De Bello Gallico (The Gallic War), a work that
is often taught in Latin classes.
and the way he said it Stephen ponders, but is too naive
to grasp the implication. six and eight i.e. strokes of
the cane.
30
45
At last Fleming said:
60
65
Por último, Fleming dijo:
—And we are all to be
punished for what other
fellows did?
—¿Y nos van a castigar a
todos por lo que han hecho
otros?
—I won’t come back, see
if I do, Cecil Thunder said.
Three days’ silence in the
—Yo no vuelvo al colegio, lo
vais a ver —dijo Cecil Thunder—.
¡Tres días de silencio en el refec48
Joyce’s Portrait
refectory and sending us up
for six and eight every
minute.
torio, y que nos manden a cada
momento a recibir seis u ocho
palmetazos!
—Yes, said Wells. And old
Barrett has a new way of
twisting the note so that you
can’t open it and fold it again
10 to see how many ferulae you
are to get. I won’t come back
too.
—Sí —añadió Wells—, y que el
vejete de Barrett tiene una nueva manera de doblar la papeleta, y ya no la
puedes abrir y volverla a doblar después para ver cuántos palmetazos
te va s a g a n a r. Yo t a m p o c o
vuelvo.
91. six and eight: referring to the combination of strokes
on the hand in punishment: three on each hand,
followed by four on each.
six and eight: number of blows with the strap given as
punishment
5
92. ferulae: strokes. The teacher writes the number to be
given on a piece of paper, which the boy then delivers
to the prefect of studies who administers them.
ferulae Strokes with the teacher’s stick.
• how many ferulae you are to get a ferule is a
metal-tipped cane or rod used to punish children.
Here, it refers to how many times the students will
be struck.
Ye s ,
said
Cecil
of studies was in second of
grammar this morning.
—Claro —dijo Cecil
Thunder—, y además el prefecto
de estudios ha estado esta mañana en segundo de gramática.
—Let us get up a rebellion,
Fleming said. Will we?
—Vamos a insubordinarnos —
propuso Fleming—. ¿Queréis?
All the fellows were
silent. The air was very silent
25 a n d y o u c o u l d h e a r t h e
cricket bats but more slowly
than before: pick, pock.
Todos se quedaron callados. Había un profundo silencio en el aire,
y se podían oír los golpes de las palas de cricket, pero más despacio que
antes: pic, poc.
15 T h u n d e r , a n d t h e p r e f e c t
20
Wells asked:
Wells preguntó:
30
—What is going to be done
to them?
—¿Qué es lo que les van a
hacer?
—Simon Moonan and
Tusker are going to be flogged,
Athy said, and the fellows in the
higher line got their choice of
flogging or being expelled.
—And which are they
taking? asked the fellow who
had spoken first.
—A Simón Moonan y a Camellos los van a azotar —contestó Athy—, y a los de la primera les han dado a escoger entre los azotes o ser expulsados.
[50]
—¿Y por qué se deciden? —
preguntó el muchacho que había hablado primero.
—All are taking expulsion
except
Corrigan,
Athy
answered. He’s going to be
flogged by Mr Gleeson.
—Todos prefieren la expulsión, excepto Corrigan —contestó Athy—. A él le va a azotar míster Gleeson.
—I know why, Cecil
Thunder said. He is right and
the other fellows are wrong
because a flogging wears off
55 after a bit but a fellow that has
been expelled from college is
known all his life on account of
it. Besides Gleeson won’t flog
him hard.
—Ya comprendo por qué
—dijo Cecil Thunder—. Él
está en lo cierto, y los otros
no, porque los azotes se pasan
al cabo de un rato, pero a un
chico al que le han expulsado,
le queda una marca para toda
la vida. Además que Gleeson
no le azotará muy fuerte.
—It’s best of his play not
to, Fleming said.
—A él mismo le conviene no
hacerlo —dijo Fleming.
—I wouldn’t like to be
Simon Moonan and Tusker
Cecil Thunder said. But I don’t
—No me gustaría ser Simón
Moonan o Camellos —dijo
Cecil Thunder—. Pero no creo
35
• they are going to be flogged in this context, flogged
refers to being whipped by a cane on the buttocks.
40
45
50
60
It’s best of his play not to It would be wise of him (not to
flog hard).
65
49
Joyce’s Portrait
93. twice nine: nine strokes on each hand.
5
94. the vital spot: the buttocks - that is, they will be
flogged.
believe they will be flogged.
Perhaps they will be sent up for
twice nine.
que los vaya a azotar. Quizás
les den sólo nueve palmetazos
en cada mano.
—No, no, said Athy. They’ll
both get it on the vital spot.
Wells rubbed himself and said
in a crying voice:
—No, no —dijo Athy—. Los recibirán en el punto doloroso.
Wells se rascó y dijo
lloriqueando:
10
—Please, sir, let me off!
It can’t be helped Typically proverbial schoolboy verse it contrasts with some of the more serious verses in
the novel, with the songs as well - and, ironically, it
looks forward to Stephen’s own pandying.
• out with your bum expose your buttocks.
—¡Por favor, señor, déjeme usted!
Athy grinned and
turned up the sleeves of
15 h i s j a c k e t , s a y i n g :
Athy hizo una mueca burlona y se remangó las mangas
de la chaqueta, diciendo:
It can’t be helped;
It must be done.
So down with your breeches
20
And out with your bum.
No hay otro remedio,
no te salvarás.
Abajo con los pantalones
y afuera con el tras.
The fellows laughed; but
he felt that they were a little
afraid. In the silence of the
soft grey air he heard the
cricket bats from here and
from there: pock. That was a
sound to hear but if you were
hit then you would feel a
pain. The pandybat made a
sound t oo but not l ike that.
The fellows said it was made
of whalebone and leather
with lead inside: and he
wondered what was the pain
l i k e . T h e r e w e r e d i ff e r e n t
_____ __ _ kinds of sounds. A
long thin cane would have a
high whistling sound and he
wondered what was that pain
like. It made him shivery to
think of it and cold: and what
Athy said too. But what was
there to laugh at in it? It
made him shivery: but that
was because you always felt
like a shiver when you let
down your trousers. It was the
same in the bath when you
undressed yourself. He
wondered who had to let them
down, the master or the boy
himself. O how could they
laugh about it that way?
To d o s s e r e í a n . P e r o
Stephen sintió que estaban un
poco asustados. En el silencio
del suave aire gris venía de
aquí y de allá el ruido de las
palas de cricket: poc. Aquello
era un sonido si se oía; pero
si se recibía el pelotazo, se
sentía dolor. La palmeta hacía
ruido también, pero era muy distinto. Los chicos decían que estaba hecha de hueso de ballena
y cuero con plomo dentro; y se
imaginaba cómo sería el dolor.
Había diferentes clases ___ ____
__ de sonidos. Una vara larga y
delgada daría un silbido agudo;
y se imaginaba cómo sería el dolor que produciría. Le daba un
estremecimiento de frío; y también le hacían estremecerse las
palabras de Athy. Pero, ¿qué era
lo [51] que encontraban digno de
risa? Le daba un estremecimiento, pero era porque siempre se
siente un estremecimiento cuando se baja uno los pantalones. Lo
mismo que en el baño, al desnudarse. Y se ponía a pensar quién
tendría que echar abajo los pantalones, si el maestro o el chico
mismo. ¡Oh!, ¿cómo podían reírse de aquel modo?
H e l o o k e d a t A t h y ’s
rolled-up sleeves and
knuckly inky hands. He had
rolled up his sleeves to show
how Mr Gleeson would roll
65 u p h i s s l e e v e s . B u t M r
Gleeson had round shiny
cuffs and clean white wrists
Contempló las mangas
remangadas de Athy y sus manos de gruesos nudillos y manchadas de tinta. Se había recogido las mangas para remedar
cómo se las remangaría míster
Gleeson. Pero míster Gleeson
tenía los puños de la camisa
25
30
35
40
45
50
55
60
50
grin : mueca o contorsión del rostro 1 a
facial expression characterized by
turning up the corners of the mouth;
usually shows pleasure or
amusement
2 to draw back the lips and reveal the
teeth, in a smile, grimace, or snarl.
1 intr. a smile broadly, showing the
teeth, smiled toothly, unrestrained, or
stupid smile.
2 tr. express by grinning (grinned his
satisfaction). Sonreír abiertamente:
the little boy grinned from ear to ear,
el pequeño sonreía de oreja a oreja.
Sonreir con algún tipo de mueca o
gesticulación facial (desdeñosa,
burlona, etc.)
Joyce’s Portrait
5
10
15
20
25
But that was not why Stephen’s sensitivity tells him that
Mr Gleeson is basically gentle.
30
and fattish white hands and
the nails of them were long
and pointed. Perhaps he
pared them too like Lady
Boyle. But they were terribly
long and pointed nails. So long
and cruel they were, though the
white fattish hands were not
cruel but gentle. And though he
trembled with cold and fright to
think of the cruel long nails and
of the high whistling sound of
the cane and of the chill you felt
at the end of your shirt when
you undressed yourself yet he
felt a feeling of queer quiet
pleasure inside him to think of
the white fattish hands, clean
and strong and gentle. And he
thought of what Cecil Thunder
had said: that Mr Gleeson
would not flog Corrigan hard.
And Fleming had said he would
not because it was best of his
play not to. But that was not
why.
blancos y brillantes, y unas muñecas limpias y blancas, y unas
manos blancas y gordezuelas,
con las uñas crecidas y puntiagudas. Quizás se las arreglaba
también como la señorita Boyle.
Pero eran unas uñas enormemente largas y puntiagudas.
¡Qué largas, qué crueles! Pero
las manos blancas y gordezuelas
no eran crueles, sino benignas.
Y aunque temblaba de miedo y
de frío al pensar en las uñas largas y crueles y en el silbido agudo de la varilla y en el escalofrío que se siente hacia los
faldones de la camisa cuando se
desnuda uno para el baño, sin
embargo, experimentaba una
sensación extraña y reposada de
placer al pensar en las manos
limpias y gordezuelas, fuertes y
benignas. Y Fleming había dicho que no pegaría muy fuerte
porque era su propio interés.
Pero no era por eso.
A voice from far out on the
playground cried:
Una voz gritó desde otro extremo del campo de juego:
—All in!
—¡Todos adentro!
And other voices cried:
Y otras voces repitieron:
—All in! All in!
—¡Todos adentro! ¡Todos adentro!
35
During the writing lesson
he sat with his arms folded,
listening to the slow scraping
of the pens. Mr Harford went
to and fro making little signs
45
in red pencil and sometimes
sitting beside the boy to show
him how to hold his pen. He
had tried to spell out the
50 headline for himself though
he knew already what it was
for it was the last of the book.
fine invisible threads and it
was only by closing his right
eye tight and staring out of the
left eye that he could make out
60
the full curves of the capital.
Durante la lección de escritura se
estuvo sentado con los brazos cruzados, escuchando el lento rasguear de
las plumas. Míster Harford iba de
aquí para allá haciendo unas señalitas
con lápiz rojo y sentándose algunas veces al lado de cada muchacho para enseñarles cómo debían
tener la pluma. Stephen había intentado deletrearla primera línea, aunque se la sabía de memoria por ser la última del libro.
Celo [52] sin prudencia es como
nave a la deriva. Pero los trazos de las letras le formaban
como hilos invisibles y sólo cerrando bien el ojo derecho y mirando fijamente con el izquierdo podía llegar a distinguir todos los rasgos de la inicial.
But Mr Harford was very
decent and never got into a
65 wax. All the other masters got
into dreadful waxes. But why
were they to suffer for what
Pero míster Harford era
muy bueno y nunca se encolerizaba como los otros maestros
que solían ponerse furiosos.
¿Por qué habían de sufrir ellos
40
ZEAL W I T H O U T P R U D E N C E I S
LIKE A SHIP ADRIFT .
But the
55 lines of the letters were like
fine invisible threads Further stress on Stephen’s weak
eyesight.
95. a wax: a bad temper.
51
Joyce’s Portrait
98. monstrance: the vessel in which the Host is exposed
at Benediction. It has a stem and base like a chalice,
and the upper part is fashioned to represent the rays
of golden light issuing from the sun (the Host) at its
centre.
monstrance Open or transparent vessel in which the
Host is exposed. It is of gold or silver.
• they had stolen a monstrance in the Roman Catholic
Church, a monstrance is a receptacle in which the
consecrated host is exposed for adoration.
97. Napoleon . . . first holy communion: an apocryphal
story, designed to indicate that the French Emperor,
for all his glorious achievements, was happier when
he first received the sacrament that brought him into
communion with God.
Napoleon There are several references to Napoleon in
the text. The great French emperor and general was
born in Corsica in 1769, and died after six years’
imprisonment on St Helena in 1821.
fellows in the higher line did?
Wells had said that they had
drunk some of the altar wine
out of the press in the sacristy
5
and that it had been found out
who had done it by the smell.
Perhaps they had stolen a
monstrance to run away with
10 and sell it somewhere. That
must have been a terrible sin,
to go in there quietly at night,
to open the dark press and
steal the flashing gold thing
15 into which God was put on the
altar in the middle of flowers
and candles at benediction
while the incense went up in
clouds at both sides as the
20
fellow swung the censer and
Dominic Kelly sang the first
part by himself in the choir. X
But God was not in it of course
25 when they stole it. But still it
was a strange and a great sin
even to touch it. He thought of
it with deep awe; a terrible and
strange sin: it thrilled him to
30 think of it in the silence when
the pens scraped lightly. But
to drink the altar wine out of
the press and be found out by
35 the smell was a sin too: but it
was not terrible and strange.
It only made you feel a little
sickish on account of the smell
of the wine. Because on the
40 day when he had made his first
holy communion in the chapel
he had shut his eyes and
opened his mouth and put out
his tongue a little: and when
45
the rector had stooped down
to give him the holy
communion he had smelt a
faint winy smell off the
50 rector’s breath after the wine
of the mass. The word was
beautiful: wine. It made you
think of dark purple because
the grapes were dark purple
55 that grew in Greece outside
houses like white temples. But
the faint smell of the rector’s
breath had made him feel a
sick feeling on the morning of
60
his first communion. The day
of your first communion was
the happiest day of your life.
And once a lot of generals had
65 asked Napoleon what was the
happiest day of his life. They
thought he would say the day
52
por lo que hicieran los de la
primera división? Wells había
dicho que se habían bebido
parte del vino de misa del armario de la sacristía y que se
lo habían conocido en el olor.
Quizás habían robado una
custodia para escaparse con
ella y venderla en cualquier parte. Debía de haber sido un terrible pecado el ir de noche, pasito,
a abrir el negro armario y robar
aquella cosa de oro, resplandeciente, en la cual Dios era expuesto sobre el altar en la bendición entre cirios y flores, cuando
el incienso se levantaba en nubes
a ambos lados del chico que balanceaba el incensario y mientras
Domingo Kelly entonaba en el coro
la primera parte del Tantum Ergo.
Por supuesto, Dios no estaba
allí cuando la habían robado.
Sin embargo, era un pecado
enorme aun tocarla sólo. Pensó
en ello con profundo terror. Un
pecado terrible y extraño: le estremecía pensarlo, en el silencio sólo levemente arañado por
el rasgueo de las plumas. Y beberse él vino de misa, sacándolo del armario, y ser delatado
por el olor, era también pecado. Pero no era terrible y extrañó. Le hacía a uno sentirse ligeramente mareado por el olor
del vino. El día de su primera
comunión, en la capilla,
Stephen había cerrado los ojos
y abierto la boca y sacado la
lengua un poquito, y cuando el
rector se inclinó para darle la
santa comunión había sentido
un ligero olor a vino en el aliento del rector, al vino de la misa,
sin duda. ¡Qué magnífica palabra: vino! Le hacía a uno pensar en el color púrpura oscuro,
porque las uvas tenían ese color también y crecían allá en
Grecia a la parte de fuera de
unas casas como templos blancos. Pero el día de su primera
comunión el aliento del rector
le había hecho sentirse mareado. El día de la primera [53]
comunión era el día más feliz
de la vida. Y una vez un grupo
de generales le había preguntado a Napoleón cuál había
sido el día más feliz de su vida.
Todos pensaban que diría que el
Joyce’s Portrait
he won some great battle or
the day he was made an
emperor. But he said:
día que había ganado alguna gran
batalla o el día que le habían hecho emperador. Pero él dijo:
—Gentlemen, the happiest
day of my life was the day on
which I made my first holy
communion.
—Señores, el día más
feliz de mi vida fue el
día en que hice mi primera comunión.
Father Arnall came in and
the Latin lesson began and he
remained still, leaning on the
desk with his arms folded.
Father Arnall gave out the
theme-books and he said that
they were scandalous and that
they were all to be written out
again with the corrections at
once. But the worst of all was
Fleming’s theme because the
pages were stuck together by a
blot: and Father Arnall held it
up by a corner and said it was
an insult to any master to send
him up such a theme. Then he
asked Jack Lawton to decline
the noun MARE and Jack
Lawton stopped at the
ablative singular and could not
go on with the plural.
Entró el Padre Arnall y comenzó la clase de latín. Y él seguía
quieto, apoyándose sobre la mesa
con los brazos cruzados. El Padre
Arnall devolvió los cuadernos de
ejercicios y dijo que eran escandalosamente malos y que los tenían
que volver a copiar corregidos inmediatamente. Pero el peor ejercicio de todos era el de Fleming,
porque las páginas se habían pegado en un borrón las unas a las
otras. El Padre Arnall lo levantó por
una esquina y dijo que era un insulto para cualquier profesor el mandarle un ejercicio como aquél. Después le preguntó a Jack Lawton la
declinación del nombre mare y
Jack Lawton se atrancó en el
ablativo del singular y no pudo continuar con el plural.
—You should be ashamed of
yourself, said Father Arnall
sternly. You, the leader of the
class!
—Debía usted tener vergüenza de sí mismo —dijo
severamente el Padre Arnall—. ¡Usted, el primero de la clase!
Then he asked the next boy
and the next and the next.
Nobody knew. Father Arnall
became very quiet, more and
more quiet as each boy tried to
45
answer it and could not. But his
face was black-looking and his
eyes were staring though his
voice was so quiet. Then he
50 asked Fleming and Fleming said
that the word had no plural.
Father Arnall suddenly shut the
book and shouted at him:
Después se lo preguntó al chico
siguiente, y al siguiente, y al otro.
Ninguno lo sabía. El Padre Arnall
se iba poniendo tranquilo, cada vez
más tranquilo, según los alumnos
iban intentando responder sin acertar. Pero su cara tenía un aspecto
sombrío, y aunque la voz era tranquila, los ojos miraban fijamente.
Por último le preguntó a Fleming,
y Fleming dijo que la palabra no
tenía plural. El Padre Arnall cerró
de golpe el libro y le gritó:
55
—Kneel out there in the
middle of the class. You are one
of the idlest boys I ever met.
Copy out your themes again the
rest of you.
—¡Afuera! ¡De rodillas en
medio de la clase! Es usted el
muchacho más vago que he
conocido. Los demás: ¡a copiar otra vez los ejercicios!
Fleming moved heavily out
of his place and knelt between
the two last benches. The other
65 boys bent over their themebooks and began to write. A
silence filled the classroom and
Fleming salió pesadamente de
su sitio y se arrodilló entre los dos
últimos bancos. Los otros muchachos se doblaron sobre los cuadernos y comenzaron a escribir. El silencio [54] reinó en la clase y
5
10
15
theme: an essay (this was a term generally used in Jesuit
schools)
20
25
98. mare . . . plural: the Latin word for ‘sea’, declined
through its six cases, of which the ablative is the
last. mare Sea.
• the noun mare mare is Latin for sea or ocean.
30
ablative The case in Latin nouns that expresses the
source, agent, cause or instrument of action.
• ablative singular the case that contains the ending of
the object of the preposition.
35
40
60
53
Joyce’s Portrait
Stephen, glancing timidly at
Father Arnall’s dark face, saw
that it was a little red from the
wax he was in.
Stephen, mirando tímidamente a la
cara sombría del Padre Arnall, vio
que de tanta cólera como tenía se le
había puesto un poquito colorada.
Was that a sin for Father
Arnall to be in a wax or was he
allowed to get into a wax when
the boys were idle because that
made them study better or was
he only letting on to be in a
wax? It was because he was
allowed, because a priest would
know what a sin was and would
not do it. But if he did it one
time by mistake what would he
do to go to confession? Perhaps
he would go to confession to the
minister. And if the
minister did it he would go
to the rector: and the rector
t o t h e provincial : and the
provincial to the general of the
jesuits. That was called the
order: and he had heard his
father say that they were all
clever men. They could all
have become high-up people in
the world if they had not
become jesuits. And he
wondered what Father Arnall
and Paddy Barrett would have
become and what Mr McGlade
and Mr Gleeson would have
become if they had not become
jesuits. It was hard to think
what because you would have
to think of them in a different
way with different coloured
coats and trousers and with
beards and moustaches and
different kinds of hats.
¿Pecaba el Padre Arnall encolerizándose o le estaba permitido cuando los alumnos
eran perezosos porque con esto
estudiaban mejor? ¿O es que
sólo fingía que se enfadaba?
Sin duda era que le estaba permitido, porque un sacerdote
conocería lo que era pecado y
no lo haría. Pero, y si lo hiciera una vez por equivocación,
¿tendría que ir a confesarse?
Quizás iría a confesarse con el
ministro. Y si lo hiciera
el ministro, iría con el
r e c t o r ; y e l r e c t o r, c o n e l
provincial ; y el provincial,
con el general de los jesuitas.
Aquello era la Orden. Y él había oído decir a su padre que
todos ellos eran hombres muy inteligentes y que habrían podido
alcanzar los primeros puestos en
el mundo si no se hubieran hecho
jesuitas. Y hacia esfuerzos para
imaginarse lo que habrían llegado
a ser el Padre Arnall y Paddy Barret
y lo que habrían llegado a ser míster
Mc Glade y míster Gleeson, si
no se hubieran hecho
jesuitas. Era difícil
porque había que representárselos
de
otro
modo distinto, con trajes de color y pantalones y barbas y bigotes y
con otros sombreros.
The door opened quietly
and closed. A quick whisper
50 ran through the class: the
p re f e c t o f s t u d i e s . T h e r e
was an instant of dead
silence and then the loud
crack of a pandybat on the
55 l a s t d e s k . St e p h e n ’s h e a r t
leapt up in fear.
La puerta se abrió y se cerró
silenciosamente. Un rápido cuchicheo corrió a través de la clase:
¡el prefecto de estudios! Por un
instante hubo un silencio de muerte y luego el recio chasquido de
una palmeta sobre el último pupitre. A Stephen se le saltó de
miedo el corazón.
—Any
boys
want
flogging h e r e , F a t h e r
60
Arnall? cried the prefect
o f s t u d i e s . Any lazy idle
loafers that want flogging in this class?
—¿Hay aquí algún chico que
necesite ser azotado, Padre Arnall?
—gritó el prefecto de estudios—.
¿Hay algún _____ vago, algún
gandul que necesite azotes _____?
He came to the middle of the
class and saw Fleming on his
knees.
Av a n z ó h a s t a e l m e d i o
de la clase y vio a Fleming
de rodillas.
5
10
15
99. minister . . . rector . . . provincial . . . general: the
hierarchy of the Company of Jesus, in ascending
order. The provincial is in charge of a province (in
this case, Ireland) and the general is in overall
command. He stays in Rome and is himself subject
to the Pope. However, confessors are chosen from
among the members of the order; no rule of seniority
obtains in this respect.
minister, rector, provincial, general: different grades in
the Jesuit hierarchy
provincial . . . general Ranks of the Jesuit order in
ascending importance.
20
25
general: highest jesuit authority in Ireland, ultimate Jesuit
authority, in Rome
30
35
40
45
the prefect of studies i.e. the Jesuit in charge of academic
work.
pandybat A rod of reinforced cane.
65
54
Joyce’s Portrait
—Hoho! he cried. Who is
this boy? Why is he on his
knees? What is your name, boy?
—¡Hola! —exclamó—. ¿Quién
es este muchacho? ¿Por qué está de
rodillas? ¿Cuál es tu nombre?
5
—Fleming, sir.
—Fleming, señor.
—Hoho, Fleming! An idler
of
course.
I can see it in your
10
eye. Why is he on his knees,
Father Arnall?
he missed all the questions in
grammar.
—¡Ajajá, Fleming! Un vagazo,
s i n d u d a . Te l o l e o e n l o s
ojos. ¿Por qué está de rodillas, Padre Arnall?
[55]
—Ha escrito un ejercicio de latín muy malo —dijo el Padre
Arnall— y no ha contestado a ninguna pregunta de gramática.
—Of course he did! cried
the prefect of studies, of
course he did! A born idler !
I can see it in the corner of
his eye.
—¡Claro está que sí! —exclamó el prefecto de estudios—, ¡claro está que sí! ¡Un vago de nacimiento! Se le ve en las niñas de los
ojos.
He banged his pandybat
down on the desk and cried:
Golpeó con su férula
sobre el pupitre y gritó:
—Up, Fleming! Up,
—¡Arriba, Fleming! ¡Arriba,
querido!
—He wrote a bad Latin
15 theme, Father Arnall said, and
20
2.1
25
30 m y b o y !
Fleming stood up slowly.
Fleming se levantó despacio.
—Hold out! cried the
prefect of studies.
—¡La mano! —gritó el prefecto
de estudios.
Fleming held out his hand.
The pandybat came down on it
40 with a loud smacking sound:
one, two, three, four, five, six.
Fleming extendió la mano.
La palmeta se abatió sobre ella
con un fuerte chasquido: una,
dos, tres, cuatro, cinco, seis.
35
—Other hand!
45
The pandybat came
down again in six loud
quick smacks.
La palmeta se abatió de
nuevo con seis fuertes y rápidos chasquidos .
—Kneel down! cried the
prefect of studies.
—¡De rodillas! —exclamó el
prefecto de estudios.
Fleming knelt down,
squeezing his hands under
55 h i s a r m p i t s , h i s f a c e
contorted with pain; but
Stephen knew how hard his
hands were because Fleming
was always rubbing rosin
60
into them. But perhaps he
was in great pain for the
noise of the pandybat was
terrible. Stephen’s heart was
65 beating and fluttering.
Fleming se arrodilló, apretándose las manos contra los
sobacos y con la cara contors i o n a d a p o r e l d o l o r. P e r o
Stephen sabía que Fleming tenía las manos endurecidas porque se las estaba siempre frotando con resina. Pero quizás el dolor era muy fuerte porque el ruido de los palmetazos había sido
terrible. El corazón de Stephen
latía y temblaba.
—At your work, all of
—¡A trabajar todo el
50
flutter
I verbo intransitivo
1 (pájaro, insecto, hoja) revolotear
2 (bandera) ondear, flamear
3 (corazón) latir, palpitar
II verbo transitivo
1 (alas) batir, agitar
to flutter one’s eyelashes, hacer
ojitos
III nombre
1 revoloteo, palpitación
2 fam GB Dep apuesta pequeña
—¡La otra mano!
55
Joyce’s Portrait
you! shouted the prefect of
studies. We want no lazy idle
loafers here, lazy idle little
schemers. At your work, I tell
5
you. Father Dolan will be in to
see you every day. Father Dolan
will be in tomorrow.
mundo! —gritó el prefecto
de estudios—. No queremos
aquí vagos, haraganes ni
m a u l a s . ¡A trabajar, he dicho! El Padre Dolan entrará
todos los días a visitaros. El
Padre Dolan entrará mañana.
He poked one of the boys
in the side with his
pandybat, saying:
To c ó a u n o d e l o s c h i c o s
con el extremo de la
palmeta:
—You, boy! When will
—¡Tú, muchacho! ¿Cuándo
volverá el Padre Dolan?
10
15 Father Dolan be in again?
100. Tomorrow and tomorrow and tomorrow: Macbeth,
Act V, scene v.
Tomorrow and tomorrow and tomorrow Ironic that the
Prefect of Studies should echo Macbeth’s famous
soliloquy after the death of Lady Macbeth. Not to put
too fine a point on it, Macbeth is a murderer; the
prefect here is murdering peace of mind and ruling,
like Macbeth, by fear.
—Tomorrow, sir, said Tom
Furlong’s voice.
—Mañana, señor —dijo la voz
de Tom Furlong.
—Tomorrow and tomorrow
and tomorrow, said the prefect
of studies. Make up your minds
for that. Every day Father
25 Dolan. Write away. You, boy,
who are you?
— Mañana y pasado y el
otro —dijo el prefecto de estudios—. Que se os quede bien
grabado. Todos los días el Padre Dolan. ¡A escribir! Tú, muchacho, ¿quién eres tú?
Stephen’s heart jumped
suddenly.
A Stephen se le saltó de golpe el corazón.
20
30
—Dedalus, sir.
—Dédalus, señor.
—Why are you not writing
like
the others?
35
—¿Por qué no estás escribiendo
como los demás?
[56]
—Yo... mis...
—Imy
He could not speak with fright.
No podía hablar de terror.
40
—Why is he not writing,
Father Arnall?
—¿Por qué no está escribiendo
éste, Padre Arnall?
—He broke his glasses, said
Father Arnall, and I exempted
him from work.
—Se le han roto las gafas y le he
exceptuado por eso de trabajar —
contestó el Padre Arnall.
—Broke? What is this I
hear?
What is this your name is!
50
said the prefect of studies.
—¿Qué se le han roto? ¿Qué es lo que
oigo? ¿Cómo dices que es tu nombre? —
dijo el prefecto de estudios.
45
—Dedalus, sir.
55
Lazy little schemer The irony, one feels, is unconscious,
but since the Prefect of Studies repeats Stephen’s
name twice he may be thinking of the Daedalus, who
was certainly a schemer. (See section on Mythical
background.)
60
65
—Dédalus, señor.
—Out here, Dedalus.
Lazy little schemer. I see
schemer in your face. Where
did you break your glasses?
—¡Sal aquí fuera, Dédalus!
Holgazán y trapisondilla. Se te
conoce el ardid en la cara. ¿Dónde
se te rompieron las gafas?,
Stephen stumbled into the
middle of the class, blinded by
fear and haste.
Dédalus salió a trompicones
hasta el centro de la clase, ciego
de miedo y de ansia.
—Where did you break your
glasses? repeated the prefect of
studies.
—¿Dónde se te rompieron las
gafas? —repitió el prefecto de estudios.
56
Joyce’s Portrait
—The cinder-path, sir.
—Hoho! The cinder-path!
cried the prefect of studies. I
know that trick.
—¡Je, jé! ¡En la pista! —exclamó el prefecto de estudios—. Me sé
de memoria esa artimaña.
Stephen lifted his eyes in
w
o
nder and saw for a
10
m o m e n t F a t h e r D o l a n ’s
white-grey not young face,
his baldy white-grey head
with fluff at the sides of it,
15 the steel rims of his spectacles
and his no-coloured eyes
look i n g
through
the
g l a s s e s . W h y d i d h e s ay he
knew that trick?
Stephen levantó los ojos
asombrado y vio por un momento la cara gris blancuzca y ya no
joven del Padre Dolan, su cabeza calva y blanquecina con un
poco de pelusilla a los lados, los
cercos de acero de sus gafas y
sus ojos sin color que le miraba
a través de los cristales. ¿Por
qué decía que se sabía de memoria aquella artimaña?
—Lazy
idle
little
loafer! cried the prefect
of studies. Broke my
25 g l a s s e s ! A n o l d s c h o o l b o y
trick! Out with your hand
this moment!
—¡Haragán, maulero! —
gritó el prefecto—. ¡Se me
han roto las gafas! ¡Es una treta de estudiantes ya muy antigua ésa! ¡A ver, la mano, inmediatamente!
Stephen closed his eyes and
hand with the palm upwards.
He felt the prefect of studies
touch it for a moment at the
fingers to straighten it and then
the swish of the sleeve of the
soutane as the pandybat was
lifted to strike. A hot burning
stinging tingling blow like
the loud crack of a broken
stick made his trembling
hand crumple together like a
leaf in the fire: and at the
sound and the pain scalding
tears were driven into his eyes.
His whole body was shaking with
fright, his arm was shaking and
his crumpled bur n i n g l i v i d
hand shook like a loose leaf
in the air. A cry sprang to
his lips, a prayer to be let
off. But though the tears
scalded his eyes and his
limbs quivered with pain
and fright he held back the
hot tears and the cry that
scalded his throat.
Stephen cerró los ojos y
extendió su mano temblorosa,
con la palma hacia arriba.
Sintió que el prefecto le tocaba un momento los dedos
para ponerla plana y luego el
silbido de las mangas de la sotana al levantarse la palmeta
para dar. Un golp e ardiente,
abrasador, punzante, como el
chasquido de un bastón al quebrarse, obligó a la mano temblorosa a contraerse toda ella como
una hoja en el fuego. Y al ruido,
lágrimas ardientes de dolor se le
agolparon en los ojos. Todo su
cuerpo estaba estremecido de terror, el brazo le temblaba y [57] la
mano, agarrotada, ardiente, lívida, vacilaba como una hoja desgajada en el aire. Un grito que era
una súplica de indulgencia le subió a los labios. Pero, aunque las
lágrimas le escaldaban los ojos
y las piernas le temblaban de miedo y de dolor, ahogó las lágrimas
abrasadoras y el grito que le hervía en la garganta.
—Other hand! shouted the
prefect of studies.
—¡La otra mano! —exclamó el
prefecto.
Stephen drew back his
Stephen retiró el herido y
temb l o r o s o b r a z o d e r e c h o y
e xtendió la mano izquierda. La
manga de la sotana silbó otra
5
no-coloured A fine way of indicating the terrible
impersonality of the man who is determined to
punish.
—En la pista, señor.
20
30 held out in the air his trembling
stinging : punzantes, piercing, biting, mordaz, áspera
(voz), cortante (water) tingling [=tingle 1 intr. a feel
a slight prickling (picor), stinging, or throbbing
sensation. b cause this (the reply tingled in my ears).
2 tr. make (the ear etc.) tingle]. Sentir comezón, titilar, hormigueo, escozor
lancinante : dolor muy agudo como de destrozo o
desgarro de la carne
tingle picar v 1 intr. a feel a slight prickling, stinging, or
throbbing sensation. b cause this (the reply tingled
in my ears). 2 tr. make (the ear etc.) tingle. Reteñir,
zumbar, vibrar, turbar
n. a tingling sensation. hormigueo, picor, ecozor / estremecimiento
a leaf in the fire ... a loose leaf in the sir Note how both
images underline the fragility of Stephen’s hand and
of his mind, which is suffering.
35
40
45
50
55
60
65 maimed and quivering right arm
and held out his left hand. The
soutane sleeve swished again as
57
tingling hormigueo, cosquilleo, comezón,
estremecimiento,
A n. 1 prickling, tingle, a prickling somatic
sensation as from many tiny pricks,
B adj. hormigeante, cosquilleante,
estremecedor 1 tickling, titillating a tingling
feeling of excitement (as from teasing or tickling),
an agreeable arousal , exciting by touching lightly
so as to cause laughter or twitching movements
2 prickling, stinging, causing or experiencing a
painful shivering feeling as from many tiny pricks;
“a prickling blush of embarrassment”; “the
tingling feeling in a foot that has gone to sleep”;
“a stinging nettle”; “the stinging windblown sleet”
tingle picar, escocer v 1 intr. a feel a slight
prickling, stinging, or throbbing sensation. b
cause this (the reply tingled in my ears). 2 tr.
make (the ear etc.) tingle. Reteñir, zumbar,
vibrar, turbar, sentir comezón, titilar
«stinging tingling» quizás sea «punzante»
es hormigueo (tingling) abrasador o escozor ardiente; ver 57, 58, 140, 158, 159 (sting)
curiosa la alteración del orden de adjetivos
y el cambio de punto de vista que ello
aocasiona; primero se critica lo brutal que va
a ser la acción y después las consecuencias
de la misma;
traducir siempre «tingling» por punzante no
parece muy apropiado ya que corresponde
a ‘biting’; aquí iría mejor algo por el campo
de vibración estremecedora externa para no
modificar el punto de vista; ver uso previo y
posterior en: 55, 56, 88, 154
Joyce’s Portrait
the pandybat was lifted and a
loud crashing sound and a fierce
maddening tingling burning
pain made his hand shrink
together with the palms and
finger s in a livid quivering
mass. The scalding water burst
forth from his eyes and, burning
with shame and agony and fear,
he drew back his shaking arm
in terror and burst out into a
whine o f p a i n . H i s b o d y
shook with a palsy of fright
and in shame and rage he
felt the scalding cry come
from his throat and the
scalding tears falling out of
his eyes and down his
flaming cheeks.
vez al leva n t a r l a p a l m e t a y
u n e s t a l l i d o punzante, ardiente, bárb a r o , e n l o q u e c e d o r ,
obligó a la mano a contraerse, palma y dedos confundidos
en una masa cárdena y palpitante. Las escaldantes lá g r i mas le brotaron de los ojos,
y abrasado de vergüenza, de
angustia y de terror, retiró el
brazo y prorrumpió en un
quejido. Su cuerpo se estremecía paralizado de espanto y, en
medio de su confusión y de su rabia, sintió que el grito abrasador
se le escapaba de la garganta y que
las lágrimas más ardientes le caían
de los ojos y resbalaban por las
arreboladas mejillas.
—Kneel down, cried the
prefect of studies.
—¡Arrodíllate! —gritó el
prefecto.
Stephen knelt down
quickly pressing his
beaten hands to his sides.
To think of them beaten and
swollen with pain all in a moment
made him feel so sorry for them
as if they were not his own but
someone else’s that he felt
sorry for. And as he knelt,
calming th e l a s t s o b s i n h i s
throat and feeling the
burning tingling pain pressed
into his sides, he thought of the
hands which he had held out in
the air with the palms up and
of the firm touch of the prefect
of studies when he had
steadied the shaking fingers
and of the beaten swollen
reddened mass of palm and
fingers that shook helplessly in
the air.
Stephen se arrodilló prestamente, oprimiéndose las manos laceradas contra los costados. Y de pensar
en aquellas manos, en un instante
golpeadas y entumecidas de dolor,
le dio pena de ellas mismas, como
si no fueran las suyas propias, sino
las de otra persona, de alguien por
quien él sintiera lástima. Y al arrodillarse, calmando los últimos sollozos de su garganta y sintiendo
el dolor punzante y a r d i e n t e
oprimido contra los costados,
pensó en aquellas manos que él
había extendido con las palmas
hacia arriba, y en firme presión
del prefecto al estirarle los dedos contraídos, y en aquellos
dedos y aquellas palmas que, en
una masa golpeada, entumecida,
roja, temblaban, desvalidos, en
el aire.
—Get at your work, all of
you, cried the prefect of
studies from the door. Father
Dolan will be in every day to
55 see if any boy, any lazy idle
little loafer wants flogging.
Every day. Every day.
—A trabajar todo el mundo —
gritó el prefecto de estudios desde
la puerta—. El Padre Dolan entrará
todos los días para [58] ver si algún
chico perezoso y holgazán que necesite ser azotado. Todos los días.
Todos los días.
5
10
gañir, gemir
15
20
25
30
as if they were not his own Again Joyce’s fine ability to
capture the nature of momentary reaction.
35
tingle picar v 1 intr. a feel a slight prickling, stinging, or
throbbing sensation. b cause this (the reply tingled
in my ears). 2 tr. make (the ear etc.) tingle. Reteñir,
zumbar, vibrar, turbar
n. a tingling sensation. hormigueo, ecozor, picor /estremecimiento, punzante
40
45
50
60
The door closed behind him.
La puerta se cerró tras él.
The hushed class continued
to copy out the themes. Father
Arnall rose from his seat and
65 went among them, helping the
boys with gentle words and
telling them the mistakes they
La clase continuó copiando los
ejercicios en silencio.
El Padre Arnall se levantó de
su asiento y se puso a pasear entre los alumnos, ayudándolos con
cariñosas palabras y diciéndoles
58
Joyce’s Portrait
had made. His voice was very
gentle and soft. Then he
returned to his seat and said to
Fleming and Stephen:
los errores que habían hecho. Su
voz era amable y dulce. Después
volvió a su asiento, y dijo a
Fleming y a Stephen:
—You may return to your
places, you two.
— Vosotros dos volved a
vuestros sitios.
10
Fleming and Stephen rose
and, walking to their seats, sat
down. Stephen, scarlet with
shame, opened a book quickly
with one weak hand and bent
15 down upon it, his face close to
the page.
Fleming y Stephen se levantaron y, volviendo a sus sitios, se
sentaron. Stephen, rojo escarlata de vergüenza, abrió rápidamente un libro con una sola y débil mano, y se doblegó sobre él con
la cara contra la página.
It was unfair and cruel
because the doctor had told him
20
not to read without glasses and
he had written home to his
father that morning to send him
a new pair. And Father Arnall
25 had said that he need not study
till the new glasses came. Then
to be called a schemer before
the class and to be pandied
when he always got the card for
30 first or second and was the
leader of the Yorkists! How
could the prefect of studies
know that it was a trick? He felt
35 the touch of the prefect’s
fingers as they had steadied his
hand and at first he had thought
he was going to shake hands
with him because the fingers
40 were soft and firm: but then in
an instant he had heard the
swish of the soutane sleeve and
the crash. It was cruel and
unfair to make him kneel in the
45
middle of the class then: and
Father Arnall had told them
both that they might return to
their places without making any
50 difference between them. He
listened to Father Arnall’s low
and gentle voice as he corrected
the themes. Perhaps he was sorry
now and wanted to be decent.
55 But it was unfair and cruel.
The prefect of studies was a
priest but that was cruel and
unfair. And his white-grey face
and the no-coloured eyes
60
behind the steel-rimmed
spectacles were cruel looking
because he had steadied the
hand first with his firm soft
65 fingers and that was to hit it
better and louder.
Era una crueldad y una injusticia porque el médico le había
mandado que no leyera sin gafas
y él había escrito aquella mañana
a su padre diciéndole que le mandara otras nuevas. Y el Padre
Arnall había dicho que no necesitaba estudiar hasta que no vinieran. Además, ¡llamarle maulero
a él que siempre había s i d o e l
primero o el segundo de la
clase y que era el jefe del
p a r t i d o d e Yo r k ! ¿ C ó m o p o día el prefecto saber que
era una artimaña? Sintió el
tacto de los dedos del prefecto al estirarle la mano.
Al principio había creído
que le iba a dar la mano,
porque los dedos eran suaves y estaban tranquilos,
pero en seguida había oído
e l s i l b a r d e l a manga de la
sotana y el estallido. Y era una
crueldad y una injusticia el ponerle de rodillas en medio de la
clase. Y el Padre Arnall les había dicho a los dos que podían
volver a sus sitios, sin hacer distinción entre ellos. Escuchó la
voz templada y cariñosa del Padre Arnall, que estaba corrigiendo los ejercicios. Quizás le dolía ahora y quería estar amable.
Pero había sido una injusticia y
una crueldad. El prefecto de estudios era un sacerdote, pero era
injusto y cruel. Y su cara blancuzca y sus ojos sin color, tras
las gafas encercadas de acero,
eran crueles porque le había sostenido la mano primero con sus
dedos [59] firmes y suaves, sólo
para afinar la puntería, para pegar más recio.
5
unfair and cruel Note the repetition of the phrase - we
tend to repeat things when we are suffering over
and over again, almost as a reflex to our emotional
or physical pain.
59
módico
acceptable, passable; good enough.
4 Brit. kind, obliging, generous (was
decent es uno de esos adjetivos muy
usados, tal vez abusados, en inglés
moderno; se usa para satisfactorio /
pasable, adecuado [salario, alimento],
módico [precio], simpático / amable,
presentable / ‘visible’ [en ropa, aseo].
idea moral de honradez en las personas,
como honest, honorable, respectable, y
también la idea de limpieza en las cosas
como clean, tidy, neat [aseado].
Joyce’s Portrait
—It’s a stinking mean thing,
that’s what it is, said Fleming
in the corridor as the classes
were passing out in file to the
5
refectory, to pandy a fellow for
what is not his fault.
—Es una canallada repugnante, eso es lo que es, dar de
palmetazos a un chico por lo
que no tiene él la culpa —decía
Fleming en el tránsito, al salir
las filas para el refectorio.
—You really broke your
glasses
by accident, didn’t you?
10
Nasty Roche asked.
—Es cierto que se te rompieron
las gafas por accidente, ¿no es verdad? —le preguntó Roche el Malo.
Stephen felt his heart filled
by Fleming’s words and did not
15 answer.
Stephen sentía su corazón lleno todavía de las palabras de
Fleming, y no contestó.
—Of course he did! said
Fleming. I wouldn’t stand it. I’d
go up and tell the rector on him.
—¡Claro que sí! —dijo
Fleming—. Yo que él no me aguantaría. Yo iría y se lo diría al rector.
—Yes, said Cecil Thunder
eagerly, and I saw him lift
the pandy-bat over his
25 s h o u l d e r a n d h e ’ s n o t
allowed to do that.
—Sí —dijo apresuradamente
Cecil Thunder—, que yo le vi levantar la palmeta por encima del
hombro, y eso no está autorizado a
hacerlo.
—Did they hurt you much?
Nasty Roche asked.
—¿Te ha dolido mucho? —preguntó Roche el Malo.
20
30
—Very much, Stephen said.
—Muchísimo —dijo Stephen.
—I wouldn’t stand it,
Fleming
repeated, from
35
Baldyhead or any other
Baldyhead. It’s a stinking mean
low trick, that’s what it is. I’d
go straight up to the rector and
40 tell him about it after dinner.
—Yo no se lo aguantaría —
repitió Fleming—, ni a
Cabezacalva, ni a ningún otro
Cabezacalva. Es una villanía y una
guarrada, eso es lo que es. Yo que él
me iría derechamente al rector y se lo
contaría después de la cena.
—Yes, do. Yes, do, said
Cecil Thunder.
—Sí, sí, hazlo —dijo Cecil
Thunder.
—Yes, do. Yes, go up and
tell the rector on him, Dedalus,
said Nasty Roche, because he
said that he’d come in
50 tomorrow again and pandy you.
—Sí, sí. Sube y acúsale al
rector, Dédalus —dijo Roche el
Malo—, porque ha dicho que
volverá a entrar mañana para darte
de palmetazos otra vez.
—Yes, yes. Tell the rector,
all said.
—Anda, sí. Díselo al rector —
dijeron todos.
And there were some
fellows out of second of
grammar listening and one of
them said:
Estaban por allí, escuchando, algunos alumnos
de segundo de gramática, y
dijeron:
—The senate and the
Roman people declared that
Dedalus had been wrongly
punished.
—El Senado y el pueblo romano declaran que
Dédal us ha sido injustamente castigado.
It was wrong; it was unfair
and cruel; and, as he sat in the
Estaba muy mal: era
injusto y cruel. Sentado en
45
55
60
101. The senate and the Roman people: the opening
phrase of Roman senatorial decrees: ‘Senatus
populusque Romanus’, usually abbreviated as
SPQR.
The senate and the Roman people declared A common
enough reference to the literature they would be
studying, but updated to fit Stephen’s case.
65
60
Joyce’s Portrait
r e f e c t o r y, h e s u ff e r e d
time after time in memory the
same humiliation until he began
to wonder whether it might not
5
really be that there was
something in his face which
made him look like a schemer
and he wished he had a little
10 mirror to see. But there could
not be; and it was unjust and
cruel and unfair.
on Wednesdays in lent and
one of his potatoes had the
mark of the spade in it. Yes,
he would do what the fellows
had told him. He would go up
and tell the rector that he had
been wrongly punished. A
thing like that had been done
before by somebody in
history, by some great person
whose head was in the books
o f h i s t o r y. A n d t h e r e c t o r
would declare that he had been
wrongly punished because the
senate and the Roman people
always declared that the men
who did that had been wrongly
punished. Those w e r e t h e
great men whose names
were in Richmal Magnall’s
Questions. H i s t o r y w a s
all about those men and
what they did and that
w a s w h a t Peter Parley’s
Tales about Greece and Rome
were all about. Peter Parley
himself was on the first page
in a picture. There was a road
over a heath with grass at the
side and little bushes: and
Peter Parley had a broad hat
like a protestant minister and
a big stick and he was walking
fast along the road to Greece
and Rome.
el
refectorio
estuvo
rumiando, una vez y otra,
el recuerdo de su afrenta, hasta que se puso a
pensar si realmente no
h a b r í a a l g o e n s u cara que
le hiciera parecer trapisondista. Hubiera deseado tener allí
un espejito para verse. Pero no
lo tenia. Y era una injusticia
y una crueldad.
[60]
No pudo comer los fritos
negruzcos de pescado que tenían
los miércoles de Cuaresma; además una de las patatas tenía la señal del azadón. Sí, haría lo que
le habían dicho los chicos. Subiría y le diría al rector que le
habían castigado injustamente.
Una cosa así había sido hecha
antes en la historia por alguien,
por un gran personaje cuya cabeza estaba representada en los
libros de historia. Y el rector declararía que le habían castigado
injustamente, porque el Senado
y el pueblo romano, cuando alguien iba en queja, declaraban
siempre que el castigo había sido
injusto. Aquéllos habían sido los
grandes hombres, cuyos nombres
estaban en el Libro de Preguntas,
de Richmal Magnall. Toda la historia no hacía sino tratar de estos
hombres y de lo que habían hecho, y esto era también lo que contenían las Narraciones Griegas y
Romanas de Peter Parley. Peter
Parley en persona estaba representado en la primera página. Estaba
allí pintado un camino a través de
una llanura con hierba y con pequeños arbustos a un lado, y Peter
Parley tenía un sombrero ancho
como el de un pastor protestante
y un bastón muy grueso e iba caminando a buen paso por el camino de Grecia y de Roma.
It was easy what he had to
do. All he had to do was when
the dinner was over and he
came out in his turn to go on
walking but not out to the
60
corridor but up the staircase
on the right that led to the
castle. He had nothing to do
but that: to turn to the right
65 and walk fast up the staircase
and in half a minute he would
be in the low dark narrow
Era muy fácil lo que tenía
que hacer. Todo lo que tenía
que hacer era, cuando se acabara la cena, al salir del comedor, no tirar por el tránsito adelante, sino subir por la escalera de la derecha que conducía
al castillo. Lo único que tenía
que hacer era torcer a la derecha, subir aprisa las escaleras
y en medio minuto se pondría
en aquel corredor bajo de te-
He could not eat the
15 blackish fish fritters they got
102. Lent: the penitential period of forty days preceding Easter
during which various regulations about fasting are
observed. Fish would replace meat in this regimen.
• the mark of the spade the potato has an incision where
the shovel sliced into it.
20
25
30
35
103. Magnall’s Questions: Richmal Magnall (1769-ifto)
published Historical and Miscellaneous Questions
for the Use of Young People in 18oo. It remained in
use throughout the nineteenth century.
Richmal Magnall’s Questions A question and answer
history textbook which went into many editions in
the nineteenth century.
104. Peter Parley’s Tales: Peter Parley was the
pseudonym of Samuel Griswold Goodrich
(1793-I86o), author of Peter Parley’s Tales about
Ancient and Modern Greece (Boston, 1832) and
Peter Parley’s Tales about Ancient and Modern Rome
(Boston, 1833). (G)
Peter Parley’s Tales The pseudonym of S. Goodrich,
who wrote books of stories from classical history for
children.
40
45
50
55
61
Joyce’s Portrait
corridor that led through the
castle to the rector ’s room.
And every fellow had said
that it was unfair, even the
5
fellow out of second of
grammar who had said that
about the senate and the
Roman people.
cho, estrecho y oscuro, que
conducía a través del castillo
a la habitación del rector. Y
todos los chicos habían afirmado que era una injusticia, hasta el de segundo de gramática
que había dicho aquello del Senado y del pueblo romano.
10
What would happen?
¿Qué ocurriría?
He heard the fellows of
the higher line stand up at the
top of the refectory and
heard their steps as they
came down the matting:
Paddy Rath and Jimmy
Magee and the Spaniard and
the Portuguese and the fifth
was big Corrigan who was
going to be flogged by Mr
Gleeson. That was why the
prefect of studies had called
him a schemer and pandied
him for nothing: and,
straining his weak eyes, tired
with the tears, he watched
big
C o r r i g a n ’s
broad
shoulders and big hanging
black head passing in the
file. But he had done
something and besides Mr
Gleeson would not flog him
hard: and he remembered
how big Corrigan looked in
the bath. He had skin the
same colour as the turfcoloured bogwater in the
shallow end of the bath and
when he walked along the
side his feet slapped loudly
on the wet tiles and at every
step his thighs shook a little
because he was fat.
Oyó levantarse a los de la
primera y sintió sus pasos al
marchar a lo largo de la esterilla: Paddy Rath, Jimmy
Magee, el español y el portugués. Y el que seguía el
quinto era aquel [61] gordo
de Corrigan que iba a ser
azotado por míster Gleeson.
Por causa de aquél le había
llamado trapisondista y le
había azotado sin motivo el
prefecto de estudios. Y esforzando sus ojos débiles y cans a d o s d e l l o r a r, o b s e r v ó a l
pasar la fila las anchas espaldas de Corrigan y su hundida cabezota. P e r o a q u é l h a bía hecho algo y además
míster Gleeson no le azotaría muy fuerte. Y se acordaba de lo grande que parecía Corrigen en el baño.
Te n í a l a p i e l d e l m i s m o c o lor que el agua rojiza y fangosa de la parte poco profunda de la piscina y al andar por la orilla sus pies
chapoteaban sonoramente
en las baldosas húmedas y
los muslos le retemblaban
un poquito de gordo que
estaba.
The refectory was half
empty and the fellows were
still passing out in file. He
could go up the staircase
because there was never a
55 priest or a prefect outside the
refectory door. But he could
not go. The rector would side
with the prefect of studies and
think it was a schoolboy trick
60
and then the prefect of studies
would come in every day the
same, only it would be worse
because he would be
65 dreadfully waxy at any fellow
going up to the rector about
him. The fellows had told him
El refectorio estaba medio
vacío y los alumnos seguían
pasando en fila. Podría subir
por la escalera porque nunca
había ningún padre ni ningún
prefecto en la parte de afuera
del refectorio. Pero no iría. El
rector daría la razón al prefecto de estudios y pensaría que
se trataba de una artimaña de
estudiante, y luego el prefecto de estudios entraría todos
los días lo mismo; sólo que
sería mucho peor porque se
debía de poner horriblemente
enfadado de que un alumno
fuera a quejarse de él al rec-
15
20
25
30
35
40
45
50
62
Joyce’s Portrait
to go but they would not go
themselves. They had forgotten
all about it. No, it was best to
forget all about it and perhaps
5
the prefect of studies had Only
said he would come in. No, it
was best to hide out of the way
because when you were small
10 and young you could often
escape that way.
tor. Los otros le habían dicho
que fuera, pero no habían ido
ellos. Y ya se habían olvidado. No: lo mejor era olvidarlo
todo, que quizás el prefecto
habría dicho que iba a volver
sólo por decir. No: lo mejor
era ponerse a un lado. Cuando
uno es pequeño, lo mejor es
escapar inadvertido.
The fellows at his table
stood up. He stood up and
15 passed out among them in the
file. He had to decide. He was
coming near the door. If he
went on with the fellows he
could never go up to the
20
rector because he could not
leave the playground for that.
And if he went and was
pandied all the same all the
25 fellows would make fun and
talk about young Dedalus
going up to the rector to tell
on the prefect of studies.
Los de su mesa se levantaron también. Él se levantó y salió en fila con los demás. Había que decidirse. Él estaba llegando a la puerta. Si seguía
adelante con los chicos ya no
podría subir a ver al rector porque no podría salir del campo
de juego para eso. Y si iba y le
seguían dando de palmetazos lo
mismo, todos los chicos harían
burla de él y andarían diciendo
cosas del peque de Dédalus, que
había ido al rector a quejarse
del prefecto de estudios.
30
35
40
45
50
Dolan: it was like the name of a woman who washed
clothes It is; but the expression of it here shows
Stephen’s snobbery and sense of his own difference.
55
He was walking down along
the matting and he saw the
door before him. It was
impossible: he could not. He
thought of the baldy head of
the prefect of studies with
the cruel no-coloured eyes
looking at him and he heard
the voice of the prefect of
studies asking him twice
w h a t h i s n a m e w a s . Why
could he not remember the
name when he was told the first
time? Was he not listening the
first time or was it to make fun
out of the name? The great
men in the history had names
like that and nobody made
fun of them. It was his own
name that he should have
made fun of if he wanted to
make fun. Dolan: it was like
t h e n a m e of a woman who
washed clothes.
X
He had reached the door
and, turning quickly up to
the right, walked up the
60
stairs and, before he could
make up his mind to come
back, he had entered the low
dark narrow corridor that
65 led to the castle. And as he
crossed the threshold of the
door of the corridor he saw,
*[Ya estaba marchando por
la estera y veía la puerta delante de sí. Era imposible: no podía. Y pensaba en la cabeza calva del prefecto de estudios que
le miraba con sus ______ o j o s
sin color y o í a l a
v o z d e l p r efecto que
le pregt u ntaba dos veces cuál
era su nombre.]
<-¿Por qué no se habría acordado del nombre cuando se lo
dijo la primera vez? Era que no
estaba escuchando cuando [62]
lo dijo o que quería hacer burla
del nombre? Lo s g r a n d e s
hombres de la historia habían tenido nombres como
aquél y nadie se había
burlado de ellos. Si quería
burlarse de algo se debía
haber burlado de su propio nombre.
Dolan: par e c í a e l n o m b r e d e
una lavandera.
Había llegado a la puerta y,
torciendo rápidamente a la derecha, trepó escaleras arriba,
y, antes de que pudiera ni pensar en volverse atrás, había
entrado ya en el corredor bajo
de techo, estrecho y oscuro
que conducía al castillo. Y al
trasponer el umbral de la puerta del tránsito, vio, sin volver
63
* párrafo omitido incomprensiblemente en
la edición de Alianza pero que está en la
edición cedida de Lumen
Joyce’s Portrait
without turning his head to
look, that all the fellows
were looking after him as
they went filing by.
la cabeza, que todos los c h i cos le estaban mirando
s e g ú n i b a n pasando en
fila.
He passed along the
narrow dark corridor,
passing little doors that
were the doors of the
r o o m s o f t h e c o m m u n i t y.
H e p e e r e d [looked keenly]
in front of him and
right and left through
the gloom and thought
that those must be
portraits. It was dark
and silent and his eyes
were weak and tired
with tears so that he
could not see. But he
t h o ught t hey were the
portraits of the saints and great
men of the order who were
looking down on him silently
as he passed: saint Ignatius
Loyola holding an open book
a n d p o i n t i n g t o t h e w o r d s AD
MAJOREM DEI GLORIAM in it;
saint Francis Xavier
pointing to his chest;
Lorenzo Ricci with his
berretta on his head like
one of the prefects of the
lines, the three patrons of
holy youth—saint Stanislaus
Kostka, saint Aloysius
Gonzago, and Blessed John
Berchmans, all with young
faces b e c a u s e t h e y d i e d
when they were young,
a n d F a t h er Peter Kenny
sitting in a chair wrapped in
a big cloak.
Siguió por el corredor
estrecho y oscuro, pasando por delante de unas
puertecitas que eran las
puertas de los cuartos de
la comunidad. Escudriñó
en la oscuridad delante de
sí y a su derecha y a su
izquierda, y pensó que
aquéllos debían de ser retratos. Estaba el pasillo
silencioso y oscuro. Sus
ojos eran débiles y estaban cansados de llorar,
a s í q u e n o p o d í a v e r. P e r o
pensó que eran los retratos de los santos y grandes hombres de la Orden
Ignacio de Loyola, con un
libro abierto y señalando
hacia el lema escrito en
él: Ad Majorem Dei
Gloriam; San Francisco
J a v i e r, s e ñ a l á n d o s e e l p e cho; Lorenzo Ricci, con
un bonete en la cabeza
como los de los prefectos
de las divisiones; los tres
patronos de la santa juventud: San Estanislao de
Kostka, San Luis Gonzaga
y
el
beato
Juan
Berchmans, todos con caras juveniles porque se
habían muerto siendo muy
jóvenes; y el Padre Peter
Kenny envuelto en un
manteo muy grande.
He came out on the
landing
above the entrance
50
hall and looked about him.
That was where Hamilton
Rowan had passed and the
marks of the soldiers’ slugs
55 were there. And it was there
that the old servants had seen
the ghost in the white cloak
of a marshal.
Salió al rellano sobre el
vestíbulo de entrada y miró en
torno de sí. Por allí era por
donde había pasado Hamilton
Rowan y donde estaban las
huellas de las balas de los soldados. Y era allí donde los viejos criados habían visto el espíritu envuelto en un manto
blanco de mariscal.
5
10
15
20
105. saint Ignatius Loyola . . . Gloriam: Saint Ignatius of
Loyola (1491-1556), the founder of the Company of
Jesus, is traditionally represented in this pose. The
book signifies the constitution of the order, which he
wrote, and his famous Spiritual Exercises. Ad
Majorem Dei Gloriam, ‘To the Greater Glory of God’,
is the motto of the Society.
Ignatius Loyola The founder of the Jesuits (1492-1556).
Ad Majorem Dei Gloriam ‘For the greater glory of God.’
• Ad Majorem Dei Gloriam To the Greater Glory of God.
This is the motto of the Jesuit order; students are
usually instructed to place the initials A.M.D.G. at
the tops of all their papers.
106. saint Francis ... John Berchmans: St Francis Xavier
(I5o6-52), the most famous of Loyola’s disciples,
went as a missionary to India and Japan. He is often
portrayed pointing to the crucifix on his chest,
indicating the centrality of the cross to his mission.
Francis Xavier (1506-52) Jesuit missionary, associated with
Ignatius Loyola, he christianized much of the East.
107. Lorenzo Ricci (11703-75) was elected general of
the Company of Jesus in 1758. Hence the (red)
beretta, the mark of a cardinal.
Lorenzo Ricci Born in Florence, a Jesuit general who,
when the order was suppressed, retired to St Angelo,
where he died in 1775. berretta Round, black,
close-fitting skull-cap.
108. Stanislaus Kostka (x550-68), Aloysius Gonzaga
(15689x) and John Berchmans (1599-i6zi) were all
Jesuit saints (Berchmans was canonized in 1888)
whose early deaths and heroic dedication made them
models for the youth of Jesuit schools.
Stanislaus Kostka (1550-68), of Polish origin.
25
30
35
40
Aloysius Gonzago (1568-91), Jesuit saint, mentioned
again near the end of the novel.
Blessed John Berchmans (1599-1621), canonized in
1888, the patron saint of young altar boys.
45
Father Peter Kenny Hardly as elevated as those
mentioned above - he was the founder of Clongowes.
• Hamilton Rowan an Irish Nationalist who escaped from
his English captors and hid in Clongowes. He tossed
his hat out to make the English believe that he had
left the castle; the ruse was successful.
60
Un criado viejo estaba barriendo al extremo del rellano. Le preguntó dónde estaba el cuarto del rector y el
criado se [63] lo señaló al
fondo y se le quedó mirando
al marcharse y mientras lla-
An old servant was
sweeping at the end of the
landing. He asked him where
was the rector’s room and the
65 old servant pointed to the door
at the far end and looked after
him as he went on to it and
64
Joyce’s Portrait
knocked.
maba a la puerta.
There was no answer. He
knocked again more loudly and
5
his heart jumped when he heard
a muffled voice say:
N o c o n t e s t a b a n . Vo l v i ó a
llamar más fuerte y le palpitó el corazón al oír una
voz apagada que decía:
—Come in!
—¡Adelante!
10
baize tapete, tela, paño, bayeta,
manto afelpada o aterciopelada.
A bright green fabric napped to resemble
felt; used to cover gaming tables
• the green baize door the inner door is covered with
soft, green woolen fabric.
He turned the handle and
opened the door and fumbled
for the handle of the
green baize door inside. He
15 found it and pushed it open
and went in.
Dio la vuelta al tirador, abrió
la puerta y estuvo palpando para
encontrar el tirador de la segunda
puerta d e b a y e t a v e r d e . L o
encontró, abrió y entró dentro.
He saw the rector sitting
at a desk writing. There was
20
a skull on the desk and a
strange solemn smell in the
room like the old leather of
chairs.
Vio al rector que estaba sentado a una mesa escribiendo. Había una calavera sobre la mesa y
un olor solemne y extraño en la
habitación como a cuero viejo de
sillones.
25
His heart was beating fast
on account of the solemn
place he was in and the
silence of the room: and he
30 looked at the skull and at the
rector ’s kind-looking face.
El corazón le latía apresuradamente a causa de la solemnidad del sitio en que se encontraba y del silencio de la estancia.
Y contemplaba la calavera y la
cara amable del rector.
—Well, my little man, said
the
rector, what is it?
35
—Bueno —dijo el rector—.
¿Qué es lo que te trae a ti, mocito?
Stephen swallowed down
the thing in his throat and
said:
Stephen se tragó una cosa que
se le había puesto en la garganta y
dijo:
40
—I broke my glasses, sir.
45
—Se me han roto las gafas, señor.
El rector abrió la boca y
comentó:
The rector opened his
mouth and said:
—O!
—¡Caramba!
Then he smiled and said:
Después se sonrió y dijo:
50
—Well, if we broke our
glasses we must write home for
a new pair.
—Bueno, si se nos han roto las
gafas hay que escribir a casa para que
nos manden otras.
—I wrote home, sir, said
Stephen, and Father Arnall said
I am not to study till they come.
—He escrito a casa, señor, y
el Padre Arnall me dijo que no
estudiara hasta que vinieran.
—Quite right! said the
rector.
—¡Perfectamente!, —dijo el
rector.
Stephen swallowed down
the thing again and tried to keep
65 his legs and his voice from
shaking.
Stephen se volvió a tragar la
cosa otra vez y trató de impedir que le temblasen las piernas
y la voz.
55
60
65
Joyce’s Portrait
5
—But, sir—
—Pero, señor...
—Yes?
—¿Qué es ello?
—Father Dolan came in
today and pandied me
because I was not writing my
theme.
—El Padre Dolan ha entrado
hoy en clase y me ha dado de
palmetazos porque no estaba escribiendo mi ejercicio.
The rector looked at him
in silence and he could feel
the blood rising to his face
and the tears about to rise to
15 his eyes.
El rector le miró en silencio
mientras él sentía que la sangre le
subía al rostro y que en los ojos
estaban a punto de reventar las lágrimas.
[64]
El rector dijo:
10
The rector said:
20
—Your name is Dedalus,
isn’t it?
—Tu nombre es Dédalus, ¿no
es eso?
—Yes, sir
—Sí, señor.
—And where did you break
your glasses?
—Y ¿dónde se te rompieron las
gafas?
—On the cinder-path, sir. A
fellow was coming out of the
30 bicycle house and I fell and they
got broken. I don’t know the
fellow’s name.
—En la pista, señor. Me
tiró un chico que salía del depósito de las bicicletas y se
me rompieron. No sé el nombre del chico.
The rector looked at him
again in silence. Then he smiled
and said:
El rector le volvió a mirar
en silencio. Después se sonrió
y dijo:
—O, well, it was a mistake;
—Bueno, todo ha sido una
equivocación. Estoy seguro de que
el Padre Dolan no lo sabía.
25
35
40 I am sure Father Dolan did not
know.
—But I told him I
broke them, sir, and he
45
pandied me.
—Sí; le dije que se me
habían roto, y sin embargo,
me pegó con la palmeta.
—Did you tell him that you
had written home for a new
50 pair? the rector asked.
—¿Le dijiste que habías escrito a casa para que te mandaran
otras? —preguntó el rector.
—No, sir.
—No, señor.
—O well then, said the
understand. You can say that I
excuse you from your lessons
for a few days.
—Bue n o , ¿ e s ? — d i j o e l
rector—, el Padre Dolan no
comprendió bien. Di que yo te
he excusado de dar lección
por algunos días.
Stephen said quickly for
fear his trembling would
prevent him:
Stephen dijo prestamente,
de miedo que su temblor se lo
impidiera.
— Ye s , s i r , b u t F a t h e r
Dolan said he will come
in tomorrow to pandy me
—Sí, señor; pero el Padre
Dolan ha dicho que volverá a
entrar mañana para pegarme
55 rector, Father Dolan did not
60
65
66
Joyce’s Portrait
again for it.
otra vez.
—Very well, the rector said,
it is a mistake and I shall speak
5
to Father Dolan myself. Will
that do now?
—Muy bien —dijo el rector—
, es una equivocación y yo mismo
hablaré con el Padre Dolan. ¿Estás contento ahora?
Stephen felt the tears
wetting
his eyes and murmured:
10
Stephen sintió que las lágrimas
le humedecían los ojos y murmuró:
—O yes sir, thanks.
—Sí, señor, sí, gracias.
The rector held his hand
where the skull was and
Stephen, placing his hand in it
for a moment, felt a cool moist
palm.
El rector extendió la mano
por encima del lado de la mesa
donde estaba la calavera y
Stephen, al colocar en ella por un
momento la suya, sintió una palma húmeda y fría.
—Good day now, said the
rector, withdrawing his hand
and bowing.
—Y ahora, buenas tardes —dijo
el rector, retirando la mano y diciéndole adiós con la cabeza.
—Good day, sir, said
Stephen.
—Buenas tardes, señor —dijo
Stephen.
He bowed and walked
Hizo una inclinación y salió suavemente del cuarto cerrando cuidadosamente y sin ruido las puertas.
[65]
Pero cuando hubo pasado el
criado que estaba en el rellano y
se vio de nuevo en el corredor estrecho y ocuro, comenzó a andar
de prisa, cada vez más de prisa.
Se precipitó a través de la oscuridad, cada vez más aprisa y en
un estado de excitación. Empujó con el codo la puerta del fondo, voló escaleras abajo y echó
a correr por los dos tránsitos
hasta salir al aire libre.
15 across the side of the desk
20
25
30 quietly out of the room, closing
the doors carefully and slowly.
excited y excitado conllevan la idea de
alegre, entusiasta, pero excited tiene
más denotaciones, como nervioso,
agitado, acalorado, emocionante. To
excite y excitar se refieren a estimular,
entusiasmar, pero to excite significa
además emocionar / conmover, poner
nervioso / agitado, provocar [emociones], instigar [desórdenes], alborotar
[gente], y to get excited es acalorarse.
A su vez, excitar se usa para to raise
[dudas], arouse [curiosidad, apetito].
Excitedly significa agitada - o
acaloradamente.
Don’t get excited = no te pongas nervioso.
But when he had passed the
old
servant on the landing and
35
was again in the low narrow
dark corridor he began to walk
faster and faster. Faster and
faster he hurried on through the
40 gloom excitedly. He bumped
his elbow against the door at the
end and, hurrying down the
staircase, walked quickly
through the two corridors and
45
out into the air.
X
He could hear the cries of
the fellows on the playgrounds.
50 He broke into a run and,
running quicker and quicker,
ran across the cinderpath and
reached the third line
playground, panting.
Se oían los gritos de los
chicos en los campos de
juego. Rompió en una carrera
cada
vez
más
acelarada, cruzó la pista y
llegó jadeando al campo de
la tercera división.
55
60
The fellows had seen him
running. They closed round him
in a ring, pushing one against
another to hear.
Los chicos le habían visto correr.
Se estrecharon alrededor de él formando un corro, empujándose los
unos a los otros para escuchar.
—Tell us! Tell us!
—¡Cuéntanos, cuéntanos!
—What did he say?
—¿Qué te ha dicho?
—Did you go in?
—¿Entraste?
65
67
Joyce’s Portrait
—What did he say?
—¿Qué te ha dicho?
—Tell us! Tell us!
—¡Cuéntanos, cuéntanos!
5
He told them what he had
said and what the rector had
said and, when he had told
them, all the fellows flung
10 their caps spinning up into
the air and cried:
Les contó lo que había dicho y lo que le había contestado el rector, y cuando hubo terminado, todos los chicos arrojaron las gorras dando vueltas
por el aire y gritaron:
—Hurroo!
15
20
—¡Hurra!
They caught their caps and
sent them up again spinning
sky-high and cried again:
Recogieron las gorras y las
volvieron a arrojar girando a lo
alto, y gritaron de nuevo:
—Hurroo! Hurroo!
—¡Hurra! ¡Hurra!
They made a cradle of
their locked hands and
hoisted him up among them
25 and carried him along till he
struggled to get free. And
when he had escaped from
them they broke away in all
directions, flinging their caps
30 a g a i n i n t o t h e a i r a n d
whistling as they went
spinning up and crying:
35
Después juntaron las manos entre todos y levantándole en vilo le pasearon en
triunfo hasta que se debatió
para que le dejaran. Y cuando se desasió de ellos,
echaron a correr en todas
direcciones, arrojando las
gorras a lo alto, dando silbidos mientras giraban por
el aire y gritando:
—Hurroo!
—¡Hurra!
And they gave three
groans for Baldyhead Dolan
and three cheers for Conmee
40 a n d t h e y s a i d h e w a s t h e
decentest rector that was ever
in Clongowes.
Y aún dieron tres fueras
a Dolan el Cabezacalva y
tres vivas a Conmee, diciendo que era el mejor rector
que había habido nunca en
Clongowes.
The cheers died away in
t h e s o f t g r e y a i r. H e w a s
alone. He was happy and
free; but he would not be
anyway proud with Father
50 D o l a n . H e w o u l d b e v e r y
quiet and obedient: and he
wished that he could do
something kind for him to
show him that he was not
55 proud.
Los vivas se dispararon en
el aire suave y gris. Estaba
solo. Estaba libre; se sentía
feliz. Pero no se había de mostrar [66] ensoberbecido con el
Padre Dolan. Se portaría bien
y sería obediente. Y deseaba
que se le ofreciera una ocasión
de poder hacerle alguna atención para demostrar que no estaba ensoberbecido.
The air was soft and grey
and mild and evening was
coming. There was the smell
60
of evening in the air, the smell
of the fields in the country
where they digged up turnips
to peel them and eat them
65 when they went out for a walk
to Major Barton’s, the smell
there was in the little wood
El aire era suave y tibio y
gris. Anochecía. Se sentía en
el aire el aroma de la noche,
el olor de aquellos campos
donde los chicos arrancaban
nabos para pelarlos y
comérselos cuando iban de
paseo hacia la casa del Mayor
Barton, el olor que se sentía
en el bosquecillo detrás del
45
107. Major Barton’s: the Barton estate at Straffan House
was just over two miles from the school.
68
Joyce’s Portrait
108. gallnuts: excrescences on trees caused by insects.
agalla 1. f. Excrecencia redonda que se forma en el roble,
alcornoque y otros árboles y arbustos por la picadura de
ciertos insectos al depositar sus huevos. 2. amígdala. Ú.
m. en pl. 3. Cada una de las branquias que tienen los
peces en aberturas naturales, a entrambos lados y en el
arranque de la cabeza. Tienen también agallas las larvas
de los batracios y muchos moluscos y crustáceos.
• gallnuts nutlike galls, or abnormal rounded growths on
trees caused by insects
109. long shies: long throws practised by fielders who
had to return the ball to the batting crease in cricket.
Long hits by the batsman in cricket
pick, pack The repetition which reflects Stephen’s being
at peace with the world.
beyond the pavilion where the
gallnuts were.
pabellón donde cogían las
agallas .
T h e
f e l l o w s
w e r e
p r a c t i s i n g
l o n g
s h i e s
a n d
b o w l i n g lobs and slow
t w i s t e r s . I n t he s o f t g r e y
silence
he could hear the bump
10
of the balls: and from here and
from there through the quiet
air the sound of the cricket
bats: pick, pack, pock, puck:
15 l i k e d r o p s o f w a t e r i n a
fountain falling softly in the
brimming bowl.
Los alumnos se ejercitaban sacando desde lejos,
lanzando la pelota lentamente o haciendo que tom a r a e f e c t o . En el ambiente
suave y gris resonaba el choque de las pelotas. Y de aquí,
de allá, a través de la serena atmósfera venía el ruido de las
palas de cricket: pic, pac, poc,
puc, como lentas gotas de agua
al caer sobre el tazón repleto de
una fuente.
5
20
25
30
35
40
45
50
55
60
65
69
lob 1 a ball struck in a high arc slang for a penny
2 (Cricket) a ball bowled in a slow high arc
3 to hit or kick (a ball) in a high arc
4 (informal) to throw, esp. in a high arc
Joyce’s Portrait
1. Black twist: tobacco twisted in a cord.
• black twist coarse, black tobacco leaves twisted
together into a rope.
• outhouse outdoor toilet, retrete.
2. All serene: equivalent of ‘no problem’; Uncle Charles
avoids disputes.
Chapter 2
Dos
Uncle Charles smoked
such black twist that at
5
last his nephew suggested
to him to enjoy his morning
smoke in a little o u t h o u s e X
at the end of the
10 g a r d e n .
Tío Charles fumaba un tabaco
de hebra tan apestoso que, por último, su sobrino tuvo que decirle
que por qué no se iba a fumar por
las mañanas a una casucha que era
como una dependencia de la casa y
estaba al otro lado del jardín.
—Very good, Simon. All
serene, Simon, said the old man
tranquilly. Anywhere you like.
15 The outhouse will do me nicely:
it will be more salubrious.
—Muy bien, Simón. Divinamente, Simón —dijo con toda calma el anciano—.Donde tú quieras.
Me vendrá al pelo:
será más saludable.
X
—Damn me, said Mr
D e d a l u s f r a n k l y, i f I
20
know how you can smoke
such villainous awful
tobacco.
I t ’s
like
g u n p o w d e r, b y G o d .
el no considerar «outhouse» como ‘letrina’
garita o evacuatorio’ lleva a una serie de incongruencias que no quedan totalmente paliadas por ciertas intuiciones contextuales no
desencaminadas totalmente. Sale en varias
novelas con la traducción ‘retrete’.
—Que me maten —dijo con
franqueza míster Dédalus— si
llego a comprender cómo puede usted fumar ese tabacazo
que fuma. Por Dios, si es como
pólvora de cañón.
25
—It’s very nice, Simon,
replied the old man. Very cool
and mollifying.
—Es muy agradable —replicó el viejo—. Muy refrescante y emoliente .
Every morning, therefore,
uncle Charles repaired to his
outhouse but not before he had
greased
and
brushed
scrupulously
his
back
hair
and
35
brushed and put on his tall
hat. While he smoked the
brim of his tall hat and the
bowl of his pipe were just
40 visible beyond the jambs of
the outhouse door. His arbour,
as he called the reeking
outhouse which he shared with the
cat and the garden tools, served X
45
him also as a sounding-box: and
every morning he hummed contentedly
one of his favourite s o n g s :
while the grey and blue
coils of smoke rose
slowly from his pipe
55 a n d v a n i s h e d i n t h e
p u r e a i r.
Por lo tanto, todas las mañanas
tío Charles se encaminaba a la casilla del jardín, no sin haberse
engrasado y cepillado escrupulosamente los pelos del cogote,
ni sin capillar y encasquetarse
su sombrero de copa. Mientras
fumaba, el ala del sombrero y el
hornillo de la pipa asomaban
justamente detrás de las jambas
de la casucha. El cenador, que era
como llamaba a la ahumad a
c a s i l la, _________________________
_________________________ l e s e r v í a
también de caja de resonancia. Y
todas las mañanas tarareaba alegremente
alguna de sus canciones favoritas:[67][68]
Ojos azules, cabellos de
oro, En los sotillos de Blarney,
o Téjeme una enramada,
mientras las vedijas grises
y azuladas del humo ascendían lentamente de la pipa
y se desvanecían en el aire
diáfano.
During the first part of the
summer in Blackrock uncle
60
Charles was Stephen’s constant
companion. Uncle Charles was
a hale old man with a well tanned
features and white
skin, rugged
65 side whiskers. On week days he
did messages between the house
in Carysfort Avenue and those
Durante la primera parte de aquel
verano en Blackrock, tío Charles fue
el inseparable compañero de
Stephen. Tío Charles era un viejo
sano como una manzana, de piel
bien curtida, maneras bruscas y patillas blancas. Los días de trabajo,
servía de recadero entre la casa situada en la avenida de Carysfort
30
3. creased: possibly should be ‘greased’.
sounding-bog i.e. in which to test his singing.
4. O, twine ... of Blarney: ‘O, Twine Me a Bower’ is a
ballad by Thomas Crofton Croker (11798-1854), an
Irish antiquarian; music by Alexander Roche. (G)
‘Blue eyes and golden hair’ possibly refers to the
song ‘Blue Eyes’ by James L. Molloy (1837-11909);
more likely ‘I Would not Give My Irish Wife’, a song
by Thomas D’Arcy McGee (1825-68), a journalist and
prominent member of the Young Ireland movement.
The third stanza provides the Irish wife with eyes
and hair of the appropriate hues. ‘The Groves of
Blarney’ is a famous song by J. Alfred Milliken
(1767-1815), written in 1797-8.
O, twine me a bower, Blue Eyes and Golden Hair Irish
songs; the latter provided the melody for Moore’s
The Last Rose of Summer.
The Groves of Blarney Air by R. A. Millikin, written about
1700. Blackrock The Joyces lived at Blackrock for
about eighteen months in 1892-3.
5. Blackrock: a suburb south of Dublin to which the Joyce
family had moved in 1892. The house they occupied
in Carysfort Avenue still survives.
rugged 1 [terrain, landscape] accidentado; escabroso; [coastline, mountains] escarpado; the rugged
beauty of the island la belleza violenta de la isla
2 [man] de rasgos duros; [features] duro, acentuados,
severo, tosco, ceñudo
• did messages delivered messages.
O, T W I N E M E A B O W E R o r
50 B L U E E Y E S A N D G O L D E N H A I R
or THE GROVES OF BLARNEY
X
70
emoliente 1. adj. Med. Dícese del medicamento que
sirve para ablandar una dureza o tumor.
reek 1 : to emit smoke or vapor 2 a : to give off or
become permeated with a strong or offensive odor
b : to give a strong impression of some constituent
quality or feature <a neighborhood that reeks of
poverty> 3 : EMANATE, rezumar
1 : to subject to the action of smoke or vapor 2 : EXUDE,
GIVE OFF <a politician who reeks charm>
reek 1 chiefly dialect : SMOKE 2 : VAPOR, FOG 3 : a
strong or disagreeable fume or odor, peste, hedor
s’enrouler
with) pair.
hale 1 adj. (esp. of an old person) strong and
healthy (esp. in hale and hearty).
exhibiting or restored to vigorous good
health; «hale and hearty»; «whole in mind
and body»; «a whole person again»
hale 2 v.tr. drag or draw forcibly.
los rasgos («features» que no «maneras»)
del rostro son pronunciados, sobresalientes, vigorosos, bruscos o duros aunque las
maneras pueden ser «bruscas»
Joyce’s Portrait
y las tiendas de la calle principal del centro, donde la familia
se surtía. A Stephen le gustaba
mucho ir con él a estos recados,
porque tío Charles le aprovisioX naba liberalmente, a puñados,
de toda suerte de géneros expuestos en cajones abiertos o en barriles, a la parte de fuera del mostrador. Cogía, por ejemplo, un puñado
de uvas entremezcladas con serrín,
o tres o cuatro manzanas, y las
ponía m a g n á n i m a m e n t e en
manos de su sobrino, mientras
el tendero sonreía con sonrisa
forzada;
y
como
Stephen fingía hacerse
rogar
para
tomarlas,
fruncía el entrecejo y le decía:
—Take them, sir. Do you
hear me, sir? They’re good for
25 your bowels.
—Tómelas usted, señorito. ¿Me
ha oído usted, señorito? Son muy
buenas para llevar bien las tripas.
When the order list had
been booked the two would go
on to the park where an old
30 friend of Stephen’s father, Mike
Flynn, would be found seated
on a bench, waiting for them.
Then would begin Stephen’s
35 run round the park. Mike Flynn
would stand at the gate near the
railway station, watch in hand,
while Stephen ran round the
track in the style Mike Flynn
40 favoured, his head high lifted,
his knees well lifted and his
hands held straight down by his
sides. When the morning
practice was over the trainer
45
would make his comments and
sometimes illustrate them by
shuffling along for a yard or so
comically in an old pair of blue
50 canvas shoes. A small ring of
wonderstruck children and
nursemaids would gather to
watch him and linger even when
he and uncle Charles had sat
55 down again and were talking
athletics and politics. Though
he had heard his father say that
Mike Flynn had put some of the
best runners of modern times
60
through his hands Stephen often
glanced at his trainer’s flabby
stubble-covered face, as it bent
over the long stained fingers
65 through which he rolled his
cigarette, and with pity at the
mild lustreless blue eyes which
Cuando la lista de encargos quedaba bien apuntada, se iban los dos al
parque, donde un antiguo amigo del
padre de Stephen, Mike Flynn, estaba
sentado en un banco esperándolos.
Entonces comenzaba la carrera de
Stephen alrededor del parque. Mike
Flynn se situaba, reloj en mano, a la
puerta de entrada, cerca de la estación
del ferrocarril, mientras Stephen daba
la vuelta, guardando el estilo favorito
de Mike Flynn: la cabeza alt a , l a s
rodillas levantadas y las manos completamente colgantes
a los lados. Cuando el ejercicio matinal concluía, hacía el
entrenador comentarios que
algunas veces ilustraba arrastrando cosa de unos metros
sus pies calzados con unos
v i e j o s zapatos de lona azul. Un
reducido círculo de niños asombrados y de niñeras, se reunía
para observarle, y aún seguían haciéndolo cuando él y tío Charles se
[69] habían ya sentado otra vez, y estaban hablando de atletismo o de política. Aunque había oído decir a su
padre que algunos de los mejores corredores de los tiempos modernos
habían pasado por las manos de
Mike Flynn, Stephen observaba a
menudo la cara lacia y cubierta de
pelo corto de su entrenador, cuando se inclinaba sobre los dedos
largos y manchados para liar un
pitillo, y miraba con piedad los
ojos dulces, azules y sin brillo,
5
10
• grandnephew great-nephew; Uncle Charles is
Stephen’s great-uncle.
15
20
6. order list had been booked: that is, when the list of
items had been ordered, either for delivery or for
collection later.
7. Uncle Charles . . . the porch: Uncle Charles would
make a desultory sign of the cross over Stephen
with the holy water. It was traditional to bless oneself
at the font on entering and leaving the church.
desultory adj.1 going constantly from one subject to
a n o t h e r, e s p . i n a h a l f - h e a r t e d w a y. 2
disconnected; unmethodical; superficial. Inconstante, intermitente,inconexo, irregular, poco metódico, intemitente, variable, voluble, inconstante, erratic, esporádico, insconstant, irrelevant,
tedious, pointless, boring, diufused
desultory adj. 1 going constantly from one subject to
another, esp. in a half-hearted way. 2 disconnected;
unmethodical; superficial. Irregular,
shops in the main street of the
town with which the family
dealt. Stephen was glad to go
with him on these errands for
uncle Charles helped him very
li b e r a l l y t o h a n d f u l s of
whatever was exposed in
open boxes and barrels
o u t s i d e t h e c o u n t e r. H e
would seize a handful of
grapes and sawdust or three
or four American apples and
thrust them generously into
his grandnephew’s h a n d
while the shopman smiled
u n e asily; and, on Stephen’s
feigning reluctance t o
take them, he would
frown and say:
71
liberal 1 generoso, dadivoso, magnánimo 2 liberal 3 abundante 4
libre
liberal 1 a). Generoso, desprendido, desinteresado. Tolerante. 1 b) Que ejerce
una profesión liberal tradicionalmente
de las artes o profesiones que ante todo
requieren el ejercicio del entendimiento.
2. Favorable a las libertades intelectuales
y profesionables del individuo y a las políticas del Estado y a las Humanidades.
(Nota: parece estarse perdiendo el primer significado en favor del segundo.)
flabby fofo, flácido, débil, marchito, liso.
lacio 1. adj. Marchito, ajado. 2. adj. Flojo,
débil, sin vigor. 3. adj. Dicho del cabello: Que cae sin formar ondas ni rizos.
Joyce’s Portrait
que dejaban de pronto su tarea
para contemplar vagamente la
azul distancia, mientras los dedos
largos y manchados se detenían en
su labor, y algunos granos y hebras de tabaco volvían a caer en
la petaca.
On the way home uncle
Charles would often pay a
visit to the chapel and, as the
f ont was above Stephen’s
reach, the old man would dip
his hand and then sprinkle the
water briskly about Stephen’s
clothes and on the floor of the
porch. While he prayed he knelt
on his red handkerchief and
read above his breath from a
thumb blackened prayer book
wherein catchwords were
printed at the foot of every
page. Stephen knelt at his side
respecting, though he did not
share, his piety. He often
wondered what his grand-uncle
prayed for so seriously. Perhaps
he prayed for the souls in
purgatory or for the grace of a
happy death or perhaps he
prayed that God might send him
back a part of the big fortune
he had squandered in Cork.
Al regresar a casa, tío Charles
solía hacer una visita a la capilla,
y como Stephen no alcanzaba a la
pililla del agua bendita, el anciano introducía su mano en
ella y rociaba vivamente el traje de Stephen y el piso del pórtico. Para rezar se arrodillaba
sobre su pañuelo rojo y leía en
voz alta en un libro de oraciones manchado por la huella del
pulgar y en el que cada página
tenía un registro impreso al pie.
Stephen se arrodillaba a su
lado, respetando su piedad aunque no la compartiera. Pensaba
a menudo qué era lo que su tío
podía estar rezando con tanta
seriedad. Quizás rezaba por las
almas del purgatorio, o para alcanzar la gracia de una buena
muerte o tal vez para que Dios
le devolviera una parte de aquella gran fortuna que había disipado en Cork.
On Sundays Stephen with
his father and his grand-uncle
40 took their constitutional .
The old man was a nimble
walker in spite of his corns
and often ten or twelve miles
of the road were covered. The
45
little village of Stillorgan was
the parting of the ways. Either
they went to the left towards
the Dublin mountains or along
50 the Goatstown road and thence
into Dundrum, coming home
by Sandyford. Trudging along
the road or standing in some
grimy wayside public house
55 his elders spoke constantly of
t h e s u b j e c t s nearer their
hearts, of Irish politics, of
Munster and of the legends of
their own family, to all of
60
which Stephen lent an avid
ear. Words which he did not
understand he said over and
over to himself till he had
65 l e a r n t t h e m b y h e a r t : a n d
through them he had glimpses
of the real world about them.
Los domingos, Stephen,
su madre y su tío, daban su
paseo semanal. El anciano
era un gran andarín a pesar de
los callos, y frecuentemente
llegaban a hacer diez o doce
millas de camino. La aldea de
Stillorgan era el punto en que se
dividían los caminos. Unas veces
tomaban a la izquierda, hacia las
montañas de Dublín, y otra por
el camino de Goatstown y de
aquí a Dundrum, volviendo por
Sandyford. Camino adelante o
haciendo alto en algún
tabernucho al paso, las dos personas mayores hablaban constantemente de los asuntos que más de
cerca les tocaban: de política irlandesa, de Munster o de las leyendas de su propia familia, a todo
lo [70] cual prestaba Stephen
oído atento. Las palabras que no
comprendía se las repetía una—
vez y otra vez, hasta que se las
aprendía de memoria, y a través de ellas le llegaban vislumbres del mundo que les rodea-
10
15
20
25
30
35
• took their constitutional they regularly took a walk for
health’s sake.
8. Stillorgan . . . Sandyford: all of the places named here
were then villages that lay within a couple of miles of
Blackrock.
Stillorgan Five miles from the centre of Dublin where
Leopardstown Racecourse is.
wayside edge of, along of, al borde de
9. nearer their hearts...Munster: ‘nearer’ is slightly
odd-nearer than what? -and perhaps should be ‘near’.
Munster is the southern province of Ireland; its capital,
Cork, is the native place of Stephen’s father and uncle.
Munster A reference to the harbour in Tipperary.
• Munster Simon Dedalus’ family home is in Cork, county
of Munster, which was traditionally a political hotbed
of deep national pride.
would look up suddenly from
the task and gaze vaguely into
the blue distance while the long
swollen fingers ceased their
5
rolling and grains and fibres of
tobacco fell back into the
pouch.
72
nimble adj. 1 ágil, agile, quick, spry moving
quickly and lightly; «sleek and agile as
a gymnast»; «as nimble as a deer»;
«nimble fingers»; «quick of foot»; «the
old dog was so spry it was halfway up
the stairs before we could stop it» 2 listo, agile mentally quick; «an agile
mind»; «nimble wits»
Joyce’s Portrait
the great part which he felt awaited him It is all the more
ironic that it is only shortly after he feels these stirrings
in himself that the family poverty descends upon him.
The hour when he too would
take part in the life of that
world seemed drawing near
and in secret he began to make
5
ready for the great part
which he felt awaited him the
nature of which he only dimly
apprehended.
ba. La hora en que él había de
participar también en la vida de
aquel mundo parecía que se le
iba acercando y comenzó a prepararse en secreto para el gran
papel que le estaba reservando,
pero que sólo confusamente entreveía.
10
10. The Count of Monte Cristo: a famous adventure novel
(11844) by Alexandre Dumas père (I8o2-7o). The
‘dark avenger’ is the hero Edmond Dantes, who escapes from jail and, as the Count, sets forth to avenge
the wrong done to him.
The Count of Monte Cristo By Alexandre Dumas (the
elder); one of the most celebrated of his stories,
published in 1844.
• The Count of Monte Cristo a nineteenth-century novel
about a handsome hero, Edmond Dantes, who is
about to be married to his beautiful and beloved
Mercedes when he is falsely accused of treason and
imprisoned for fourteen years. He arranges a highly
unlikely but melodramatically thrilling escape; then
he unearths a treasure which finances several
ingenious schemes of revenge on the men
responsible for his imprisonment. The multiple
allusions to Mercedes, Marseilles, sunny trellises,
and moonlit gardens all refer to this novel.
11. island cave: Dantes discovers a treasure in a cave
on the island of Monte Cristo. He converts it into a
hideout.
‘That wonderful island cave’ is where the treasure is
hidden in the novel. Mercedes ultimately repents her
betrayal of the Count.
Marseille Major French city and port on the
Mediterranean.
12. Mercedes: the beloved of Dantes who ultimately
comes to live in a cottage in Marseilles.
His evenings w e r e h i s
own; and he pored over
a ragged translation of
T HE COUNT OF MONTE CRISTO.
15 The figure of that dark avenger
stood forth in his mind for
whatever he had heard or
divine d i n c h i l d h o o d o f t h e
s t r a n g e a n d t e r r i b l e. A t
20
night he built up on the parlour
table an image of the
wonderful island cave out of
transfers and paper flowers and
25 coloured tissue paper and strips
of the silver and golden paper
in which chocolate is wrapped.
When he had broken up this
scenery, weary of its tinsel,
30 there would come to his mind
the bright picture of Marseille,
of sunny trellises, and of
Mercedes.
Las horas de prima noche le
pertenecían; y se desojaba sobre
X una desgualdramillada traducción de El conde de Montecristo.
La figura del siniestro vengador
le representaba en su imaginación todo cuanto había
oído o adivinado en su infancia de extraño y de terrible.
Por la noche construía sobre la
mesa de la sala un simulacro de la
isla maravillosa formado de pedazos de transferencias, flores de papel, papel de seda de colores y tiras
del papel de oro o plata que venían
envolviendo el chocolate. Y cuando desmoronaba todo este tinglaX do, hastiado de su falsedad, se
representaba la clara visión de
Marsella y las soleadas celosías, y veía con la imaginación
a Mercedes.
- varias de este tipo de palabras tienen un
registro normal del inglés que no encuentra
una equivalencia cabal en las voces castellanas empleadas
- no en DRAE (¿desvencijado?)
- sale una vez más
ragged adjective
1 (= in tatters);[clothes] andrajoso;
hecho jirones; [person] andrajoso;
harapiento; they ran themselves
ragged (informal) sudaron tinta or
la gota gorda
2 (= untidy); [beard] descuidado;
desgreñado; [animal’s coat] desgreñado; [edge] mellado; irregular, desigual; [hole, line] irregular;
[coastline] accidentado; recortado;
rugged adject i v e 1 [ t e r r a i n ,
landscape] accidentado; escabroso; [coastline, mountains]
escarpado; áspero
the rugged beauty of the island la
belleza violenta de la isla
2 [man] de rasgos duros; [features]
duro, acentuados, severo, tosco,
ceñudo
3 [construction] vigoroso, robusto
4 (EEUU) tempestuoso, borrascoso
- a rugged health una salud a prueba de bomba
35
40
45
50
55
13. Madam, 1 never eat muscatel grapes: a quotation
from the novel. Dantes twice makes this declaration
to Mercedes.
Madam, I never eat muscatel grapes This statement, a
quotation from the novel, symbolizes the Count’s
rejection in his maturity of Mercedes - he refuses to
eat what she offers.
• Madam, I never eat muscatel grapes. Dantes (the
Count of Monte Cristo) makes this statement to
Mercedes; her son remarks that Dantes seems to
have an Oriental code of honor-that is, he cannot
eat or drink whatever is offered to him in his enemy’s
house. Because Mercedes married Dantes’ rival,
Fernand Mondego (alias Count de Morcerf), her
house is technically the house of an enemy.
60
65
Outside Blackrock, on the
road that led to the
mountains, stood a small
whitewashed house in the
garden of which grew many
rosebushes: and in this house,
he told himself, another
Mercedes lived. Both on the
outward and on the homeward
journey he measured distance
by this landmark: and in his
imagination he lived through a long
train of adventures, marvellous as
those in the book itself, towards
the close of which there appeared
an image of himself, grown older
and sadder, standing in a moonlit
garden with Mercedes who had
so many y e a r s b e f o r e
slighted his love, and
with a sadly proud
gesture
of
refusal,
saying:
Fuera de Blackrock, en
el camino que conducía a
las montañas, había una casita enjalbegada en cuyo
jardín crecían muchos rosales. Lo mismo al ir que al
volver a casa, aquella casita le servía de mojón para
medir la distancia. Y vivía
con la imaginación una larga cadena de aventuras tan
maravillosas como las del
libro, hacia el final de las
cuales se le representaba
una imagen de sí mismo, ya
más viejo y más triste, de
pie en un jardín, a la luz de
la luna, con aquella Mercedes que tantos años antes
h a b í a re h u s a d o s u a m o r y
a la que tristemente, con un
gesto de orgullosa repulsa,
decía:
—Madam, I never eat
muscatel grapes.
—Señora, yo no acostumbro
comer uvas moscateles.
He became the ally of a boy
named Aubrey Mills and
founded with him a gang of
Trabó amistad con un chico
llamado Aubrey Mills y fundó
con él en la avenida donde vi73
slight v.tr. 1 treat or speak of (a person
etc.) as not worth attention, fail in
courtesy or respect towards,
markedly neglect. 2 hist. make
militarily useless, raze (a fortification
etc.). Ignore, Desairar, ofender, insultar, desdeñar, dar de lado, menospreciar
Joyce’s Portrait
vía una cuadrilla de aventureros. Aubrey llevaba un silbato
colgado de un ojal y una lámpara de bicicleta sujeta en el
cinturón, mientras los de [71]
más llevaban atravesados en los
suyos unos palos cortos a guisa
de puñal. Stephen, que había leído algo de la sencilla manera de
vestirse de Napoleón, prefirió
permanecer sin adornos; así se
le aumentaba el placer de celebrar consejo con su ayudante
antes de dar órdenes. La partida
realizaba incursiones en algunos
jardines de solterona o bajaba
al castillo y libraba batallas en
las rocas erizadas de hierbajos
para regresar por fin a su casa
como cansados vagabundos,
con las narices llenas de los
olores fermentados de la marisma y las
manos y los cabellos impregnados de espesos jugos de algas de mar.
Aubrey and Stephen had a
common milkman and often
they drove out in the milk-car
to Carrickmines where the
cows were at grass. While
the men were milking the
boys would take turns in
r i d i n g t h e t r actable mare
round the field. But when autumn
came the cows were driven
home from the g rass: and the
f i r st sight of t h e f i l t h y
cowyard at S t r a d b r o o k w i t h
i t s f o u l g r e en p u d d l e s a n d
clots
of
liq u i d
d u n g a n d s teaming
troughs,
sickened
br a n
S t e p h e n ’s h e art. The cattle which
had seemed so beautiful in the
country on sunny days revolted him
and he could not even look at the
milk they yielded.
Aubrey y Stephen tenían el
mismo lechero, el cual les llevaba
a menudo en el carricoche de la
leche a Carrickmines, que era donde las vacas pastaban. Mientras los
hombres estaban ordeñando, los
chicos se turnaban para dar la vuelta al campo a lomos de la pacífica
yegua. Pero cuando vino el
otoño, las vacas fueron llevadas del prado a la e s t a b l í a .
Stephen sintió náuseas sólo de
ver el patio del establo con sus
repugnantes pozos verdosos y los
cuajarones de estiércol líquido
y de respirar la vaharada de las
artesas de afrecho. Las vacas,
que antes parecían tan hermosas
en los días soleados del campo,
ahora le revolvían el cuerpo y ni
aun mirar quería la leche que
ellas daban.
The coming of September
did not trouble him this year
55 for he was not to be sent back
to Clongowes. The practice in
the park came to an end when
Mike Flynn went into
hospital. Aubrey was at
60
school and had only an hour
or two free in the evening.
The gang fell asunder and
there were no more nightly
65 forays or battles on the rocks.
Stephen sometimes went
round with the car which
La llegada de septiembre
no le alteró la vida este año
porque ya no volvía a
Clongowes. Los ejercicios del
parque se terminaron cuando a
Mike Flynn s e l o llevaron al
hospital. Aubrey iba al colegio y sólo tenía libres un par
de horas por las tardes. La partida se disolvió y ya no hubo
más incursiones nocturnas ni
combates en las rocas.
Stephen montaba algunas veces en el cochecillo que repar-
5
10
15
14. castle: one of several Martello towers built on Dublin
Bay to defend against a possible invasion by the
French during the Napoleonic wars. Joyce was later
(I9o4) to live in one of them and make it the setting
for the opening of Ulysses.
• seawrack seaweed that has been cast up on shore.
adventurers in the avenue.
Aubrey carried a whistle
dangling from his buttonhole
and a bicycle lamp attached to
his belt while the others had
short sticks thrust daggerwise
through theirs. Stephen, who
had read of Napoleon’s plain
style of dress, chose to remain
unadorned and thereby
heightened for himself the
pleasure of taking counsel with
his lieutenant before giving
orders. The gang made
forays into the gardens of old
maids or w e n t d o w n t o t h e
castle and fought a battle
o n t h e shaggy weed-grown rocks,
coming home after it weary
stragglers with the stale odours
of the foreshore in their nostrils
and the rank oils of the
seawrack upon their hands and
i n t h e i r h a i r.
20
25
30
15. Carrickmines . . . Stradbrook: villages south of
Blackrock.
35
tractable adj. 1 (of a person) easily handled;
manageable; docile. 2 (of material etc.) pliant,
malleable.
tractable dócil, manejable, tratable
40
45
50
74
foray A n. 1 an initial attempt (especially outside
your usual areas of competence); «scientists’
forays into politics» 2 raid, maraud, a
sudden short attack
B v. 1 briefly enter enemy territory, incursión
shaggy having a coarse and
abundant hairlike covering,
rank2 1 (= smelly) maloliente, apestoso; to smell rank oler mal 2 (=
utter) [hypocrisy, injustice] manifiesto, absoluto; [beginner, outsider] completo, puro
establía o establo
afrecho: salvado, cáscara del grano
Joyce’s Portrait
5
hayseed 1. semilla de césped. 2. yokel,
rube, hick, yahoo, hayseed, bumpkin,
chawbacon not very intelligent or
interested in culture
10
15
20
• gingernuts gingerbread.
25
30
35
40
45
astir 1. in motion (activo, en movimiento); 2. excited; 3.
awake and out of bed (astir early; already astir)
50
16. mare’s hoofs .. . behind him: the horse-drawn milk
cart, containing a large milk churn, followed the tram
track that linked Blackrock along the coast, via the
Rock Road, to Dublin.¨(«rock» has simblolic
connotations with the Church)
tramtrack : a fixed route
55
delivered the evening milk
and these chilly drives blew
away his memory of the filth
of the cowyard and he felt no
repugnance at seeing the cow
hairs and hayseeds on the
milkman’s coat. Whenever
the car drew up before a
house he waited to catch a
glimpse of a well scrubbed
kitchen or of a softly lighted
hall and to see how the
servant would hold the jug
and how she would close the
door. He thought it should be
a pleasant life enough,
driving along the roads every
evening to deliver milk, if he
had warm gloves and a fat bag
of gingernuts in his pocket to
eat from. But the same
foreknowledge which had
sickened his heart and made
his legs sag suddenly as he
raced round the park, the
same intuition which had
made him glance with mistrust
at his trainer’s flabby stubblecovered face as it bent heavily
over his long stained fingers,
dissipated any vision of the
future. In a vague way he
understood that his father was
in trouble and that this was the
reason why he himself had not
been sent back to Clongowes.
For some time he had felt the
slight change in his house; and
those changes in what he had
deemed unchangeable were so
many slight s h o c k s t o h i s
boyish conception of the
world. The ambition which he
felt astir at times in the
darkness of his soul sought no
outlet. A dusk like that of the
outer world obscured his
mind as he heard the mare’s
hoofs clattering along the
tramtrack on the Rock Road X
and the great can swaying and
rattling behind him.
tía la leche por la noche y aquellas refrescantes excursiones le
quitaron de la memoria el recuerdo de la suciedad del patio del establo, y ya no sentía repugnancia
de ver semillas de heno o pelos
de vaca adheridos a las ropas del
repartidor. Cada vez que el coche
hacía una parada, se quedaba espiando para coger una [72] vislumbre de una bien fregada cocina o
de un vestíbulo suavemente alumbrado y para ver cómo tomaba el
cacharro la criada y cómo cerraba
la puerta. Pensaba que sería una
vida bastante agradable la de ir en
el cochecillo repartiendo leche todas las noches, con tal de que tuviera
unos guantes bien abrigados y un saco
repleto de pastas de jengibre en el
bolsillo para írselas comiendo. Pero
la misma entrevisión que le había
hecho desfallecer y había obligado a sus piernas a doblegarse
cuando corría alrededor del parque, la misma intuición que le había hecho mirar con desconfianza
la cara lacia y cubierta de pelo corto de su entrenador al inclinarse
sobre los dedos largos y manchados,
la misma le disipaba ahora toda visión del futuro. De una manera vaga
había llegado a comprender que su
padre estaba en un apuro y que ésta
era la causa de que no le volvieran a
mandar a Clongowes. Desde hacía algún tiempo sentía un ligero cambio en su casa, y estos
cambios, de lo que consideraba incambiable, eran otras tantas conmociones de su concepción infantil del mundo. Aquella ambición que había sentido bullir a veces en la profundidad de su alma, no le acuciaba
ya ahora. Una oscuridad como la
del mundo externo nu blaba su espíritu, mientras las herraduras de
la yegua iban resonando a lo largo de
la vía del tranvía _______________
y el gran cántaro oscilaba y tintineaba a su espalda.
Volvió otra vez a pensar en
Mercedes, y mientras cavilaba
pensando en ella, una extraña
inquietud se le deslizaba dentro
del alma. A veces se apoderaba
de él una fiebre que le llevaba a
vagar de noche, solo, por la
tranquila avenida. La paz de los
jardines y las luces acogedo-
He returned to Mercedes
and, as he brooded upon her
60
image, a strange unrest
crept into his blood.
Sometimes a fever gathered
within him and led him to
65 rove a l o n e i n t h e e v e n i n g
along the quiet avenue. The
peace of the gardens and the
75
shock 1 (emotional) conmoción f, golpe m,
impresión f; (= start) susto m; the shock
killed him la impresión le mató; to
come as a shock resultar sorprendente or asombroso, causar estupefacción;
to get a shock llevarse or pegarse un
susto 2 (= impact) sacudida f; (= shakeup) choque m, sacudida f; shock
resistant antichoque; it was a shock
to the establishment sacudió el sistema, fue un serio golpe para el sistema
3 (Elec) descarga f; she got a shock
from the refrigerator la nevera le dio
una descarga or un calambre 4 (Med)
shock m, postración f nerviosa; to be
suffering from shock G be in (a state
of) shock estar en estado de shock,
padecer una postración nerviosa
clatter estrépito n. a rattling noise (often
produced by rapid movement); “the
shutters clattered against the house”;
“the clatter of iron wheels on
cobblestones”
v. clatter hacer ruido estrepitoso, clack,
brattle make a rattling sound; “clattering
dishes”
1 : to make a rattling sound <the dishes
clattered on the shelf> 2 : to talk
noisily or rapidly 3 : to move or go with
a clatter <clattered down the stairs>
pound, thump
Joyce’s Portrait
ras de las ventanas derramaban una sedante caricia en su
corazón agitado. El ruido de
los niños al jugar le incomodaba y sus locas voces le hacían sentir aún más claramente que lo había sentido en
Clongowes, que él era diferente de los otros. Él no quería
jugar. Lo que él necesitaba era
encontrar en el mundo real la
imagen irreal que su alma contemplaba constantemente. No
[73] sabía dónde encontrarla ni
cómo, pero una voz interior le
decía que aquella imagen le había de salir al encuentro sin
ningún acto positivo p o r
parte suya... Habrían de
e ncontrarse tranquilamente como
si ya se conociesen de antemano,
como si se hubieran dado cita en
una de aquellas puertas de los jardines o en algún otro sitio más secreto.
Estarían solos, rodeados
por el silencio y la o s c u ridad. Y en el momento
de la suprema ternura
s e sentiría transfigurado.
He would fade into
something
impalpable under
35
her eyes and then in a moment
he would be transfigured.
Weakness and timidity and
inexperience would fall from
40 him in that magic moment.
//S e d e s h a r í a e n a l g o i m palpable bajo los ojos de
ella y se transfiguraría
instantáneamente. La debilidad, la timidez, la inexperiencia caerían de él en
aquel momento mágico.
5
10
15
overt unconcealed, done openly, manifiesta, patente, abierta, declarada (hostilidad),
flagrante
kindly lights in the windows
poured a tender influence into
his restless heart. The noise
of children at play annoyed
him and their silly voices
made him feel, even more
keenly than he had felt at
Clongowes, that he was
different from others. He did
not want to play. He wanted
to meet in the real world the
unsubstantial image which his
soul so constantly beheld. He
did not know where to seek it
or how, but a premonition
which led him on told him
that this image would,
without any overt act of his,
encou nter him. They would
meet quietly as if they had
known each other and had
made their tryst, perhaps at
one of t h e g a t e s o r i n
some more secret place.
They would be alone,
surrounded by darkness and
silence: and in that moment
of supreme tenderness he
would be transfigured.
20
25
in that moment of supreme tenderness he would be 30
transfigured Stephen is very romantic at this stage
(probably influenced by Dumas) and feels that with
his ideal beloved he will lose all shyness and
awkwardness.
*****
***
Tw o
great
yellow
caravans had halted one
morning before the door and
men had come tramping into
the house to dismantle it.
50 T h e f u r n i t u r e h a d b e e n
hustled out through the front
garden which was strewn
with wisps of straw and rope
ends and into the huge vans
55
at the gate. When all had
stow v.tr. 1 pack (goods etc.) tidily and compactly. 2 Naut.
place (a cargo or provisions) in its proper place and order. 3
been safely stowed the vans
fill (a receptacle) with articles compactly arranged. 4 (usu. in
imper.) sl. abstain or cease from (stow the noise!).
had set off noisily down the
stow away 1 place (a thing) where it will not cause an
avenue: and from the
obstruction. 2 be a stowaway on a ship etc.
window of the railway
• railway carriage railway car. 60
carriage , in which he had
sat with his red-eyed mother,
Stephen had seen them
lumbering
along
the
Merrion
Road
.
65
17. Merrion Road: this road continues Rock Road and
Una mañana, dos grandes carros de mudanza habían parado delante de la puerta y unos mozos
habían entrado a empellones dentro de la casa y se habían puesto a
desmantelarla. Habían sacado los
muebles atravesando el jardín que
daba al frente, sembrado ahora de
manojos de paja y cabos de cuerda, y los habían metido en los enormes carros. Y cuando todos estuv i e r o n b i e n h a c i n a d o s, l o s c a rros ha bían echado a andar por la
avenida adelante. Stephen los había visto avanzar pesadamente
por el camino de Merrion desde
la ventana del vagón del tren donde estaba sentado junto a su madre. Su madre tenía los ojos enrojecidos.
45
can be seen from the railway line that runs parallel
between it and Dublin Bay.
The parlour fire would not
//Aquella noche no quería tirar el
76
lumber 1 v. intr. (usu. foll. by along, past,
by, etc.) move in a slow clumsy noisy
way. Moverse pesadamente, avanzar
con ruido sordo
lumbering pesado, torpe
lumber 2 n. 1 disused articles of furniture
etc. inconveniently taking up space.
Trastos viejos
2 useless or
cumbersome objects. 3 US partly
prepared timber. Madera, maderamen
1 tr. a (usu. foll. by with) leave (a person etc.)
with something unwanted or unpleasant
(always lumbering me with the cleaning).
b (as lumbered adj.) in an unwanted or
inconvenient situation (afraid of being
lumbered). 2 tr. (usu. foll. by together)
heap or group together carelessly.
Amontonar 3 tr. (usu. foll. by up)
obstruct. Obstruir 4 intr. cut and prepare forest timber for transport. Aserrar,
cortar madera,
Joyce’s Portrait
fuego de la sala y míster Dédalus
dejó el atizador apoyado contra
las barras del hogar para atraer
la llama. Tío Charles dormitaba
en un rincón del cuarto a medio
amueblar y sin alfombra, y cerca
de él los retratos de familia yacían apoyados contra la pared. La
lámpara de la mesa arrojaba una
débil luz sobre el suelo de madera, embarrado por los pies de los
mozos de cuerda. Stephen estaba
sentado en una banqueta al lado
de su padre escuchando atentamente un largo e incoherente monólogo. Poco o nada entendía de
él, pero poco a poco llegó a darse
cuenta de que [74] su padre tenía
enemigos y de que un combate iba
a tener lugar. También sintió que
le habían alistado para la batalla, y que
le habían echado sobre los hombros
cierta obligación. El súbito abandono del ambiente de comodidad
y ensueño de Blackrock, el paso
a través de la ciudad sombría y
nebulosa, la idea de la casa oscura y triste en la que iban a
vivir ahora, todo esto le apesadumbraba el corazón; comprendía ahora por qué se habían reunido los criados a menudo a hacer comentarios en el
vestíbulo y por qué su padre
había permanecido tantas veces de pie vuelto de espaldas
al fuego y hablando en voz alta
con tío Charles, mientras éste
le urgía para que se sentara a
cenar.
—There’s a crack of the
whip left in me yet,
Stephen, old chap, said Mr
Dedalus, poking at the dull
50 f i r e w i t h f i e r c e e n e r g y.
We’re not dead yet, sonny.
No, by the Lord Jesus (God
forgive me) not half dead.
—Amigo mío, aún no nos hemos jugado la última carta,
Stephen —decía míster Dédalus
mientras atizaba con bárbara
energía el fuego mortecino—.
Aún no estamos muertos, hijito.
No, por Cristo (que el Señor me
perdone), ni medio muertos.
55
Dublín era una nueva y compleja sensación. Tío Charles estaba tan apagado que ya no se le podía mandar a hacer encargos y el
desorden del acomodo de la nueva
casa dejaba a Stephen más libre que
lo que había estado en Blackrock. Al
principio se contentaba tímidamente con dar vueltas alrededor de la plaza inmediata, o, a lo sumo, deslizarse hasta medio camino por una
de las calles adyacentes, pero tan
5
10
15
20
25
revery Day-dreaming.
cheerless house: in fact the Joyces stayed little more
than a year at the most at Blackrock. They moved to
Dublin in late 1892 or early 1893
draw that evening and Mr
D e d a l u s re s t e d t h e p o k e r
against the bars of the grate to
attract the flame. Uncle
Charles dozed in a corner of
the half furnished uncarpeted
room and near him the family
portraits leaned against the
wall. The lamp on the table
shed a weak light over the
boarded floor, muddied by the
feet of the van-men. Stephen sat
on a footstool beside his father
listening to a long and incoherent
monologue. He understood little
or nothing of it at first but he
became slowly aware that his
father had enemies and that
some fight was going to take
place. He felt, too, that he was
being enlisted for the fight,
that some duty was being laid
upon his shoulders. The sudden
flight from the comfort and
revery of Blackrock, the
passage through the gloomy
foggy city, the thought of the
bare cheerless house in which
they were now to live made his
heart heavy, and again an
intuition, a foreknowledge of
the future came to him. He
understood also why the
servants had often whispered
together in the hall and why his
father had often stood on the
hearthrug with his back to the
fire, talking loudly to uncle
Charles who urged him to sit
down and eat his dinner.
30
35
40
45
There’s a crack of the whip i.e. I’ve got some life left.
We’re not dead yet See the note above. Mr Dedalus
often repeats himself in clichés.
Dublin was a new and
complex sensation. Uncle
Charles had grown so witless
that he could no longer be sent
out on errands and the disorder
60
in settling in the new house left
Stephen freer than he had been
in Blackrock. In the beginning
he contented himself with
65 circling timidly round the
neighbouring square or, at
most, going half way down one
77
Joyce’s Portrait
18. the customhouse: the family now lives on the northside
of Dublin, near Mountjoy Square and Gardiner Street,
oncefashionable areas that were then deteriorating
rapidly. The Custom House, built in 1791, stands on
the river at the end of Gardiner Street; it is one of the
most impressive, public buildings in the city.
• quays piers lying alongside or projecting into the water
for loading or unloading ships.
pronto como se hubo hecho un plano esquemático de la ciudad, se
aventuró arrojadamente por una de
las calles principales, hasta que llegó a la casa de aduanas. Pasó sin
ser molestado a lo largo de los
docks y de los muelles, admirando la multitud de corchos que
flotaban bailando en el agua,
como una capa amarillenta y espesa, y la muchedumbre de cargadores del muelle, y los retumbantes
carros, y los guardias mal
vestidos y barbudos. Las
balas
de
mercancías
apiladas a lo largo de las
paredes, o mecidas en el
a i r e por encima de las bodegas de
los vapores, le sugerían la amplitud
y el misterio de la vida, y despertaban otra vez en él aquella inquietud
que había sentido [75] al vagar por
las noches, de jardín en jardín, en
busca de Mercedes. Y entre esta vida
bullente y nueva, se hubiera podido imaginar en otra Marsella,
a no faltar el cielo luminoso y los
enrejados llenos de sol a la puerta de las tabernas. Un vago descontento se apoderaba de él al
contemplar los muelles y
e l r í o , y e l c i e l o rasero,
y, s i n e m b a rg o , c o n t i n u a b a
errando arriba y abajo, día tras
día, como si realmente estuviera
buscando a alguien que se le quisiera esconder.
He went once or twice
with his mother to visit their
relatives: and though they
45
passed a jovial array of
shops lit up and adorned for
Christmas his mood of
embittered silence did not
50 leave him. The causes of his
e m b i t t e r m e n t w e r e m a n y,
r e m o t e a n d n e a r. H e w a s
angry with himself for being
young and the prey of
55 r e s t l e s s f o o l i s h i m p u l s e s ,
angry also with the change of
fortune which was reshaping
the world about him into a
vision of squalor and
60
insincerity. Yet his anger lent
nothing to the vision. He
c h ro n i c l e d w i t h p a t i e n c e
what he saw, detaching himself
65 f r o m i t a n d t a s t i n g i t s
mortifying flavour in secret.
Fue con su madre, una vez o
dos, a visitar a sus parientes, y
aunque pasaban por delante de un
jovial despliegue de tiendas iluminadas y adornadas para las Navidades, no le abandonaba nunca
su amargado y silencioso humor.
Las causas de tal amargura eran
muchas, unas próximas y otras remotas. Estaba enfadado consigo
mismo, por ser niño y por estar
sujeto a aquellos arrebatos de intranquila locura que le daban, y
disgustado también por el cambio
de fortuna que estaba modificando el mundo que le rodeaba, convirtiéndolo en una pesadilla de
mentiras y suciedades. Mas su disgusto en nada alteraba la visión.
Y archivaba con paciencia cuanto veía, manteniéndose aparte de
todo ello, gustando en secreto su
aroma corrompido.
5
10
15
aloft 1 high up; overhead. 2 upwards.
Arriba, en alto, por encima
20
25
• in search of Mercedes the reference is to Edmond
Dantes’ beloved, the heroine of The Count of Monte
Cristo.
30
on the quays and on the river The restlessness which
leads ultimately to his decision to quit Ireland, and
the new poverty he is experiencing, is evident here.
35
40
He chronicled with patience He takes note of what he
sees, and certain things remain with him for him to
savour - the three scenes which follow immediately
upon this (epiphanies, in fact) - are good- examples
of this. The first concerns the beautiful Mabel Hunter,
the second the appearance of the deranged or simple girl, and the third the tram sequence with E-C-.
of the side streets but when he
had made a skeleton map of the
city in his mind he followed
boldly one of its central lines
until he reached the customhouse.
He passed unchallenged among
the docks and along the quays
wondering at the multitude of
corks that lay bobbing on the
surface of the water in a thick
yellow scum, at the crowds of
quay porters and the rumbling
carts and the ill-dressed
bearded policeman. The
vastness and strangeness of the
life suggested to him by the
bales of merchandise stocked
along the walls or swung aloft
out of the holds of steamers
wakened again in him the
unrest which had sent him
wandering in the evening from
garden to garden in search of
Mercedes. And amid this new
bustling life he might have
fancied himself in another
Marseille but that he missed the
bright sky and the sum-warmed
trellises of the wineshops. A vague
dissatisfaction grew up within him
as he looked on the quays
and on the river and on the
lowering skies and yet he
continued to wander up and
down day after day as if he
really s o u g h t s o m e o n e
that eluded him.
78
bob 1 : to strike with a quick light blow 2 : to
move up and down in a short quick movement
<bob the head> 3 : to polish with a bob 5
bobsled, bob ride a bobsled; «The boys
bobbed down the hill screaming with
pleasure» menearse, agitarse, bazucar=
menear o revolver una cosa líquida moviendo
la vasija en que está
1 a : to move up and down briefly or repeatedly
<a cork bobbed in the water> b : to emerge,
arise, or appear suddenly or unexpectedly
<the question bobbed up again> 2 : to nod or
curtsy briefly 3 : to try to seize a suspended
or floating object with the teeth <bob for
apples>
mortify v. 1 tr. a cause (a person) to feel shamed or
humiliated. b wound (a person’s feelings). 2 tr. bring
(the body, the flesh, the passions, etc.) into subjection
by self-denial or discipline. 3 intr. (of flesh) be
affected by gangrene or necrosis.
Joyce’s Portrait
japan Function: transitive verb charolar con laca japonesa 1 : to cover with or as if with a coat of japan
(laca) 2 : to give a high gloss to
Function: noun 1 a : any of several varnishes yielding a
hard brilliant finish b : a hard dark coating containing
asphalt and a drier that is used especially on metal
and fixed by heating — called also japan black 2 :
work (as lacquer ware) finished and decorated in
the Japanese manner
Function: adjective : of, relating to, or originating in Japan
: of a kind or style characteristic of Japanese
workmanship
He was sitting on the
backless chair in his aunt’s
kitchen. A lamp with a
reflector hung on the
5
japanned wall of the
fireplace and by its light his
aunt was reading the evening
paper that lay on her knees.
10 She looked a long time at a
smiling picture that was set in
it and said musingly:
Estaba sentado en una silla
sin respaldo, en la cocina de su
tía. Una lámpara de reflector estaba colgada cerca del hogar, en
la pared lustrosa y renegrida, y
a su luz, su tía estaba leyendo el
periódico de la tarde, que sostenía sobre las rodillas. Estuvo mirando un rato un retrato sonriente que había en él, y luego exclamó, pensativa:
—¡La bella Mabel Hunter!
—The beautiful Mabel Hunter!
15
20
A ringletted girl
stood on tiptoe to peer
at the picture and said
softly:
Una niña peinada con tirabuzones
se estiró sobre las puntas de los
pies para alcanzar a ver, y dijo
dulcemente:
—What is she in, mud?
—¿En qué trabaja, mamá?
—In a pantomime, love.
—En una pantomima.
mud Dialect, short for ‘mother’.
pantomime: popular show with song, dance, a loose story
line and local references
25
The child leaned her
ringletted head against her
mother’s sleeve, gazing on the
picture, and murmured as if
30 fascinated:
za
la
d r
ex
—¡Qué guapa es!__________
[76]
Y los ojos de la niña quedaron como
en éxtasis, fijos largo rato sobre aquellos otros, provocativos a lo púdico,
del grabado, hasta que al fin murmuró
apasionadamente:
—The beautiful Mabel Hunter!
demure adj. (demurer, demurest) 1 composed, quiet,
and reserved; modest. 2 affectedly shy and quiet;
coy. 3 decorous (a demure high collar).
taunt 1. To reproach in a mocking, insulting,
or contemptuous manner. Mofarse de, To
ridicule. 2. To drive or incite (a person) by
taunting, Echarle en cara a alguien algo. 3 A
scornful remark or tirade; a jeer, pulla, mofa,
sarcasmo.
As if fascinated, her
35
eyes rested long upon
those demurely t a u n t i n g
eyes and she murmured
devotedly:
40
—Is n ’ t
s h e
exquisite creature?
a n
—¿No es verdad que es
deliciosa?
And the boy who came in
from the street, stamping
crookedly under his stone of
coal , heard her words. He
dropped his load promptly on
the
floor and hurried to her
50
side to see. He mauled the
edges of the paper with his
reddened and blackened
hands, shouldering her aside
55 a n d c o m p l a i n i n g t h a t h e
could not see.
Y un chico que entró de
la calle, pataleando, agobiado bajo el peso de una carga de carbón, al oír estas pala b r a s , a r r o j ó p r o n t a m e n t e
su carga al suelo y corrió a
mirar también. Arrebujaba
entre sus manos enrojecidas y tiznadas el periódico, refunfuñando porque no encontraba el
grabado.
He was sitting in the
narrow breakfast room high up
60
in the old dark-windowed
house. The firelight flickered
on the wall and beyond the
window a spectral dusk was
65 g a t h e r i n g u p o n t h e r i v e r.
Before the fire an old woman
was busy making tea and, as
Estaba sentado ahora en la estrecha habitación del piso último
de una casa antigua y sombría.
Las llamas del fuego oscilaban bailando
en la pared, y un crepúsculo espectral estaba cayendo sobre el
río. Una mujer vieja preparaba el
té delante del hogar, y mientras se
afanaba en su tarea, contaba en
45
19. stone o f coal: a fourteen-pound bag.
• his stone of coal Irish unit of weight; 14 lbs.
puntualmente
maul to handle roughly. Atacar y malherir, maltratar,
estropear, magullar, destrozar
BEAT, BRUISE, MANGLE
flicker 1 vislumbrar o brillar con luz mortecina, trémula, temblorosa; quiver,
waver. Vacilar, oscilar, titilar, centellear, flamear, fulgir, vislumbrar,
vislumbre, atisbo, tenue destello,
1 (of light) shine unsteadily or fitfully. 2
( o f a f l a m e ) b u r n u n s t e a d i l y,
alternately flaring and dying down. 3
a (of a flag, a reptile’s tongue, an
eyelid, etc.) move or wave to and fro;
quiver; vibrate. b (of the wind) blow
lightly and unsteadily. 4(of hope etc.)
increase and decrease unsteadily and
intermittently.
La niña apoyó su cabellena de bucles contra
manga de su mae ,
y
m u r m u r ó
tasiadamente:
79
exquisite traduce exquisito, como
perfecto, delicado, primoroso,
fino y, además, agudo, vivo, intenso [dolor, placer]. Por otra parte, exquisito se puede referir al
gusto, y en este caso traduce
delicious. Exquisiteness es exquisitez [excelencia, delicadeza, primor] y, además, intensidad, agudeza [de dolor, placer].
exquisite 1 extremely beautiful or
delicate. 2 acute; keenly felt
(exquisite pleasure). 3 keen;
highly sensitive or discriminating
(exquisite taste). — n. a person
of refined (esp. affected) tastes.
devotion n. 1 (usu. foll. by to) enthusiastic
attachment or loyalty (to a person or
cause); great love. 2 a religious
worship. b (in pl.) prayers. c
devoutness, religious fervour.
amor, afecto, veneración, dedicación,
entrega, lealtad, fidelidad, afición,
devote 1 (foll. by to) apply or give over
(resources etc. or oneself) to (a particular activity or purpose or person)
(devoted their time to reading; devoted
himself to his guests). 2 archaic doom
to destruction.
devoted adj. very loving or loyal (a devoted
husband). devoto, leal, fiel, dedicado,
consagrado
devotee n. 1 (usu. foll. by of) a zealous
enthusiast or supporter. 2 a zealously
pious or fanatical person.
prompting pronto, rápido, presto, listo /
puntual, en punto, disponible / plazo,
vencimiento, aviso / impulsar, motivar,
incitar, apuntar, soplar
without prompting (= on one’s own initiative)
por iniciativa propia; motu propio
1 a acting with alacrity; ready. b made,
done, etc. readily or at once (a prompt
reply). a (of a payment) made forthwith.
b (of goods) for immediate delivery and
payment.
punctually (at six o’clock prompt).
1 (usu. foll. by to, or to + infin.) incite; urge
(prompted them to action).
2 a (also absol.) supply a forgotten word,
sentence, etc., to (an actor, reciter,
etc.). b assist (a hesitating speaker)
with a suggestion.
3 give rise to; inspire (a feeling, thought,
action, etc.).
1?a an act of prompting. b a thing said to
help the memory of an actor etc. c =
prompter 2. d Computing an indication
or sign on a VDU screen to show that
the system is waiting for input. 2?the
time limit for the payment of an
account, stated on a prompt note.
Joyce’s Portrait
the ways of adventure that lay open in the coals i.e. he
is looking into the fire and letting his imagination work.
jagged adj. 1 with an unevenly cut or torn
edge. 2 deeply indented; with sharp
points. Dentada, mellada, raído
she bustled at the task, she
told in a low voice of what the
priest and the doctor had said.
She told too of certain changes
5
they had seen in her of late and
of her odd ways and sayings.
He sat listening to the words
and following the ways of
10 adventure that lay o p e n i n
the coals, arches and vaults
and winding g a l l e r i e s and
jagged caverns.
voz baja lo que habían dicho el
médico y el cura. Hablaba de ciertos cambios que habían observado en la enferma aquellos últimos
tiempos y de las cosas tan raras
que hacía y decía. Stephen estaba
sentado escuchando las palabras
de la vieja y siguiendo los caminos de ensueño que se abrían en
los carbones enrojecidos, arcos y
bóvedas, galerías en caracol y cavernas repiqueteadas.
jagged irregular, serrado, mellado; (rock, cliffs) re- 15
cortado, con picos; dentado, indented, with
sharp points, rugoso
A skull appeared suspended Note the effect of someone
disembodied, unhinged. It is startling.
mico 1. m. Mono de cola larga. 2. fig. y
fam. Persona pequeña y muy fea. 3.
fig. y fam. Apelativo festivo y cariñoso
aplicado a niños. 4. fig. y fam. Hombre
lujurioso.
Suddenly he became
aware of something in the
doorway. A skull appeared
suspended in the gloom of
t h e d o o r w a y. A f e e b l e
20
creature like a monkey was
there, drawn thither by the
sound of voices at the fire.
A whining voice came from
25 the door asking:
De pronto tuvo la impresión
de que una cosa estaba parada a
la puerta. Una calavera apareció
suspendida resaltando sobre la oscuridad de la entrada. Una criatura enfermiza, como un mico, estaba allí, atraída por el sonido de
las palabras pronunciadas junto al
hogar. Y una voz quejumbrosa
preguntó desde la puerta:
—Is that Josephine?
—¿Es Josefina?
The old bustling woman
La vieja contestó alegremente, sin dejar su labor junto al fuego:
30 answered cheerily from the
fireplace:
—No, Ellen, it’s Stephen.
—No, Ellen, es Stephen.
35
—OO,
Stephen.
good
evening,
—Ah...
Stephen.
He answered the greeting
—Do you want anything, Ellen?
asked the old woman at the fire.
45
But she did not answer the
question and said:
—I thought it was Josephine.
I
thought
you were Josephine,
50
Stephen.
—Creí
que
era
Josefina. Creí que era
J o s e f i n a _________ .
And, repeating this several
times, she fell to laughing
55 feebly.
Y repitiendo esto varias veces, rompió a reír
débilmente.
He was sitting in the
m i d s t o f a c h i l d r e n ’s
p a r t y a t H a ro l d ’s C ro s s.
60
His
silent
watchful
manner had grown upon
him and he took little
part in the games. The
65 c h i l d r e n , w e a r i n g t h e
spoils of their crackers,
danced
and
romped
Stephen se hallaba en una
fiesta de niños en Harold Cross.
Aquella actitud suya de observador silencioso se había apoderado de él en aquella ocasión,
así que apenas si participaba de
los juegos. Los niños iban de un
lado a otro llevando los residuos
de los triquitraques de Navidad, bailando y retozando rui-
over the face in the doorway.
crackers: decorated noisemakers, often with small gifts
inside
tardes,
Contestó al saludo y vio que
una sonrisa estúpida se rasgaba
sobre la faz parada a la puerta.
[77]
—¿Quieres algo, Ellen? —
preguntó la vieja desde su sitio.
Pero ella no contestó a la pregunta, sino dijo:
40 and saw a silly smile break
20. Harold’s Cross: an inner suburb of Dublin.
Buenas
80
Joyce’s Portrait
dosamente. Y aunque él trataba
de participar del regocijo de los
otros chicos, se sentía como una
figura sombría entre los
bicornios de ellos y los
sombreretes de tela de ellas.
But when he had sung his
song and withdrawn into a
snug corner of the room he
began to taste the joy of his
loneliness. The mirth, which
in the beginning of the
evening had seemed to him
false and trivial, was like a
soothing air to him, passing
gaily by his senses, hiding
from other eyes the feverish
agitation of his blood while
through the circling of the
dancers and amid the music
and laughter her glance
t r a v e l l e d t o h i s c o r n e r,
flattering, taunting, searching,
exciting his heart.
Cuando hubo cantado su
canción, se retiró a un rincón
apartado de la estancia, y comenzó a gustar el encanto de su
aislamiento. El júbilo, que al
principio le había precido falso
y trivial, era ahora para él como
una brisa reconfortante que se
filtraba alegremente por sus sentidos y que ocultaba a los ojos
ajenos la agitación febril de su
sangre, cada vez que, a través del
círculo de los bailarines y entre
la música y la algazara, volaba
hasta su rincón la mirada de ella,
como una provocación, como
una promesa que viniera a explorar su corazón y a excitarlo.
In the hall the children
En el vestíbulo se estaban poniendo los abrigos los niños que
habían permanecido hasta el fin; la
fiesta había terminado. Ella se
ech ó u n c h a l p o r e n c i m a
y s a l i e r on juntos ____ _____
_ __ __________ _______. Su
cabeza encapuchada se rodeó
de un fresco nimbo de aliento y
sus z a p a t i t o s r e p i q u e t e aban
alegremente sobre el suelo cubierto de
cristalitos de hielo.
10
snug 1 a cosy, comfortable, sheltered; well
enclosed or placed or arranged. b cosily
protected from the weather or cold. 2 (of
an income etc.) allowing comfort and
comparative ease.
15
20
25
taunt 1. To reproach in a mocking,
insulting, or contemptuous manner.
Mofarse de, To ridicule. 2. To drive
or incite (a person) by taunting,
Echarle en cara a alguien algo. 3 A
scornful remark or tirade; a jeer, pulla, mofa, sarcasmo.
tram: means of public transport, during this period
changing from horse-drawn to electric-powered
cowled head Significant description, for a cowl is properly
a monk’s hooded garment, and this perhaps suggests
E-C-‘s later religious interests.
blithe 1 poet. gay, joyous. Alegre 2 careless, casual (with blithe indifference). Despreocupado.
noisily and, though he
tried to share their
merriment,
he
felt
himself a gloomy figure
5
amid the gay cocked hats
and sunbonnets.
30 who had stayed latest were
putting on their things: the
p a r t y w a s o v e r. S h e h a d
thrown a shawl about her
35 and, as they went together
towards the tram, sprays of
her fresh warm breath flew
gaily above her cowled head
and her shoes tapped
40 b l i t h e l y
on
the
glassy road.
X
• the last tram trams were horse-drawn streetcars.
lank adj. 1 (of hair, grass, etc.) long, limp,
and straight. 2 thin and tall. 3
shrunken; spare.
It was the last tram. The
lank brown horses knew it
45
and shook their bells to the
clear night in admonition.
The conductor talked with the
driver, both nodding often in
50 the green light of the lamp.
On the empty seats of the
tram were scattered a few
coloured tickets. No sound of
footsteps came up or down
55 the road. No sound broke the
peace of the night save when
the lank brown horses rubbed
their noses together and
shook their bells.
Era el último tranvía. Los
flacos caballos castaños lo sabían
y movían las campanillas como
para anunciarlo a la noche clara.
El cobrador hablaba con el conductor, y ambos hacían a menudo
gestos expresivos con la cabeza a
la luz verde de la lámpara. Sobre
los asientos vacíos del tranvía estaban diseminados algunos billetes de colores. No se oía ningún
[78] ruido de pasos por la calle.
Ningún ruido turbaba la paz de la
noche, sino el de los caballos al
frotar uno contra otro los hocicos,
al agitar las campanillas.
They seemed to listen, he
on the upper step and she on
the lower. She came up to his
65 step many times and went
down to hers again between
their phrases and once or
Los dos parecían escuchar, él
en el peldaño de arriba del estribo, ella en el de abajo. Mientras
hablaban, ella subió varias veces
hasta donde estaba él y volvió a
bajar otra vez a su peldaño, pero
60
81
Joyce’s Portrait
en una ocasión o dos permaneció por unos momentos pegada
a él, olvidada de bajar, hasta que
volvió a descender por fin. El corazón de Stephen seguía el ritmo
de los movimientos de ella como
un corcho el ascenso y descenso
de la onda. Y comprendía lo que
los ojos de ella le decían desde
las profundidades del capuchón
y comprendía que en un pasado
oscuro, no sabía si en la vida o
en el sueño, había oído ya antes
su mudo idioma. Y le vio lucir
para él sus galas: el bonito vestido, el ceñidor, las largas medias
negras, y comprendió que él se
había ya rendido mil veces a
aquellos encantos. Y, sin embargo, una voz interna más alta que
el ruido de su corazón agitado le
preguntaba si aceptaría aquella
ofrenda, para la que sólo tenia
que alargar la mano. Y recordaba el día en que Eileen y él estaban mirando en los campos del
hotel cómo los c r i a d o s i z a ban un banderín en un
mástil, y aquel foxterrier q u e
daba huidas locas de aquí para
allá sobre el césped soleado, y
cómo de pronto había prorrumpido ella en una carcajada, echando
a correr cuesta abajo por el sendero en curva. Ahora, como entonces, permanecía indiferente en
su lugar, como un tranquilo observador de la escena que delante de sus
ojos se desarrollaba.
—She too wants me to catch
hold of her, he thought. That’s
why she came with me to the tram.
I could easily catch hold Of her
when she comes up to my step:
50 nobody is looking. I could hold
her and kiss her.
—Lo que ella quiere es que yo
la coja entre mis brazos —pensó—. Por eso es por lo que ha venido conmigo al tranvía. Podría
fácilmente agarrarla cuando sube
a mi escalón: nadie está mirando.
Podría asirla y besarla.
But he did neither: and,
when he was sitting alone in
55 the deserted tram, he tore his
ticket into shreds and stared
gloomily at the corrugated
footboard.
Pero no hizo ninguna de las
dos cosas. Y cuando se vio sentado, solo, en el tranvía desierto,
desgarró en tiras su billete y se
quedó mirando sombríamente el
suelo de madera acanalada.
[79]
__________
5
like a cork upon a tide An echo of Stephen’s visit to the
Dublin docks.
10
in some dim past, whether in life or revery We suspect
that it is the romantic past with Mercedes in The
Count of Monte Cristo.
15
he had yielded to them a thousand times i.e. in his
imagination.
20
25
he remembered the day when he and Eileen He
remembers his innocence and shyness then, and
this makes him withdraw from contact with E-C-,
despite his wish to kiss her.
30
scamper escabullirse; to scamper in/out
entrar/salir corriendo; to scamper
along ir corriendo, corretear
v.intr. (usu. foll. by about, through) run
and skip impulsively or playfully.
twice stood close beside him
for some moments on the
upper step, forgetting to go
down, and then went down.
His heart danced upon her
movements like a cork upon
a tide . He heard what her
eyes said to him from
beneath their cowl and knew
that in some dim past,
whether in life or revery, he
had heard their tale before.
He saw her urge her vanities,
her fine dress and sash and
long black stockings, and
knew that he had yielded to
them a thousand times. Yet a
voice within him spoke
above the noise of his
dancing heart, asking him
would he take her gift to
which he had only to stretch
out his hand. And he
remembered the day when
he and Eileen had stood
looking into the hotel grounds,
watching the waiters running
up a trail of bunting on the
flagstaff and the fox terrier
scampering to and fro on the
sunny lawn and how, all of a
sudden, she had broken out
into a peal of laughter and
had run down the sloping
curve of the path. Now, as
then, he stood listlessly in
his place, seemingly a
tranquil watcher of the scene
before him.
35
40
45
60
• a new emerald exercise the reference is to patriotic
unlined notebooks, similar to today’s bluebooks.
*****
The next day he sat at his
table in the bare upper room
65 for many hours. Before him
lay a new pen, a new bottle
of ink and a new emerald
Al día siguiente estuvo sentado
frente a su mesa durante muchas horas en la desnuda habitación del piso
de arriba. Delante de él estaban una
pluma, un frasco de tinta y un cua82
Joyce’s Portrait
21. A. M. D. G.: Ad Majorem Dei Gloriam (‘For the Greater
Glory of God’).
the jesuit motto A.M.D.G. As we have seen, this stands
for ‘For the greater glory of God’, and he writes it, as
he would do in school, at the head of his poetic
‘exercise’.
• A.M.D.G. Ad Majorem Dei Gloriam (To the Greater Glory of
God), the motto of the Jesuit order; Stephen and his fellow
students were instructed to place the initials A.M.D.G. at
the tops of all their school exercises and essays.
22. To E- C- : Identified in Chapter III as Emma; in
Stephen Hero there is a young woman, similarly
brooded upon, named Emma Clery.
5
10
23. Lord Byron: George Gordon, Lord Byron
(1788-1824), the English Romantic poet. .
Lord Byron (1788-1824). Stephen’s early favourite and,
like him, an exile from his country. Byron left England
in 1816 and never returned.
15
Bray The Joyces moved there in about 1888. It is on the
coast just south of Dublin.
20
24- second moiety notices: notices demanding payment
of city rates for the second half (moiety) of the
financial year. Stephen’s father has received more
than one notice, another indication of his inability or
reluctance to pay his way, although Joyce’s father
had a job as Collector of Rates and would have had
many such notices to send out.
second moiety notices i.e. those asking for the payment
of rates.
• his father’s second moiety notices second half of the
notices sent out in bankruptcy proceedings; legal
notices involving bankruptcy.
25
30
exercise. From force of habit
he had written at the top of
the first page the initial
letters of the jesuit motto:
A.M.D.G. On the first line of
the page appeared the title of
the verses he was trying to
write: To E- C-. He knew it
was right to begin so for he had
seen similar titles in the
collected poems of Lord Byron.
When he had written this title
and drawn an ornamental line
underneath he fell into a
d a y d r e a m a n d b e g a n to
draw diagrams on the cover of
the book. He saw himself sitting
at his table in Bray the morning
after the discussion at the
Christmas dinner table, trying
to write a poem about Parnell
on the back of one of his
f a t h e r ’s s e c o n d m o i e t y
notices. But his brain had then
refused to grapple with the
theme and, desisting, he had
covered the page with the names
and addresses of certain of his
classmates:
derno de ejercicios color esmeralda: todo nuevo. Por la fuerza de la
costumbre, había escrito al comienzo de la página las iniciales del lema
jesuítico: A. M. D. G. En la primera
línea aparecía el título de los versos que estaba tratando de escribir: A E-C-. Sabía que se debía
comenzar así porque había visto otros títulos semejantes en la
colección de poemas de lord
Byron. Cuando hubo escrito el
título y trazado una raya ornamental por bajo de él, se sumergió en una especie de ensueño y
comenzó a garapatear sobre la
cubierta del cuaderno. Se veía en
Bray, sentado a su mesa, el día
después de la discusión en la cena
de Navidad, tratando de escribir
un poema sobre Parnell en el reverso de uno de los documentos
de recaudación de su padre. Pero
entonces, su cerebro no había
llegado a asir el tema y, desistiendo de ello, había cubierto
la página con los nombres y
las señas de algunos de sus
compañeros:
Roderick Kickham
35 John Lawton
Anthony MacSwiney
Simon Moonan
Roderick Kickham
John Lawton
Anthony Mac Swiney
Simon Moonan.
Now it seemed as if he
Ahora le parecía que iba a
fracasar también, pero a fuerza de meditar en el incidente
del día anterior llegó a cobrar
confianza. Durante este proceso fueron desapareciendo de la
escena todos los elementos que
estimó vulgares o insignificantes. Ya no quedaban trazas ni
del tranvía, ni del conductor y
el cobrador, ni de los caballos; ni
aun él ni ella aparecían claramente. Los versos sólo hablaban de
la noche y de la brisa balsámica
y del fulgor virginal de la luna.
Una vaga melancolía estaba oculta en los corazones de los protagonistas, mientras permanecían en
pie bajo los árboles sin hojas. Y
[80] cuando llegaba el momento de la despedida, el beso que
la una había negado era dado
por los dos. Y tras esto escribió
al pie l a s l e t r a s L . D . S . y ,
habiendo escondido
e l l i b r o , fue a la alc o b a d e s u m a d r e y allí
40 would fail again but, by dint of
vivid puede traducirse por
vivo [sentido figurado] si tiene relación con
vivo (brasas vivas), claro, gráfico [relato], intenso [recuerdo], brillante [color]
o por
vívido si tiene sentido poético de vivaz, eficaz, vigoroso, de ingenio agudo
Flower shop is back in business,
providing a vivid contrast to destruction
[L.A. Times, 9-2-92]. = Ya está abierta una
florería que se había cerrado, ofreciendo
un contraste gráfico frente a la destrucción. / This Picasso’s painting has vivid
colors. = Este cuadro de Picaso tiene
colores intensos. / I remember vividly
the windmills. = Recuerdo gráficamente
los molinos de viento. / The house was
painted a vivid green. = La casa estaba
pintada de un verde brillante.
25. L. D. S.: Laus Deo Semper (‘Praise to God Always’),
a Jesuit motto traditionally placed at the end of a
school exercise.
L.D.S. The abbreviation for the Latin phrase Laus Deo
Semper written at the completion of the formal
exercise in school. Habits die hard with Stephen. It
means ‘Praise be to God always’.
brooding on the incident, he
thought
himself
into
confidence. During this
process all those elements
45
which he deemed common and
insignificant fell out of the
scene. There remained no trace
of the tram itself nor of the
50 tram-men nor of the horses: nor
did he and she appear vividly.
The verses told only of the
night and the balmy breeze and
the maiden lustre of the moon.
55 Some undefined sorrow was
hidden in the hearts of the
protagonists as they stood in
silence beneath the leafless
trees and when the moment of
60
farewell had come the kiss,
which had been withheld by
one, was given by both. After
this the letters L. D. S. were
65 written at the foot of the page,
and, having hidden the book,
h e w e n t i n t o h i s m o t h e r ’s
83
Joyce’s Portrait
• L.D.S. Laus Deo Semper (Praise to God Always/,
another motto of the Jesuits; often placed at the top
of the first page of a school exercise.
* hash 1 lío, embrollo 2. tasty dish of chopped
and fried meat and potatoes, picadillo,
guisado 3. hachís, chocolate
4. verb. estropear algo, hacelo muy mal
that his father would make him dip his bread i.e. in the
interests of their new economy nothing must be
wasted.
coated ... with a scum of disgust Note that the ‘scum’
was much feared by Stephen at Clongowes after he
had been shouldered into it by Wells.
Belvedere In reality, this Jesuit school was only ten
minutes walk from the Joyces’ home in Dublin.
26. provincial o f the order: the reference is to Fr John
Conmee, S J, prefect of studies at Belvedere College,
the Jesuit school in north Dublin. He was later to
become provincial - i.e. in charge of the Irish province
- of the Jesuit order.
• provincial of the order head of a religious order in a
province.
27. Christian brothers: the Irish Christian Brothers,
founded in 18o2, was a teaching order that provided
elementary education to those who could not afford
any. By this time they had become a powerful force
in Irish education. Stephen’s father is a snob. There
was much more social status attached to a Jesuit
education, even when provided, as in this case, for
free.
Christian brothers ... Paddy Stink and Micky Mud This
order then taught the children of the poor, and Mr
Dedalus is being contemptuous of the kind of children
Stephen would have met if he had gone to them.
• the christian brothers The reference is to Dublin’s
Christian Brothers’ School, an inexpensive day
school for boys.
bedroom and gazed at his face
for a long time in the mirror of
her dressing-table.
se estuvo mirando un largo rato en el espejo del
tocador.
5
But his long spell of leisure
and liberty was drawing to its
end. One evening his father
came home full of news which
10 k e p t h i s t o n g u e b u s y a l l
through dinner. Stephen had
been awaiting his father ’s
return for there had been
mutton hash that day and he
15 knew that his father would
make him dip his bread in the
gravy. But he did not relish the
hash for the mention of
Clongowes had coated his palate
20
with a scum of disgust.
Pero este largo período de
ocio y libertad estaba tocando a su fin. Su padre vino una
noche a casa repleto de noticias y no dejó de hablar durante toda la cena. Stephen
había estado esperando con
impaciencia el regreso de su
padre porque tenían guisado
de cord ero y seguramente su
padre le permitiría mojar pan
en la salsa. Pero no pudo saborear el guiso porque la mención de Clongowes le llenó la
boca de repugnancia .
—I walked bang into him,
said Mr Dedalus for the fourth
25 time, just at the corner of the
square.
—Me le eché encima —
repetía míster Dédalus por
cuarta vez— en la esquina
de la plaza.
—Then I suppose, said Mrs
Dedalus, he will be able to
30 a r r a n g e i t . I m e a n a b o u t
Belvedere.
—Entonces, supongo que él
lo arreglará —dijo mistress
Dédalus—. Me refiero a lo de
Belvedere.
—Of course he will, said Mr
Dedalus.
Don’t I tell you he’s
35
provincial of the order now?
—Claro que sí. ¿No os
he dicho que ahora es
provincial de la Orden?
—I never liked the idea of
sending him to the christian
40 b r o t h e r s m y s e l f , s a i d M r s
Dedalus.
—A mí nunca me satisfizo la
idea de mandarle a los Hermanos
de las Doctrinas Cristianas —dijo
mistress Dédalus.
— C h r i s t i a n b ro t h e r s
be damned! said Mr
45
Dedalus. Is it with Paddy
Stink and Micky Mud? No,
let him stick to the jesuits
i n G o d ’s n a m e s i n c e h e
50 b e g a n w i t h t h e m . T h e y ’ l l
be of service to him in after
years. Those are the
fellows that can get you a
position.
—¡Que se vayan al cuerno
los Hermanos de las Doctrinas!
—dijo míster Dédalus—. ¿Con
el asqueroso Poddy y el cochino Mickey? No, no: que siga
arrimado a los jesuitas puesto
que con ellos ha comenzado.
Le pueden servir de mucho el
día de mañana. Esa gente le
puede labrar un porvenir a
cualquiera.
55
60
• gamecocks birds bred and especially fed for cock
fighting.
65
—And they’re a very rich
order, aren’t they, Simon?
—Son una Orden muy rica,
¿no es verdad, Simón?
—Rather. They live well, I
tell you. You saw their table at
Clongowes. Fed up, by God,
like gamecocks.
—Desde luego. Saben vivir,
te lo aseguro. Ya viste cómo comían en Clongowes. ¡Cristo!,
como cebones.
Mr Dedalus pushed his
plate over to Stephen and bade
him finish what was on it.
Míster Dédalus pasó su
plato a Stephen para que
rebañara lo que quedaba.
84
Joyce’s Portrait
put your shoulder to the wheel i.e. begin to work hard.
—Now then, Stephen, he
said, you must put your
shoulder to the wheel, old
5
chap. You’ve had a fine long
holiday.
—O, I’m sure he’ll work
v
e
r
y h a r d n o w, s a i d M r s
10
Dedalus, especially when he
has Maurice with him.
—Y ahora, Stephen —
dijo—, ¡hay que arrimar el
hombro, valiente! Creo que
no te quejarás por falta de
vacaciones.
[81]
—Estoy segura que ahora va
a trabajar con bríos —dijo
mistress Dédalus—, sobre todo
teniendo a Mauricio con él.
—O, Holy Paul, I forgot
Maurice, said Mr
Dedalus. Here, Maurice!
Come here, you thick-headed
ruffian! Do you know I’m
going to send you to a college
20
where they’ll teach you to spell
c.a.t. cat. And I’ll buy you a
nice little penny handkerchief
to keep your nose dry. Won’t
25 that be grand fun?
—¡Caramba, por San Pablo!
¡Que me olvidaba de Mauricio!
—exclamó míster Dédalus—.
¡Aquí, Mauricio! ¡Arrímate, barbián, cabezón! ¿No sabes que te
voy a mandar a un colegio donde te enseñen a leer el p a pa? Y
además te voy a comprar un pañuelito muy majo para que te seques las narices. Va a estar lindo, ¿eh?
Maurice grinned at his
father and then at his brother.
Mauricio se rió mirando a su
padre y luego a su hermano.
30
Mr Dedalus screwed his
glass into his eye and stared
hard at both his sons. Stephen
mumbled his bread without
35 answering his father’s gaze.
Míster Dédalus se sujetó el monóculo en el ojo y se quedó mirando
fijamente a sus dos hijos. Stephen
tenía la boca llena de pan y no contestó a la mirada de su padre.
—By the bye, said Mr
Dedalus at length, the
r e c t o r, o r p r o v i n c i a l
40 r a t h e r, w a s t e l l i n g m e t h a t
story about you and Father
Dolan.
Yo u ’ r e
an
impudent thief, he said.
—Y a propósito —dijo por fin
míster Dédalus—, el rector, o mejor dicho, el provincial me ha estado contando aquel jaleo que
tuviste con el Padre Dolan.
Ha dicho que eres un granuja
sin vergüenza.
15 a b o u t
28. Maurice: Stephen’s younger brother, modelled on
Joyce’s younger brother Stanislaus, especially by the
nearanonymiry conferred upon him.
• Maurice Stephen’s brother.
mumbled Chewed
impudent no es impudente (desvergonzado, sin pudor) sino atrevido, descarado, insolente, mientras que impudente
es
immodest,
shameless,
desvengorzado
the corporation: the Dublin Corporation, the city’s
administrative and legislative body
45
—O, he didn’t, Simon!
—¡No habrá dicho eso, Simón!
—Not he! said Mr Dedalus.
But he gave me a great account
50 of the whole affair. We were
chatting, you know, and one
word borrowed another. And,
by the way, who do you think
he told me will get that job in
55 the corporation? But I ‘Il tell
you that after. Well, as I was
saying, we were chatting away
quite friendly and he asked me
did our friend here wear
60
glasses still, and then he told
me the whole story.
—Por supuesto que no.
Pero me ha contado toda la historia ce por be. Estábamos
charlando, ¿sabes?, y unas palabras se enredaban con otras.
Hombre, y a propósito, ¿a que
no sabéis quién hereda la rectoría? Pero, ya os lo diré después. Bueno, como decía, estábamos charla que te charla
como dos buenos amigos y va
y me pregunta si aquí el pollo
seguía usando gafas. Y entonces me contó toda la historia.
—And was he annoyed,
—¿Y estaba enfadado,
Simón?
65 Simon?
—Annoyed?
Not
he!
— ¿E n f a d a d o ?
85
¡Quiá!
grin : mueca o contorsión del rostro 1 a
facial expression characterized by
usually shows pleasure or
amusement
1 intr. a smile broadly, showing the
teeth, smiled toothly, unrestrained, or
stupid smile.
satisfaction). Sonreír abiertamente:
the little boy grinned from ear to ear,
el pequeño sonreía de oreja a oreja.
Sonreir con algún tipo de mueca o
gesticulación facial (desdeñosa,
burlona, etc.)
Joyce’s Portrait
with affected delicacy, melindrosa, remilgado, afectado, ampuloso, [denegosa, refunfuñante, de entre
dientes, mascadora, gruñiente]
MANLY LITTLE CHAP! he said.
¡ B r a v o m o c i t o !, d i j o .
Mr Dedalus imitated the
mincing nasal tone of the provincial.
Míster Dédalus imitaba la voz
nasal y recortada del provincial.
Father Dolan and I, when
I told them all at dinner
about it, Father Dolan and
10 I had a great laugh over it.
—El Padre Dolan y yo, cuando se lo conté a todos en la cena,
el Padre Dolan y yo nos estuvimos riendo de lo lindo. Fíjese usted mejor—le dije— porque si no,
el chiquitín de Dédalus le va a
mandar a usted a que le den con
la palmeta nueve veces en cada
mano. Nos estuvimos riendo de lo
lindo. ¡Ja! ¡ja! ¡ja!
5
YOU BETTER MIND YOURSELF
FATHER DOLAN, said I, OR YOUNG
DEDALUS WILL SEND YOU UP
29. twice nine: see Chapter I, note 93.
FOR TWICE NINE.
We h a d a
15 famous laugh together over
it. Ha! Ha! Ha!
—Shows you the spirit in
which they take the boys there.
25 O, a jesuit for your life, for
diplomacy!
Míster Dédalus se volvió
hacia su mujer y exclamó en
su tono de voz:
[82]
—Eso demuestra el espíritu
con el que manejan los chicos allí.
No me digáis nada: si es diplomacia, el jesuita, ¡lo único!
He reassumed the provincial’s
voice and repeated:
Vo l v i ó a t o m a r l a v o z
del provincial y repitió:
—I TOLD THEM ALL AT DINNER
—Se lo conté a todos
e n l a c e n a , y e l P a d re
Dolan y yo y todos nos
estuvimos riendo de lo
lindo. ¡la! ¡ja! ¡ja!
Mr Dedalus turned to his
wife and interjected in his
20
natural voice:
30
ABOUT IT AND FATHER DOLAN
AND I AND ALL OF US WE HAD A
35 HEARTY LAUGH TOGETHER OVER
IT. HA! HA! HA!
***
*****
30. Whitsuntide: the week beginning with Pentecost
Sunday, the seventh Sunday after Easter,
commemorating the descent of the Holy Spirit on
the Apostles.
the Whitsuntide play Stephen’s performance is based
on fact, for Joyce himself had taken off his
headmaster in a play.
• the Whitsuntide play refers to a play that is part of a
ceremony commemorating Pentecost (the seventh
Sunday after Easter.
• stewards ushers.
loiter idle, hogazanear, merodear, zanganear,
deambular
loitered travelled indolently & with long pauses
loitering parsimonioso, cachazudo,
loiterer lingerer someone who lingers
aimlessly in or about a place, curioso
• the Blessed Sacrament the consecrated bread, or
wafer.
tabernacle: an ornamented receptacle for holding the
bread which has been consecrated at Mass and
which is therefore called ‘the Blessed Sacrament’
Había llegado la noche de la
fiesta que se celebraba en el colegio, por Pentecostés. Stephen,
desde la ventana del vestuario,
estaba mirando hacia el pradillo
de enfrente adornado con hileras de farolillos a la veneciana.
Observaba los invitados que bajaban de la casa e iban entrando en el teatro. Algunos antiguos colegiales vestidos de frac
estaban diseminados en g r u pos a la entrada del teatro y
hacían pasar ceremoniosamente a los espectadores. Al
r e p e n t i n o r e s p l a n d o r de un farolillo, pudo Stephen reconocer la
cara sonriente de un sacerdote.
The
night
of
the
Whitsuntide play had come
and Stephen from the window
of the dressing-room looked
out on the small grass-plot
45
across which lines of Chinese
lanterns were stretched. He
watched the visitors come
down the steps from the house
50 a n d p a s s i n t o t h e t h e a t r e .
Stewards in evening dress, old
B e l v e d e r e a n s , l o i t e re d i n
groups about the entrance to
the theatre and ushered in the
55 visitors with Ceremony. Under
the sudden glow of a lantern he
could recognize the smiling
face of a priest.
40
60
The Blessed Sacrament
had been removed from the
tabernacle and the first
benches had been driven back
65 so as to leave the dais of the
altar and the space before it
free. Against the walls stood
Habían sacado el Santísimo
de su tabernáculo y retirado los
primeros bancos para dejar libres el presbiterio y el espacio
fronterizo a él. Había montones
de barras, de pesas y de mazas
indias, apoyadas contra la pa86
Joyce’s Portrait
• Indian clubs bottle-shaped clubs used in gymnastics.
• singlets undershirts.
companies of barbells and
Indian clubs; the dumbbells
were piled in one corner: and
in the midst of countless
5
hillocks of gymnasium shoes
and sweaters and singlets in
untidy brown parcels there
stood the stout leather10 jacketed vaulting horse waiting
its turn to be carried up on the
stage and set in the middle of
the winning team at the end of
the gymnastic display.
red. Las pesas cortas estaban
apiladas en un rincón, y en medio de los innumerables montones de zapatos de gimnasia y
de las masas oscuras y revueltas que formaban los jerseys,
estaba en pie el caballete de
voltear, macizo y enfundado en
cuero, que esperaba su turno
para ser transportado al escenario y puesto entre las filas del
equipo ganador al fin de los
ejercicios de gimnasia.
singlet camiseta
singlet n. 1 Brit. a garment worn under or
instead of a shirt
15
the play: Joyce took part in such a play at Belvedere. It
was a dramatic version of F. Anstey’s (1856-1934)
novel, Vice Versa (1882). Acting the part of the
schoolmaster, he mimicked the rector, Father Henry
farcical pedagogue Ridiculous teacher, probably very
pedantic.
knickers n. pl.1 Brit. a woman’s or girl’s undergarment
covering the body from the waist or hips to the top
of the thighs and having leg-holes or separate legs.
2 esp. US a knickerbockers. b a boy’s short trousers.
3 (as int.) Brit. sl. an expression of contempt.
patter 1 (informal)(= talk) labia f [of salesman] rollo (informal) m; discursito (informal) m
patter 2 A) [of feet] golpeteo; [of rain] tamborileo m B)
intransitive verb [feet] golpetear (rain) golpetear; tamborilear
rattle
I n. 1 (juguete) sonajero (de serpiente) cascabel (para fiestas) matraca 2 ruido (de
tren, carro) traqueteo (de cadena, monedas, llaves) repiqueteo
II v. tr. 1 (llaves, monedas) hacer sonar 2
familiar desconcertar, poner nervioso :
she gets rattled over nothing, se pone
nerviosa por nada
III vi (tren) traquetear: the train rattled past,
el tren pasó traqueteando (metal) repiquetear (ventana) vibrar
Neapolitan peasants i.e. dressed like peasants from
Naples, presumably a group of dancers.
Stephen no tenía nada que hacer en la primera parte del programa, aunque, en atención a su
fama como redactor de ensayos
literarios, le habían elegido secretario del gimnasio; pero en la
representación que formaba la
segunda parte desempeñaba el
principal cometido en el papel de
maestro ridículo. Le habían elegido por razón de su estatura y
de sus maneras graves, pues
aquel era su segundo curso en el
colegio [83] de Belvedere y estaba ya en el penúltimo año.
St e p h e n ,
though
in
deference to his reputation for
essay writing he had been
elected secretary to the
20
gymnasium, had had no part in
the first section of the
programme but in the play
which formed the second
25 section he had the chief part,
that of a farcical pedagogue.
He had been cast for it on
account of his stature and grave
manners for he was now at the end
30 of his second year at Belvedere
and in number two.
singlet n. 1Brit. a garment worn under or instead of a shirt; a vest.
A score of the younger
boys
in white k n i c k e r s and
35
singlets came pattering
down from the stage,
through the vestry and to
the chapel. The vestry and
40 c h a p e l w e r e p e o p l e d w i t h
e a g er masters and boys. The
plump bald sergeant major
was testing with his foot the
springboard of the vaulting
45
horse. The lean young man
in a long overcoat, who was
to give a special display of
intricate club swinging,
50 s t o o d n e a r w a t c h i n g w i t h
interest, his silver-coated
clubs peeping out of his
deep side-p o c k e t s . T h e
hollow rattle of the
55 w o o d e n d u m b b e l l s w a s
heard as another team made
ready to go up on the stage:
and in another moment the
excited
prefect
was
60
hustling the boys through
the vestry like a flock of
geese, flapping the wings
of his soutane nervously
65 a n d c r y i n g t o t h e l a g g a r d s
to make haste. A li ttle troop
of Neapolitan peasants were
//Un grupo de alumnos más pequeños, vestidos con jerseys y pantalones blancos, entró pataleando
por la puerta de la sacristía procedente del escenario. La
sacristía y la capilla estaban llenas de profesores y de alumnos
que se afanaban en los preparativos. El sargento mayor, calvo y
rollizo, estaba probando los muelles del caballo de volteo. Cerca
de él y observando con atención
sus movimientos, había un joven
delgaducho que iba a exhibir en
la fiesta una serie de intrincados
movimientos de maza. Llevaba
un largo abrigo, y los extremos
de las mazas asomaban por las
bocas de sus profundos bolsillos.
Se oyó el ruido hueco de los instrumentos de madera, porque un
nuevo equipo se aprestaba a subir al escenario. Seguidamente el
prefecto, con aire excitado, fue
empujando a los chicos a través
de la sacristía como a un rebaño
de patos, agitando nerviosamente los bordes de su sotana, y gritando a los rezagados que se dieran prisa. Al otro extremo de la
capilla había un pequeño grupo
de campesinos napolitanos que
87
excited y excitado conllevan la idea de alegre, entusiasta, pero excited tiene más
denotaciones, como nervioso, agitado,
acalorado, emocionante. To excite y excitar se refieren a estimular, entusiasmar,
pero to excite significa además emocionar / conmover, poner nervioso / agitado, provocar [emociones], instigar [desórdenes], alborotar [gente], y to get
excited es acalorarse. A su vez, excitar
se usa para to raise [dudas], arouse [curiosidad, apetito]. Excitedly significa agitada- o acaloradamente.
Don’t get excited = no te pongas nervioso.
Joyce’s Portrait
practising their steps at the
end of the chapel, some
circling their arms above their
heads, some swaying their
baskets of paper violets and
curtsying. In a dark corner of
the chapel at the gospel side
of the altar a stout old lady knelt
amid her copious black skirts.
When she stood up a pinkdressed figure, wearing a curly
golden wig and an old-fashioned
straw sunbonnet, with black
pencilled eyebrows and cheeks
delicately rouged and powdered,
was discovered. A low murmur
of curiosity ran round the
chapel at the discovery of this
girlish figure. One of the
prefects, smiling and nodding
his head, approached the dark
corner and, having bowed to
t h e s t o u t o l d l a d y, s a i d
pleasantly:
ensayaban pasos de danza: algunos hacían girar los brazos por
encima de la cabeza, otros balanceaban unas cestas llenas de
violetas artificiales. En un rincón oscuro de la capilla estaba
arrodillada una señora vieja y
gorda, entre el gran remolino
de sus faldas negras. Cuando se
levantó dejó ver una figura vestida de color rosa, con una peluca de bucles dorados y un sombrero de paja de gusto arcaico,
con las cejas pintadas de negro y
las mejillas dadas de carmín y
empolvadas. Un tenue rumor de
curiosidad recorrió la capilla a la
vista de esta aparición afeminada. Uno de los prefectos se
aproximó sonriendo y meneando
la cabeza hasta el rincón oscuro
donde estaba la vieja, y habiendo hecho una inclinación, dijo,
bromeando:
—Is this a beautiful young
lady or a doll that you have
30 here, Mrs Tallon?
—¿Qué es esto que trae usted
aquí, mistress Tallon? ¿Es una hermosa damisela o una muñeca?
Then, bending down to peer
at the smiling painted face
35 under the leaf of the bonnet, he
exclaimed:
—No! Upon my word I
believe it’s little Bertie Tallon
40 after all!
Y después, inclinándose
para mirar la cara pintada
que sonreía debajo del sombrerete, exclamó:
[84]
—Pero, ¡tate!, si par ece
nuestro
amiguito
B e r t i e Ta l l o n .
Stephen at his post by the
window heard the old lady
and the priest laugh together
45
and heard the boys’ murmurs
of admiration behind him as
they passed forward to see the
little boy who had to dance
50 t h e s u n b o n n e t d a n c e b y
himself. A movement of
impatience escaped him. He
let the edge of the blind fall
and, stepping down from the
55 bench on which he had been
standing, walked out of the
chapel.
Stephen oyó desde su sitio de
al lado de la ventana, las risas con
que la anciana señora y el sacerdote celebraban la gracia, y los
murmullos de admiración que a su
espalda se levantaban de entre los
chicos que se habían adelantado
para contemplar al muchacho que
bailaría él solo una de las danzas
de la fiesta. Stephen no pudo reprimir un movimiento de impaciencia. Dejó caer el extremo de la
cortina, saltó del banco en el cual
estaba subido, y salió de la capilla.
He passed out of the
schoolhouse and halted under
the shed that flanked the
garden. From the theatre
opposite came the muffled
65 n o i s e o f t h e a u d i e n c e a n d
sudden brazen clashes of the
soldiers’ band. The light spread
//Atravesó el edificio del colegio y se metió bajo un cobertizo
que orillaba el jardín. Del teatro, situado enfrente, venían voces ahogadas de los espectadores y luego, de pronto, el estrépito del bronce de la banda militar. La luz que salía a través del
5
10
15
20
25
60
88
Joyce’s Portrait
a festive ark, anchored ... frail cables ... moorings A fine
sequence of connected images which reflect
Stephen’s wish, later translated into fact, to escape
by travel. The images are continued at the end of
this paragraph.
techo de cristales daba al teatro
la apariencia de un arca iluminada, anclada entre casas como
barcos derrumbados, y sujeta a
sus amarras por los finos cables de sus hileras de farolillos. Se abrió de repente una
puerta lateral del teatro, y un
dardo de luz corrió sobre la hierba. Un súbito estallido de música salió del arca: el preludio de
un vals. La puerta se volvió a
cerrar, y Stephen sólo pudo seguir el débil ritmo de la música.
La expresión, la languidez, el
aéreo movimiento de aquellos
primeros compases, evocaban en
él la incomunicable emoción
causa de su desasosiego de aquel
día, y del arranque de impaciencia que le había conducido hasta allí. Su desasosiego brotaba
de él como una onda de sonido:
con el fluir de la música, el arca
se había puesto en movimiento,
arrastrando tras sí, al arrancar,
sus amarras de farolillos. El
movimiento cesó al estallar un
ruido como de una artillería diminuta: eran los aplausos que
saludaban la aparición en la escena de un nuevo equipo de
gimnastas.
At the far end of the shed near
the street a speck of pink light
40 showed in the darkness and as he
walked towards it he became
aware of a faint aromatic odour.
Two boys were standing in the
shelter of a doorway, smoking,
45
and before he reached them
he had recognised Heron by
his voice.
5
10
15
20
25
30
dwarf artillery Stephen always has an acute ear for
sound, and this is an apt description of the sound of
artillery when heard from a distance.
35
Here comes the noble Dedalus ... Welcome to our trusty
friend There is a Shakespearean echo to this.
salaamed ‘Made a mock bow’ perhaps renders the word
accurately here.
• Heron salaamed Heron bent forward, in a low bow, his
right palm on his forehead; this is an Arabic and Indian
gesture of respect.
upwards from the glass roof
making the theatre seem a
festive ark, anchored among
the hulks of houses, her frail
cables of lanterns looping her
to her moorings. A side door
of the theatre opened suddenly
and a shaft of light flew across
the grass plots. A sudden burst
of music issued from the ark,
the prelude of a waltz: and
when the side door closed
again the listener could hear
the faint rhythm of the music.
The sentiment of the opening
bars, their languor and
supple movement, evoked
the incommunicable emotion
which had been the cause of
all his day’s unrest and of his
impatient movement of a
moment before. His unrest
issued from him like a wave
of sound: and on the tide of
flowing music the ark was
journeying, trailing her
cables of lanterns in her
wake. Then a noise like
dwarf artillery broke the
movement. It was the
clapping that greeted the
entry of the dumbbell team
on the stage.
50
—Here comes the noble
Dedalus! cried a high throaty
voice. Welcome to our trusty
friend!
Una manchilla de luz rosada brillaba en el extremo
del cobertizo, y al irse acercando, llegó a sentir un tenue olor aromático. Dos muchachos estaban fumando
allí al resguardo de una
puerta, y antes de llegar a
ellos pudo reconocer la voz
de Heron.
[85]
—¡He aquí al noble
Dédalus! —gritó una voz gutural y fuerte—. ¡Bien venido
sea nuestro fiel amigo!
55
This welcome ended in a
soft peal of mirthless laughter
as Heron salaamed and then
began to poke the ground with
his cane.
La bienvenida terminó en una
carcajada sin alegría, en tanto que
Heron se deshacía en zalemas.
Después se puso a repiquetear en
el suelo con su bastón.
—Here I am, said
Stephen, halting and
glancing from Heron to
65 h i s f r i e n d .
—Aquí me tienes —dijo
S t e p h e n , d e t e n i é n d o s e y paseando su mirada de Heron al otro
que estaba con él.
The latter was a stranger to
Este último le era descono-
60
89
Joyce’s Portrait
ripping adj. Brit. archaic colloq. very
enjoyable (a ripping good yarn).
yarn hilo / historia colloq. a
long or rambling (divagar) story or
discourse
yarn 1 any spun thread,
esp. for knitting,
weaving,
ropemaking, etc.
2
colloq. a long or
rambling story or
discourse.
31. He that will not . . . heathena and the publicans:
Matthew 18:16-17. In a school play in 1898 Joyce
did in fact ignore the script and imitate the Rector of
the College.
him but in the darkness, by the
aid of the glowing cigarette
tips, he could make out a pale
dandyish face over which a
5
smile was travelling slowly, a
tall overcoated figure and a
hard hat. Heron did not trouble
himself about an introduction
10 but said instead:
cido; pero al resplandor de los
pitillos pudo entrever su rostro
pálido y afectado, sobre el que
se deslizaba lentamente una
sonrisa, y su largo talle y el
sombrero hongo con que se tocaba. Heron no se preocupó de
hacer una presentación, sino
que en su lugar, dijo:
—I was just telling my
friend Wallis what a lark it
would be tonight if you took
15 off the rector in the part of the
schoolmaster. It would be a
ripping good joke.
—Precisamente le estaba
diciendo a mi amigo Wallis lo
divertido que sería si tú imitaras esta noche la voz del
rector en tu papel de maestro.
Sería un golpe estupendo.
Heron made a poor
attempt to imitate for his
f r i e n d Wa l l i s t h e r e c t o r ’s
pedantic bass and then,
laughing at his failure,
25 a s k e d S t e p h e n t o d o i t .
Heron hizo en honor de
Wallis un intento poco lucido
de remedar la pedantesca voz
de bajo del rector, y riendo él
mismo de su fracaso le dijo a
Dédalus que lo hiciera él.
—Go on, Dedalus, he
urged, you can take him off
rippingly. HE THAT WILL NOT
30 HEAR THE CHURCHA LET HIM BE
TO THEEA AS THE HEATHENA AND
THE PUBLICANA.
—¡Anda, Dédalus, anda,
que tú le imitas estupendam e n t e ! Aquel que no quiera
obedecer ala igle-ssia, sea para
ti como el paga-nno y el publica-nno.
The
imitation
was
prevented by a mild expression
of anger from Wallis in whose
mouthpiece the cigarette had
become too tightly wedged.
La imitación fue estorbada por una leve expresión de desagrado por
p a r t e d e Wa l l i s , c u y a b o quilla tiraba mal.
—Damn this blankety
blank holder, he said, taking it
from his mouth and smiling
and frowning upon it
45
tolerantly. It’s always getting
stuck like that. Do you use a
holder?
—¡Caray con la lata de la
boquilla! —dijo, quitándosela de la boca, sonriendo y
frun ciendo las cejas con aire
tolerante—. Se está atrancando a cada paso. ¿Usted usa
boquilla?
20
35
40
32. blankety blank: substitute for a real curse.
50
• doesn’t go to bazaars Stephen doesnt go to large shops
or flea markets selling unusually colorful and cheap,
exotic items.
—No
Stephen.
—I don’t smoke, answered
Stephen.
—No, said Heron, Dedalus
is a model youth. He doesn’t
55 smoke and he doesn’t go to
bazaars and he doesn’t flirt
and he doesn’t damn anything
or damn all.
X
60
Stephen shook his head
a n d s m i l e d i n h i s r i v a l ’s
flushed and mobile face,
b e a k e d l i k e a b i r d ’s . H e
65 h a d o f t e n t h o u g h t i t
s t r a n g e t h a t Vi n c e n t H e r o n
h a d a b i r d ’s f a c e a s w e l l a s
fumo
—dijo
—No —dijo Heron—.
Dédalus es un joven modelo.
Ni fuma, ni va a las
kermesses, ni flirtea._____ __
_ _ __ ________ _____ _____ ___
_ _ __ ____
Stephen meneó la cabeza y se
sonrió de ver la cara de su rival, colorada, movible y picuda como la de
un pájaro. Había pensado con frecuencia lo extraordinario que era que
Vincent Heron, que tenía apellido de
pájaro, tuviera la cara en consonan-
90
Joyce’s Portrait
ruffle
— v. arrugar, agitar, rizar, despeinar encrespar, erizar, descomponer, perturbar, ofender, alisar
1tr. disturb the smoothness or tranquillity of.
2tr. upset the calmness of (a person).
3tr. gather (lace etc.) into a ruffle.
4tr. (often foll. by up) (of a bird) erect (its feathers) in
anger, display, etc.
5intr. undergo ruffling.
6intr. lose smoothness or calmness.
— n. arruga, volante fruncido, rizo
1 an ornamental gathered or goffered (plisado) frill ( volante) of lace etc. worn at the opening of a garment
esp. round the wrist, breast, or neck.
2 perturbation, bustle.
3 a rippling effect on water.
4 the ruff of a bird etc. (see ruff 1 2).
5Mil. a vibrating drum-beat.
5
10
beads i.e. the Rosary.
15
undistinguished sin distinción, mediocre
dullard n. a stupid person, zopenco, mostrenco, obtuse, dull-witted, estúpido, corto, cerril, dunce
20
25
a b i r d ’s n a m e . A s h o c k o f
pale hair lay on the
f o r e h e a d l i k e a ruffled
crest: the forehead was
narrow and bony and a thin
hooked nose stood out
between the close-set
prominent eyes which were
lig h t a n d i n e x p r e s s i v e .
T h e rivals were school friends.
They sat together in class, knelt
together in the chapel, talked
together after beads over their
lunches. As the fellows in number
one were undistinguished
dullards, Stephen and Heron had
been during the year the virtual
heads of the school. It was they
who went up to the rector
together to ask for a free day or
to get a fellow off.
cia con el nombre. Sobre la frente le
descansaba un mechón de cabellos
claros, como una cresta alborotada.
[86] La frente era estrecha y
huesuda, y una nariz delgada y
ganchuda le salía de entre los
ojos, muy juntos y saltones, claros e inexpresivos. Los dos rivales eran amigos del colegio.
Se sentaban en clase en el mismo banco, tenían su sitio uno al
lado del otro en la capilla y
charlaban juntos en el comedor
después del rosario. Como los
alumnos de último año eran muy
poco brillantes, ellos eran en realidad los que llevaban la voz cantante
en el colegio. Ellos, los que
i b a n a p e d i r a l rector
un día de asueto o el
perdón de un camarada.
— O b y t h e w a y, s a i d
Heron suddenly, I saw your
governor going in.
—Hombre, y a propósito —
dijo Heron de repente—. He visto entrar a tu padre.
The
smile
waned
on
30 Stephen’s face. Any allusion
rout noun [sing.] a situation in which sb is defeated easily
and completely in a battle or competition: Only the
skill of the goalkeeper prevented the match from
turning into a rout.
put sb to rout (literary) to defeat sb easily and
completely: They put the rebel army to rout.
verb [vn] to defeat sb completely in a competition, a
battle, etc.: The Buffalo Bills routed the Atlanta
Falcons 41-14.
made to his father by a fellow
or by a master put his calm to
rout in a moment. He waited
35 in timorous silence to hear
what Heron might say next.
Heron, however, nudged him
expressively with his elbow
and said:
X
La sonrisa desapareció del rostro de Stephen. Cualquier alusión a
su padre, hecha por un compañero o
por un profesor, l e s o b r e s a l t a b a
i n m e d i a t a m e n t e . Esperó en
silencio, temiendo qué fuese lo que Heron iba a seguir
diciendo. Pero Heron sólo
le dio un codazo expresivo
y dijo:
40
— Yo u ’ r e a s l y d o g .
a sly dog i.e. secretive, keeps things quiet.
sly adj. (slyer, slyest) 1 cunning; crafty;
wily. 2 a (of a person) practising secrecy
or stealth. b (of an action etc.) done etc.
in secret. 3 hypocritical; ironical. 4
knowing; arch; bantering; insinuating.
5 Austral. & NZ sl. (esp. of liquor) illicit.
on the sly privately; covertly; without
publicity (smuggled some through on
the sly).
sly dog colloq. a person who is discreet
about mistakes or pleasures. Lasd mata
callando.
said
—¿A qué santo?... —preguntó Stephen.
—Yo u ’ d t h i n k b u t t e r
wouldn’t melt in your mouth
said Heron. But I’m afraid
50 you’re a sly dog.
—Tú
pareces
una
mosquita muerta —siguió Heron—, pero creo
q u e l a s m a t a s s i n s e n t i r.
—Might I ask you what you
are talking about? said Stephen
urbanely.
—¿Se te puede preguntar a qué
es a lo que te refieres? —preguntó
cortésmente Stephen.
—Indeed you might,
answered Heron. We saw her,
Wa l l i s , d i d n ’ t w e ? A n d
deucedly pretty she is too.
60
And inquisitive! A ND WHAT
—Desde luego, hombre —
contestó Heron—. La hemos visto, ¿no es verdad, Wallis? Y que
es endiabladamente bonita. Y
preguntona. ¿Y qué papel va a
hacer Stephen, míster Dédalus?
¿Y va a cantar Stephen, míster
Dédalus? Tu señor padre la estaba mirando de hito en hito a
través de aquel monóculo que
se trae, y me parece que el vie-
45
—Why
Stephen.
so?
—¡Anda, que las matas callando!
55
PART DOES STEPHEN TAKE, MR
DEDALUS? AND WILL STEPHEN
NOT SING, MR DEDALUS?
Your
65 governor was staring at her
through that eyeglass of his
for all he was worth so that I
91
Joyce’s Portrait
think the old man has found
you out too. I wouldn’t care a
bit, by Jove. She’s ripping,
isn’t she, Wallis?
jo te ha calado las intenciones.
A mí no me importaría un comino. ¡Es estupenda!, ¿no es
verdad, Wallis?
—Not half bad, answered
Wallis quietly as he placed his
holder once more in a corner
10 of his mouth.
—¡De primera! —contestó
Wallis tranquilamente, volviéndose a colocar la boquilla en el ángulo de la boca.
A sh a f t o f m o m e n t a r y
anger flew through Stephen’s
mind at these indelicate
allusions in the hearing of a
stranger. For him there was
nothing amusing in a girl’s
interest and regard. All day he
had thought of nothing but
their leave-taking on the steps
of the tram at Harold’s Cross,
the stream of moody emotions
it had made to course through
him and the poem he had
written about it. All day he
had imagined a new meeting
with her for he knew that she
was to come to the play. The
old restless moodiness had
again filled his breast as it had
done on the night of the party,
but had not found an outlet in
verse. The growth and
knowledge of two years of
boyhood stood between then
and now, forbidding such an
outlet: and all day the stream
of gloomy tenderness within
him had started forth and
returned upon itself in dark
courses
and
eddies,
wearying him in the end
until the pleasantry of the
prefect and the painted
little boy had drawn from
him
a
movement
of
impatience.
Una oleada momentánea de
cólera refluyó por la mente de
Stephen al oír hacer en presencia de un extraño estas alusiones
poco delicadas. Para él las atenciones y el interés [87] de la
muchacha no eran una cosa de
broma. En todo el día no había
pensado en otra cosa más que en
la despedida en el estribo del
tranvía la noche de Harold’s
Cross, en las fluctuantes emociones que le había producido y el
poema que con este motivo había escrito. Todo el día había estado imaginándose el nuevo encuentro, porque sabía de antemano que ella había de asistir a la
representación. Y la misma melancolía inquieta de la otra vez
había llenado su pecho, aunque
ahora sin encontrar su desagüe en
el verso. El desarrollo y la experiencia de dos años de adolescencia interpuestos entre aquel entonces y lo presente, le impedían
ahora semejante expansión. Y
todo el día la corriente de melancólica ternura había estado fluyendo y refluyendo dentro de él
en oscuros remolinos y remansos, llegándole, por fin, a cansar,
hasta que la chanza del prefecto
y el muchachuelo pintarrajeado
le habían arrancado un movimiento de impaciencia.
—So you may as well
admit, Heron went on, that
we’ve fairly found you out this
55 time. You can’t play the saint
on me any more, that’s one
sure five.
—Así es que tienes que admitir —seguía diciendo
Heron— que por esta vez te
hemos calado de lo lindo. Ya no
vendrás haciéndote el santito,
supongo.
A soft peal of mirthless
laughter escaped from his lips
and, bending down as before,
he struck Stephen lightly
across the calf of the leg with
65 h i s c a n e , a s i f i n j e s t i n g
reproof.
Prorrumpió en una
carcajada falsa e, inclinándose como antes, golpeó
ligeramente
a
Stephen en la pantorrilla,
como por festivo reproche.
ripping Heron, like Athy, indulges in a good deal of slang.
The word means ‘marvellous’.
• She’s ripping, isn’ t she? She’s first-rate, splendid.
5
15
20
25
30
35
the stream of gloomy tenderness ... dark courses and
eddies Here the sequence is to be equated with
Stephen’s emotion at the thought of seeing E-Cagain.
40
45
50
33. one sure five: a certainty.
one sure five i.e. ‘that’s certain’.
• . . . that’s one sure five That’s for sure; a top mark in
billiards, using only one stroke.
60
92
Joyce’s Portrait
S t e p h e n ’s m o m e n t o f
anger had already passed. He
was neither flattered nor
confused, but simply wished
5
the banter to end. He scarcely
resented what had seemed to
him a silly indelicateness for
he knew that the adventure
10 i n h i s m i n d s t o o d i n n o
danger from these words:
a n d h i s f a ce mirrored his
rival’s false smile.
El momento de cólera se le
había pasado ya a Stephen. No se
sentía ni halagado ni confuso,
sino que sencillamente deseaba
que la broma tocase a su fin. Apenas si se dolía ahora de lo que
poco antes le había parecido una
estúpida falta de tacto, porque
comprendía que su íntima aventura no peligraba por aquellas palabras. Y su cara reflejó la falsa
sonrisa de su rival.
15
—Admit! repeated Heron,
striking him again with his
cane across the calf of the leg.
—¡Confiesa! —repitió
Heron, golpeándole otra
vez en la pantorrilla.
The stroke was playful but
not so lightly given as the first
one had been. Stephen felt the
skin tingle and glow slightly
and almost painlessly; and,
25 bowing submissively, as if to
meet his companion’s jesting
mood, began to recite the
CONFITEOR. T h e e p i s o d e
ended well, for both Heron
30 a n d
Wa l l i s
laughed
indulgently
at
the
irreverence.
El golpe era una broma,
pero no tan suave como el
primero. Stephen sintió un
esco zor en la piel, un ardor
apenas doloroso; e inclinándose sumisamente empezó a
recitar el Confiteor como
para corresponder al to no jocoso de su compañero. [88] La
cosa terminó bien porque Heron
y Wallis se echaron a reír
tolerantemente ante aquella irreverencia.
The confession came
o n l y f r o m S t e p h e n ’s l i p s
and, while they spoke the
words, a sudden memory had
carried him to another scene
40 called up, as if by magic, at
the moment when he had
noted the faint cruel dimples
a t t h e c o r n e r s o f H e r o n ’s
smiling lips and had felt the
45
familiar stroke of the cane
against his calf and had heard the
familiar word of admonition:
—Admit.
Los labios de Stephen eran
solamente los que recitaban la
confesión, pues mientras pronunciaba las palabras, un repentino recuerdo le había transportado a otra escena, evocada como por magia al notar las
arruguillas crueles que con la
risa se le formaban a Heron en
los ángulos de la boca y al sentirse en la pantorrilla el golpecito cariñoso del bastón y escuchar la amonestación amical:
Confiesa.
20
tingle picar, escocer v 1 intr. a feel a slight prickling,
stinging, or throbbing sensation. b cause this (the
reply tingled in my ears). 2 tr. make (the ear etc.)
tingle. Reteñir, zumbar, vibrar, turbar,
n. a tingling sensation. hormigueo /escozor, estremecimiento
34. the Confiteor: Stephen admits, as in the prayer the
Confiteor the supplicant confesses and admits to
having sinned.
Confiteor Prayer confessing sins.
• the Confiteor I confess; a formalized prayer said at the
beginning of the Roman Catholic Mass.
35
a sudden memory This is the beginning of a retrospect,
rather like the flashback technique of the cinema.
Joyce frequently uses it.
50
allure attractiveness, personal charm,
fascination; encanto,
attract, charm, or fascinate.
Era hacia el foral del primer
trimestre pasado en el colegio,
cuando él estaba todavía en sexto. Su sensible naturaleza se resentía aún del peso de la oscuridad y la sordidez de su nueva
manera de vida. Su alma estaba
aún conturbada y deprimida por la
sombría monstruosidad de Dublín.
Stephen había emergido de dos
años de sueño encantado para encontrarse de pronto en un escenario distinto, donde cada evento y
cada personaje le afectaban
íntimamente, seduciéndole a veces y otras descorazonándole,
It was towards the close of
his first term in the college
when he was in number six. His
sensitive nature was still
55 smarting under the lashes of an
undivined and squalid way of
life. His soul was still
disquieted and cast down by
the dull phenomenon of
60
Dublin. He had emerged from
a two years’ spell of revery to
find himself in the midst of a
new scene, every event and
65 figure of which affected him
int i m a t e l y, d i s h e a r t e n e d
him or allured and,
93
Joyce’s Portrait
before they passed out of it into his crude writings The
implication is that Stephen, in his new poverty and
crude company, does not yet write well.
read his fate in the incidents ... in the spaces of the
patchwork of the pathway Notice how finely Joyce
causes the reader to identify with Stephen and his
mood of uncertainty the day changes for each of us
according to our own code of superstitions.
pero llenándole siempre de intranquilidad y amargos pensamientos,
lo mismo cuando le descorazonaban que cuando le seducían. Todo
el vagar que su vida de colegial le
dejaba lo pasaba en la compañía
de escritores subversivos, cuyos
sarcasmos y v i r u l e n c i a s f e r mentaban lentamente en
s u c e r e b r o para reflejarse
después en sus propios y aún
no sazon a d o s e s c r i t o s .
15
The essay was for him the
chief labour of his week and
every Tuesday, as he marched
from home to the school, he
read his fate in the incidents
20
of the way, pitting himself
against some figure ahead of
him and quickening his pace
to outstrip it before a certain
25 goal was reached or planting
his steps scrupulously in the
spaces of the patchwork of
the pathway and telling
himself that he would be first
30 and not first in the weekly
essay.
La composición literaria era la
principal ocupación que tenía durante la semana, y todos los martes, cuando iba de casa al colegio,
auguraba la suerte que le esperaba deduciéndola de las incidencias del camino; si veía a alguien
que caminara delante de él, se
proponía pasarle antes de llegar
a un punto determinado, o bien
iba colocando sus pisadas cuidadosamente en las junturas de las
losas de la acera, diciéndose a
cada pisada: seré el primero en
el ensayo; no seré el primero en
el ensayo.
On a certain Tuesday the
course
of his triumphs was
35
rudely broken. Mr Tate, the
English master, pointed his
finger at him and said bluntly:
—This fellow has heresy in
his essay.
Cierto martes, la serie de
sus triunfos se vio interrumpida de repente. Míster Tate, el
profesor de inglés, le señaló con
el dedo y dijo bruscamente:
[89]
—Este muchacho tiene una
herejía en el ensayo.
A hush fell on the class.
Mr Tate did not break it but
45
dug with his hand between his
thighs while his heavily
starched linen creaked about
his neck and wrists. Stephen
50 did not look up. It was a raw
spring morning and his eyes
were still smarting and weak.
He was conscious of failure
and of detection, of the
55 squalor of his own mind and
home, and felt against his
neck the raw edge of his
turned and jagged collar.
Silencio sepulcral en la clase. Míster Tate no lo interrumpió sino que se puso a hurgarse
con una mano entre los muslos,
en tanto que se oía chascar el
almidón de su camisa alrededor
del cuello y hacia los puños.
Stephen no levantó los ojos.
Era una mañana cruda de primavera y sus ojos estaban todavía débiles y doloridos. Se vio
fracasado y cogido; sintió la
sordidez de su espíritu y la de
su casa, y en la nuca, el roce del
cuello vuelto y raído.
40
his turned and jagged collar From now on Joyce includes
in the text short but effective references to Stephen’s
poverty and its effect on the boy. Here is Stephen’s
collar compared with Mr Tate’s ‘heavily starched’ one.
jagged adj. 1 with an unevenly cut or torn
edge. 2 deeply indented; with sharp
points. Dentada, mellada,
whether alluring or
disheartening, filled him
always with unrest
a n d b i t t e r t h o u g h t s . All
5
the leisure which his
school life left him was passed
in the company of subversive
writers whose jibes and violence
o
10 f s p e e c h s e t u p a f e r m e n t
i n h i s b r a i n b e f o re t h e y
passed out of it into his
crude writings .
60
65
A short loud laugh from
M r Ta t e s e t t h e c l a s s m o r e
at ease.
Un sonoro golpe de risa del
profesor permitió respirar más a
gusto a los alumnos.
—Perhaps you didn’t
know that, he said.
—Quizás no se ha dado usted cuenta.
94
Joyce’s Portrait
—Where?
Stephen.
asked
—¿En dónde está? —preguntó Stephen.
M r Ta t e w i t h d r e w h i s
delving hand and spread out
the essay.
M í s t e r Ta t e d e j ó d e
hurgarse y extendió el
escrito.
— H e r e . I t ’s a b o u t t h e
Creator
and the soul. Rrmrrm
10
rrmAh! WITHOUT A POSSIBILITY
—Aquí. Es hablando del
Criador y del alma. Emm... emm...
emm... emm... ¡Ah!, sin que nunca puedan llegar a aproximarse.
Eso es una herejía.
5
OF EVER APPROACHING NEARER.
That’s heresy.
15
35. without . . . ever reaching: Stephen’s heresy consists
in the fact that he has denied that the soul could
ever come closer to divine perfection. It is orthodox,
of course, to say that it can never attain it.
36. Drumcondra Road: a main road from Dublin through
the suburb of Drumcondra to the north.
Drumcondra Road The Joyces lived near here at the
same time as Stephen attended Belvedere.
—I meant
—He querido decir sin
que nunca puedan llegar a
alcanzarse.
WITHOUT
A POSSIBILITY OF EVER
20
RE A C H I N G .
It was a submission and Mr
Tate, appeased, folded up the
essay and passed it across to
25 him, saying:
Era someterse. Míster
Ta t e s e a p a c i g u ó y d o blando el ejercicio se lo
alargó diciendo:
—O.... Ah! EVER REACHING.
That’s another story.
—¡Ah!... Bueno... Alcanzarse.
Eso es ya otra cosa.
30
But the class was not so
soon appeased. Though
nobody spoke to him of the
affair after class he could feel
35 about him a vague general
malignant joy.
Pero la clase no se había apaciguado tan prestamente. Aunque
nadie le habló del incidente después de la clase, Stephen pudo
notar a su alrededor una especie
de alegría malévola.
A few nights after this
public chiding he was walking
40 w i t h a l e t t e r a l o n g t h e
Drumcondra Road when he
heard a voice cry:
Unos días después de este tropiezo, iba Stephen al anochecer
con una carta en la mano por el
camino de Drumcodra, cuando
oyó una voz que gritaba:
45
37. Clonliffe Road: an important thoroughfare off
Drumcondra Road.
Stephen murmuró:
Stephen murmured:
—Halt!
—¡Alto!
He turned and saw three
boys of his own class
coming towards him in the
50 dusk. It was Heron who had
called out and, as he marched
forward between his two
attendants, he cleft the air
before him with a thin cane in
55 time to their steps. Boland, his
friend, marched beside him, a
large grin on h i s f a c e , w h i l e
Nash came on a few steps
behind, blowing from the
60
pace and wagging his
great red head.
Se volvió y pudo distinguir entre
las sombras crepusculares a tres de sus
compañeros que le salían al paso.
Heron, que era el que había
gritado, avanzaba entre sus dos
acompañantes hendiendo el aire
con un bastoncillo delgado [90] a
compás de las pisadas. Su amigo
Boland marchaba al lado de él con
una sonrisa forzada en el rostro,
mientras que el otro, Nash, venía
unos cuantos pasos trasero, resollando a causa de la velocidad de
la marcha y haciendo oscilar su
gran cabezota rojiza.
As soon as the boys had
Ya reunidos todos, se internaron por la calle de Clonliffe e inmediatamente se pusieron a hablar de libros y escritores, dicien-
65 turned into Clonliffe Road
together they began to speak
about books and writers,
95
grin 1 a facial expression characterized by
usually shows pleasure or amusement
1 intr. a smile broadly, showing the teeth,
smiled toothly, unrestrained, or stupid
smile.
satisfaction). Sonreír abiertamente: the
little boy grinned from ear to ear, el pequeño sonreía de oreja a oreja.
Sonreir con algún tipo de una mueca
desdeñosa, burlona, etc.
Joyce’s Portrait
38. Captain Marryat: Captain Frederick Marryat
(179:-1848), a popular writer of adventure stories, of
which The Children of the New Forest (1847) is the
best-known.
Captain Marryat (1792-1848) Perhaps best remembered
for Mr Midshipman Easy and The Children of the
New Forest.
saying what books they were
reading and how many books
there were in their fathers’
bookcases at home. Stephen
5
listened to them in some
wonderment for Boland was
the dunce and Nash the idler
of the class. In fact, after
10 s o m e t a l k a b o u t t h e i r
favourite writers, Nash
declared for Captain Marryat
who, he said, was the greatest
writer.
do los libros que estaban leyendo y cuántos volúmenes tenía en
la librería el padre de cada uno.
Stephen les estaba escuchando
con cierta extrañeza, porque
Boland era el azote de la clase y
Nash el vago por excelencia de la
misma. En efecto, después de
charlar algún tiempo sobre sus
autores favoritos, Nash se declaró por el capitán Marryat, que,
según dijo, era el más grande escritor.
15
Fudge Slang for ‘rubbish’.
20
—Fudge! said Heron. Ask
Dedalus. Who is the greatest
writer, Dedalus?
—¡Quita! —dijo Heron—.
Pregúntale a Dédalus. Dédalus,
¿cuál es el más grande escritor?
Stephen noted the mockery
in the question and said:
Stephen notó el sarcasmo de
la pregunta y dijo:
—Of prose do you mean?
—¿En prosa?
—Yes.
—Sí.
—Newman, I think.
—Creo que Newman.
25
30
—¿El cardenal Newman? —
preguntó Boland.
—Is it Cardinal Newman?
asked Boland.
—Sí —contestó Stephen.
—Yes, answered Stephen.
35
The grin broadened on
Nash’s freckled face
as
he
turned
to
Stephen and said:
A Nash se le amplificó en el
rostro pecoso la sonrisa doblada,
al mismo tiempo que volviéndose a Stephen, decía:
—And do you like
Cardinal Newman, Dedalus?
—¿Y a ti, Dédalus, te gusta el
cardenal Newman?
—O, many say that
Newman has the best
prose style, Heron said to
the
other
two
in
explanation, of course
50 h e ’s n o t a p o e t .
—Hay mucha gente que afirma que Newman es quien tiene el
mejor estilo en prosa —dijo
Heron, para que se ent e r a r a n
los otros dos—,pero, desde luego, no es poeta.
—And who is the best poet,
Heron? asked Boland.
—Y dinos, Heron, ¿cuál es el
mejor poeta? —preguntó Boland.
— L o r d Te n n y s o n ,
course, answered Heron.
of
—Lord Tennyson, indudablemente —contestó Heron.
—O, yes, Lord Tennyson,
said Nash. We have all his
60
poetry at home in a book.
—Claro, lord Tennyson —
dijo Nash—. En casa tenemos
todas sus poesías en un libro.
At this Stephen forgot the
silent vows he had been
65 making and burst out:
Al oír esto, Stephen olvidó todos los propósitos de callar que
había estado haciendo y exclamó:
[91]
—¡Poeta, Tennyson! ¡Que-
40
45
39. Newman: John Henry, Cardinal Newman (18o1-90),
the most famous convert to Roman Catholicism in
nineteenthcentury England. Although he is an
orthodox choice in some respects, he is an esoteric
one for a schoolboy.
Newman (1801-90). Started the Tractarian movement
in 1833, advocating High Church principles and
practice, but became a Catholic in 1843. Head of
Birmingham Oratory 1849. Cardinal 1879. Fine prose
writer (see Apologia Pro Vita Sua and The Idea of a
University).
55
40. Tennyson: Alfred, Lord Tennyson (i8o9-92), poet
laureate and then still resonant in reputation.
Lord Tennyson (1809-92) Born in Lincolnshire, generally
unsuccessful until the publication of In Memoriam in
1849. He became Poet Laureate in 1850 on the death
of Wordsworth. Stephen is reacting as a romantic
young man would - for the Romantic poet, Byron,
against the Victorian poet, Tennyson.
—Tennyson a poet! Why,
96
smile.
Joyce’s Portrait
he’s only a rhymester!
rrás decir un versificador!
—O, get out! said Heron.
Everyone knows that Tennyson
5
is the greatest poet.
—¡Quítate de ahí! —dijo
Heron—. Todo el mundo sabe
que Tennyson es el mejor poeta.
—And who do you think
is the greatest poet? asked
nudging
his
10 B o l a n d ,
neighbour.
—¿Y quién es, según tu parecer, el mejor poeta? —preguntó Boland, dándole con el
codo a su vecino.
—Byron, of
answered Stephen.
course,
—Byron, desde luego —contestó Stephen.
Heron gave the lead
and all three joined in a
scornful laugh.
Heron tomó la iniciativa rompiendo a reír despectivamente y
los otros dos se le unieron.
—What are you laughing
at? asked Stephen.
—¿De qué os reís? —preguntó Stephen.
15
20
— Yo u ,
said
—De ti —contestó Heron—
. ¡Byron el mejor poeta! No es
más que un poeta para gentes
sin educación.
Heron.
25 B y r o n t h e g r e a t e s t p o e t !
H e ’s o n l y a p o e t
uneducated people.
for
30 said Boland.
—¡Pues, sí que debe ser un
poeta! —comentó Boland.
— Yo u m a y k e e p y o u r
mouth shut, said Stephen,
35 t u r n i n g o n h i m b o l d l y .
All you know about poetry
is what you wrote up on
the slates in the yard and
were going to be sent to
40 t h e l o f t f o r .
—Lo mejor que puedes hacer tú es callarte —dijo Stephen,
encarándose decididamente con
él—.Todo lo que tú sabes acerca de poesía, es lo que has escrito en las pizarras del patio, que
fue por lo que te mandaron castigado al desván.
Boland, in fact, was said
to have written on the slates
in the yard a couplet about a
45
classmate of his who often
rode home from the college
on a pony:
Se decía, en efecto, que
Boland había escrito en las pizarras del patio un pareado acerca
de un compañero que acostumbraba a volver del colegio a casa a
caballo en un pony:
50 As Tyson was riding into
Jerusalem
He fell and hurt his Alec
Kafoozelum.
Tyson iba a caballo hacia Jerusalén.
Se cayó y se hizo daño en el
kulipulén.
This thrust put the two
lieutenants to silence but
Heron went on:
Esta embestida hizo callar a
los dos lugartenientes, pero Heron
continuó:
—In any case Byron
was
a
heretic
and
immoral too.
—Por lo menos, no me negarás que Byron es herético e
inmoral.
—I don’t care what he
—Me tiene sin cuidado lo que sea
—exclamó vivamente Stephen.
—He must be a fine poet!
slates in the yard: on the walls of the urinal
the loft: place for punishment at Clongowes
41. As Tyson ... Kafoozelum: a variation on an
anonymous ballad, ‘The Daughter of Jerusalem’,
which had many versions and an alternative title,
‘The Harlot of Jerusalem’.
Alec Kafoozelum A nonsense name for the sake of the
rhyme.
55
60
65 w a s , c r i e d St e p h e n h o t l y.
—You don’t care whether he
—¿Te tiene sin cuidado el que
97
Joyce’s Portrait
42. trans: a translation or crib.
a trans Presumably an abbreviation for ‘translation’.
was a heretic or not? said Nash.
sea herético o no? —dijo Nash.
—What do you know
about it? shouted Stephen.
5
Yo u n e v e r r e a d a l i n e o f
anything in your life except
a trans, or Boland either.
—¿Qué es lo que entiendes tú
de eso? —saltó Stephen—. No
has leído un verso en tu vida, a
no ser en una traducción. Ni tú,
ni Boland tampoco.
10
—I know that Byron was a
bad man, said Boland.
_________ _____ ______ _ _
X __ __ _____ _________
—Here, catch hold of t h i s
heretic, Heron called out.
15 In a m o m e n t S t e p h e n w a s
a p r i s o n e r.
—¡Atención! Sujetadme bien a
este hereje —exclamó Heron. [92]
En un instante Stephen se
encontró prisionero.
— Ta t e m a d e y o u b u c k
u p t h e o t h e r d a y, H e r o n
20
went on, about the heresy
i n y o u r e s s a y.
—Tate te despabiló de lo
lindo el otro día cuando aquello de la herejía que tenías en
la composición.
—I’ll tell him tomorrow,
—Ya se lo diré yo mañana —
dijo Boland.
25 said Boland.
—Will you? said Stephen.
You’d be afraid to open your
lips.
—¿Tú? —exclamó Stephen—.
¡Te guardarás muy mucho de abrir
la boca!
30
—Afraid?
—¿Y eso?
—Ay. Afraid of your life.
—Como que te va la vida.
35
—Behave yourself! cried
Heron, cutting at Stephen’s
legs with his cane.
—¡A callarse! —gritó Heron,
fustigando en la pierna a Stephen
con el bastón.
It was the signal for their
onset. Nash pinioned his arms
behind while Boland seized a
long cabbage stump which was
lying in the gutter. Struggling
45
and kicking under the cuts of
the cane and the blows of the
knotty stump Stephen was
borne back against a barbed
50 wire fence.
Ésta fue la señal para el ataque. Nash le trabó los brazos por
la espalda mientras que Boland
cogía un tronco de col que yacía
en el arroyo. Stephen, debatiéndose a patadas, bajo los
bastonazos y los golpes del troncho nudoso, fue empujado contra una alambrada erizada de
pinchos.
—Admit that Byron was no
good.
—Confiesa que Byron no
valía nada.
40
gutter 1 (de una casa) canalón; (on
roof) canaleta f, canalón m desagüe
2 (en la calle) alcantarilla, cuneta:
someone was lying in the gutter, alguien estaba tendido en la cuneta
3 (los) barrios bajos (lowest section
of society) the ~ el arroyo, desagüe;
(before n) the ~ press la prensa sensacionalista
55
60
—No.
—No.
—Admit.
—Confiesa.
—No.
—No.
—Admit.
—Confiesa.
—No. No.
—No. No.
65
At last after a fury of
plunges he wrenched himself
Al fin, tras una serie de embestidas, logró desasirse. Sus
98
Joyce’s Portrait
43. Jones’s Road: leads back towards the city centre.
While he was still repeating We have now moved back
to the present, just before Stephen takes part in the
play.
verdugos huyeron en dirección al
camino de Jone riendo y mofándose, mientras él, medio cegado
por las lágrimas, echó a andar vacilantemente, crispando los puños enfurecido, sollozando.
While he was still
repeating the CONFITEOR
amid the indulgent laughter
of his hearers and while the
scenes of that malignant
episode were still passing
sharply and swiftly before
his mind he wondered why
he bore no malice now to
those who had tormented
him. He had not forgotten
a whit of their cowardice
and cruelty but the memory
of it called forth no anger
from
him.
All
the
descriptions of fierce love
and hatred which he had met
in books had seemed to him
therefore unreal. Even that
night as he stumbled
h o m e w a r d s a l o n g J o n e s ’s
Road he had felt that some
power was divesting him of
that sudden-woven anger as
easily as a fruit is divested
of its soft ripe peel.
Y ahora, mientras recitaba el
Confiteor entre las risas indulgentes de los otros dos y mientras las escenas de este ultrajante episodio pasaban incisivas y
rápidas por su imaginación, se
preguntaba por qué no guardaba
mala voluntad a aquellos que le
habían atormentado. No había
olvidado en lo más mínimo su cobardía y su crueldad, pero la evocación del cuadro no le excitaba
al enojo. A causa de esto, todas
las descripciones de amores y de
odios violentos que había encontrado en los libros le habían parecido fantásticas. Y aun [93]
aquella noche, al regresar vacilante hacia casa a lo largo del
camino de Jone, había sentido
que había una fuerza oculta que
le iba quitando la capa de odio
acumulado en un momento con la
misma facilidad con la que se
desprende la suave piel de un fruto maduro.
He remained standing with
his two companions at the end
40 of the shed listening idly to
their talk or to the bursts of
applause in the theatre. She
was sitting there among the
others perhaps waiting for him
45
to appear. He tried to recall her
appearance but could not. He
could remember only that she
had worn a shawl about her
50 head like a cowl and that her
dark eyes had invited and
unnerved him. He wondered
had he been in her thoughts as
she had been in his. Then in the
55 dark and unseen by the other
two he rested the tips of the
fingers of one hand upon the
palm of the other hand,
scarcely touching it lightly. But
60
the pressure of her fingers had
been lighter and steadier: and
suddenly the memory of their
touch traversed his brain and body
65 like an invisible wave.
Permanecía de pie con los otros
dos compañeros en el extremo del
cobertizo atendiendo vagamente a
su charla o a los estallidos de los
aplausos que venían del teatro. Ella
estaba sentada allí dentro, entre el
público, esperando tal vez a que él
apareciese. Trató de evocar su
imagen, pero no pudo. Se acordaba sólo de que llevaba un chal
echado por la cabeza que le hacía como una capucha y que sus
ojos oscuros le excitaban y le
deprimían. Se preguntaba si él había
estado en los pensamientos de ella del
mismo modo que ella en los de él. Y luego, en la oscuridad, sin que los otros dos
le pudieran ver, apoyó las puntas de
los dedos de una mano sobre la
palma de la otra, tocándola apenas ligeramente. Mas la presión
de los dedos de ella había sido
más ligera y más firme; y de repente el recuerdo de aquel roce
le atravesó el cerebro y el cuerpo
como una invisible onda.
A boy came towards them,
Un muchacho vino corriendo
10
15
• had not forgotten a whit he hadnt forgotten the tiniest
detail about the incident.
20
25
30
35
enervated, unnerved deprivation of
strength or resolution, enervado;
enervante puede
ser
eso
(debilitado) y lo contrario (nervioso)
unnerved desconcertado, sacado de
quicio, nervioso deprived of courage
a n d s t re n g t h ; « t h e s t e e p l e j a c k ,
exhausted and unnerved, couldn’t
hold on to his dangerous perch much
longer»
like an invisible wave Again the image is used to convey
his emotion, here his passion.
free. His tormentors set off
towards
J o n e s ’s
Road,
laughing and jeering at him,
while he, half blinded with
5
tears, stumbled on, clenching
his fists madly and sobbing.
99
Joyce’s Portrait
44. bake: hot and bothered.
• in a great bake another way of saying that someone is angry,
or «hot under the collar:’
in a great bake: angry or agitated
running along under the shed.
He was excited and breathless.
hacia ellos a través del cobertizo.
Llegaba excitado y sin aliento.
—O, Dedalus, he cried,
Doyle is in a great bake about
you. You’re to go in at once
and get dressed for the play.
Hurry up, you better.
—Anda, Dédalus —gritó—,
que Doyle está la mar de enfadado contigo. Tienes que ir inmediatamente a vestirte para la representación. Anda, date prisa.
—He’s coming now, said
Heron to the messenger with
a haughty drawl, when he
wants to.
—Irá cuando le dé la gana —
contestó Heron al mensajero,
arrastrando desdeñosamente
las palabras.
The boy turned to Heron
and repeated:
El muchacho se volvió hacia
Heron y repitió:
—But Doyle is in an
awful bake.
—Es que Doyle está horriblemente enfadado.
—Will you tell Doyle with
my best compliments that I
25 damned his eyes? answered
Heron.
—¿Quieres hacer el favor
de ofrecer a Doyle mis respetos y decirle que no me toque
las narices?
—Well, I must go now, said
Stephen, who cared little for
30 such points of honour.
—Bueno, me tengo que ir —
dijo Stephen, a quien se le daba
muy poco de puntillos de honra.
—I wouldn’t, said Heron,
damn me if I would. That’s no
35 way to send for one of the
senior boys. In a bake, indeed!
I think it’s quite enough that
you’re taking a part in his bally
old play.
—Yo que tú no iba —dijo
Heron—. ¡Vaya que no! Ésas no
son maneras de mandar a buscar a
uno de los mayores. ¡Que está [94]
furioso! Ya es bastante que desempeñes un papel en ese condenado
comedión que se trae.
5
10
excited y excitado conllevan la idea
de alegre, entusiasta, pero excited
tiene más denotaciones, como
nervioso, agitado, acalorado,
emocionante. To excite y excitar
se refieren a estimular, entusiasmar, pero to excite significa además emocionar / conmover, poner
nervioso / agitado, provocar [emociones], instigar [desórdenes], alborotar [gente], y to get excited es
acalorarse. A su vez, excitar se
usa para to raise [dudas], arouse
[curiosidad, apetito]. Excitedly significa agitada- o acaloradamente.
Don’t get excited = no te pongas
nervioso.
15
20
bally Expressing disgust or satisfaction, a polite form of
‘bloody’.
• his bally old play «batty» is a euphemism for «bloody;
which has no equivalent in American English; a
«bloody shame» could roughly be translated as a
«damned shame:’
turbulence agitación
While his mind had been pursuing A very important
paragraph, for it traces Stephen’s isolation; his
rejection of being a gentleman, a good Catholic, an
athlete, a nationalist; and the need for him to retrieve
his father’s fallen fortunes.
40
This spirit of quarrelsome
comradeship which he had
observed lately in his rival had
not seduced Stephen from his
45
habits of quiet obedience. He
mistrusted the turbulence and
doubted the sincerity of such
comradeship which seemed to
50 him a sorry anticipation of
manhood. The question of
honour here raised was, like all
such questions, trivial to him.
While his mind had been
55 p u r s u i n g i t s i n t a n g i b l e
phantoms and turning in
irresolution from such pursuit
he had heard about him the
constant voices of his father
60
and of his masters, urging him
to be a gentleman above all
things and urging him to be a
good catholic above all things.
65 These voices had now come to
be hollow-sounding in his ears.
When the gymnasium had been
Este puntilloso espíritu de
camaradería que había observado últimamente en su rival no lograba apartar a Stephen de sus
hábitos de tranquila obediencia.
Desconfiaba de la turbulencia y
dudaba de la sinceridad de una tal
camaradería que le parecía una
triste anticipación de la virilidad. El punto de honor suscitado
ahora le resultaba tan trivial
como todas estas cuestiones.
Mientras su imaginación había
estado atareada persiguiendo
fantasmas intangibles, o dejando de perseguirlos para caer
en la irresolución, había estado escuchando constantemente las voces de sus profesores que le excitaban a ser
antes que nada un perfecto caballero y un b u e n c a t ó l i c o .
Estas voces habían llegado a sonar en sus oídos como palabras
vacías. Al abrirse el gimnasio,
100
anticipation coincide con anticipación
[previsión, vaticinio, adivinación,
pronóstico], pero a menudo toma un matiz
más positive, como ilusión, esperanza,
expectación, en cambio anticipación
[anticipo] se usa a menudo como advance
payment. El verbo to anticipate es cada día
más común para anticipar [prever, adelantar],
tan común como esperar, con la misma idea.
Otras denotaciones de to anticipate son
imaginarse, suponer, calcular, salir a1 paso
de, confiar, opinar, creer. Anticipar traduce
to advance, lend I loan [dinero], be early,
inform, disclose; anticiparse se usa para to
get (be) ahead of [precipitarse], to beat
[tomar la delantera].
Joyce’s Portrait
había o í d o o t r a v o z q u e l e
mandaba ser fuerte, viril y
saludable. Y cuando el mov i m i e n t o a f a v o r de un renacimiento nacional se había comenzado a sentir en el
colegio, otra voz le había invitado a ser fiel a su patria
y a ayudar a vivificar su leng u a j e y s u s t r a d i c i o n e s. En
lo profano, lo preveía, habría
otra voz que le invitaría a rec o n s t r u i r c o n s u t r abajo la
derruida hacienda de su padre;
y, entre tanto, la voz de sus compañeros le mandaba ser un buen
camarada, encubrirlos en sus faltas, interceder por su perdón y hacer
todos los esfuerzos posibles para obtener días de asueto para el colegio.
Y era el zumbido vacío de todas
estas voces lo que le hacía titubear en la persecución de sus propios fantasmas. Sólo les prestaba,
atención por algún tiempo, y era feliz cuando podía estar lejos de ellas,
fuera del alcance de su llamamiento,
solo, o en compañía de sus propios y
fantasmales compañeros.
In the vestry a plump
fresh-faced jesuit and an
elderly man, in shabby blue
clothes, were dabbling in a
case of paints and chalks.
The boys who had been
painted walked about or
s t o o d s t i l l a w k w a r d l y,
touching their faces in a
gingerly [cautiously] fashion
with their furtive fingertips. In
the middle of the vestry a
young jesuit, who was then on
a visit to the college, stood
rocking himself rhythmically
from the tips of his toes to his
heels and back again, his hands
thrust well forward into his
side-pockets. His small head
set off with glossy red curls and
his newly shaven face agreed
well with the spotless decency
of his soutane and with his
spotless shoes.
En la sacristía estaban un
jesuita rollizo y de cara lustrosa
y un viejo de traje azul raído,
ocupados en revolver en un cajón de coloretes y lápices de caracterizar. Los chicos que habían
sido ya caracterizados se paseaban
de un lado a otro, o, parados y
como estupefactos, se pasaban
furtivamente los [95] dedos por
la cara. En medio de la sacristía,
un jesuita, que estaba pasando unos
días en el colegio, se balanceaba
rítmicamente, poniéndose de puntillas y dejándose caer otra vez sobre los talones, todo con las manos muy metidas en los bolsillos
de la sotana y éstos echados hacia
adelante. Su cabeza, pequeña,
adornada de rizos rojizos y lustrosos, y su cara recientemente afeitada, iban bien con la impecable
corrección de su sotana y con sus
irreprochables zapatos.
As he watched this swaying
form and tried to read for
himself the legend of the
priest’s mocking smile there
65 came into Stephen’s memory
a saying which he had heard
from his father before he had
Al observar esta figura oscilante y tratar de descifrar la
sonrisa burlona del religioso, le
vino a Stephen a la memoria una
cosa que había oído decir a su
padre antes de que le enviaran
a Clongowes: que se puede
5
45. her fallen language and tradition: among the
organizations founded in these years to promote the
Irish language and tradition were the Gaelic Athletic
Association (1884),. the Gaelic League (1893), Na
Fianna Eireann (x909), a republican youth
movement, and the Irish Volunteers (1913).
10
15
20
25
30
35
dabble v. 1 intr. (usu. foll. by in, at) take a
casual or superficial interest or part (in a
subject or activity). Interesarse en algo por
pasatiempo. 2 intr. move the feet, hands, etc.
about in (usu. a small amount of) liquid.
Chapotear. 3 tr. wet partly or intermittently;
opened he had heard another
voice urging him to be strong
and manly and healthy and
when the movement towards
national revival had begun to
be felt in the college yet
another voice had bidden him
be true to his country and help
to raise up her language and
tradition. In the profane
world, as he foresaw, a worldly
voice would bid him raise up
his father’s fallen state by his
labours and, meanwhile, the
voice of his school comrades
u rg e d h i m t o b e a d e c e n t
fellow, to shield others from
blame or to beg them off and
to do his best to get free days
for the school. And it was the
din of all these hollowsounding voices that made him
halt irresolutely in the pursuit
of phantoms. He gave them ear
only for a time but he was
happy only when he was far
from them, beyond their call,
alone or in the company of
phantasmal comrades.
40
45
50
55
60
101
fresh es fresco con varias denotaciones,
como nuevo, reciente, puro, sano, lozano ( saludable, altivo, vigoroso).
Como todos los adjetivos ordinarios, las
combinaciones de estas voces con
nombres son distintas: fresh se usa
para dulce [agua], inexperto [persona],
nuevo / otro [delante del nombre], recién [llegado, salido, etc.], puro [aire],
tierno / del día [panadería], limpio [ropa],
natural [fruta, vegetales], descansado
[rested person], en blanco [página] y,
en sentido familiar, bebido, chispo,
achispado, medio borracho; a veces degrada su connotación a descarado,
atrevido, insolente.
A su vez fresco tiene matices propios como cool / cold [clima], light /
cool [ropa], calm / cool [sereno] y, en
sentido negativo, shameless [desvergonzado]. Fresco como sustantivo significa fresh air, y fresco se usa en las
dos lenguas para el tipo de pintura sobre yeso fresco, tan popular en el Renacimiento.
As fresh as a daisy = tan fresco como
una lechuga.
What nerve! = ¡qué fresco!
Joyce’s Portrait
been sent to Clongowes, that
you could always tell a jesuit
by the style of his clothes. At
the same moment he thought
5
he saw a likeness between his
father ’s mind and that of this
smiling well-dressed priest:
and he was aware of some
10 desecration of the priest’s
office or of the vestry itself
whose silence was now
routed by loud talk and
joking and its air pungent
15 with the smells of the gasjets and the grease.
siempre reconocer a un jesuita
por el corte de su traje. Y en el
mismo momento pensó que le
parecía reconocer una semejanza entre la manera de ser de su
padre y la de aquel jesuita bien
vestido y sonriente. Y tuvo certeza de algo como una profanación del oficio de jesuita y aun
de la misma sacristía, cuyo silencio había huido ante la charla en alta voz y el bromear, y
cuya atmósfera estaba llena del
olor pungente d e l o s m e c h e ros de gas y de la grasa.
While his forehead was
being wrinkled and his jaws
20
painted black and blue by the
elderly man, he listened
distracted 1 : mentally confused, troubled,
distractedly to the voice of
or remote 2 : maddened or deranged
especially by grief or anxiety
the plump young jesuit which
1 confuso, perplejo, aturdido, 2 desconbade
him speak up and make
25
suelo [distress], turbado,
distraído = absent-minded, dreamy,
his points clearly. He could
46. The Lily of Killarney: an opera (1862) composed by
hear the band playing THE LILY
Sir Julius Benedict (i8o4-85), based on Dion
Boucicault’s popular melodrama The Colleen Bawn
OF KILLARNEY and knew that
(x861) which was itself based on Gerald Griffin’s
in
a few moments the curtain
novel The Collegians (1829). It is a classic example
of Irish Victorian musical taste.
30 would go up. He felt no stage
The Lily ofKillarney The opera by Julius Benedict written
in 1863.
fright but the thought of the
part he had to play
humiliated
him.
A
r
e
m
e
m
b
r
a
n
c
e
o
f
s
o
m
e
o
f
35
his lines made a sudden
flush rise to his painted
cheeks. He saw her serious
a l l u r i n g attracting
alluring eyes watc hing him
40 f r o m a m o n g t h e a u d i e n c e
and their image at once
swept away his scruples,
leaving his will compact.
Another nature seemed to
45
have been lent him: the
infection of the excitement
and youth about him
entered
into
and
t
r
a
n
s
f
o
r
m
e
d
h
i
s
m
o
o
dy
50
mi s t r u s t f u l n e s s . F o r o n e
rare m o m e n t h e s e e m e d
apparel n US ropa, ropajes, galas, vesto be clothed in the
timenta, atavío, indumentaria
r e a l apparel of boyhood: and, X
intimate apparel, lencería
apparel 1 formal clothing, dress. 2 55 as he stood in the wings among
embroidered ornamentation on some
the other players, he shared the
ecclesiastical vestments.
common mirth amid which the
drop scene was hauled upwards
by two able-bodied priests with
60
awry fuera de sitio, sesgado, torcido, mal
violent jerks and all awry.
puesto, de través, askew, amiss, al
sesgo,obliquely; crookedly. obliquely
garish 1 obtrusively bright; showy. 2
gaudy; over-decorated. Extravagant,
desmed i d o, florituresco, llamativo,
deslumbrante, chillón
A few moments after he
found himself on the stage
65 amid the garish gas and the
dim scenery, acting before the
innumerable faces of the void.
Mientras que el viejo le pintaba arrugas en la frente y le embadurnaba las mejillas de negro
y de azul, Stephen escuchaba
distraído la voz del jesuita rollizo que le recomendaba que
hablara alto y que recalcara bien
los pasajes graciosos. Se oía la
banda que tocaba El lirio de
Killarney y comprendió que el
telón se iba a levantar dentro de
muy pocos minutos. No sentía
ningún miedo de salir al escenario, pero le humillaba la idea del
papel que iba a desempeñar. El
recuerdo de algunos de los pasajes hizo que un rubor repentino subiera hasta sus mejillas
pintadas. Y vio los ojos de ella,
pensativos y llenos de promesas,
que le miraban desde la
sala; y esta imagen barrió
todos sus escrúpulos dejand o s u v o luntad presta. Parecía
que se le había infundido otra
nueva naturaleza: que el contagio de la animada juventud que
bullía a su alrededor se le había metido a él también en el
alma y transformado aquella
desconfianza malhumorada que
de ordinario [96] tenía. Por un
momento se vio revestido de la
verdadera vitalidad juvenil. Y
mezclado entre bastidores con
los otros, participó de la
alegría común en medio de la
cual dos robustos padres izaron
el telón que se fue elevando a
tirones y todo torcido.
Momentos después se encontró en el escenario entre las
deslumbrantes luces de gas y la
decoración borrosa, representando delante de las innumerables ca-
102
Joyce’s Portrait
It surprised him to see that the
play which he had known at
rehearsals for a disjointed
lifeless thing had suddenly
5
assumed a life of its own. It
seemed now to play itself, he
rift n. 1 a a crack or split in an object. b an
and his fellow actors aiding it
opening in a cloud etc. 2 a cleft or fissure
with their parts. When the
in earth or rock. 3 a disagreement; a
breach in friendly relations.
rift : grieta, intersticio, escisión, hendidura, 10 curtain fell on the last scene
claro, rendija, quiebra, discreancia. [“this
he heard the void filled with
no suspicion of a rift within the lute”
applause and, through a rift in
James’ Wings = ni la menor resquebrajadura en el cristal de su amistad]
a side scene, saw the
simple body before which he
the simple body i.e. the audience as a whole.
15 had acted magically deformed,
the void of faces breaking at
all points and falling asunder
into busy groups.
20
mummery His actor’s clothes and accessories.
25
30
35
flicker 1 brillar con luz mortecina, quiver,
waver
1 (of light) shine unsteadily or fitfully. 2 (of
a flame) burn unsteadily, alternately
flaring and dying down. 3 a (of a flag, a
reptile’s tongue, an eyelid, etc.) move
or wave to and fro; quiver; vibrate. b (of
the wind) blow lightly and unsteadily.
4(of hope etc.) increase and decrease
unsteadily and intermittently.
a flickering movement or light.
flicker out die away after a final flicker.
40
45
50
ras del vacío. Le sorprendía el ver
que la comedia, que en los ensayos parecía una cosa deslavazada
y sin vida, había cobrado de repente vida propia. Parecía ahora que
la comedia se representaba sola y
que ellos sólo ayudaban con sus
papeles. Cuando el telón cayó tras
la última escena, oyó cómo el vacío se llenaba de aplausos, y a través de una rendija pudo ver
desde el escenario cómo aquel
cuerpo único ante el cual había representado, se deformaba como por
magia, rompiéndose por todas partes el vacío de rostros y dividiéndose en grupos atareados.
He left the stage quickly and
rid himself of his mummery
and passed out through the
chapel into the college
garden. Now that the play
was over his nerves cried for
some further adventure. He
hurried onwards as if to
overtake it. The doors of the
theatre were all open and the
audience had emptied out.
On the lines which he had
fancied the moorings of an
ark a few lanterns swung in
the night breeze, flickering
cheerlessly. He mounted the
steps from the garden in
haste, eager that some prey
should not elude him, and
forced his way through the
crowd in the hall and past
the two jesuits who stood
watching the exodus and
bowing and shaking hands
with the visitors. He pushed
onward nervously, feigning
a still greater haste and
faintly conscious of the
smiles and stares and
nudges which his powdered
head left in its wake.
Abandonó rápidamente la escena, se despojó de su disfraz y
atravesando la capilla entró en el
jardín del colegio. Ahora que la
representación había terminado,
sus nervios excitados exigían una
nueva aventura. Se precipitó hacia
adelante como para atraparla. Las
puertas del teatro estaban abiertas
y el público había salido ya. En
aquellas hileras que antes se le habían imaginado como las amarras
de un arca, quedaban ahora unos
cuantos farolillos, balanceándose
en la brisa nocturna, oscilando
sin regocijo. Subió a toda prisa
los escalones de entrada al colegio, como ávido de una presa
que se le pudiera escapar, se
abrió paso entre la multitud que
llenaba el vestíbulo y pasó junto a dos jesuitas que presenciaban la desbandada haciendo reverencias y cambiando apretones de mano con los invitados.
Y él empujaba hacia adelante,
fingiendo una prisa todavía mayor, y dándose cuenta vagamente de la estela de miradas,
sonrisas y codazos que su empolvada cabeza dejaba tras sí.
[97]
Cuando llegó a los escalones
de la entrada vio a su familia que
le estaba esperando a la luz del
primer farol. A primera vista notó
que todas las figuras del grupo le
eran familiares y bajó los escalones malhumorado.
55
When he came out on the
steps he saw his family
waiting for ’ him at the first
lamp. In a glance he noted
that every figure of the
60
group was familiar and ran
down the steps angrily.
—I have to leave a message
47. George’s Street: a street close to Belvedere College.
—Tengo que llevar un recado
a la calle George —le dijo precipitadamente a su padre—. Volveré a casa detrás de ustedes.
65 down in George’s Street, he
said to his father quickly. I’ll
be home after you.
103
rift n. 1 Geol falla 2 fig (entre amigos)
desavenencia 3 Pol escisión
rift n. 1 a a crack or split in an object. b an
opening in a cloud etc. 2 a cleft or
fissure in earth or rock.
3 a
disagreement; a breach in friendly
relations.
rift : grieta, intersticio, escisión, claro, rendija, quiebra, discreancia
Joyce’s Portrait
breakneck 1. Dangerously fast: a breakneck pace. 2.
Likely to cause an accident: a breakneck curve.
Precipitado, atropellado: he was driving at
breakneck speed, conducía a velocidad suicida,
de vértigo, vertiginosamente
like crushed herbs in his heart As Stephen matures, and
as his emotions and his imagination become more
intensely evocative, so the language of his
experiences becomes more poetic.
Without waiting for his
f a t h e r ’s q u e s t i o n s h e r a n
across the road and began to
w a l k a t b re a k n e c k s p e e d
down the hill. He hardly knew
where he was walking. Pride
and hope and desire like
crushed herbs in his heart
sent up vapours of,
maddening incense before
the eyes of his mind. He
strode down the hill amid
the tumult of sudden-risen
vapours of wounded pride
and fallen hope and baffled
desire. They streamed
upwards before his anguished
eyes in dense and maddening
fumes and passed away above
him till at las t t h e a i r w a s
clear and cold again.
Y sin aguardar a las
preguntas de su padre,
a t r a v e s ó a t o d a p r i s a e l c aX m i n o y e c h ó a a n d a r a h op o
colina abajo. Apenas si sabía adónde iba. Orgullo,
esperanza y deseo, como
h i e r b a s p i s o t e adas en su corazón, elevaban humaredas de un incienso enloquecedor que cual una cortina cegaba las luces de su espíritu.
Bajaba velozmente entre el tumulto de
estos vapores de orgullo herido, de esperanza arruinada, de deseo frustrado, que en un momento se habían levantado en su alma. Se elevaron ante
sus ojos angustiados en una densa
y enloquecedora humareda, fluyeron y se desvanecieron sobre él.
Por último, el aire quedó de
nuevo transparente y frío.
A film still veiled his
eyes but they burned no
l o n g e r. A p o w e r , a k i n t o
that which had often
30 m a d e
anger
or
r e s entment fall from him,
b r o u g h t h i s steps to rest .
He stood still and gazed up at
35 the sombre porch of the morgue
and from that to the dark
cobbled laneway at its side. He
saw the word LOTTS on the
wall of the lan e a n d
40 b r e a t h e d s l o w l y t h e r a n k
h e a v y a i r.
Un velo recubría aún sus
ojos, pero éstos no le ardían
ya. Un poder semejante a
aquel que otras veces había
hecho desaparecer de él la c ó lera o el resentimiento ,
f u e e l q ue l e h i z o p a r a r s e .
Se detuvo y se quedó mirando el sombrío pórtico del depósito de cadáveres y la callejuela empedrada de al lado. Vio el nombre de la callejuela, Lotts, escrito
en la pared, y respiró despacio
el aire rancio y denso que de ella
salía.
That is horse piss and
r o t t e d s t r a w, h e t h o u g h t . I t
45
is a good odour to breathe.
It will calm my heart. My
h e a r t i s q u i t e c a l m n o w. I
will go back.
—Esto son orines de caballo
y paja podrida —pensó—. Es
bueno respirar este olor. Me calmará el corazón. Ahora mi corazón está ya absolutamente
tranquilo. Regresaré.
5
10
15
20
25
48. Lotts: Lotts Lane, close to the river Liffey in central
Dublin. Stephen has walked from the college to the
corner of Marlborough Street, where the Abbey
Theatre now stands.
Lofts The name of the lane in which he finds himself.
50
*****
49. Ktngsbridge: a railway station (now Heuston Station)
that serves the south and west.
***
Stephen was once again
seated beside his father in the
55 corner of a railway carriage at
Kingsbridge. He was travelling
with his father by the night
mail to Cork. A s t h e t r a i n
steamed out of the station
60
he recalled his childish
wonder of years before
and every event of his
first day at Clongowes.
65 B u t h e f e l t n o w o n d e r
now. H e s a w t h e d a r k e n i n g
lands slipping away past
Stephen se encontraba de nuevo sentado junto a su padre, en un
rincón de un vagón del ferrocarril
en Kingsbridge. Iban a Cork y
aquél era el correo de la noche.
Cuando el tren arrancó de la estación, le vino a la memoria
aquel asombro infantil [98] experimentado años atrás el primer
día de su estancia en Clongowes.
Pero ahora no experimentaba
asombro ninguno. Veía cómo
iban resbalando hacia atrás las
tierras cada vez más sombrías y
104
hopo :Del ant. fr. hope, hoy houppe, copete, borla.
1. m. Copete o mechón de pelo.
2. Rabo o cola que tiene mucho pelo o lana; como la
de la zorra, la oveja, etc. Suele aspirarse la h.
3. Germ. Cabezón o cuello de sayo.
¡hopo!
1. interj. ¡largo de aquí! ¡afuera!
empinar el hopo.
1. fr. fig. y fam. And. morir.
seguir el hopo a uno.
1. fr. fig. y fam. Ir siguiéndole y dándole alcance.
sudar el hopo.
1. fr. fig. y fam. Costar mucho trabajo y afán la consecución de una cosa.
Joyce’s Portrait
like fiery grains flung backwards by a runner Stephen is
thinking both of the cinder track at Clongowes and
of his previous ‘training’ under Mike Flynn.
sympathy no es simpatia, sino pésame, condolencia, comprensión, compasión, afinidad,
lástima, acuerdo, apoyo, mientras que simpatía traduce charm, affection, liking,
attraction, friendliness / warmth [ambiente], fondness.
los silenciosos postes del telégrafo que cada cuatro segundos
pasaban rápidamente por la ventana y las pequeñas estaciones
penumbrosas, guardadas sólo
por algunos tranquilos vigilantes, arrojadas por el tren a su espalda, titilantes un momento en
la oscuridad como chispas de
fuego proyectadas hacia atrás en
plena carrera.
He listened without sympathy
Cork and of scenes of his
youth, a tale broken by
sighs or draughts from his
pocket flask whenever the
image of some dead friend
appeared in it or whenever
the evoker remembered
suddenly the purpose of his
actual visit. Stephen heard but
could feel no pity. The images
of the dead were all strangers
to him save that of uncle
Charles, an image which had
lately been fading out of
memory. He knew, however,
that his father’s property was
going to be sold by auction,
and in the manner of his own
dispossession he felt the world
give the lie rudely to his
phantasy.
Escuchaba sin interés ninguno la evocación que su padre hacía de Cork y de las escenas de su
juventud, narración interrumpida
a menudo por suspiros o por tragos de la cantimplora de bolsillo,
cada vez que la imagen de un amigo muerto salía a relucir en ella o
siempre que el narrador recordaba el objeto mismo de su viaje
actual. Stephen escuchaba pero
no podía sentir piedad alguna.
Las imágenes de los muertos le
eran todas extrañas, excepto la
de tío Charles, que últimamente se había casi borrado de su
memoria. Sabía, sin embargo,
que los bienes de su padre iban
a ser vendidos en subasta, y aun
en esta manera de perder lo propio, pudo comprender que el
mundo daba un rudo mentís a
su fantasía.
At Maryborough he fell
asleep. When he awoke the
train had passed out of Mallow
and his father was stretched
asleep on the other seat. The
45
cold light of the dawn lay over
the country, over the unpeopled
fields and the closed cottages.
The terror of sleep fascinated
50 his mind as he watched the
silent country or heard from
time to time his father’s deep
breath or sudden sleepy
movement. The neighbourhood
55 of unseen sleepers filled him
with strange dread, as though
they could harm him, and he
prayed that the day might come
quickly. His prayer, addressed
60
neither to God nor saint, began
with a shiver, as the chilly
morning breeze crept through
the chink of the carriage door
65 to his feet, and ended in a trail
of foolish words which he
made to fit the insistent rhythm
Al pasar por Maryborough
cayó dormido. Cuando se despertó, el tren había ya dejado atrás
Mallow, y su padre dormía tumbado en el asiento frontero. La
fría luz del amanecer caía sobre
el campo, sobre las tierras desoladas y las cerradas cabañas.
Y al mirar el campo silencioso o al oír de vez en cuando
la respiración profunda y los
súbitos movimientos que su
padre hacía al dormir, el terror
del sueño fascinaba su espíritu. La vecindad de invisibles
durmientes le llenaba de horror, como si le pudieran hacer
daño, y rezaba para que el día
viniese pronto. Su oración no se
dirigía a Dios ni a ningún santo, sino que comenzaba con un
escalofrío, del aire que por la
ra nura de la portezuela hasta
sus pies entraba, y concluía por
una serie de palabras sin sentido, pero acomodadas al ritmo in-
15 to his father ’s evocation of
20
the purpose of his actual visit i.e. the auction of his
property.
25
30
35
50. Maryborough: a town fifty miles from Dublin.
Maryborough ... Mallow The first a small, the latter
a large town north of Cork.
51. Mallow: a town in County Cork. The train has travelled
ninety-five miles while Stephen has been asleep almost four hours.
chink 1 n. 1 an unintended crack that
admits light or allows an attack. 2 a
narrow opening; a slit.
chink 2 v. 1 intr. make a slight ringing
sound, as of glasses or coins striking
together. 2tr. cause to make this
sound.
him, the silent telegraphpoles passing his window
s w i f t l y e v e r y four seconds,
the little glimmering
5
stations, manned by a few
silent sentries, flung by the
mail behind her and
twinkling for a moment in
t
10 h e d a r k n e s s l i k e f i e r y
grains flung backwards by
a runner.
40
105
sympathy no es simpatía, sino pésame,
condolencia, comprensión, compasión,
afinidad, lástima, acuerdo, apoyo, mientras que simpatía traduce charm,
affection,
liking,
attraction,
friendliness / warmth [ambiente],
fondness. De igual modo, sympathetic
sugiere compasivo, dispuesto, favorable,
comprensivo; en cambio simpático se
usa para likeable, nice, friendly,
pleasant. El inglés tomó la voz simpático del español con el significado original, pero la palabra cayó pronto en desuso. To sympathize equivale a comprender, compartir, compadecerse, condolerse, dar el pésame, apoyar; en cambio
simpatizar significa to like, be friendly,
hit it off [congeniar].
Joyce’s Portrait
the telegraph-poles held the galloping notes of the
music between punctual bars Vivid image which
captures the regularity of the rhythm.
allay calmar, aliviar, mitigar, aplacar, despejar
furious y furioso indican un estado mental de rabia, cólera,
enojo; la discrepancia entre las dos lenguas está en que
furioso pone énfasis en la pérdida de la razón, y una
buena traducción es insane, out of one’s mind, mientras
que furious acentúa la parte violenta que acompaña a la
cólera; por eso algunas interpretaciones son
furibundo,airado, febril, violento, frenético, a toda furia
= con intensidad y vehemencia.
sistente del tren. Y silenciosamente, a intervalos ][99] de cuatro segundos, los postes del telégrafo cerraban un compás
preciso de notas galopantes .
La desatentada música aliviaba
su horror, y recostándose sobre el
borde de la ventanilla, dejó caer los
párpados de nuevo.
They d rove i n a j i n g l e
across Cork while it was still
early morning and Stephen
finished his sleep in a bedroom
of the Victoria Hotel. The
bright warm sunlight was
s t re a m i n g t h r o u g h t h e
window and he could hear
the din of traffic. His father
was standing before the
dressing-table, examining his
hair and face and moustache
with great care, craning his
n e c k a c r o s s t h e w a t e r- j u g
and drawing it back sideways
to see the better. While he
did so he sang softly to
himself with quaint accent
and phrasing:
Atravesaron, en un carricoche de dos
ruedas, l a s c a l l e s d e C o r k a l a s
primeras horas de la madrugada,
y Stephen acabó su sueño en una
a l c o b a d e l H o t e l Vi c t o r ia . U n
sol alegre y caliente
fluía de la ventana, y se oía
el barullo del tráfico. Su
padre estaba en pie delante
del tocador contemplándose con gran cuidado el
pelo, la cara y el bigote,
estirando el cuello por encima del jarro, y apartándose de lado para pod e r v e r
m e j o r. M i e n t r a s t a n t o
cantaba en voz baja, con
extraño acento y vocalización pintoresca:
jingle A carriage drawn by horses.
• They drove in a jingle. a jingle is a covered, two-wheeled
Irish vehicle.
jingle: a horse-drawn car
15
52. Victoria Hotel: then the most fashionable hotel in
Cork city.
stream manar, fluir, reguero (luz, sangre),
filtrarse, fluir, fluente, derramar (lágrimas), serpentear, serpentina, flamear
20
25
30
53. ’Tis youth and folly . . . The mountain dew: the verses are from an anonymous ballad, ‘Love is Pleasin’,
Love is Teasin”.
Tis youth and folly Obviously a popular Irish song, but
‘bonny’ is substituted by ‘bony’; Mr Dedalus in a
good mood is
sometimes witty.
festooned Imaginative usage, here meaning ‘adorned’.
of the train; and silently, at
intervals of four seconds, the
telegraph-poles held the
galloping notes of the music
5
between punctual bars. This
furious music allayed his
dread and, leaning against the
windowledge, he let his eyelids
10 close again.
’Tis youth and folly
35 Makes young men marry, So
here, my love, I’ll
No longer stay.
What can’t be cured, sure,
Must be injured, sure,
40
So I’ll go to
Amerikay.
Juventud y locura
nos casan cuando jóvenes,
por eso aquí no puedo
quedarme ya.
Para lo que no hay cura
no hay más que sepultura.
Con que, adiós, que me voy
a Americá.
My love she’s handsome,
My love she’s bony:
45
She’s like good whisky
When it is new;
But when ’tis old
And growing cold
50 It fades and dies like
The mountain dew.
Ay, mi niña la linda,
mi niña placentera,
tú eres cual whisky nuevo,
cariño mío,
que, si se pone añejo,
se torna frío y viejo
y se evapora y muere
como rocío.
The consciousness of the
warm sunny city outside his
55 w i n d o w a n d t h e t e n d e r
tremors with which his
father ’s voice festooned the
strange sad happy air, drove
off all the mists of the night’s
60
ill humour from Stephen’s
brain. He got up quickly to
dress and, when the song had
ended, said:
La idea de que la ciudad caliente y soleada esperaba al otro
lado de la ventana y los tiernos
trémolos con los que su padre
adornaba su cancioncilla, extraña,
triste y al par regocijada, [100]
barrieron del cerebro de Stephen
todas las nieblas del mal humor
de la noche. Se levantó rápidamente, se vistió y, cuando la canción hubo terminado, dijo:
65
— T h a t ’s
much
prettier than any of
—Eso es mucho más bonito que cualquiera de los
106
allay v.tr. 1 diminish (fear, suspicion,
etc.) [fears] aquietar, calmar. 2 relieve or alleviate (pain, hunger, etc.),
[doubts] despejar
allay 1 quench, slake, allay, assuage satisfy
(thirst); «The cold water quenched his
thirst» 2 still, allay, relieve, ease lessen
the intensity of or calm;
allay calmar, aliviar, mitigar, aplacar,
despejar, disipar, despejar
Joyce’s Portrait
54. come-all-yous: popular street ballads that traditionally
began with the invocation ‘Come all you . . .’.
come-all yous Typical opening of Irish popular songs.
come-all-yous: street ballads
your other
Venid todos vosotros, que acostumbras a cantar.
COME-ALL-
YOUS.
5
—Do you think so? asked
Mr Dedalus.
—¿Crees tú? ______ ___ ___
X ___ ______
—Me gusta —dijo Stephen.
—I like it, said Stephen.
—It’s a pretty old air, said
Mr Dedalus, twirling the points
of his moustache. Ah, but you
should have heard Mick Lacy
sing it! Poor Mick Lacy! He
15 had little turns for it, grace
notes that he used to put in that
I haven’t got. That was the boy
who could sing a COME-ALLYOU , if you like.
—Es un aire viejo —dijo
míster Dédalus mientras se
atusaba las guías del bigote—
¡Ay, si se lo hubieras oído a
Mick Lacy! ¡Pobre Mick Lacy!
¡Él sí qué le daba giros especiales y que lo adornaba mucho mejor que yo! ¡Aquél sí
que era mozo para cantar un
Venid todos vosotros!
Mr Dedalus had ordered
drisheens for breakfast and
during the meal he cross25 examined the waiter for local
news. For the most part they
spoke at cross purposes when
a name was mentioned, the
waiter having in mind the
30 p r e s e n t h o l d e r a n d M r
Dedalus his father or perhaps
his grandfather.
Míster Dédalus había encargado un plato local de embutidos
para desayunar y durante la comida interrogó de punta a cabo al
camarero acerca de todas las novedades locales. Casi nunca se entendían porque, cuando sonaba un
nombre, el camarero se refería a
su actual poseedor y míster
Dédalus pensaba en el padre o
quizás en el abuelo.
— We l l , I h o p e t h e y
haven’t
moved
the
Q u e e n ’ s C o l l e g e a n y h o w,
said Mr Dedalus, for I
want to show it to this
40 y o u n g s t e r o f m i n e .
—Bueno, por lo menos espero que no se habrán llevado el Colegio de la Reina del sitio donde
estaba —dijo míster Dédalus—,
porque quiero enseñárselo a este
pollastre que traigo conmigo.
Along the Mardyke the
trees were in bloom. They
entered the grounds of the
45
college and were led by the
garrulous porter across the
quadrangle. But their progress
across the gravel was brought
50 to a halt after every dozen or
so paces by some reply of the
porter’s.
Los árboles estaban en flor a
lo largo del Mardyke. Entraron
en los campos del colegio y fueron conducidos a través del patio por un portero charlatán. Pero
su marcha a través del patio se
veía interrumpida a cada docena de pasos por un alto, a causa
de alguna novedad contada por
el portero.
—Ah, do you tell me so?
—¿Qué me cuenta usted? ¿Y
ha muerto el pobre Pottlebelly?
10
grace notes Embellishments of extra notes not strictly
needed for the harmony or melody.
• the boy who could sing a come-all-you the boy could
sing popular pub songs.
20
55. drisheens: a black or white pudding made of the
intestines of sheep.
drisheens A pudding with meat.
• drisheens a traditional Irish dish made of 1 pt. sheep’s
blood, 1 pt. milk, 1/z pt. water, 1/z pt. chopped mutton
suet, 1 C. bread crumbs, salt, pepper, pinch of tansy,
thyme leaves. The mixture is formed into a thick roll, tied
tightly, and steamed for an hour. Good hot or chilled.
drisheens: a sort of sweetbread, made with sheep’s
intestines
35
56. Queen’s College: the three Queen’s Colleges in
Belfast, Cork and Galway were linked in 1850 to form
the Queen’s University in Ireland. The Cork and
Galway colleges became part of the National
University of Ireland in i9o8. The Queen’s College
referred to here is now University College, Cork.
the Mardyke The main road.
garrulous gárrulo, locuaz, hablador,
charlatán, verboso.
55 And is poor Pottlebelly dead?
—Yes, sir. Dead, sir.
—Sí, señor. Ha muerto.
During these halts Stephen
stood awkwardly behind the
two men, weary of the subject
and waiting restlessly for the
slow march to begin again. By
65 the time they had crossed the
quadrangle his restlessness
h a d r i s e n t o f e v e r. H e
A cada una de esas paradas, Stephen
permanecía embarazosamente detrás
de los dos hombres, aburrido de
la conversación y deseando reanudar la marcha de nuevo.
Cua n d o h u b i e r o n c r u z a d o el
patio, su intranquilidad se había
ya convertido en fiebre. Y se ma-
60
107
Joyce’s Portrait
w o n d e r e d h o w h i s father,
whom he knew for a shrewd
suspicious man, could be duped
by the servile manners of the
5
porter; and the lively southern
speech which had entertained
him a l l t h e m o r n i n g n o w
irritated his ears.
ravillaba de cómo su padre, al
[101] que tenía por astuto y suspicaz, se dejaba engañar por los
modales serviles del portero. Y
el fuerte acento meridional que
le había divertido durante toda la
mañana resultaba ahora insoportable a sus oídos.
10
They passed into the
anatomy theatre where Mr
Dedalus, the porter aiding him,
searched the desks for his
initials. Stephen remained in
the background, depressed
more than ever by the darkness
and silence of the theatre and
by the air it wore of jaded and
formal study. On the desk he
read the word FOETUS cut
several times in the dark
stained wood. The sudden
legend startled his blood: he
seemed to feel the absent
students of the college about
him and to shrink from their
company. A vision of their life,
which his father’s words had
been powerless to evoke,
sprang up before him out of the
word cut in the desk. A broadshouldered student with a
moustache was cutting in the
letters with a jack-knife,
seriously. Other students stood
or sat near him laughing at his
handiwork. One jogged his
elbow. The big student turned
on him, frowning. He was
dressed in loose grey clothes
and had tan boots.
Entraron en el anfiteatro de
anatomía, donde míster Dédalus,
ayudado por el portero, se puso
a buscar para encontrar sus iniciales. Stephen permanecía en el
fondo, deprimido ahora más que
nunca a causa de la oscuridad y
silencio del lugar y de su ambiente adusto y cansino de sitio de
trabajo. En un pupitre leyó la palabra Feto grabada varias veces en
la madera oscura y manchada.
Esta palabra sobrecogió su espíritu; le pareció sentir en torno a
él a los ausentes estudiantes del
colegio y espantarse de su compañía. Y una visión de la vida de
ellos que las palabras de su padre
habían sido incapaces de evocar,
se elevó ante sus ojos como si brotara de las letras grabadas en la
mesa. Un estudiante ancho de
hombros y con bigote estaba grabando gravemente el letrero a
punta de navaja. Otros estudiantes estaban de pie o sentados cerca de él y se reían de verle tan afanado. Uno le empuja con el codo.
El robusto estudiante se vuelve
hacia él frunciendo el entrecejo.
Lleva un vestido gris amplio y
unas botas amarillas.
Stephen’s name was called.
He hurried down the steps of
the theatre so as to be as far
50 away from the vision as he
could be and, peering closely
at his father’s initials, hid his
flushed face.
Stephen oyó que le llamaban.
Bajó a toda prisa por las gradas
del anfiteatro para apartarse todo
lo posible de la visión y procuró
ocultar el arrebato del rostro acercando mucho la cara a las iniciales de su padre.
55
// P e r o l a p a l a b r a y l a v i sión retozaban delante de
sus ojos al regresar por el
p a t i o camino de la puerta de
entrada. Le extrañaba el encontrar en el mundo externo huellas
de aquello que él había estimado hasta entonces como una repugnante y peculiar enfermedad
de su propia imaginación. Sus
sueños monstruosos le acudieron en tropel a la memoria. Tam-
• the anatomy theatre the room where anatomy was
taught; usually a large room with seats in tiers.
jaded adj. tired or worn out; surfeited [hastiado].
cansino: 1. adj. Aplícase al hombre o al animal cuya capacidad de trabajo está disminuida por el cansancio.
2. Que por la lentitud y pesadez de los movimientos
revela cansancio. 3. And. Cansado, pesado
formal: formalista, ceremonioso, grave, solemne
adusto: 1. p. p. irreg. ant. de adurir. 2. adj. Quemado,
tostado, ardiente. 3. fig. Dícese de la persona poco
tratable, huraña, malhumorada. 4. fig. Seco, severo, desabrido. Paisaje ADUSTO, prosa ADUSTA.
15
20
Foetus Fully developed embryo in the womb.
• legend here, the word means a carved inscription or
caption.
25
30
35
40
45
His monstrous reveries Stephen has guilt feelings about
his sexual desires and dreams.
But the word and the
vision capered before his
eyes as he walked back across
the quadrangle and t o w a r d s
the college gate. It shocked
60
him to find in the outer
world a trace of what he
had deemed till then a
brutish and individual
65 malady of his own mind. His
m o n s t r o u s reveries came
thronging into his memory.
108
Joyce’s Portrait
furious y furioso indican un estado mental
de rabia, cólera, enojo; la discrepancia
entre las dos lenguas está en que furioso pone énfasis en la pérdida de la razón, y una buena traducción es insane,
out of one’s mind, mientras que furious
acentúa la parte violenta que acompaña
a la cólera; por eso algunas interpretaciones son furibundo,airado, febril, violento, frenético, a toda furia = con intensidad y vehemencia.
58. Groceries: a pub that also sold groceries.
Groceries A shop.
the Groceries: most grocers sold alcoholic drink as well
as food stuffs
59. marked: when their names had been marked as
present for class, they then left for the pub.
60. Tantiles: an area in west County Cork.
57. the Mardyke: a then-fashionable promenade leading
west from the city.
bién ellos habían brotado
furiosamente, de improviso, sugeridos por simples palabras. Y
él se había rendido y los había
dejado filtrarse por su inteligencia y profanarla, sin saber nunca
de qué caverna de [102] monstruosas imágenes procedían, dejándole siempre, tan pronto como
se desvanecían, débil y humilde
ante los demás, asqueado de sí
mismo e intranquilo.
15
—¡Mira, caramba! —dijo
míster Dédalus—. Apostaría cualquier cosa a que aquello son las
Abacerías. Seguramente que me
has oído hablar muchas veces de
las Abacerías, ¿no es verdad,
Stephen? ¡Cuántas veces nos hemos escapado después de pasar
lista y nos hemos venido aquí!
Éramos una nube: Harry Peard y
Jack Mountain y Bob Dyas y
Maurice Moriarty el francés y
Tom O’Grady y Mick Lacy del
que te hablaba esta mañana, y
Joey Corbet y aquel buenazo de
Johnny Keevers, el de Tantiles.
—Ay, bedad! And there’s
the Groceries sure enough!
cried Mr Dedalus. You often
heard me speak of the
Groceries, didn’t you, Stephen.
20
Many’s the time we went down
there when our names had been
marked, a crowd of us, Harry
Peard and little Jack Mountain
25 and Bob Dyas and Maurice
Moriarty, the Frenchman, and
Tom O’Grady and Mick Lacy
that I told you of this morning
and Joey Corbet and poor little
30 good-hearted Johnny Keevers
of the Tantiles.
35
astir 1. in motion (activo, en movimiento); 2. excited; 3.
awake and out of bed (astir early; already astir)
40
45
61. street arabs: children from slum areas.
street arabs: poor or gypsy children
50
55
revel 1 deleitarse [in, con/en] regodearse
2 to revel in doing sthg, deleitarse haciendo algo
revellers juerguistas
They too had sprung up before
him, suddenly and furiously,
out of mere words. He had soon
given in to them and allowed
5
them to sweep across and abase
his intellect, wondering always
where they came from, from
what den of monstrous images,
10 and always weak and humble
towards others, restless and
sickened of himself when they
had swept over him.
The leaves of the trees
along the Mardyke were
astir and whispering in the
sunlight. A team of cricketers
passed, agile young men in
flannels and blazers, one of
them carrying the long green X
wicket-bag. In a quiet bystreet
a German band of five players
in faded uniforms and with
battered brass instruments was
playing to an audience of
street arabs and leisurely
messenger boys. A maid in a
white cap and apron was
watering a box of plants on a
sill which shone like a slab of
limestone in the warm glare.
From another window open to
the air came the sound of a
piano, scale after scale rising
into the treble.
A lo largo del Mardyke,
las hojas de los árboles
s e movían susurrantes bajo la
luz del sol . P a s ó u n e q u i p o
d e j u g a d o r e s d e c r i c k e t . ___
_______________________
_______________________
______ En una callejuela tranquila tocaba una charanga de cinco
músicos alemanes, de uniformes
desteñidos e instrumentos derrotados. Un grupo de golf illos de la calle y de recaderos desocupados se había
congregado delante de ellos. Una criada
con bonete y delantal blanco estaba
regando una maceta en un alféizar
que resplandecía como una losa de
piedra caliza bajo la luz caliente y deslumbrante. Y a través de otra ventana
abierta, venían las notas de un piano
que escala tras escala iban trepando
por el teclado.
Stephen caminaba al lado
de su padre, oyendo historias que ya conocía, escuc h a ndo una v e z m á s l o s n o m b r e s d e a q u e l l o s calaveras
que habían sido los compañeros de juventud de su padre, ya muertos o desparramados por el mundo. Un vago malestar
temblaba en su corazón.
Stephen walked on at his
f a t h e r ’s s i d e , l i s t e n i n g t o
60
stories he had heard before,
hearing again the names of the
scattered and dead r e v e l l e r s
who
had
been
the
65 c o m p a n i o n s o f h i s father’s
youth. And a faint sickness
sighed in his heart.
109
Joyce’s Portrait
free boy: boy on a scholarship
He recalled his own
equivocal position in
Belvedere, a free boy, a
leader afraid of his own
a u t h o r i t y, p r o u d a n d
sensitive and suspicious,
battling against the
squalor of his life and
against the riot of his
mind. The letters cut in
the stained wood of the
d e s k s t a r e d u p o n him,
mocking his bodily weakness
and futile enthusiasms and
making him l o a t h e h i m s e l f
f o r h i s own mad and filthy
orgies. The spittle in his throat
grew bitter and foul to swallow
and the faint sickness climbed
to his brain so that for a moment
he closed his eyes and walked
on in darkness.
//Y evocaba su propia y equívoca posición en el colegio de Belvedere, alumno externo, primero
de su clase, atemorizado de su
propia autoridad, orgu l l o s o ,
sensible y suspicaz, en lucha
continua contra la miseria de
su propia vida y el tumulto de
sus pensamientos. Aquellas letras grabadas en la manchada madera del pupitre le estaban contemplando fijamente, como si hicieran befa de su flaqueza corporal y de sus fútiles entusiasmos,
[103] le provocaran a la repugnancia de su propia locura y de las asquerosas orgías de su mente. La saliva le amargaba en la boca y
un vago malestar le subió al cerebro, hasta tal punto, que tuvo
que cerrar por un momento los
ojos, caminando a ciegas.
He could still hear his
father’s voice—
Aún seguía la voz de
su padre:
—When you kick out for
yourself, Stephen—as I
daresay you will one of these
days—remember, whatever
35 y o u d o , t o m i x w i t h
gentlemen. When I was a
young fellow I tell you I
enjoyed myself. I mixed with
fine decent fellows. Everyone
40 of us could lo something. One
fellow had a good voice,
another fellow was a good
actor, another could sing a
good comic song, another was
45
a good oarsman or a good
racket player, another could
tell a good story and so on. We
kept the ball rolling anyhow
50 and enjoyed ourselves and saw
a bit of life and we were none
the worse of it either. But we
were all gentlemen, Stephen—
at least I hope we were -and
55 bloody good honest Irishmen too.
That’s the kind of fellows I
want you to associate with,
fellows of the right kidney.
I’m talking to you as a friend,
60
Stephen. I don’t believe a son
should be afraid of his father.
No, I treat you as your
grandfather treated me when I
65 was a young chap. We were
more like brothers than father
and son. I ‘Il never forget the
—El día que comiences a vivir
por ti mismo, lo que supongo que
ocurrirá de un momento a otro, aunque te dediques a lo que te dediques,
ten cuidado de juntarte con verdaderos caballeros. Cuando yo era
muchacho, ya te digo que la he gozado de lo lindo. Pero me juntaba
con compañeros muy decentes.
Cada cual tenía su habilidad. Uno
poseía una hermosa voz, aquél era
un buen actor, el otro sabía cantar
una canción con gracia, tal era un
buen remero o un buen jugador de
raqueta, el de más allá sabía contar
bien un cuento, y así sucesivamente. La pelota estaba siempre en el
tejado y la gozábamos de lo lindo y
conocíamos un poco el mundo, sin
que ninguno de nosotros se quedara atrás. Pero, Stephen, todos éramos caballeros, al menos así lo
creo yo, y, además, irlandeses honrados y fieles a machamartillo.
Ésa es la gente con la que yo
quiero que te juntes, con gente
de buen natural. Te estoy hablando como a un amigo,
Stephen. Yo no pienso que un hijo
pueda tener miedo a su padre. No:
yo te trato del mismo modo que
tu abuelo me trataba a mí, cuando
yo era aún un mocoso. Parecíamos
más bien dos hermanos que padre e hijo. Nunca me olvida-
5
10
the squalor of his life and against the riot of his mind
i.e. his poverty and his wish to indulge himself
sexually. Stephen’s guilt
makes him put
things in extremes, and just after this he refers to
his ‘mad and filthy orgies’.
15
20
25
30
a good actor, another could sing a good comic song
Stephen is later to credit his father with all these
qualities, but not without a satirical intention.
110
Joyce’s Portrait
62. maneens: young boys trying to behave as grown
men. The diminutive form is mildly contemptuous.
maneens Young fellows.
• some maneens like myself «maneens» is a Irish
diminutive of men; Simon is being overly humble, a
bit self-deprecating here in order to be well-liked.
maneens : (dialect) little chaps
maneens: insulting term («little men»)
dep·re·cate desaprobar, deplorar [deprecar =
rogar = despreciar]
1 a archaic : to pray against (as an evil) b : to seek
to avert <deprecate the wrath ... of the Roman
people — Tobias Smollett>
2 : to express disapproval of, Desaprobar
3 a : PLAY DOWN : make little of <speaks five
languages ... but deprecates this facility —
Time> b : BELITTLE, DISPARAGE <the most
reluctantly admired and least easily deprecated
of ... novelists — New Yorker>
deprecate v.tr. 1 express disapproval of or a wish
against; deplore (deprecate hasty action).
Usage Often confused with depreciate. 2 plead
earnestly against. 3 archaic pray against.
de desaprobación, deprecativo, desapproving,
objecting, protesting, vituperative,
censorious, denunciatory, recriminative,
condemning, [averting by prayer]
depreciate 1 tr. & intr. diminish in value (the car has
depreciated). 2 tr. disparage; belittle (they are
always depreciating his taste). 3 tr. reduce the
purchasing power of (money). Despreciar
suplicante, imploring, pleading
first day he caught me
smoking. I was standing at the
end of the South Terrace one
day with some maneens like
myself and sure we thought we
were grand fellows because
we had pipes stuck in the
corners of our mouths.
Suddenly the governor passed.
He didn’t say a word, or stop
e v e n . B u t t h e n e x t d a y,
Sunday, we were out for a
walk together and when we
were coming home he took out
his cigar case and said:—By
the by, Simon, I didn’t know
you smoked, or something like
that.—Of course I tried to
carry it off as best I could.—If
you want a good smoke, he
said, try one of these cigars. An
American captain made me a
present of them last night in
Queenstown.
ré del primer día que me
pescó fumando. Estaba yo
a l f i n d e l a Te r r a z a d e l S u r
con otros mequetrefes
como yo, y desde luego nos
las dábamos de personas
maduras porque teníamos
u n a p i p a e n l a b o c a . Y, d e
pronto: mi padre que pasa.
No dijo una palabra, ni siquiera se paró. Pero al día
siguiente, que era domingo,
fuimos juntos a dar un paseo
y cuando ya regresábamos,
s a c a l a p e t a c a y m e d i c e : Ya
propósito, Simón, yo no sabía
que tú fumases ni cosa que se le
pareciese. Yo hice desde luego lo
posible para conllevar la situación. Si quieres saborear cosa
buena, añadió, [104] prueba uno
de estos puros. Me los ha regalado anoche, en Queenstown, un
capitán americano.
Stephen heard his
f a t h e r ’s v o i c e b r e a k
30 i n t o a l a u g h w h i c h w a s
almost a sob.
Stephen notó que la voz de su
padre se deshacía en una carcajada: una carcajada que era casi
un sollozo.
—He was the handsomest
man
in Cork at that time, by
35
God he was! The women used
to stand to look after him in
the street.
—Era en aquel tiempo el
mozo más gallardo de Cork.
¡Cristo, si lo era! Las mujeres se volvían en la calle
para mirarle.
He heard the sob passing
loudly down his father’s throat
and opened his eyes with a
nervous impulse. The sunlight
breaking-suddenly on his sight
45
turned the sky and clouds into
a fantastic world of sombre
masses with lakelike spaces of
dark rosy light. His very brain
50 was sick and powerless. He
could scarcely interpret the
letters of the signboards of the
shops. By his monstrous way
of life he seemed to have put
55 himself beyond the limits of
reality. Nothing moved him or
spoke to him from the real
world unless he heard in it an
echo of the infuriated cries
60
within him. He could respond
to no earthly or human appeal,
dumb and insensible to the
call of summer and gladness
65 and companionship, wearied
and dejected by his father ’s
voice. He could scarcely
Oyó que el sollozo se hundía
sonoramente en la garganta de su
padre y un impulso nervioso le
hizo abrir los ojos. La luz del sol,
al romper de improviso contra sus
pupilas, transformaba el cielo y
las nubes en un mundo fantástico
de masas sombrías entre lagos de
luz densa y rosada. Su mismo cerebro era débil e impotente. Apenas si podía interpretar los letreros de las tiendas. Porque aquella
monstruosa vida suya le había
arrojado más allá de los límites
de lo real. No había cosa del
mundo real que le dijera nada,
que le conmoviera, a no ser que
despertara un eco de aquellos alaridos furiosos que él sentía brotar de su interior. No podía responder a las llamadas de la tierra
ni de los hombres, sordo e insensible a la voz del verano y al
gozo de la camaradería, ahíto y
descorazonado de oír el sonido
de las palabras de su padre. Ape-
5
10
15
20
25
63. Queenstown: the port city for Cork, now Cobh.
40
dejection n. a dejected (desanimado, abatido) state; low spirits. Depresión, desaliento, postración, abatimiento.
111
Joyce’s Portrait
recognize as his own thoughts,
and repeated slowly to
himself:
nas si podía reconocer como propios sus pensamientos. Y se repitió lentamente en voz baja:
—I am Stephen Dedalus.
I am walking beside my father
whose name is Simon Dedalus.
We are in Cork, in Ireland.
10 Cork is a city. Our room is in
the Victoria Hotel. Victoria
and Stephen and Simon. Simon
a n d St e p h e n a n d Vi c t o r i a .
Names.
— Yo
soy
Stephen
Dédalus. Voy andando junto
a mi padre que se llama
Simón Dédalus. Estamos en
Cork, en Irlanda. Cork es una
ciudad. Nuestra habitación
e s t á e n e l H o t e l Vi c t o r i a .
Vi c t o r i a , S t e p h e n , S i m ó n .
Nombres.
5
I am Stephen Dedalus ... Names A pathetic attempt to
establish a balanced perspective by repeating facts
to allay the riot of his mind’.
pathetic lastimoso, inefectivo, digno de
lástima, malísimo, mísero
patético que es capaz de mover y agitar el
ánimo infundiéndole afectos vehementes, y con particularidad dolor, tristeza
o melancolía.
15
64. first communion: the sacrament of the eucharist, first
administered at the age of seven.
65. slim jim: a confection of marshmallow and sugar
powder. Marshmallow powdered with coconut
slim jim A kind of sweetmeat made in long strips.
• slim jim long strips of candy.
slim jim: a long jelly candy
• the rector in a black and gold cope a cope» is a form of
«cloak»; it is long and is worn in processions.
like a film in the sun Fine economic image to convey the
way the past is erased by the present.
The memory of his
childhood suddenly grew dim.
He tried to call forth some of
its vivid moments but could
20
not. He recalled only names.
Dante, Parnell, Clane,
Clongowes. A little boy had
been taught geography by an
25 o l d w o m a n w h o k e p t t w o
brushes in her wardrobe. Then
he had been sent away from
home to a college, he had
made his first communion
30 a n d e a t e n slim jim out of
his cricket cap and watched
the firelight leaping and
dancing on the wall of a little
35 bedroom in the infirmary and
dreamed of being dead, of
mass being said for him by the
rector in a black and gold
cope, of being buried then in
40 the little graveyard of the
community off the main
avenue of limes. But he had
not died then. Parnell had
died. There had been no mass
45
for the dead in the chapel and
no procession. He had not
died but he had faded out like
a film in the sun. He had been
50 lost or had wandered out of
existence for he no longer
existed. How strange to think
of him passing out of
existence in such a way, not by
55 death but by fading out in the
sun or by being lost and
forgotten somewhere in the
universe! It was strange to see
his small body appear again
60
for a moment: a little boy in a
grey belted suit. His hands
were in his side-pockets and
his trousers were tucked in at
65 the knees by elastic bands.
Se le nubló de repente el recuerdo de su niñez. Trataba de
evocar sus vívidos incidentes y
no podía. Sólo recordaba nombres. Dante, Parnell, Clane,
Clongowes. Una señora de edad
que tenía dos cepillos en su armario y enseñaba geografía a un
niño pequeñito. Luego le habían
enviado de casa al colegio, había hecho la primera comunión,
había comido tiras de pasta de
malvavisco que iba sacando de su
gorra de cricket, había visto desde su camita, en la enfermería,
cómo [105] el fuego saltaba y
danzaba sobre la pared y había
soñado que se había muerto y que
el rector, revestido de una capa
dorada y negra, decía una misa
por su alma y que le enterraban
en el reducido camposanto de la
comunidad, al otro lado de la
avenida de los tilos. Pero no se
había muerto. Parnell era el que
se había muerto. No había habido misa en la capilla por el difunto ni procesión. No se había
muerto, sino que se había desvanecido como una placa impresionada a la luz del sol. Se había
perdido o había emigrado de la
existencia, porque ya no existía.
¡Qué extraño era el pensar que él
había dejado de existir de este
modo, no a través de la muerte,
sino desvanecido al sol, o perdido y olvidado, Dios sabe dónde,
en medio del universo! Y extraño también, ver que su
cuerpecillo reaparecía ahora por
un momento: un niñín vestido
con un traje gris de cinturón.
Con las manos en los bolsillos y
los pantalones sujetos por elásticos a las rodillas.
On the evening of the day
La tarde del día en que los bie112
Joyce’s Portrait
importune, insist beg persistently and
urgently; «I importune you to help them»
importunar molestar, incomodar
• beggars who importuned him for a lob beggars
asking for only a small coin.
66. lob: slang for a penny.
a lob The meaning of this is uncertain. However, beggars
ask for money, so this could be a coin, or just a
‘hand-out’.
lob: some amount of money
Peter Pickackafax A jocular coinage, a talking down to
Stephen.
67. jackeen: a brazen Dubliner, usually working class.
jackeen Youngster.
• he was only a Dublin jakeen a snooty, lower-class
Dubliner.
jackeen: arrogant, lower-class person
rattle 1 (juguete) sonajero (de serpiente) cascabel (para
fiestas) matraca 2 ruido (de tren, carro) traqueteo
(de cadena, monedas, llaves) repiqueteo
1 (llaves, monedas) hacer sonar 2 familiar desconcertar, turbar, poner nervioso,-a: she gets rattled over
nothing, se pone nerviosa por nada (tren) traquetear:
the train rattled past, el tren pasó traqueteando (metal) repiquetear (ventana) vibrar, temblequear, repiquetear, golpetear, entrechocar
bout 1 [of illness] ataque m [of work] tanda f 2 (=
boxing match) combate m; encuentro
: a spell of activity: as a : an athletic match (as of boxing)
b : OUTBREAK, ATTACK <a bout of lumbago> c :
SESSION
nes fueron vendidos, Stephen siguió mecánicamente a su padre por
la ciudad de taberna en taberna. A
los vendedores del mercado, a los
camareros y a las mozas de
mostrador, a los mendigos que
le importunaban pidiendo una
limosna, míster Dédalus les había
repetido la misma historia, que él
era de Cork y que había estado durante treinta años tratando de librarse allá arriba, en Dublín, de su acento del sur; y que aquel Perico el de
los Palotes que iba con él era su hijo,
pero que aquél ya no era más que
un castizo de Dublín.
They had set out early in the
morning from Newcombe’s
coffee-house, where Mr
Dedalus’s cup had rattled noisily
against its saucer, and Stephen
had tried to cover that
shameful sign of his father ’s
drinking bout of t h e n i g h t
before by moving his chair
and
coughing.
One
humiliation had succeeded
another—the false smiles of
the market sellers, the
curvetings and oglings of
the barmaids with whom his
father flirted, the compliments
and encouraging words of his
father’s friends. They had told
him that he had a great look of
his grandfather and Mr
Dedalus had agreed that he was
an ugly likeness. They had
unearthed traces of a Cork
accent in his speech and made
him admit that the Lee was a
much finer river than the
Liffey. One of them, in order
to put his Latin to the proof,
had made him translate short
passages from Dilectus and
asked him whether it was
c o r r e c t t o s a y : TEMPORA
NOS MUTAMUR IN ILLIS. Another,
a brisk old man, whom Mr
Dedalus called Johnny
Cashman, had covered him
60
with confusion by asking him
to say which were prettier, the
Dublin girls or the Cork girls.
//Habían salido de mañana del
café de Newcombe, donde la taza
de míster Dédalus había
temblequeado en el platillo, mientras Stephen, moviendo la silla y
con toses fingidas, procuraba ocultar las vergonzosas señales de la
correría alcohólica de su padre,
la noche pasada. Las humillaciones habían venido una tras otra:
las falsas sonrisas de los vendedores del mercado, los meneos y
los guiños de las mozas de bar
con las que su padre se dedicaba
a timarse, los cumplimientos y
las palabras alentadoras de los
amigos de míster Dédalus. Todos
habían dicho que [106] Stephen era
el vivo retrato de su abuelo y el padre había convenido en que lo era,
aunque ni la mitad de buen mozo.
Se habían dedicado a rastrear huellas del acento de Cork en su manera de hablar y se habían obstinado en que confesara que el Lee
era un río mucho más hermoso
que el Liffey. Uno de ellos había
puesto a prueba el latín de Stephen
haciéndole traducir algunos pasajes de Dilecto y le había preguntado qué era lo gramatical, si
Tempora m u t a n t u r n o s e t
mutamur in illis, o Tempora
mutantur et nos mutamur in
illis. Y otro, un viejecito muy
vivo, a quien míster Dédalus
llamaba Johnny Cashman, le
había hecho ruborizarse preguntándole cuáles eran más bonitas, si las chicas de Dublín o
las de Cork.
—He’s not that way built,
said Mr Dedalus. Leave him
alone. He’s a level-headed
— N o e s t á h e c h o a e s o . Dé j e le usted estar. Es un
20
25
30
curvetings Springing about, perhaps twisting and turning.
35
40
45
68. Lee: the river on which Cork stands.
the Lee . . . the Liffey The rivers of Cork and Dublin
respectively.
50
69. Dilectus: a phrase book of Latin quotations. (G)
Dilectus There is no such writer, so the old man is
displaying his own lack of real knowledge.
70. Tempora ... illis: ‘Circumstances change and we
change with them.’ Both are correct; the question is
pedantic.
Tempora mutantur Two versions of ‘The times change
and we are changed with them’.
• Tempora mutantur nos et mutamur in illis . . . Tempora
mutantur et nos mutamur in illis. The times change
us and we change in them . . . the times change and
we change in them.
Tempora mutantur nos. . . illis: «Circumstances change
and we change in them» (in the second version, «with
them»). Both are grammatically correct, the second
metrically correct.
He’s not that way built Ironic, in view of Stephen’s ‘orgies’.
‘He isn’t inclined that way.’
on which the property was
sol d St e phe n fol l owed his
father meekly about the city
f r o m b a r t o b a r . To t h e
5
sellers in the market, to the
barmen and barmaids, to the
beggars who importuned him
for a lob Mr Dedalus told the
same
tale—that he was an old
10
Corkonian, that he had been
trying for thirty years to get
rid of his Cork accent up in
Dublin and that Peter
15 Pickackafax beside him was
his eldest son but that he was
only a Dublin jackeen.
MUTANTUR NOS ET MUTAMUR IN
55 ILLIS or TEMPORA MUTANTUR ET
65
113
Joyce’s Portrait
chico de cabeza sentada
que no se preocupa de
esas tonterías.
—Then he’s not his father’s
son, said the little old man.
—Entonces no es el hijo de
su padre —contestó el vejete.
—I don’t know, I’m sure,
s
a
i
d Mr Dedalus, smiling
10
complacently.
—Nadie puede estar seguro —
dijo míster Dédalus sonriendo
afablemente.
—Your father, said the little
old man to Stephen, was the
15 boldest flirt in the City of Cork
in his day. Do you know that?
—Tu padre —dijo el viejecito— era en sus tiempos el tenorio más grande de toda la ciudad de Cork. ¿Sabías tú eso?
Stephen looked down and
studied the tiled floor of the
20
bar into which they had drifted.
Stephen miraba al suelo estudiando el piso embaldosado del
bar en el que se habían metido.
—Now don’t be putting
ideas into his head, said Mr
25 D e d a l u s L e a v e h i m t o h i s
Maker.
—No me le soliviante usted la cabeza —dijo míster
Dédalus—. Déjele usted
tranquilo.
—Yerra, sure I wouldn’t put
any ideas into his head. I’m old
30 enough to be his grandfather.
And I am a grandfather, said the
little old man to Stephen. Do you
know that?
—Desde luego que no le soliviantaré la cabeza. Soy bastante viejo para ser su abuelo. Porque yo soy realmente abuelo —
le dijo el viejecillo a Stephen—
. ¿No sabías tú eso?
5
71. Yerra: from the Irish, a Dhi Ara, a deprecatory
exclamation.
thinking boy who doesn’t
bother his head about that kind
of nonsense.
35
—Are you? asked Stephen.
72. Sunday’s Well: a Cork suburb.
• a fierce old fireeater a «fireeater» is a person who
likes to argue and fight.
—¿Si? —preguntó Stephen.
—Bedad I am, said the little
old man. I have two bouncing
40 grandchildren out at Sunday’s
Well. Now, then! What age do
you think I am? And I
remember
seeing
your
grandfather in his red coat
45
riding out to hounds. That was
before you were born.
—Vaya si lo soy —contestó el vejete—. Tengo dos nietos, dos mozancones
qu e e s t á n e n S u n d a y ’ s
Wells. Bueno, y ahora, ¿qué edad
crees tú que tengo? Y que me acuerdo de haber visto a tu abuelo saliendo de montería con su levita encarnada. Claro que eso era cuando tú
no habías nacido aún.
—Ay, or thought of, said Mr
Dedalus.
50
—Ni en el pensamiento —comentó míster Dédalus.
—Bedad I did, repeated the
little old man. And, more than
that, I can remember even your
55 great-grandfather, old John
Stephen Dedalus, and a fierce
old fire-eater he was. Now,
then! There’s a memory for
you!
— Va y a s i l o v i — r e p i t i ó
el viejecito—. Y aún más,
que me puedo acordar hasta
de tu bisabuelo, el viejo
John
Stephen
[107]
Dédalus, y que era un camorrista formidable. Conque,
mira, eso es tener memoria.
—That’s three generations
—four generations, said
another of the company. Why,
65 Johnny Cashman, you must be
nearing the century.
—Tres generaciones, quiá,
cuatro generaciones —dijo otro
del grupo—. Que usted Johnny
Cashman no debe de andar lejos
de los ciento.
60
114
bouncing boy : niño sanote, hermoso, vivaz.
mozancón : Persona moza, alta y fornida.
Joyce’s Portrait
—Well, I’ll tell you the
truth, said the little old man.
I’m just twenty-seven years of
age.
—Hombre, para decirte la verdad, tengo
justo, justo, los veintisiete.
—We’re as old as we feel,
Johnny, said Mr Dedalus. And
just finish what you have
10 there and we’ll have another.
H e r e , Ti m o r To m o r
whatever your name is, give
us the same again here. By
God, I don’t feel more than
15 eighteen myself. There’s that
son of mine there not half my
age and I’m a better man than
he is any day of the week.
—Tenemos la edad que nos
sentimos dentro, Johnny —dijo
míster Dédalus—. Conque tómese usted eso que tiene ahí y que
nos traigan otra de lo mismo. Tú,
Tim o Tom, o como te llames:
tráenos otra de lo mismo. Yo me
siento de diez y ocho años. Aquí
tienen ustedes a este hijo mío,
que no tiene la mitad de mi edad,
y sin embargo, le doy ciento y
raya, ahora y siempre.
5
20
— D r a w i t m i l d n o w,
Dedalus. I think it’s time for
you to take a back seat, said
the gentleman who had
25 spoken before.
—No hay que exagerar,
Dédalus. Me parece que ya es
tiempo de que vayas pensando en
pasar a la reserva —dijo el que
había hablado antes.
—No, by God! asserted Mr
Dedalus. I’ll sing a tenor song
against him or I’ll vault a five30 barred gate against him or I’ll
run with him after the hounds
across the country as I did
thirty years ago along with the
35 Kerry Boy and the best man for
it.
—¡No, por Cristo! —afirmó
míster Dédalus—. Que me pongo con él donde sea a cantar un
aria de tenor, o a saltar un portillo de cinco traviesas, o a correr
tras los perros en el campo, como
hice treinta años hace con el chico de Kerry, que era el primero
para eso.
—But he’ll beat you
here, said the little old
40 m a n ,
tapping
his
forehead and raising his
glass to drain it.
—Pero me parece que éste te
ganaría a esto —dijo el viejecito
golpeándose en la frente y levantando al mismo tiempo el vaso
para acabarlo de apurar.
— We l l , I h o p e h e ’ l l b e
as good a man as his
f a t h e r. T h a t ’s a l l I c a n
s a y, s a i d M r D e d a l u s .
—Bueno, yo espero que ha de
ser un hombre tan entero como su
padre. Esto es todo lo que puedo
decir —dijo míster Dédalus.
—If he is, he’ll do, said the
little old man.
—Si lo es, eso basta —sentenció el viejo.
—And thanks be to
G o d , J o h n n y, s a i d M r
55 D e d a l u s , t h a t w e l i v e d
so long and did so
little harm.
—Y démosle gracias a Dios
—dijo míster Dédalus— que en
tanto tiempo como hemos vivido, nunca hemos hecho el menor
daño a nadie.
—But did so much good,
Simon, said the little old
man gravely. Thanks be to
God we lived so long and
did so much good.
—No, sino mucho de bueno
—rectificó el vejete gravemente—. Gracias sean dadas a Dios
porque hemos vivido largo tiempo y hemos hecho el bien.
[108]
Stephen observaba cómo los
vasos se levantaban del mostra-
45
50
60
65
Stephen watched the three
glasses being raised from the
115
Joyce’s Portrait
5
10
15
20
counter as his father and his
two cronies drank to the
memory of their past. An abyss
of fortune or of temperament
sundered him from them. His
mind seemed older than theirs:
it shone coldly on their strifes
and happiness and regrets like
a moon upon a younger earth.
No life or youth stirred in him
as it had stirred in them. He
had known neither the pleasure
of companionship with others
nor the vigour of rude male
health nor filial piety. Nothing
stirred within his soul but a
cold and cruel and loveless
lust. His childhood was dead or
lost and with it his soul capable
of simple joys and he was
drifting amid life like the
barren shell of the moon.
dor cada vez que su padre y sus
compinches bebían a la memoria de su pasado. Un abismo
abierto por el sino o por el temperamento le separaba de ellos.
Su alma parecía más vieja que la
de ellos, y brillaba fríamente sobre sus porfías, sus alegrías y sus
pesares, como una luna sobre una
tierra más joven. Ni la vida de la
juventud se había agitado en él
como en ellos. No había conocido ni el placer de la camaradería, ni la ruda salud viril, ni la
piedad filial. Nada se agitaba en
su alma fuera de una sensualidad
fría, cruel y sin amor. Su niñez
estaba muerta o perdida, y con
ella, el alma propicia a las alegrías elementales. Y estaba derivando por la vida como la cáscara estéril de la luna.
Art thou pale for weariness
Of climbing heaven and
gazing on the earth,
Wandering companionless?
¿Viene tu palidez de aquel hastío
de trepar por los cielos contemplando
la tierra, ¡oh!, tú la errante y solitaria...?
25
73. Art thou . . . companionless: from ‘To the Moon’ by
Percy Bysshe Shelley (1792-1822).
Art though pale for weariness This quotation is from
Shelley’s fragment ‘To the Moon’, written in 1820.
30
He repeated to himself
t h e l i n e s o f S h e l l e y ’s
fragment. Its alternation of
35 sad human ineffectiveness
with vast inhuman cycles of
activity chilled him and he
forgot his own human and
ineffectual grieving.
Se repitió en voz baja los versos del fragmento de Shelley. Aquella asociación simultánea que en
ellos había de triste esterilidad humana y actividad de vastos ciclos
extrahumanos refrigeró el espíritu
de Stephen. Y se olvidó de su propio dolor, estéril y humano.
40
*****
74. Foster Place: a cul-de-sac beside the Bank of Ireland
in College Green, central Dublin.
exhibition: outstanding performance in one of the annual
national academic examinations
calmness, aplomb
***
Stephen’s mother and his
brother and one of his
45
cousins waited at the corner
of quiet Foster Place while
he and his father went up the
steps
and
along
the
c
o
l
o
n
n
a
d
e
w
h
e
r
e
the
50
Highland sentry was parading.
When they had passed into the
great hall and stood at the
counter Stephen drew forth his
55 orders on the governor of the
bank of Ireland for thirty and
three pounds; and these sums,
the moneys of his exhibition
and e s s a y p r i z e , w e r e p a i d
60
over to him rapidly by
t h e t e l l e r in notes and in
coin
r e s p e c t i v e l y.
He
bestowed them in his pockets
65 with feigned composure and
suffere d t h e friendly teller,
to whom his father chatted,
La madre de Stephen, su hermano y uno de sus primos estaban esperando en la esquina de
la tranquila plaza Foster, mientras él y su padre subían los escalones y pasaban a lo largo de
la columnata bajo la cual un soldado escocés estaba de centinela. Cuando hubieron entrado en
el gran vestíbulo, se aproximaron
a una ventanilla y Stephen exhibió su mandato de pago contra el
Banco de Irlanda por la suma de
treinta y tres libras. Y esta c a n tidad, suma de la dotación
de su beca y de su premio de composición literaria, le fue entregada [109] inmediatamente por el
pagador en billetes y monedas,
respectivamente. Con fingida
parsimonia se las metió en el
bolsillo y aún hubo de aguantar
que el empleado, con el cual su
116
Joyce’s Portrait
padre había estado charlando, le
diera la mano por encima del ancho contador y le deseara un brillante porvenir. Estaba impaciente de oírles hablar y no podía lograr que sus pies se estuvieran
quietos. Pero el empleado todavía defirió el atender a los que esperaban para decir que los tiempos habían cambiado mucho y
que no había nada mejor que dar
una buena educación a un hijo,
fuese al precio que fuese. Todavía se entretuvo míster Dédalus
en el vestíbulo mirando en torno
de sí y al techo y diciendo a
Stephen, el cual le estaba dando
prisa para que saliesen, que estaban en aquel momento en la casa
de los comunes del antiguo parlamento irlandés.
—God help us! he said
p i o u s l y, t o t h i n k o f t h e
men of those times,
Stephen,
Hely
Hutchinson and Flood
30 a n d H e n r y G r a t t a n a n d
Charles Kendal Bushe,
and the noblemen we have
n o w, l e a d e r s o f t h e I r i s h
35 p e o p l e a t h o m e a n d
a b r o a d . W h y, b y G o d , t h e y
w o u l d n ’t b e s e e n d e a d i n
a ten-acre field with them.
No, Stephen, old chap,
40 I ’ m s o r r y t o s a y t h a t t h e y
are only as I roved out
one fine May morning in
the merry month of sweet
J u l y.
—¡Dios se apiade de nosotros! —dijo piadosamente—,
¡pensar en los hombres de aquellos tiempos, Hely Hutchinson y
Flood y Henry Grattan y Charles Kendal Bushe, y pasar después a los aristócratas que nos
han tocado en suerte, a los directores actuales del pueblo irlandés, en Irlanda y fuera de
ella! Cuando ni aun muertos y
en un campo de diez fanegas
podrían ponerse los de ahora al
lado de aquéllos. No, Stephen;
siento decirte que los que tenemos ahora son tan estúpidos
como aquello de: «vagando una
mañana de mayo hermosa, en el
alegre mes del dulce junio».
A keen October wind
was blowing round the
bank. The three figures
50 s t a n d i n g a t t h e e d g e o f t h e
muddy path had pinched
cheeks and watery eyes.
Stephen looked at his
thinly clad mother and
55 remembered that a few days
before he had seen a mantle
priced at twenty guineas in
the
windows
of
B a r n a r d o ’s.
Un viento cortante de octubre soplaba en los alrededores del banco. Las tres personas que esperaban en el borde
de la acera embarrada, tenían
la cara amoratada de frío y los
ojos humedecidos. Stephen
observó el vestido ligero de su
madre y recordó que había visto hacía algunos días en el escaparate de Barnardo un abrigo marcado con el precio de
veinte guineas.
—Well that’s done, said Mr
Dedalus.
—Bueno. Ya está —dijo
míster Dédalus.
— We h a d b e t t e r g o
to
dinner,
said
Stephen. Where?
—Lo mejor que podríamos
hacer sería ir a comer —dijo
Stephen—. ¿A dónde vamos?
5
defer
1 aplazar, retrasar, diferir, posponer, tardarse
2 hacer algo en deferencia a alguien/algo, delegar,
someter a consideración
diferir
1. tr. Dilatar, retardar o suspender la ejecución de una
cosa.
2. intr. Distinguirse una cosa de otra o ser diferente y
de distintas o contrarias cualidades.
deferir
1. intr. p. us. Adherirse al dictamen de alguien, por
respeto, modestia o cortesía.
2. tr. Comunicar, dar parte de la jurisdicción o poder
10
15
20
75. old Irish parliament: the Bank of Ireland building used
to house the Irish parliament, abolished by the Act
of Union (1800).
the house of commons of the old Irish parliament A
reference to the Bank of Ireland acquiring the building.
76. Hely Hutchinson . . . Flood . . . Grattan . . . Bushe:
John Hely-Hutchinson (1724-94), orator and
economist; Henry Flood (1732-9i), orator and an
outstanding member of the Irish parliamentary
opposition; Henry Grattan (1746-1820), the leading
figure in the Irish parliamentary struggle for legislative
independence, achieved in 1782. The period from
1782 to 1800 is often referred to as ‘Grattan’s
Parliament; and Charles Kendal Bushe (1767-1843),
an Irish judge, an opponent of the Union and a
famous orator.
Hely Hutchinson and Flood and Henry Grattan and Charles Kendal Bushe Irish elected members of
Parliament who spoke their minds.
77. as I roved out . . . July: so many Irish songs begin
with this or similar phrases that it has come to
betoken something or someone who is unworthy of
credit and of little value.
they are only as I roved out one fine May morning in the
merry month of sweet July Mr Dedalus is speaking
flippantly, using a reference to a song to convey the
temporary nature of things.
keen 1 1 (of a person, desire, or interest) eager,
ardent (a keen sportsman). 2 (foll. by on) much
attracted by; fond of or enthusiastic about. 3 (of
the senses) sharp; highly sensitive. 4 intellectually
acute. 5 a having a sharp edge or point. b (of an
edge etc.) sharp. 6 (of a sound, light, etc.)
penetrating, vivid, strong. 7 (of a wind, frost, etc.)
piercingly cold. 8 (of a pain etc.) acute, bitter. 9
Brit. (of a price) competitive.
10colloq. excellent.
keen 2 an Irish funeral song accompanied with
wailing. 1 intr. utter the keen. 2 tr. bewail (a person)
in this way. 3 tr. utter in a wailing tone.
78. Barnardo’s: an expensive furriers.
to take his hand across the
broad counter and wish
him a brilliant career in
after
life.
He
was
impatient of their voices
and could not keep his feet
at rest. But the teller still
deferre d t h e s e r v i n g o f
others to say he was
living in changed times
and that there was
nothing like giving a
boy the best education
t h a t m o n e y could buy. Mr
Dedalus lingered in the hall
gazing about him and up at
the roof and telling Stephen,
who urged him to come out,
that they were standing in the
house of commons of the old
Irish parliament.
25
45
60
65
117
Joyce’s Portrait
—Dinner? said Mr
D e d a l u s . We l l , I s u p p o s e
w e h a d b e t t e r, w h a t ?
[110]
—¿A comer? —preguntó
míster Dédalus—.Bueno, puede
ser lo mejor. ¿Qué os parece?
—Some place that’s not too
dear, said Mrs Dedalus.
—A algún sitio que no sea muy
caro —dijo mistress Dédalus.
5
79. Underdone’s: a famous French restaurant, Jammet’s.
According to Richard Ellmann, this is probably the
Joyce family nickname for it.
10
—Underdone’s?
— ¿A Underdone?
—Yes. Some quiet place.
—Sí¡ A algún sitio tranquilo.
—Come
along,
said
— Vi d — d i j o r á p i d a m e n te Stephen—. No importa el
precio.
15 Stephen quickly. It doesn’t
matter about the dearness.
He walked on before them
with short nervous steps,
20
smiling. They tried to keep up
with him, smiling also at his
eagerness.
Y echó a andar por delante, sonriendo, a pasos cortos
y nerviosos. Los otros trataron
de seguirle riéndose también
de sus prisas.
— Ta k e i t e a s y l i k e a
good young fellow, said his
f a t h e r. We ’ r e h o t o u t f o r
the half mile, are we?
—Oye, Stephen, haz el favor
de tomarlo con más tranquilidad.
No vamos a ganar el premio de la
media milla, ¿no es eso?
For a swift season of
merrymaking the money of
his prizes ran through
S t e p h e n ’s f i n g e r s . G r e a t
35 p a r c e l s o f g r o c e r i e s a n d
delicacies and dried fruits
arrived from the city. Every
day he drew up a bill of fare
for the family and every
40 night led a party of three or
four to the theatre to see
INGOMAR o r THE LADY OF
LYONS . In his coat pockets he
c a r r i e d s q u a r e s o f Vi e n n a
45
chocolate for his guests while
his trousers’ pocket bulged
with masses of silver and
copper coins. He bought
for everyone,
50 p r e s e n t s
overhauled his room, wrote
out resolutions, marshalled
his books up and down their
shelves, pored upon all kinds
55 of price lists, drew up a form
of commonwealth for the
household by which every
member of it held some office,
opened a loan bank for his
60
family and pressed loans on
willing borrowers so that he
might have the pleasure of
making out receipts and
65 reckoning the interests on the
sums lent. When he could do
no more he drove up and down
Fue una corta temporada de
diversiones en la cual el dinero
de .los premios fluyó abundantemente de los dedos de Stephen.
De las tiendas del centro llegaban grandes paquetes de comestibles, de golosinas y de frutos
secos. Cada día combinaba una
lista diferente de platos para la
familia y todas las noches invitaba al teatro a una partida de tres
o cuatro personas para ver
Ingomar o La dama de Lyons. En
los bolsillos de la chaqueta llevaba pastillas de chocolate para
obsequiar a sus invitados y los
bolsillos del pantalón le reventaban de monedas de plata y cobre.
Compró regalos para todo el
mundo, repasó por menudo su
habitación, escribió programas
de vida, cambió de sitio en los
estantes todos sus libros, se
desojó leyendo listas de precios
de toda clase de cosas, estableció una especie de república para
la casa, en la cual cada persona
tenía su cargo, abrió un banco de
préstamos para la familia y apremiaba a tomar cantidades a préstamo a todo el que se ofrecía a
ello sólo por darse el gustazo de
extender recibos y de calcular los
intereses de las sumas prestadas.
Cuando ya no le quedó otra cosa,
25
30
80. Ingomar . . . Lady of Lyons: Ingomar the Barbarian
(1851), a play by Maria Ann Lovell (G); The Lady of
Lyons (1838), a romantic comedy by Edward
Bulwer-Lytton.
Ingomar or The Lady of Lyons The first a melodrama
which had been translated from German, enjoyed
some popularity in the nineteenth century. The
second was written by Lord Lytton and produced in
1838.
overhaul 1 a take to pieces in order to examine. b examine the condition of (and
repair if necessary) 2 overtake.
a thorough examination, with repairs if
necessary.
repasar por menudo (=con mucho detalle y pormenor)
118
resolution comparte con resolución el
concepto de tesón, firmeza, decisión
; (= determination) resolución f, determinación f; to show resolution
mostrarse resuelto or determinado.
Además resolution significa propósito, determinación [carácter]; New
Year resolutions buenos propósitos
para el Año Nuevo
(Parl) acuerdo m; to pass a resolution
tomar un acuerdo
(Comput & TV) definición de pantalla
En cambio resolución sugiere
solution,
completion,
decisiveness [ser decisivo]. Resolver es to resolve [decidir] y además
to solve [ solucionar], clear up
[duda], settle [tramitar], dissolve
[química].
Joyce’s Portrait
the city in trams. Then the
season of pleasure came to an
end. The pot of pink enamel
paint gave out and the
5
wainscot of his bedroom
remained with its unfinished
and ill-plastered coat.
se dedicó a recorrer la ciudad en
tranvía de un cabo a otro. Por último, el período de deleites llegó
a su término. El bote de esmalte
rosa se concluyó y el maderamen
de su alcoba quedó a medio pintar y lleno de chafarrinones.
[111]
La casa volvió a su manera acostumbrada de vida. Su
madre ya no tenía ocasión de
reprenderle por malgastar el
dinero. Él también volvió a
su acostumbrada vida de colegial y todas sus originales
empresas se derrumbaron. La
república fracasó, el banco
cerró sus arcas y sus libros
con notable pérdida, y las
reglas de vida que se había
trazado a sí mismo cayeron
en desuso .
His household returned to
its usual way of life. His
mother had no further occasion
to upbraid [reproach] him for
squandering his money. He too
15 r e t u r n e d t o h i s o l d l i f e a t
school and all his novel
enterprises fell to pieces. The
commonwealth fell, the loan
bank closed its coffers and its
20
books on a sensible loss, the
rules of life which he had
drawn about himself fell into
desuetude.
10
desuetude a state of disuse
25
breakwater . . . tide of life ... dam up ... barriers ...
crumbled mole The water imagery superbly conveys
the movement of lust with him. A ‘mole’ is a structure
of stone used as a breakwater.
mystical kingship of fosterage This is almost
wish-fulfilment, the need to distance himself from
them which is to crystallize later.
How foolish his aim had
been! He had tried to build a
b re a k - w a t e r o f o r d e r a n d
elegance against the sordid tide
30 of life without him and to dam
up, by rules of conduct and
active interest and new filial
relations, the powerful
35 recurrence of the tides within
him. Useless. From without as
from within the waters had
flowed over his barriers: their
tides began once more to jostle
40 fiercely above the crumbled
mole.
¡Cuán necio había sido su intento! Había tratado de construir
un dique de orden y elegancia
contra la sórdida marea de la vida
que le rodeaba y de contener el
poderoso empuje de su marejada
interior por medio de reglas de
conducta y activos intereses y
nuevas relaciones filiales. Todo
inútil. Las aguas habían saltado
por encima de sus barreras lo
mismo por fuera que por dentro.
Y las aguas continuaban su empuje furioso por encima del malecón derruido.
He s a w c l e a r l y t o o h i s
own futile isolation. He
45
had not gone one step
nearer the lives he had
sought to approach nor
bridged the restless shame
50 a n d r a n c o u r t h a t h a d
divided him from mother
a n d b r o t h e r a n d s i s t e r. H e
felt that he was hardly of
the one blood with them but
55 stood to them rather in the
mystical
kinship
of
fosterage , f o s t e r c h i l d a n d
fosterbrother.
Y vio también claramente su
inútil aislamiento. No se había
acercado ni un solo paso a aquellas vidas a las cuales había tratado de aproximarse, ni había logrado echar un puente sobre el
abismo de vergüenza y de rencor que le separaba de su madre y de sus hermanos. Apenas
si sentía la comunidad de sangre con ellos, apenas si se imaginaba ligado a ellos más por
una especie de misterioso parentesco adoptivo: hijo adoptivo y hermano adoptivo.
60
81. in mortal sin: to be in a state of spiritual death because
of some grave sin.
He turned to appease the
fierce longings of his heart
before which everything else
was idle and alien. He cared
65 little that he was in mortal sin,
that his life had grown to be a
tissue of subterfuge and
Se dedicó a aplacar los monstruosos deseos de su corazón ante
los cuales todas las demás cosas
le resultaban vacías y extrañas. Se
le importaba poco de estar en pecado mortal y de que su vida se
hubiera convertido en un tejido de
119
sensible se refiere a cuerdo, razonable, acertado [gusto, idea, plan],
sensato, módico [precio], prudente, lógico, consciente, práctico /
cómodo [ropa, calzado], mientras
que el español sensible traduce
sensitive, feeling, sentient,
regrettable, noticeable / marked,
sizable, deplorable, tender, sore
[adolorido]. Sensibility es sensibilidad, en el sentido de habilidad
de sentir, receptividad, en el mundo personal, y además precisión,
en el mundo mecánico; el plural
sensibilities se usa para susceptibilidad, sentimientos delicados,
delicadeza; a su vez, sensibilidad
traduce sensitivity, como percepción por los sentidos, radio, TV,
foto.
Joyce’s Portrait
subterfugios y falsedades. Nada
había sagrado para el salvaje deseo de realizar las enormidades
que le preocupaban. Soportaba cínicamente los pormenores de sus
orgías secretas, en las cuales se
complacía en profanar pacientemente cualquier imagen que hubiera atraído sus ojos. Día y noche se movía entre falseadas imágenes del mundo externo. Tal figura que durante el día le había
parecido inexpresiva e inocente, se le acercaba luego por la
noche entre las espirales sombrías del [112] sueño con una
malicia lasciva, brillantes los
ojos de goce sensual. Sólo el
despertar le atormentaba con
sus confusos recuerdos del orgiástico desenfreno, con el
sentido agudo y humillante de
la transgresión.
He returned to his
wanderings. The veiled
autumnal evenings led him
30 from street to street as they had
led him years before along the
quiet avenues of Blackrock.
But no vision of trim front
35 gardens or of kindly lights in
the windows poured a tender
i n f l u e n c e u p o n h i m n o w.
Only at times, in the pauses
of his desire, when the luxury
40 that was wasting him gave
room to a softer languor, the
image of Mercedes traversed
the background of his
memory. He saw again the
45
small white house and the garden
of rose-bushes on the road that led
to the mountains and he
remembered the sadly proud
50 gesture of refusal which he was
to make there, standing with her
in the moonlit garden after years
of estrangement and adventure. At
those moments the soft speeches
55 of Claude Melnotte rose to his lips
and eased his unrest. A tender
premonition touched him of
the tryst he had then looked
forward to and, in spite of
60
the horrible reality which
lay between his hope of
t h e n a n d n o w, o f t h e h o l y
encounter he had then
at
which
65 i m a g i n e d
weakness and timidity
a n d inexperience were to
Y volvió a sus correrías. Los
atardeceres velados del otoño le invitaban a andar de calle en calle
como lo había hecho años antes
por las apacibles avenidas de
Blackrock. Pero faltaba ahora la
visión de los jardines recortados y
de las acogedoras luces de las ventanas, que hubiera podido ejercer
una influencia calmante sobre él.
Sólo a veces, en las pausas del deseo, cuando la lujuria que le estaba consumiendo dejaba espacio
para una languidez más suave, la
imagen de Mercedes atravesaba
por el fondo de su memoria.
<-Y volvía a ver la casita blanca y el jardín lleno de rosales en
el camino que lleva a las montañas y recordaba el orgulloso
gesto de desaire que había de
hacer allí, de pie, en el jardín
bañado en luz lunar, tras muchos años de extrañamiento y
aventura. En estos momentos,
las dulces palabras de Claude
Melnotte subían hasta sus labios
y aplacaban su intranquilidad.
<-Sentía un vago presentimiento de aquella cita que había estado buscando, y a pesar
de la horrible realidad interpuesta entre su esperanza de entonces y lo presente, preveía
aquel sagrado encuentro que en
otro tiempo había imaginado y
en el cual habían de desprenderse de él la debilidad, la timidez
5
defile 1 [+ honour] manchar [+ sacred thing, memory]
profanar [+ woman] deshonrar 2 mauntain pass,
desfiladero
defile 1 to make foul or dirty; pollute 2 to tarnish or sully
the brightness of; taint; corrupt 3 to damage or sully
(someone’s good name, reputation, etc.) 4 to make
unfit for ceremonial use; desecrate 5 to violate the
chastity of
demure adj. (demurer, demurest) 1 composed, quiet,
and reserved; modest. 2 affectedly shy and quiet;
coy. 3 decorous (a demure high collar).
10
15
20
Only the morning pained him The whole of the preceding
paragraph is a fine analysis of an adolescent’s guilt
over his awakening sexuality - the lustful wishes,
masturbation, ‘wet’ dreams. Bearing in mind the time
at which A Portrait was written and published, it is a
remarkable description.
25
Mercedes Stephen sees himself returning, like the Count
of Monte Cristo, but he sees himself, too, as Claude
Melnotte, hero of Tile Lady of Lyons. Part of his
reaction against his poverty is the escapist wish for
noble birth. Notice how the word ‘holy’ is used in the
imaginary account of his meeting with his dream
beloved, and how it contrasts with the actual
reactions of his mind.
82. Claude Melnotte: the hero of the Bulwer-Lytton play
The Lady of Lyons.
falsehood. Beside the savage
desire within him to realize the
enormities which he brooded
on nothing was sacred. He bore
cynically with the shameful
details of his secret riots in
which he exulted to defile with
patience whatever image had
attracted his eyes. By day and
by night he moved among
distorted images of the outer
world. A figure that had
seemed to him by day demure
and innocent came towards him
by night through the winding
darkness of sleep, her face
transfigured by a lecherous
cunning, her eyes bright with
brutish joy. Only the morning
pained him with its dim
memory of dark orgiastic riot,
its keen and humiliating sense
of transgression.
120
Joyce’s Portrait
y la inexperiencia.
Such moments passed and
the wasting fires of lust sprang
up again. The verses passed
from his lips and the
inarticulate cries and the
unspoken brutal words rushed
forth from his brain to force a
passage. His blood was in
revolt. He wandered up and
down the dark slimy streets
peering into the gloom of
lanes and doorways, listening
eagerly for any sound. He
moaned to himself like some
baffled prowling [merodear]
beast. He wanted to sin with
another of his kind, to force
another being to sin with him
and to exult with her in sin. He
felt some dark presence
moving irresistibly upon him
from the darkness, a presence
subtle and murmurous as a
flood filling him wholly with
itself. Its murmur besieged his
ears like the murmur of some
multitude in sleep; its subtle
streams penetrated his being.
His
hands
clenched
convulsively and his teeth set
together as he suffered the
agony of its penetration. He
stretched out his arms in the
street to hold fast the frail
swooning form that eluded
him and incited him: and the
cry that he had strangled for
so long in his throat issued
from his lips. It broke from
him like a wail of despair from
a hell of sufferers and died in
a wail of furious entreaty, a cry
for an iniquitous abandonment,
a cry which was but t h e e c h o
of an obscene scraw l which
he had read on the oozing wall
of a urinal.
Tales momentos pasaban pronto, y las devoradoras llamas de la
lujuria brotaban de nuevo. Los versos se borraban de sus labios y los
gritos inarticulados y las palabras
bestiales, nunca pronunciadas, brotaban ahora de su cerebro tratando
de buscar salida. Su sangre estaba
alborotada. Erraba arriba y abajo
por calles oscuras y fangosas, escudriñando en la sombra de las
callejuelas y de las puertas, escuchando ávidamente cualquier
sonido. Gemía como una bestia fracasada en su rapiña.
Nacesitaba pecar con otro ser
de su mis ma [113] naturaleza,
forzar a otro ser a pecar con él,
regocijarse con una mujer en el
pecado. Sentía una presencia oscura que venía hacia él de entre
las sombras, una presencia sutil
y susurrante como una riada que
le fuera anegando completamente. Era un murmullo que le cerraba los oídos: tal el murmullo
de una multitud dormida. Ondas
sutiles penetraban todo su ser.
Las manos se le crispaban
convulsivamente y apretaba los
dientes como si sufriera la agonía
de aquella penetración. En la calle extendía los brazos para alcanzar la forma huidiza y frágil que
se le escapaba incitándole... Hasta que, por fin, el grito que había
ahogado tanto tiempo en su garganta brotó ahora de sus labios.
Brotó de él como un gemido de
desesperación de un infierno de
condenados y se desvaneció en un
furioso gemido de súplica, como un
lamento por un inicuo abandono,
un lamento que era sólo el eco
de una inscripción obscena que
había leído en la rezumante pared de un urinario.
He had wandered into a
maze of narrow and dirty
streets. From the foul
laneways he heard bursts of
hoarse riot and wrangling and
60
the drawling of drunken
singers. He walked onward,
dismayed, wondering whether
he had strayed into the
65 quarter of the Jews. Women
and girls dressed in long vivid
gowns traversed the street
Había estado errando por
un laberinto de calles estrechas y sucias. De las
malolientes callejuelas venían
tumultos de voces roncas y de
disputas, y lentas tonadas de
cantores borrachos. Y siguió
adelante, sin desmayar, pensando si tal vez habría ido a
dar al barrio de los judíos.
Cruzaban de casa a casa muchachas y mujeres vestidas
5
10
15
20
25
30
35
40
45
iniquity n. 1 wickedness; unrighteousness.
2 a gross injustice.
inicua 1. adj. Contrario a la equidad. 2. Malvado,
impía,
injusto.
the echo
of an
obscene
scrawl Urinals often contain
words or drawings which are a sordid, lustful
comment on sex, reducing it to its lowest level. The
whole of Stephen’s inward tummult here shows his
guilt feelings (sin is often mentioned), his lust (flood,
streams) which is seen too in terms of animal passion
(prowling beast). It is all the prelude to his finding a
prostitute. lightsome Light, elegant in appearance.
He wanted to be held firmly in her arms We must not
forget that in some ways Stephen is still a child; there
is something maternal about this embrace.
drawling somnoliento, indolente
• the quarter of the jews this is a misleading phrase.
Stephen has actually wandered into the brothel
district of Dublin.
fall from him.
50
55
121
ooze 1 1 intr. (of fluid) pass slowly through
the pores of a body. 2 intr. trickle or
leak slowly out. 3 intr. (of a substance)
exude moisture. 4 tr. exude or exhibit
(a feeling) liberally (oozed sympathy).
1 a sluggish flow or exudation. 2 an
infusion of oak-bark or other
vegetable matter, used in tanning.
ooze 2 n. 1 a deposit of wet mud or
slime, esp. at the bottom of a river,
lake, or estuary. 2 a bog or marsh; soft
muddy ground.
Cieno, lodo
Joyce’s Portrait
despaciosas, lentas
from house to house. They
were leisurely and perfumed.
A trembling seized him and
his eyes grew dim. The yellow
5
gas-flames arose before his
troubled vision against the
vapoury sky, burning as if
before an altar. Before the
10 d o o r s a n d i n t h e l i g h t e d
halls groups were gathe r e d
arrayed as for some rite.
He was in another world: he
had awakened from a slumber
15 of centuries.
con trajes largos y chillones,
perfumadas y despaciosas. Un
temblor se apoderó de él y sus
ojos se nublaron. Y ante su confusa vista, las llamas amarillas del
gas se elevaban contra un cielo cubierto de nieblas, ardiendo como
ante un altar. En los umbrales de
las puertas y en los vestíbulos iluminados, había grupos misteriosos dispuestos como para un rito.
Era otro mundo distinto: se había despertado de una soñolencia de centurias.
He stood still in the middle
o f t h e r o a d w a y, h i s h e a r t
clamouring against his bosom
20
in a tumult. A young woman
dressed in a long pink gown
laid her hand on his arm to
detain him and gazed into his
25 face. She said gaily:
Estaba aún en mitad del
arroyo sintiendo que el corazón
le
clamaba
tumultuosamente en el pecho.
Una mujer joven, vestida con
un lar go traje color rosa, le
puso la mano en el brazo para
detenerle y le dijo:
—Good night, Willie dear!
with her legs apart in the
copious easy-chair beside
the bed. He tried to bid
35 h i s t o n g u e s p e a k t h a t h e
might seem at ease,
watching her as she undid
her gown, noting the
proud
conscious
40 m o v e m e n t s
of
her
perfumed head.
—Buenas noches, rico.
[114]
La habitación templada y
luminosa . Una enorme muñeca estaba espatarrada sobre
el amplio butacón de al lado
de la cama. Trató de hacer articular a su lengua algunas palabras para parecer sereno,
mientras veía cómo ella se iba
despojando del traje, y observaba los movimientos sabios y
orgullosos de aquella cabeza
perfumada.
As he stood silent in the
middle of the room she
45
came over to him and
embraced him gaily and
g r a v e l y. H e r r o u n d a r m s
held him firmly to her and
50 he, seeing her face lifted to
him in serious calm and
feeling the warm calm rise
and fall of her breast, all
but burst into hysterical
55 weeping. Tears of joy and
relief shone in his delighted
eyes and his lips parted
though they would not
speak.
Y ella avanzó hasta él, que
permanecía en medio de la habitación, y le abrazó alegre y
reposadamente. Sus brazos redondos le ceñían contra ella;
su cara se levantaba mirándole con una tranquila seriedad
que él sentía tibiamente en el
movimiento alterno y reposado de los pechos. Sentía la necesidad de romper en sollozos.
Lágrimas de alegría y de consuelo brillaban en sus ojos
extasiados y sus labios se entreabrían para hablar; pero la
voz no salía de su garganta.
She passed her tinkling
hand through his hair, calling
him a little rascal.
Y ella le pasó por el cabello
su mano tintineante llamándole
mala personita.
Her room was warm and
lightsome gracefully light, nimble,
merry
30 l i g h t s o m e . A h u g e d o l l s a t
60
65
—Give me a kiss, she said.
—Dame un beso —le dijo.
122
Joyce’s Portrait
His lips would not bend
t o k i s s h e r. H e w a n t e d t o
be held firmly in her arms,
t o b e c a r e s s e d s l o w l y,
5
s l o w l y, s l o w l y. I n h e r
arms he felt that he had
suddenly become strong
and fearless and sure of
10 h i m s e l f . B u t h i s l i p s
would not bend to kiss
h e r.
Pero los labios de él no sentían deseo de besarla. Lo que
quería era verse ceñido firmemente entre los brazos de ella.
Ser acariciado lentamente, lentamente, lentamente. Que entre
aquellos brazos sentía haberse
vuelto fuerte, impávido, seguro de sí mismo. Pero sus labios
no se habían de inclinar para
besarla.
With a sudden movement
De pronto, ella volvió la cabeza y le oprimió los labios con
los suyos. Y él leyó lo que querían decir aquellos movimientos
en los ojos francos que, levantados, le miraban. Era demasiado,
cerró los ojos y se entregó a ella,
en cuerpo y alma, sin conciencia
de cosa de este mundo, salvo del
sombrío roce, de la dulce hendidura de aquellos labios. Los sentía en la carne y en el cerebro
como conductores de un vago
idioma. Y entre ellos sintió una
desconocida y tímida presión,
más sombría que el desfallecimiento del pecado, más dulce
que el sonido o el olor.
15 she bowed his head and joined
her lips to his and he read the
meaning of her movements in
her frank uplifted eyes. It was
too much for him. He closed
20
his eyes, surrendering himself
t o h e r, b o d y a n d m i n d ,
conscious of nothing in the
world but the dark pressure of
25 her softly parting lips. They
pressed upon his brain as upon
his lips as though they were the
vehicle of a vague speech; and
between them he felt an
30 unknown and timid pressure,
darker than the swoon of sin,
softer than sound or odour.
35
40
45
50
55
60
65
123
Joyce’s Portrait
Chapter 3
Tres
5
The swift December dusk
had come tumbling clownishly
after its dull day and, as he
stared through the dull square
10 o f t h e w i n d o w o f t h e
schoolroom, he felt his belly
crave for its food. He hoped
there would be stew for dinner,
turnips an d c a r r o t s a n d
15 b r u i s e d p o t a t o e s a n d f a t
mutton pieces to be ladled out
in thick peppered flourfattened sauce. Stuff it into you,
his belly counselled him.
El corto crepúsculo decembrino
se había desplomado torpemente
tras un día plomizo, y mientras
Stephen miraba el sombrío cuadrado de la ventana de la clase, el
vientre le estaba reclamando alimento. Esperaba que tendrían estofado para cenar, con nabos, zanahorias y patatas majadas y grasientos pedazos de cordero adecuados para ser bien revueltos en
la salsa gruesa, adobada de harina y de pimienta. ¡Engúlletelo!,
ésta era la voz del vientre.
It would be a gloomy
secret night. After early
nightfall the yellow lamps
would light up, here and
there, the squalid quarter of
the brothels. He would
follow a devious course up
and down the streets,
circling always nearer and
nearer in a tremor of fear
and joy, until his feet led
him suddenly round a dark
corner. The whores would be
just coming out of their
houses making ready for the
night, yawning lazily after
their sleep and settling the
hairpins in their clusters of
hair. He would pass by them
calmly waiting for a sudden
movement of his own will or
a sudden call to his sinloving soul from their soft
p e r f u m e d f l e s h . Ye t a s h e
prowled in quest of that call,
his senses, stultified only by
his desire, would note
keenly all that wounded or
shamed them; his eyes, a
ring of porter fro t h on a
clothless table or a
photograph of two soldiers
standing to attention or a
gaudy playbill; his ears,
the drawling jargon of
greeting:
Sería una noche sombría y
secreta. Poco después de la
caída de la noche las lámparas amarillas iluminarían aquí
y allá el sórdido barrio de los
burdeles. Iría por caminos
extraviados, calles arriba y abajo, haciendo círculos cada vez más
cerrados, más cerrados, con un estremecimiento de temor y de alegría, hasta que sus pasos le llevaran de pronto a trasponer cierto
sombrío rincón. Las cantoneras
estarían saliendo de sus casas, preparándose para la noche, desperezándose aún del sueño y ajustándose las horquillas en los
mechones de pelo. Y él pasaría
tranquilamente por entre ellas esperando sólo un momentáneo movimiento de su voluntad o un imprevisto llamamiento que a su espíritu hiciera aquella carne suave y
perfumada. Y sin embargo, al rondar en busca de tal [115] [116] llamada, sus sentidos embrutecidos
sólo por el deseo tendrían que anotar agudamente todo lo que los hería
o llenaba de oprobios: sus ojos, un
círculo de espuma de cerveza
sobre una mesa sin tapete o
una fotografía de dos soldados
en posición de firmes o un cartel chi llón de teatro; sus oídos, la recalcada jerga de los
saludos.
—Hello, Bertie, any good
in your mind?
—Hola, Bertie, ¿qué?,
¿vienes?
20
25
devious [person] taimado, ladino, malintencionado; [means] dudoso, artero;
by devious means=con artimañas;
[camino] tortuoso, sinuoso;
30
devious 1 : OUT-OF-THE-WAY,
REMOTE 2 a : WANDERING,
ROUNDABOUT <a devious path>
b : moving without a fixed course
: ERRANT <devious breezes> 3
a : deviating from a right,
accepted, or common course b : 35
not straightforward : CUNNING;
also : DECEPTIVE
devious
[means] dudoso; artero [person]
taimado, [path] tortuoso, sinuoso, errático 1. adj. Vagabundo,
ambulante, sin domicilio cierto. 2.
V. estrella errática. 3. Med. Que
va de una parte a otra sin tener 40
asiento fijo. Tortuoso, incierto,
vacilante.
45
stultify 1 - prove to be of unsound mind or
demonstrate someone's incompetence;
"nobody is legally allowed to stultify
himself" law, jurisprudence - the
collection of rules imposed by authority;
"civilization presupposes respect for the
law"; "the great problem for
jurisprudence to allow freedom while
enforcing order"
shew, show,
demonstrate, prove, establish establish the validity of something, as
by an example, explanation or
experiment; "The experiment
demonstrated the instability of the
compound"; "The mathematician
showed the validity of the conjecture"
Atrofiar
2 cause to appear foolish; "He
stultified himself by contradicting
himself and being inconsistent"
blackguard, guy, jest at, laugh at, make
fun, poke fun, ridicule, roast, rib [make
fun] - subject to laughter or ridicule;
"The satirists ridiculed the plans for a
new opera house"; "The students poked
fun at the inexperienced teacher"; "His
former students roasted the professor
at his 60th birthday"
3 deprive of strength or efficiency;
make useless or worthless; "This
measure crippled our efforts"; "Their
behavior stultified the boss's hard work"
cripple weaken - lessen the strength of;
50
55
60
65
—Is that you, pigeon?
—¿Eres tú, pichón?
—Number ten. Fresh Nelly
—En el número diez. Nelly la
124
devious [person] taimado, ladino,
malintencionado;
[means] dudoso, artero; by
devious means=con artimañas; [camino] tortuoso, sinuoso;
devious 1 : OUT-OF-THE-WAY,
REMOTE 2 a : WANDERING,
ROUNDABOUT <a devious path>
b : moving without a fixed course
: ERRANT <devious breezes> 3
a : deviating from a right,
accepted, or common course b :
not straightforward : CUNNING;
also : DECEPTIVE
devious
[means] dudoso; artero [person]
taimado, [path] tortuoso, sinuoso, errático 1. adj. Vagabundo,
ambulante, sin domicilio cierto. 2.
V. estrella errática. 3. Med. Que
va de una parte a otra sin tener
asiento fijo. Tortuoso, incierto,
vacilante.
Joyce’s Portrait
is waiting on you.
—Good night, husband!
Coming in to have a short
5
time?
—Buenas
noches,
m a r i d i t o . ¿Q u é , e n t r a s u n
rato?
The equation on the page
of his scribbler began to
spread out a widening tail,
eyed and starred like a
p e a c o c k ’s ; a n d , w h e n t h e
eyes and stars of its indices
had been eliminated, began
slowly to fold itself together
again. The indices appearing
and disappearing were eyes
opening and closing; the eyes
opening and closing were
stars being born and being
quenched. The vast cycle of
starry life bore his weary
mind outward to its verge
and inward to its centre, a
distant music accompanying
him outward and inward.
What music? The music
came nearer and he recalled
the words, the words of
Shelley’s fragment upon the
moon
wandering
companionless, pale for
weariness. The stars began
to crumble and a cloud of
fine stardust fell through
space.
La ecuación en la página de
su borrador comenzó a desarrollar una cola cada vez más ancha, llena de ojos y estrellada
como la rueda de un pavo real.
Y según iba eliminando los exponentes volvía a recogerse y
desplegarse despacio. Los exponentes aparecían y desaparecían
según los ojos se iban abriendo
o cerrando. Y los ojos al abrirse
y al cerrarse eran estrellas que
nacían o se apagaban. Este vasto ciclo de vida estrellada transportaba su imaginación, hacia
afuera, hasta su límite, y, hacia
el interior, hasta su centro,
mientras una música distante
acompañaba tal flujo y reflujo.
Pero, ¿qué música? La música se
fue aproximando y logró evocar
las palabras, aquellas palabras
del fragmento de Shelley en que
habla de la luna errante, sin
compañía, pálida de hastío. Las
estrellas
comenzaron
a
desmenuzarse y una nube de
fino polvo estelar cayó por el espacio.
40
The dull light fell more
faintly upon the page whereon
another equation began to
unfold itself slowly and to
spread abroad its widening
45
tail. It was his own soul going
forth to experience, unfolding
itself sin by sin, spreading
abroad the bale-fire of its
burning
stars and folding back
50
upon itself, fading slowly,
quenching its own lights and
fires. They were quenched:
and the cold darkness filled
55 chaos.
La luz tristona se hacía aún
más débil sobre la página donde una nueva ecuación había
comenzado a desarrollarse, amplificando progresivamente su
ancha cola: era su propia alma
que salía a la ventura, desarrollándose pecado tras pecado,
amplificando la luminaria de
sus ardientes estrellas, para replegarse de nuevo y desvanecerse
lentamente, apagadas sus luces
y sus llamas. Se había apagado.
Y la oscuridad fría llenaba el
caos.
A cold lucid indifference
reigned in his soul. At his first
violent sin he had felt a wave
60
of vitality pass out of him and
had feared to find his body or
his soul maimed by the excess.
Instead the vital wave had
65 carried him on its bosom out
of himself and back again when
it receded: and no part of body
Una fría y lúcida indiferencia reinaba en su alma.
Tr a s s u p r i m e r o y v i o l e n t o
pecado sintió que una onda de
vitalidad [117] había fluido
de él y temió no quedara su
alma o su cuerpo mutilados
por el exceso. Mas, no; la
onda vital se lo había llevado
en su seno para devolverle
• his scribbler his notebook.
10
eyed and starred like a peacock’s Symbolic, perhaps’ of
woman. But it is linked, as we see, to ‘his own soul
going forth to experience’. ‘
15
20
25
30
1. Shelley’s fragment . . . weariness: see Chapter Il,
note 73.
• Shelley’s fragment the reference is to Shelley’s
unfinished poem «To the Moon:’
35
balefire: large fire in the open air
Frescachona te está esperando.
125
Joyce’s Portrait
otra vez en el reflujo. Y ni su
alma ni su cuerpo habían sido
mutilados, y una paz sombría
se había establecido entre
ellos. El caso en el cual su
ardor se extinguía era el frío
e indiferente conocimiento de
sí mismo. Había pecado mortalmente no sólo una vez, sino muchas; y sabía que aunque por el
primer pecado estaba ya en peligro de eterna condenación, cada
nuevo pecado multiplicaba su culpa y su castigo. Sus días, sus palabras, sus pensamientos no le podían ser propiciatorios porque
las fuentes de la gracia santificante
habían dejado de refrescar su
alma. A lo más, al dar una limosna a un mendigo de cuyas bendiciones huía, podía e s p e r a r l l e no de tedio el obtener algun a p a r t í c u l a d e g r a c i a actua l.
La devoción se le había marchado
por la borda. ¿De qué le servía rezar si sabía que su alma estaba anhelando la propia destrucción?
Algo que era orgullo o temor le
impedía el ofrecer a Dios ni siquiera una plegaria por la noche, aunque sabía que estaba en la mano
de Dios el arrebatarle la vida durante el sueño y precipitarle en el
infierno, sin darle tiempo ni aun
de pedir clemencia. El orgullo de
su culpa, y su frío temor de Dios,
le decían que su ofensa era demasiado grave para que pudiera ser reparada, ni total ni parcialmente,
por un falso homenaje dirigido al
que todo lo ve y todo lo sabe.
— We l l n o w, E n n i s , I
declare you have a head
and so has my stick! Do
50 y o u m e a n t o s a y t h a t
you are not able to tell
me what a surd is?
—¡Está bien, Ennis! ¡Te
digo que tienes la cabeza tan
dura como el puño de mi bastón! ¡De modo que sales con
que no me puedes decir lo que
es una cantidad irracional!
The blundering answer
La disparatada respuesta
reavivó el rescoldo de su desprecio hacia sus compañeros.
Para con los otros no sentía ni
vergüenza ni temor. Los domingos por la mañana, al pasar por la puerta de la iglesia,
echaba una mirada llena de
frialdad a los devotos que
destocados, de cuatro en fondo, estaban a la parte de fuera
asistiendo espiritualmente a la
misa que no podían ni ver ni oír.
5
• sinned mortally to commit a mortal sin, one must be
fully aware that a sin is being committed; knowingly
and willingly acting against the laws of God.
10
15
2. sanctifying grace ... actual grace: in Catholic doctrine,
internal grace is divided into two kinds - sanctifying
and actual. Sanctifying grace inheres in the
substance of the soul; its presence is incompatible
with mortal sin. It is a gift freely given, never merited.
Actual grace is an impulse that excites the mind to
the performance of a good act, the grace of operation;
but it only becomes efficacious if the mind is willing
to continue with the good works already begun the
grace of cooperation.
• grace the freely given, unmerited favor and love of
God; the condition of being in God’s favor.
avail utilidad, beneficio, ventaja 2 valer servir,
valerse de, beneficiar, aprovechar 1 tr. help,
benefit. 2 refl. (foll. by of) profit by; take
advantage of. 3 intr. a provide help. b be of
use, value, or profit. — n. (usu. in neg. or
interrog. phrases) use, profit (of no avail;
without avail; of what avail?).
20
25
30
35
40
45
surd Either means irrational (in Maths), or a sound uttered
with the breath and not the voice.
• surd an irrational number; the root of an integer.
or soul had been maimed but a
dark peace had been
established between them. The
chaos in which his ardour
extinguished itself was a cold
i n d i ff e r e n t k n o w l e d g e o f
himself. He had sinned
mortally not once but many
times and he knew that, while
he stood in danger of eternal
damnation for the first sin
alone, by every succeeding sin
he multiplied his guilt and his
punishment. His days and
works and thoughts could make
no atonement for him, the
fountains of sanctifying grace
having ceased to refresh his
soul. At most, by an alms given
to a beggar whose blessing he
fled from, he might hope
wearily to win for himself
some measure of actual grace.
Devotion had gone by the
board. What did it avail to pray
when he knew that his soul
lusted
after
its
own
destruction? A certain pride, a
certain awe, withheld him from
o ff e r i n g t o G o d e v e n o n e
prayer at night, though he knew
it was in God’s power to take
away his life while he slept and
hurl his soul hellward ere he
could beg for mercy. His pride
in his own sin, his loveless awe
of God, told him that his
offence was too grievous to be
atoned for in whole or in part
by a false homage to the Allseeing and All-knowing.
55 s t i r r e d t h e e m b e r s o f h i s
decry depreciar, desprestigiar, vituperar, condenar, afear 1
condemn, reprobate, objurgate, excoriate express
strong disapproval of; «We condemn the racism in
South Africa»; «These ideas were reprobated»
3. four deep . . . see nor hear: although outside the
church door, the worshippers are deemed to be
morally present at the Mass. Although much decried
by the clergy, this kind of lurking attendance was
widely practised, chiefly by men.
contempt of his fellows.
To w a r d s o t h e r s h e f e l t
neither shame nor fear. On
Sunday mornings as he
60
passed the church door he
glanced coldly at the
worshippers who stood
b a re h e a d e d , four d e e p,
65 outside the church, morally
present at the mass which they
could neither see nor hear.
126
actual (En) real, verdadera, efectivo, concreto,
auténtico, mismo [very],
actual (Sp) 1. adj. presente, en el mismo momento. 2. Que existe, sucede o se usa en
el tiempo de que se habla. Reciente, reinante, palpitante
actuality n. (pl. -ies) 1 reality; what is the case
[constatación, implementación]. 2 (in pl.)
existing conditions.
devotion lealtad, dedicación, deberes
Joyce’s Portrait
prefecture. . .of the sodality: leadership of an honorific
student association
4. sodality of the Blessed Virgin Mary: a sodality is an
association of lay people that meets regularly for
pious exercises in obedience to a set of rules framed
to promote a specific end - in this case, to give honour
to the Blessed Virgin. Stephen’s prefecture is an
acknowledgement of his piety.
sodality A confraternity of a religious character. the little
office A collection of biblical readings which were
recited daily in honour of the Virgin Mary.
• Sodality of the Blessed Virgin Mary a religious
association formed by the Jesuit order and based
on Loyola’s devotion to the Blessed Virgin Mary.
Stephen is the administrative leader /prefect/ of this
organization, which performs charitable works and
meets on Saturday mornings for prayers in honor of
the Virgin Mary.
Su roma piedad y el mareante
[118] olor de las pomadas baratas con las que se habían untado la cabeza, le repelían de
aquel mismo altar que ellos
adoraban. Y se rebajó hasta el
vicio de ser hipócrita para con
los demás, permitiéndose dudar
escépticamente de una inocencia
que a él le costaba tan poco trabajo fingir.
On the wall of his bedroom
De la pared de su alcoba
pendía un pergamino iluminado, el diploma de prefecto de
la congregación de la Santísima Virgen María que había en
el colegio. Los domingos por la
mañana, cuando la congregación se reunía en la capilla para
rezar el oficio pareo, su sitio
era un reclinatorio acojinado,
a la derecha del altar, desde el
cual dirigía las respuestas de
los congregantes de su ala. La
falsedad de su posición no le
apesadumbraba. En algunos
momentos sentía impulsos de
levantarse de su sitio de honor
y abandonar la capilla tras haber confesado su indignidad,
pero una sola mirada a las caras de sus compañeros le detenía. Las metáforas de los salmos proféticos amansaban su
estéril orgullo. Las glorias de
María mantenían su alma cautiva: nardo, mirra e incienso
simbolizaban su real linaje; sus
emblemas, la planta y el árbol
de serondo florecer, simbolizaban el gradual crecimiento de
su culto entre los hombres a través de las edades. Cuando le
tocaba leer la lección al fin del
oficio, leía con una voz velada, acunándose la conciencia
con su música.
15 hung an illuminated scroll, the
20
5. the little office: this collection of prayers, consisting of
psalms and lessons, is said on all Saturdays in the
Roman Catholic Church.
25
30
35
The glories of Mary A sermon by Cardinal Newman.
40
her royal lineage: as descended from King David
6. emblems . . . cultus among men: these emblems are
to be found in the Psalms; the history of the growth
of the cult of Mary is given in Cardinal Newman’s
‘The. Glories of Mary for the Sake of her Son’ in
Discourses to Mixed Congregations (1849), in his
Development of Christian Doctrine (1845) and in his
Letter to Dr Pusey (1843).
45
50
7. Quasi cedrus . . . odoris: Ecclesiasticus: 24 : 17--20.
I was exalted like a cedar of Lebanon and as a cypress
tree on Mount Sion. I was exalted like a palm tree in
Gades, and as a rose plant in Jericho. As a fair olive
tree in the plains, and as a plane tree by the water in
the streets was I exalted. I gave a sweet smell like
cinnamon and an aromatical balm! I yielded a sweet
odour like the best myrrh.
Quasi cedrus ... suavitatem odoris This is from the Little
Office but there are errors in it. It is, as one would
expect, in praise of the Virgin Mary.
• Quasi cedrus exalta sum . . . odoris. I was exalted just
as the cedars of Lebanon and the cypress trees of
Mount Zion. I was exalted just as the palms in Cadiz
(Spain) and as the roses in Jericho. I was exalted
just as the beautiful olives on the plains and the plane
trees that grow alongside the streams. Just as I gave
forth the strong fragrance of cinnamon and the
balsam tree, I also gave forth the sweet fragrance of
the choicest myrrh.
Their dull piety and the
s i c k l y s m e l l o f t h e cheap
hair-oil with which they had
anointed their heads repelled
5
him from the altar they prayed
at. He stooped to the evil of
hypocrisy with others,
sceptical
of
th e i r
i
n
n
o
c
e
n
c
e
w
h
i
c
h he
10
could
cajole
so
e a s i l y.
certificate of his prefecture in
the college of the sodality of
t h e B l e s s e d Vi r g i n M a r y .
On Saturday mornings
when the sodality met in
the chapel to recite the
l i t t l e o f f i c e h i s place was
a cushioned kneeling-desk at
the right of the altar from
which he led his wing of
boys through the responses.
The falsehood of his
position di d not pain him. If
at moments he felt an impulse
to rise from his post of honour
and, confessing before them
all his unworthiness, to leave
the chapel, a glance at their
f a c e s restrained him. The
imagery of the psalms of
prophecy soothed his barren
pride. The glories of Mary held
his soul captive: spikenard and
myrrh and frankincense,
symbolizing her royal lineage,
her emblems, the late-flowering
plant and late-blossoming tree,
symbolizing the age-long
gradual growth of her cultus
among men. When it fell to him
to read the lesson towards the
close of the office he read it in a
veiled voice, lulling his
conscience to its music.
Quasi cedrus exaltata sum
in Libanon et quasi cupressus
in monte Sion. Quasi palma
exaltata sum in Gades et quasi
p l a n t a d o ro s a e i n J e r i c h o .
Quasi uliva speciosa in campis
et quasi platanus exaltata sum
juxta aquam in plateis. Sicut
cinnamomum et balsamum
aromatizans odorem dedi et
quasi myr rha electa deai
suavitatem odoris.
QUASI CEDRUS EXALTATA SUM IN
55 LIBANON ET QUASI CUPRESSUS IN
MONTE
SION.
QUASI
PALMA
EXALTATA SUM IN GADES ET QUASI
PLANTATIO ROSAE IN JERICHO.
60
QUASI ULIVA SPECIOSA IN CAMPIS
ET QUASI PLATANUS EXALTATA SUM
JUXTA AQUAM IN PLATEIS. SICUT
CINNAMOMUM ET BALSAMUM
AROMATIZANS ODOREM DEDI ET
65 QUASI MYRRHA ELECTA DEDI
SUAVITATEM ODORIS.
127
lulling adormeciendo
Joyce’s Portrait
5
10
15
20
8. morning star: one of the titles given to Mary in the
Litany of the Blessed Virgin, deriving from patristic
literature.
9. bright . . . peace: from Newman’s ‘The Glories of Mary’
in Discourses to Mixed Congregations.
bright and musical A quotation from The Glories of Mary.
bright and musical, telling of heaven and infusing peace:
quotation from ‘The Glories of Mary’, in Discourses
to Mixed Congregations (1849), by Cardinal Newman
His sin, which had covered
him from the sight of God, had
led him nearer to the refuge of
sinners. Her eyes seemed to
regard him with mild pity; her
holiness, a strange light
glowing faintly upon her frail
flesh, did not humiliate the
sinner who approached her.
If ever he was impelled to
cast sin from him and to
repent the impulse that
moved him was the wish to
be her knight. If ever his
soul,
re-entering
her
dwelling shyly after the frenzy
of his body’s lust had spent
itself, was turned towards her
whose emblem is the morning
s t a r, BRIGHT AND MUSICAL,
TELLING
OF
HEAVEN
Su pecado le había apartado
de la vista de Dios, pero le había conducido más cerca del refugio de los pecadores. Los ojos
de la Virgen parecían mirarle
con una benigna piedad. Su santidad, como una extraña luz que
brillara vagamente sobre su carne delicada, no humillaba al pecador que se acercaba [119] a
ella. Si alguna vez se sentía impelido a arrojar de sí el pecado
y a arrepentirse, el impulso que
le movía era el de ser su caballero. Si alguna vez su alma volvía a entrar en la propia morada, apagado ya el frenesí del deseo carnal, y se volvía a aquella
cuyo emblema es el lucero de la
mañana, ese lucero brillante y
musical que nos habla del cielo y
paz infunde, era cuando los nombres de ella eran murmurados suavemente por aquellos labios donde todavía había un eco de puercas y vergonzosas palabras, tal
vez el sabor de un beso lascivo.
AND
it was when
25 her names were murmured
softly by lips whereon there
still lingered foul and
shameful words, the savour
itself of a lewd kiss.
INFUSING PEACE,
30
10. sums and cuts: arithmetic and geometrical theorems.
• sums and cuts the teacher has assigned the next
problems to be done.
sums and cuts: math problems, generally based on
Euclid
Era extraño. Trataba de explicarse cómo podía ser. Pero
el crepúsculo, que se hacía
cada vez más denso en la clase, le ocultaba sus propios pensamientos. Sonó la campana.
El profesor señaló los problemas y los gráficos que tenían
que preparar para el próximo
día y salió. Al lado de Stephen,
Heron comenzó a cantar
desafinadamente:
That was strange. He
tried to think how it could
be.
But
the
dusk,
d
e
e
p
e
n
i
n
g
i
n
the
35
schoolroom, covered over
his thoughts. The bell
rang. The master marked
the sums and cuts to be
40 d o n e f o r t h e n e x t l e s s o n
and went out. Heron,
beside Stephen, began to
h u m t u n e l e s s l y.
45
My excellent friend Bombados Line from a current song.
Mi excelente
Bombados.
MY EXCELLENT FRIEND
BOMBADOS.
• Ennis, who had gone to the yard Ennis had gone to the
school urinal.
Ennis, who had gone to the
yard,
came back, saying:
50
Ennis, que había ido al patio,
volvió diciendo:
—The boy from the house
is coming up for the rector.
—El recadero de la residencia viene a buscar al rector.
A tall boy behind
Stephen rubbed his
hands and said:
Un muchacho alto que estaba detrás de Stephen se frotó las
manos y dijo:
55
game ball: a piece of luck
11. game ball ... scut the whole hour: meaning, ‘that’s
the class over; we can skip the whole hour.’
That’s game ball i.e. we shall be free to play.
• We can scut the whole hour. We have the next hour
free.
• catechism a series of questions and answers containing
the summing up and the key principles of
Catholicism.
amigo
game ball: good luck
—¡Estupendo! Entonces
podemos hacer lo que nos dé
la gana toda la hora. Seguramente no vuelve hasta después
de las dos y media. Y entonces
le puedes preguntar dudas de
catecismo, tú, Dédalus.
— T h a t ’s g a m e b a l l .
We c a n s c u t t h e w h o l e
h o u r. H e w o n ’t b e i n
till after half two. Then
you
can
ask
him
on
the
65 q u e s t i o n s
catechism, Dedalus.
60
128
Joyce’s Portrait
Stephen estaba recostado hacia
atrás
y
dibujaba
indolentemente en el borrador escuchando la charla de los otros,
que Heron se encargaba de moderar de vez en cuando, diciendo:
—Shut up, will you.
D
o
n’t make such a bally
10
racket!
—Callad la boca, si os da la
gana. No arméis ese condenado jaleo.
It was strange too that he
found an arid pleasure in
following up to the end the
rigid lines of the doctrines of
the church and penetrating
into obscure silences only to
hear and feel the more deeply
his own condemnation. The
sentence of saint James
which says that he who
offends
against
one
commandmen t
becomes
guilty of all, had seemed to
him first a swollen phrase
until he had begun to
grope in the darkness
o f h i s o w n state.
F r o m the evil seed of lust all
other deadly sins had sprung
forth: pride in himself and
contempt of others, covetousness
In using money for the purchase
of unlawful pleasures, envy of
those whose vices he could not
reach to and calumnious
murmuring against the pious,
gluttonous enjoyment of food,
the dull glowering anger amid
which he brooded upon his
longing, the swamp of spiritual
and bodily sloth in which his
whole being had sunk.
Era extraño cómo encontraba un árido placer en seguir hasta su término líneas
de doctrina católica y en penetrar hasta los puntos más
oscuros sólo por oír y sentir
más profundamente su propia
condenación. Aquella sentencia [120] de la Epístola del
apóstol Santiago, según la
cual el que infringe un mandamiento se hace reo de todos, le había parecido antes
ser una frase vacía y sólo la
había llegado a comprender
ahora al tantear en la oscuridad de su propia situación.
De la mala semilla del placer
habían brotado todos los
otros pecados mortales: orgullo de sí mismo y desprecio
de los demás, codicia de dinero para procurarse placeres
vedados, envidia de aquellos
cuyos vicios no podía alcanzar, goce glotón de la comida, aquella cólera sombría y
calenturienta entre la cual
fermentaba el deseo, el pantano de pereza espiritual y
corporal en el que todo su ser
se había hundido.
As he sat in his bench
gazing
calmly at the rector ’s
50
shrewd harsh face, his mind
wound itself in and out of the
curious questions proposed to
it. If a man had stolen a pound
55 in his youth and had used that
pound to amass a huge fortune
how much was he obliged to
give back, the pound he had
stolen only or the pound
60
together with the compound
interest accruing upon it or all
his huge fortune? If a layman
in giving baptism pour the
65 water before saying the words
is the child baptized? Is
baptism with a mineral water
Cuando sentado en su pupitre contemplaba fijamente la cara astuta y enérgica del rector, la mente de Stephen se
deslizaba sinuosamente a través de
aquellas peregrinas dificultades que le
eran propuestas. Si un hombre hubiera
robado una libra esterlina en su juventud y con aquella libra hubiera amasado luego una enorme fortuna, ¿qué era
lo que estaba obligado a devolver, sólo
la libra que había robado, o la libra con
todos los intereses acumulados, o el
total de su inmensa fortuna? Si un seglar al administrar el bautismo,
vierte el agua antes de pronunciar
las palabras rituales, ¿queda el
niño bautizado? ¿Es válido el
bautismo con agua mineral?
15
20
The sentence of saint James The paraphrase refers to
the General Epistle of James 2, 10: ‘For whosoever
shall keep the whole law, and yet offend in one point,
he is guilty of all’.
25
12. guilty of all: Epistle of James 2:10: ‘Whoever keeps
the law but offend in one part has become guilty in
all.’
30
13. From the evil seed . . . whole being had sunk: Stephen
has enumerated the seven deadly sins - Lust, Pride,
Covetousness, Envy, Gluttony, Anger, Sloth.
35
40
glower mirar con el ceño fruncido, lanzar una mirada de ira, calenturienta, encendida, fulminante; lanzar
una mirada fulminante, fulminar con
la mirada, enfurecer
14. If a man . . . huge fortune?: Stephen is rehearsing
one of the standard puzzles about the doctrine of
restitution. He is not, as has been said, inviting a
simoniacal answer in which something temporal is
exchanged for something spiritual.
15. If a layman . . . valid?: exercises in scrupulousness,
the estimation of an action on grounds unworthy of
serious consideration.
Stephen, leaning back
and drawing idly on his
s c r i b b l e r, l i s t e n e d t o t h e
talk about him which
5
Heron checked from time
to time by saying:
45
129
compound 1 1 a mixture of two or more
things, qualities, etc. 2 (also compound
word) a word made up of two or more
existing words. 3 Chem. a substance
formed from two or more elements
chemically united in fixed proportions.
1 a made up of several ingredients. b
consisting of several parts. 2 combined;
collective. 3 Zool. consisting of individual organisms. 4 Biol. consisting of
several or many parts.
1 tr. mix or combine (ingredients, ideas,
motives, etc.) (grief compounded with
fear). 2 tr. increase or complicate
(difficulties etc.) (anxiety compounded
by discomfort). 3 tr. make up (a
composite whole). 4 tr. (also absol.)
settle (a debt, dispute, etc.) by
concession or special arrangement. 5
tr. Law a condone (a liability or offence)
in exchange for money etc. b forbear
from prosecuting (a felony) from private
motives. 6 intr. (usu. foll. by with, for)
Law come to terms with a person, for
forgoing a claim etc. for an offence. 7
tr. combine (words or elements) into a
word.
Joyce’s Portrait
16. How comes it . . . possess the land?: the beatitudes,
eight in number, were pronounced at the beginning
of the Sermon on the Mount, Matthew 5:3-4 (Douay).
The first two are: ‘Blessed are the poor in spirit: for
theirs is the kingdom of heaven. Blessed are the
meek: for they shall possess the land.’
first beatitude. . .second beatitude: being «poor in spirit»
and «meek», from the Sermon on the Mount in the
Douay (Catholic) Bible version, Matthew 5.
5
17. Why was the sacrament ... and as man?: all of these
questions are answered in standard doctrine and in
the catechism Stephen would have studied at school.
10
15
20
25
valid? How comes it that while
the first beatitude promises the
kingdom of heaven to the poor
of heart the second beatitude
promises also to the meek that
they shall possess the land?
Why was the sacrament of the
eucharist instituted under the
two species of bread and wine
if Jesus ‘Christ be present body
and blood, soul and divinity, in
the bread alone and in the wine
alone? Does a tiny particle of
the consecrated bread contain
all the body and blood of Jesus
Christ or a part only of the
body and blood? If the wine
change into vinegar and the
host crumble into corruption
after they have been
consecrated, is Jesus Christ
still present under their species
as God and as man?
¿Cómo puede ser que mientras la
primera bienaventuranza promete el reino de lo s c i e l o s a l o s
pobres de corazón, la segunda promete a los mansos
l a p o s e s i ó n d e l a t i e r r a?
¿Por qué fue el sacramento de
la eucaristía instituido bajo
las especies de pan y vino,
siendo así que Jesucristo
está presente en cuerpo y
sangre, alma y divinidad en
el pan solo y en el vino
solo? ¿Contiene una pequeña partícula del pan consagrado todo el cuerpo y la
sangre de Jesucristo, o sólo
una parte de ellos? Si el
vino se agria y la hostia se
corrompe y se desmenuza,
¿continúa Jesucristo estando
presente bajo las especies como
Dios y como hombre?
rector come from the
house. All the catechisms
were opened and all heads
35 b e n t u p o n t h e m s i l e n t l y.
The rector entered and took
his seat on the dais. A
gentle kick from the tall
boy in the bench behind
40 u r g e d S t e p h e n t o a s k a
d i ff i c u l t q u e s t i o n .
—¡Que viene! ¡Que viene!
[121]
Un chico apostado a la
ventana había visto que el rector
salía de la residencia. Todos los
catecismos se abrieron; todas las
cabezas se inclinar o n s o b r e
e l l o s s i lenciosamente. El rector entró y ocupó su asiento sobre la
tarima. Un suave puntapié del chico alto que estaba sentado en el
banco de detrás de Stephen urgió
a éste para que propusiera alguna
cuestión muy difícil.
The rector did not ask for
a catechism to hear the lesson
45
from. He clasped his hands on
the desk and said:
Pero el rector no pidió un catecismo para preguntar por él la
lección, sino que unió las manos
sobre el pupitre y dijo:
—The retreat will begin on
We
dnesday afternoon in
50
honour of saint Francis Xavier
whose feast day is Saturday.
The retreat will go on from
We d n e s d a y t o F r i d a y. O n
55 Friday confession will be heard
all the afternoon after beads.
If any boys have special
confessors p e r h a p s i t w i l l
be better for them not to
60
change. Mass will be on
Saturday morning at nine
o’clock
and
general
communion for the whole
65 c o l l e g e . S a t u r d a y w i l l b e a
free day. But Saturday and
Sunday being free days
—El miércoles por la noche comenzará el retiro en honor de San Francisco Xavier,
cuya festividad se celebra el
sábado. El retiro durará desde
el miércoles hasta el viernes.
El viernes por la tarde, después del rosario, habrá confesiones generales. Si algunos
alumnos tienen ya su confesor
especial, tal vez será lo mejor
que no cambien. El sábado, a las
nueve de la mañana habrá misa
de comunión general para todo
el colegio. El sábado será día de
vacación. Pero como el sábado
y el domingo son días de vacación; puede ser que haya algu-
—Here he is! Here he is!
A boy from his post at
30 t h e w i n d o w h a d s e e n t h e
The retreat Temporary retirement for religious exercises.
In A Portrait it only occupies two days.
special confessors: priests to whom a penitent goes
regularly
130
Joyce’s Portrait
some boys might be
inclined to think that
Monday is a free day also.
Beware of making that
5
mistake. I think you,
Lawless, are likely to make
that mistake.
10
fold and fade with fear like a withering flower Notice
how the alliterative use of ‘f’ conveys the tremulous,
short-of-breath feeling that Stephen is experiencing.
—I sir? Why, sir?
—¿Yo, señor? ¿Por qué, señor?
A little wave of quiet mirth
broke forth over the class of
boys from the rector ’s grim
15 smile. Stephen’s heart began
slowly to fold and fade with
fear like a withering flower.
The rector
gravely:
went
Una oleada de contenida hilaridad salió de la sonrisa severa
del rector y se propagó por la clase. El corazón de Stephen comenzó a replegarse y a marchitarse
como una flor en agonía.
on
El padre rector prosiguió gravemente:
—You are all familiar with
the story of the life of saint
25 Francis Xavier, I suppose, the
patron of your college. He
came of an old and illustrious
Spanish family and you
remember that he was one of
30 the first followers of saint
Ignatius. They met in Paris
where Francis Xavier was
professor of philosophy at the
35 university. This young and
brilliant nobleman and man of
letters entered heart and soul
into the ideas of our glorious
founder and you know that he,
40 at his own desire, was sent by
saint Ignatius to preach to the
Indians. He is called, as you
k n o w, t h e a p o s t l e o f t h e
Indies. He went from country
45
to country in the east, from
Africa to India, from India to
Japan, baptizing the people.
He is said to have baptized as
50 many as ten thousand idolaters
in one month. It is said that his
right arm had grown powerless
from having been raised so
often over the heads of those
55 whom he baptized. He wished
then to go to China to win still
more souls for God but he
died of fever on the island of
Sancian. A great saint, saint
60
Francis Xavier! A great
soldier of God!
—Os supongo a todos familiarizados con la vida de San
Francisco Xavier, patrón de
nuestro colegio. Procedía de
una antigua e ilustre familia española y recordaréis que fue
uno de los primeros seguidores
de San Ignacio. Se encontraron
en París, donde Francisco
Xavier era profesor de Filosofía en la Universidad. Xavier,
joven, brillante, noble y hombre
[122] de letras, se penetró en
cuerpo y alma de las ideas de
nuestro glorioso fundador y,
como sabéis, a petición propia
fue enviado por San Ignacio a
predicar a los indios. Se le llama, como recordaréis, el Apóstol de las Indias. Recorrió todo
el oriente, bautizando a las multitudes, de territorio en territorio, desde África hasta la India,
desde la India hasta el Japón. Se
dice que llegó a bautizar hasta
diez mil idólatras en un mes y
que su brazo derecho se le quedó paralítico de haberse alzado
tantas veces sobre las cabezas
de aquellos a quienes administraba el bautismo. Después se
propuso entrar en China para ganar todavía más almas para Dios,
pero murió de fiebres en la isla de
Sancian. ¡Qué gran santo San
Francisco Xavier! ¡Qué gran soldado de Dios!
The rector paused and then,
El rector hizo una pausa y
luego, sacudiendo delante de sí
las manos unidas, continuó:
20
Sancian Island off the Chinese mainland.
nos alumnos que se inclinen a
pensar que el lunes no hay clase
tampoco. ¡Mucho cuidado con
no incurrir en este error! Supongo que tú, Lawless, incurrirás
probablemente en esta equivocación.
65 shaking his clasped hands
before him, went on:
131
Joyce’s Portrait
18. A great fisher o f souls: the phrase is adapted from
the words of Jesus in Matthew 4:19, ‘fishers of men’.
The potted history of St Francis Xavier (1506-52),
the second-in-command to the founder of the Jesuit
order, St Ignatius Loyola (11491-1556), is traditional
and true in its main features.
A great fisher of souls! From now on, biblical references
are thick and fast in this chapter. The student will be
able to identify many of them by the use of a
Corcordance to the Bible, but the important thing to
note is the way Joyce captures the manner of the
preacher.
kindle glow, light, encender, arouse,
inspire, despertar
the simoom The hot, dry, suffocating wind that crosses
the desert.
simoom: a hot wind, seasonal in some deserts
Ecclesiastes Contains no verse 40 in Chapter 7. The
reference is to Ecclesiasticus in the Apocrypha.
—Poseía la fe que mueve las
montañas. ¡Diez mil almas ganadas para Dios en sólo un mes!
¡Éste sí que era un verdadero
conquistador, fiel al lema de
nuestra Orden, ad majorem Dei
gloriam! Acordaos de que es un
santo que tiene gran poder en el
cielo: poder para interceder por
nosotros en nuestras tribulaciones, siempre que sea para bien de
nuestra alma; poder para
obtenernos la gracia del arrepentimiento si hemos caído en el
pecado. ¡Qué gran santo, San
Francisco Xavier! ¡Qué gran pescador de almas!
20
He ceased to shake
his clasped hands
and, resting them
against his forehead,
25 l o o k e d r i g h t a n d l e f t
of them keenly at his
listeners out of his
dark stern eyes.
Había cesado de agitar sus manos unidas y, descansándolas sobre la frente, lanzaba agudas miradas a su auditorio, miradas que
salían de sus ojos sombríos y severos, salvando, ora por la derecha y ora por la izquierda, la pantalla de las manos.
30
Y en el silencio, la combustión
sombría de aquellos ojos incendiaba
el crepúsculo en una
lumbrarada amarillenta . El
corazón de Stephen se había
marchitado como una flor del
desierto al sentir en la lejanía los presagios del simún.
In the silence their
da r k f i r e k i n d l e d t h e
d u s k
i n t o
a
tawny [brownish] glow.
heart had
35 S t e p h e n ’ s
withered up like a flower
of the desert that feels
the simoom coming from a f a r.
40
19. Ecclesiastes . .. fortieth verse: in fact, it is
Ecclesiasticus 7:40 (Douay). The ‘last things’ are
death, judgement, heaven and hell.
-Remember only thy last things and thou shalt not sin
for ever: the text is not from the Old Testament book
Ecclesiastes but from the apocryphal book
Ecclesiasticus (7: 36)
—He had the faith in him
that moves mountains. Ten
thousand souls won for God in
a single month! That is a true
5
conqueror, true to the motto of
our order: AD MAJOREM DEI
GLORIAM! A saint who has
great power in heaven,
10 remember: power to intercede
for us in our grief; power to
obtain whatever we pray for if
it be for the good of our souls;
power above all to obtain for
15 us the grace to repent if we be
in sin. A great saint, saint
Francis Xavier! A great fisher
of souls!
***
[123]
—Ac u é r d a t e t a n s ó l o d e
tus postrimerías y no pecarás jamás, son palabras
tomadas, mis queridos hermanitos en Jesucristo, del libro
del Eclesiastés, c a p í t u l o s é p timo, versículo cuarto. En
el nombre del Padre y del
Hijo y del Espíritu Santo.
Amén.
*****
—R E M E M B E R
ONLY THY
LAST THINGS AND THOU SHALT
NOT SIN FOR EVER— words
taken, my dear little brothers
in Christ, from the book of
Ecclesiastes,
seventh
chapter, fortieth verse. In the
50 name of the Father and of the
Son and of the Holy Ghost.
Amen.
45
Stephen estaba sentado en el
primer banco de la capilla. El Padre Arnall lo estaba ante una mesa
a la derecha del altar. Tenía echado sobre los hombros un pesado
manteo, la cara pálida y consumida, y una voz cascada de reumático. La figura tan extrañamente
cambiada de su profesor, trajo a la
mente de Stephen las escenas de
su vida anterior en Clongowes: los
anchos campos de juego,
hormigueantes de muchachos;
Stephen sat in the front
55 bench of the chapel. Father
Arnall sat at a table to the
l e f t o f t h e a l t a r. H e w o r e
about his shoulders a heavy
cloak; his pale face was
60
drawn and his voice broken
with rheum. The figure of
his old master, so strangely
rearisen, brought back to
65 Stephen’s mind his life at
Clongowes: the wide playgrounds,
swar m i n g w i t h b o y s ; t h e
132
Joyce’s Portrait
became again a child’s soul And the irony is that in doing
so it becomes vulnerable, the prey to past (religious)
associations.
render hacer inútil, resultar, dejar (ciego), presentar, dar, rendir (cuentas),
prestar (ayuda) , enlucir, interpretar,
traducir, verter
render v.tr. 1 cause to be or become; make
(rendered us helpless). 2 give or pay
(money, service, etc.), esp. in return or
as a thing due (render thanks; rendered
good for evil). 3 (often foll. by to) a give
(assistance) (rendered aid to the injured
man). b show (obedience etc.). c do (a
service etc.). 4 submit; send in; present
(an account, reason, etc.). 5 a represent
or portray artistically, musically, etc. b
act (a role); represent (a character, idea,
etc.) (the dramatist’s conception was
well rendered). c Mus. perform; execute.
6 translate (rendered the poem into
French). 7 (often foll. by down) melt
down (fat etc.) esp. to clarify; extract
by melting. 8 cover (stone or brick) with
a coat of plaster. 9 archaic a give back;
hand over; deliver, give up, surrender
(render to Caesar the things that are
Caesar’s). b show (obedience).
square ditch; the little
cemetery off the main avenue
of limes where he had dreamed
of being buried; the firelight
5
on the wall of the infirmary
where he lay sick; the sorrowful
face of Brother Michael. His
soul, as these memories
10 came back to him, became
again a child’s soul.
el foso; el pequeño cementerio
al otro lado de la avenida de tilos donde él había soñado que le
enterraban; el resplandor del fuego
sobre la pared de la enfermería donde yacía enfermo; la cara
ensombrecida del hermano Michael.
Y según estos recuerdos le iban volviendo, su alma se iba convirtiendo
otra vez en el alma de un niño.
—We are assembled here
today, my dear little brothers
15 in Christ, for one brief moment
far away from the busy bustle
of the outer world to celebrate
and to honour one of the
greatest of saints, the apostle
20
of the Indies, the patron saint
also of your college, saint
Francis Xavier. Year after year,
for much longer than any of
25 you, my dear little boys, can
remember or than I can
remember, the boys of this
college have met in this very
chapel to make their annual
30 retreat before the feast day of
their patron saint. Time has
gone on and brought with it its
changes. Even in the last few
35 years what changes can most of
you not remember? Many of the
boys who sat in those front
benches a few years ago are
perhaps now in distant lands, in
40 the burning tropics, or immersed
in professional duties or in
seminaries, or voyaging over the
vast expanse of the deep or, it
may be, already called by the
45
great God to another life and
to the rendering up o f t h e i r
stewardship. And still as
t h e y e a r s r o l l b y, b r i n g i n g
50 w i t h t h e m c h a n g e s f o r
good and bad, the memory
of the great saint is
honoured by the boys of
this college who make
55 e v e r y y e a r t h e i r a n n u a l
retreat on the days
preceding the feast day
set apart by our Holy
Mother the Church to
60
transmit to all the ages
the name and fame of one
of the greatest sons of
catholic Spain.
—Nos hemos congregado
hoy aquí, mis queridos hermanitos en Cristo, apartados por
un breve momento del barullo
afanoso del mundo exterior,
para celebrar y honrar a uno de
los más grandes santos, al apóstol de las Indias, santo patrono
también de vuestro colegio, a
San Francisco Xavier. Año tras
año, durante mucho más tiempo
que lo que cualquiera de vosotros o yo mismo podemos recordar, se han reunido los alumnos
de este colegio en esta misma
capilla, para hacer el retiro anual
antes de la fiesta de su santo patrono. Ha ido pasando el tiempo
e introduciendo nuevos cambios. Aun en los últimos años,
¿cuántos cambios no podéis recordar muchos de vosotros?
Muchos de los jóvenes que hace
pocos años se sentaban en esos
mismos bancos, están ahora quizás en tierras lejanas, o sumergidos ya en deberes profesionales, o en seminarios, o bien viajando sobre la vasta extensión
de los abismos del mar, o tal vez,
llamados ya a la otra vida por el
gran Dios, para rendir cuentas
de su conducta [124] terrestre.
Y sin embargo, conforme los
años van rodando, trayendo
consigo sus cambios, lo mismo
para bien que para mal, invariablemente la memoria de este
gran santo se ve honrada por los
alumnos de este colegio, cada
año una vez, en los días de retiro que preceden a la festividad establecida por nuestra
Santa Madre la Iglesia, para
transmitir a todas las edades
el nombre y la fama de uno de
los más grandes hijos de la
católica España.
65
—Now what is the
meaning of this word
»Pero veamos ahora cuál es
el significado de esta palabra,
133
Joyce’s Portrait
«retiro», y por qué es considerada por todo el mundo como la
práctica más saludable para
todo el que desee llevar ante
Dios y a los ojos de los hombres
una vida verdaderamente cristiana. Retiro, queridos niños, significa un temporal apartamiento
de todos los cuidados de la vida,
de todas las preocupaciones y
trabajos de la vida diaria, con
objeto de examinar el estado de
nuestra conciencia, para proyectar sobre ella los misterios de la
santa religión y para comprender mejor cuál es la causa por la
que estamos aquí en este mundo. Durante estos pocos días,
voy a tratar de poneros delante
algunos pensamientos concernientes a nuestras cuatro postrimerías. Nuestras postrimerías
son, como sabéis por el catecismo: muerte, juicio, infierno y
gloria. Trataremos de comprenderlas plenamente durante estos
pocos días, de modo que podamos derivar de la comprensión
de ellas un duradero beneficio
para nuestras almas. Y acordaos,
queridos jóvenes, de que hemos
sido enviados a este mundo para
una cosa y sólo para una cosa:
para hacer la santa voluntad de
Dios y salvar nuestras almas inmortales. Todo lo demás carece
de valor. Sólo una cosa es necesaria y es: la salvación de nuestra alma. ¿De qué le aprovecha
al hombre ganar todo el mundo,
si pierde su alma inmortal? ¡Ah,
queridos niños, creedme que no
hay nada en este mundo miserable que pueda compensar semejante pérdida!
—I
will
ask
you,
therefore, my dear boys, to
put away from your minds
during these few days all
55 worldly thoughts, whether of
study or pleasure or ambition,
and to give all your attention
to the state of your souls. I
need hardly remind you that
60
during the days of the retreat
all boys are expected to
preserve a quiet and pious
demeanour and to shun all
65 loud unseemly pleasure. The
elder boys, of course, will see
that this custom is not
»Os voy a rogar, por tanto,
queridos jóvenes, que apartéis
de vuestra imaginación durante estos pocos días todo pensamiento [125] mundano, ya
sea de estudios o de placer o
de ambición, y que prestéis
toda vuestra atención al estado de vuestra propia alma. Casi
no necesito advertiros que durante estos días de retiro debéis todos observar una conducta compuesta y piadosa y evitar todo recreo ruidoso o inconveniente.
Los mayores, desde luego, cuidarán de que no se infrinja
5
10
15
20
25
30
35
20. What doth it profit . . . immortal soul?: Matthew 16:26.
What doth it profit a man... St Mark 8, 36.
R E T R E AT a n d w h y i s i t
allowed on all hands to be a
most salutary practice for all
who desire to lead before
God and in the eyes of men
a truly christian life? A
retreat, my dear boys,
signifies a withdrawal for
awhile from the cares of our
life, the cares of this
workaday world, in order to
examine the state of our
conscience, to reflect on the
mysteries of holy religion
and to understand better why
we are here in this world.
During these few days I
intend to put before you
some thoughts concerning
the four last things. They
are, as you know from your
catechism,
death,
judgement, hell, and heaven.
We shall try to understand
them fully during these few
days so that we may derive
from the understanding of
them a lasting benefit to our
s o u l s . A n d r e m e m b e r, m y
dear boys, that we have been
sent into this world for one
thing and for one thing
alone: to do God’s holy will
and to save our immortal
souls. All else is worthless.
One thing alone is needful,
the salvation of one’s soul.
What doth it profit a man to
gain the whole world if he
suffer the loss of his
immortal soul? Ah, my dear
boys, believe me there is
nothing in this wretched
world that can make up for
such a loss.
40
45
50
unsuitable, unbecoming, indecent,
untoward, improper, indecoroso
134
Joyce’s Portrait
infringed and I look especially
to the prefects and officers of
the sodality of Our Blessed
Lady and of the sodality of the
5
holy angels to set a good
example to their fellowstudents.
esta costumbre, y me dirijo
especialmente a los prefectos
y dignidades de la congregación de la Santísima Virgen y
de los Santos Ángeles, para
que den buen ejemplo a sus
compañeros.
—Let us try, therefore, to
make this retreat in honour of
saint Francis with our whole
heart and our whole mind.
God’s blessing will then be
upon all your year’s studies.
But, above and beyond all, let
this retreat be one to which you
can look back in after years
when maybe you are far from
this college and among very
d i ff e r e n t s u r r o u n d i n g s , t o
which you can look back with
joy and thankfulness and give
thanks to God for having
granted you this occasion of
laying the first foundation of a
pious honourable zealous
christian life. And if, as may so
happen, there be at this
moment in these benches any
poor soul who has had the
unutterable misfortune to lose
God’s holy grace and to fall
into grievous sin, I fervently
trust and pray that this retreat
may be the turning point in the
life of that soul. I pray to God
through the merits of His
zealous servant Francis Xavier,
that such a soul may be led to
sincere repentance and that the
holy communion on saint
Francis’s day of this year may
be a lasting covenant between
God and that soul. For just and
unjust, for saint and sinner
alike, may this retreat be a
memorable one.
»Procuremos, por tanto, hacer este retiro en honor de San
Francisco con todo nuestro corazón y nuestra mente. Si así lo
hacéis, la bendición de Dios caerá sobre vuestros estudios. Pero,
antes que nada y por encima de
todo, haced que este retiro sea tal
que podáis volver los ojos hacia
él en años venideros, cuando estéis tal vez lejos de este colegio
y en otros alrededores muy distintos; que sea tal que podáis volver los ojos a él con alegría y reconocimiento y dar gracias a
Dios por haberos concedido esta
ocasión de echar los primeros
cimientos de una vida piadosa y
honrada, celosa y cristiana. Y si,
como pudiera ocurrir, hay ahora
en esos bancos alguna pobre
alma que ha tenido la inexpresable desdicha de perder la santa
gracia de Dios y caer en pecado
mortal, yo confío fervientemente
y pido a Dios que este retiro sea
para ella el punto de regreso a
una nueva vida. Y le ruego a
Dios, por los méritos de su celoso siervo Francisco Xavier, que
tal alma pueda ser llevada a un
sincero arrepentimiento y que la
santa comunión en el día de San
Francisco de este año, sirva de
perpetua alianza entre ella y Dios.
Y que este retiro sea de grata memoria, para el justo como para el
injusto, para el santo lo mismo
que para el pecador.
—Help me, my dear little
brothers in Christ. Help me by
55 your pious attention, by your
own d e v o t i o n , b y y o u r
outward demeanour. Banish
from your minds all worldly
thoughts and think only of the
60
last things, death, judgement,
hell, and heaven. He who
remembers these things, says
Ecclesiastes, shall not sin for
65 ever. He who remembers the
last things will act and think
with them always before his
»Ayudadme, queridos hermanitos en Cristo, ayudadme
con vuestra piadosa atención,
con vuestra devoción, con vuestra conducta externa. Desterrad
de vuestra imaginación todo
pensamiento mundano y pensad
sólo en vuestras [126] postrimerías: muerte, juicio, infierno y
gloria. Aquel que las recuerde,
dice el Eclesiastés, no pecará
jamás. Aquel que se acuerde de
sus postrimerías obrará y pensará siempre con ellas delante
10
15
20
25
30
35
40
45
50
135
Joyce’s Portrait
surly 1 : menacing or threatening in
appearance <surly weather>
2
obsolete : ARROGANT, IMPERIOUS 3 :
irritably sullen and churlish in mood
or manner :CRABBED . Hosco, mal educado, grosero, irritably sullen and
churlish, mean, hosco, arisco, huraño
gross y gruesa son doce docenas, como
sustantivos, y gordo, corpulento, craso
[error], como adjetivos, pero gross ha
degradado su denotación a grosero,
descortés, indecoroso, escandaloso,
estúpido, ignorante; en 1os negocios
se usa para bruto [ganancia], entradas,
beneficios y, en la jerga juvenil, feo, asqueroso. La idea básica de grueso,
como adjetivo, es thick, big, fat y, como
sustantivo, thickness, bulk, depth,
main body.
eyes. He will live a good life
and die a good death, believing
and knowing that, if he has
sacrificed much in this earthly
5
life, it will be given to him a
hundredfold
and
a
thousandfold more in the life
to come, in the kingdom
10 without end—a blessing, my
dear boys, which I wish you
from my heart, one and all, in
the name of the Father and of
the Son and of the Holy Ghost.
15 Amen!
de los ojos. Y vivirá una vida
buena y tendrá una buena muerte, creyendo y sabiendo que todos los sacrificios que ha experimentado en esta vida le serán
pagados al ciento por uno, al
mil por uno, en la vida venidera, en el reino sin acabamiento.
Y ésta es la felicidad que os
deseo con todo mi corazón a
todos y a cada uno de vosotros,
amados jóvenes, en el nombre
del Padre y del Hijo y del Espíritu Santo. Amén.
As he walked home with
silent companions, a thick fog
seemed to compass his mind.
20
He waited in stupor of mind
till it should lift and reveal
what it had hidden. He ate his
dinner with surly appetite
25 and when the meal was over
and the grease-strewn plates
lay abandoned on the table,
he rose and went to the
window, clearing the thick
30 scum from his mouth with
his tongue and licking it
from his lips. So he had
sunk to the state of a beast
35 t h a t l i c k s h i s c h a p s a f t e r
meat. This was the end; and
a faint glimmer of fear
began to pierce the fog of
his mind. He pressed his
40 face against the pane of the
window and gazed out into
the darkening street. Forms
passed this way and that
through the dull light. And
45
that was life. The letters of
the name of Dublin lay
heavily upon his mind,
pushing one another surlily
50 hither and thither with slow
boorish insistence. His soul
was fattening and congealing
into a gross grease, plunging
ever deeper in its dull fear into a
55 sombre threatening dusk while the
body that was his stood, listless
and dishonoured, gazing out of
darkened eyes, helpless,
perturbed, and human for a
60
bovine god to stare upon.
Mientras regresaba a casa entre
otros compañeros silenciosos, una espesa niebla parecía rodear su espíritu. Esperó sumida en un estupor imaginativo a que se levantara y revelara
lo que tenía escondido dentro. Cenó
con devorador apetito y cuando se
acabó la cena y sólo quedaron los
platos grasientos abandonados
sobre la mesa, se levantó y fue
hacia la ventana, limpiándose
con la lengua la boca de los
residuos de la comida y
l a m i é n d o s e l o s l a b i o s para
quitar la grasa de ellos. Hasta
aquel estado había ido a dar,
hasta aquel estado de bestia
que se relame de la carnaza.
Era lo último. Y una tenue vislumbre de terror comenzó a
atravesar la niebla de su espíritu. Oprimió su rostro contra el
cristal de la ventana y atisbó la
calle, donde estaba oscureciendo. Vagas formas pasaban aquí
y allá a través de la luz triste. Y
aquello era la vida. Las letras del
nombre de Dublín las tenía grabadas en su cerebro, y allí se
entrechocaban furiosamente de un
lado a otro con una insistencia
ruda y monótona. Su alma se estaba tumefactando y cuajándose en una
masa sangrienta que se iba hundiendo
llena de oscuro terror en un
crepúsculo amenazador y sombrío; y, mientras tanto, aquel
c u e r p o s u y o , l a x o
y deshon r a d o , b u s caba con
ojos torpes, huérfano,
humano y conturbado, un dios bovino en quien poder fijar la mirada.
The next day brought
death and judgement,
65 s t i r r i n g h i s s o u l s l o w l y
from its listless despair. The
faint glimmer of fear became
El día siguiente aportó consigo muerte y juicios y con ellos el
despertar del alma de Stephen de
su inerte desesperación. [127] La
vaga vislumbre de miedo se con136
tumefacta hinchándose
Joyce’s Portrait
virtió ahora en espanto cuando la
voz ronca del predicador fue introduciendo la idea de la muerte
en su alma. Sufrió todas las miserias de la agonía. Sintió el escalofrío de la muerte que se apoderaba de sus extremidades y se deslizaba hacia el corazón; el velo de
la muerte que le velaba los ojos;
cómo se iban apagando cual lámparas los centros animados de su
cerebro; el postrer sudor que rezumaba de la piel; la impotencia
de los miembros moribundos; la
palabra que se iba haciendo torpe
e indecisa, extinguiéndose poco a
poco; el palpitar del corazón, cada
vez más tenue, casi rendido ya, y
el soplo, el pobre soplo vital, el
triste e inerte espíritu humano,
sollozante y suspirante, en un
ronquido , en un estertor, allá
en la garganta. ¡No hay salvación! ¡No hay salvación! Él —él
mismo—, aquel cuerpo al cual se
había entregado en vida, era
quien moría. ¡A la sepultura con
él! ¡A clavetear bien ese cadáver
en una caja de madera! ¡A sacarlo de la casa a hombros de mercenarios! ¡Que lo arrojen fuera
de la vista de los hombres en
un hoyo largo, a pudrirse, a
servir de pasto a una masa
bullidora de gusanos, a ser devorado por las ratas de remos
ágiles y fofo bandullo!
And while the friends were
still standing in tears by the
bedside the soul of the sinner
45
was judged. At the last
moment of consciousness the
whole earthly life passed
before the vision of the soul
50 and, ere it had time to reflect,
the body had died and the soul
stood terrified before the
judgement seat. God, who had
long been merciful, would
55 then be just. He had long been
patient, pleading with the
sinful soul, giving it time to
repent, sparing it yet awhile.
But that time had gone. Time
60
was to sin and to enjoy, time
was to scoff at God and at the
warnings of His holy church,
time was to defy His majesty,
65 to disobey His commands, to
hoodwink one’s fellow men, to
commit sin after sin and to
Y mientras los amigos se deshacían todavía en lágrimas a la cabecera del lecho, el alma era juzgada. En el último momento consciente, toda la vida terrena había
desfilado ante la vista del alma y,
antes de que pudiera reflexionar,
el cuerpo había muerto y el alma
estaba en pie, aterrada, delante de
su tribunal. Dios, que había sido
clemente tanto tiempo, iba a ser
justo ahora. Había sido paciente
largo tiempo, tratando de persuadir al alma pecadora, dándole tiempo para arrepentirse, dándole un
plazo más todavía. Pero aquel
tiempo había pasado. Había habido tiempo para pecar y recrearse,
tiempo para hacer befa de Dios
y de las advertencias de su santa Iglesia, tiempo para desafiar
su majestad, para desobedecer
sus mandamientos, para engañar al prójimo, para cometer un
5
10
15
20
25
30
35
to be devoured by scuttling plumpbellied rats This is
vividly present in Stephen’s mind, but again it can
be traced back to his childhood when he was
shouldered into the square ditch.
sparing adj. 1 inclined to save;
economical, thrifty. 2 restrained;
limited. Be grundging with= escusar,
escatimar, show mercy, perdonar (the
fire spare...)
a terror of spirit as the
hoarse voice of the preacher
blew death into his soul. He
suffered its agony. He felt
the death chill touch the
extremities and creep
onward towards the heart,
the film of death veiling the
eyes, the bright centres of
the brain extinguished one
by one like lamps, the last
sweat oozing upon the skin,
the powerlessness of the
dying limbs, the speech
thickening and wandering
and failing, the heart
throbbing faintly and more
faintly, all but vanquished,
the breath, the poor breath,
the poor helpless human
spirit, sobbing and sighing,
gurgling and rattling in the
throat. No help! No help!
He—he himself—his body
to which he had yielded was
dying. Into the grave with it.
Nail it down into a wooden
box the corpse. Carry it out
of the house on the
shoulders of hirelings.
Thrust it out of men’s sight
into a long hole in the
ground, into the grave, to
rot, to feed the mass of its
creeping worms and to be
devoured by scuttling
plump-bellied rats.
40
137
Joyce’s Portrait
pecado tras otro pecado y ocultar a los ojos [128] de los hombres la propia corrupción. Pero
aquel tiempo había pasado.
Ahora era la vez de Dios, y a
Él no se le iba a engañar. Cada
pecado había de salir de su escondrijo, el más rebelde contra
la divina voluntad y el más degradante para nuestra pobre y
corrompida naturaleza, la más
leve imperfección lo mismo que
el más nefando delito. ¿De qué
servía entonces haber sido un
gran emperador, un gran general,
un maravilloso inventor, o el
más sabio entre los sabios? Todos eran lo mismo ante el tribunal de Dios. Y Él había de premiar al bueno y castigar al malvado. Un solo instante bastaba
para el juicio del alma de un
hombre. Un solo instante después de la muerte del cuerpo, el
alma había sido ya pesada en la
balanza. El juicio particular estaba terminado, y el alma había
pasado a la mansión de bienaventuranza, o a la cárcel del purgatorio, o había sido arrojada, dando aullidos, al infierno.
Nor was that all. God’s
justice had still to be
vindicated before men: after
the particular there still
40 r e m a i n e d
the
general
judgement. The last day had
come. The doomsday was at
hand. The stars of heaven were
falling upon the earth like the
45
figs cast by the fig-tree which
the wind has shaken. The sun,
the great luminary of the
universe, had become as
sackcloth
of hair*. The moon
50
was blood-red. The firmament
was as a scroll rolled away.
The archangel Michael, the
prince of the heavenly host,
55 appeared glorious and terrible
against the sky. With one foot
on the sea and one foot on the
land he blew from the archangelical trumpet the brazen
60
death of time. The three blasts
of the angel filled all the
universe. Time is, time was,
but time shall be no more. At
65 t h e l a s t b l a s t t h e s o u l s o f
universal humanity throng
towards the valley of
Pero esto no era todo. La
justicia de Dios tenía que ser
todavía vindicada ante los
hombres. Tras el juicio particular quedaba aún el juicio
universal. El último día había
llegado. El juicio final se acercaba. Las estrellas del cielo
caían sobre la tierra como los
higos arrancados de la higuera
que el huracán agita. El sol, la
gran luminaria del universo, se
había con v e r t i d o e n u n
s a c o d e c i l i c i o . ______
_____________ ___________ _
________ __________ _____
E l a r c á n g e l S a n M i g u e l , el
príncipe de la milicia celestial, aparecía glorioso y terrible sobre el cielo. Con un pie
sobre el mar y el otro sobre la
tierra, anunciaba con su trompeta arcangélica la consumación de los tiempos. Los tres
toques del arcángel llenaban el
universo. Tiempo hay, tiempo
hubo, pero no lo habrá ya. Al
último toque, las almas de la
universal humanidad se aglomeran hacia el valle de
5
10
avail utilidad, beneficio, ventaja 2 valer
servir, valerse de, beneficiar, aprovechar
1 tr. help, benefit. 2 refl. (foll. by of)
profit by; take advantage of. 3 intr. a
provide help. b be of use, value, or profit.
— n. (usu. in neg. or interrog. phrases)
use, profit (of no avail; without avail; of
what avail?).
15
20
25
21. the particular judgment: the belief that souls are
judged at the moment and in the place of death. The
soul finds the place that belongs to it in heaven,
purgatory or hell. At the general judgement, all
humankind is judged and all sins, even of the just,
are revealed.
• the particular judgment this judgment occurs
immediately following death; the Day of Final
Judgment, the Last judgment, occurs when Christ
returns to earth and pronounces the final destiny for
those who are still alive.
vindicate justificar, reivindicar, quedar satisfecho, vindicar, lograr reconocimiento, dar la razón, desquitar
22. The stars . . . all the universe: the passage is
composed of phrases from the Book of Revelation,
especially chapters 6 and 10.
The sun, the great luminary... This whole sequence has
a nightmare intensity in Stephen’s mind.
in sackcloth and ashes hábitos de penitencia
* allusion to Revelation 6:12
hide one’s corruption from the
sight of men. But that time was
over. Now it was God’s turn:
and He was not to be
hoodwinked or deceived.
Every sin would then come
forth from its lurking place,
the most rebellious against the
divine will and the most
degrading to our poor corrupt
nature,
the
tiniest
imperfection and the most
heinous atrocity. What did it
avail then to have been a great
emperor, a great general, a
marvellous inventor, the most
learned of the learned? All
were as one before the
judgement seat of God. He
would reward the good and
punish the wicked. One single
instant was enough for the
trial of a man’s soul. One
single instant after the body’s
death, the soul had been
weighed in the balance. The
particular judgement was
over and the soul had passed
to the abode of bliss or to the
prison of purgatory or had
been hurled howling into hell.
30
35
138
Joyce’s Portrait
z3. Jehoshaphat: a valley east of Jerusalem, the valley
of decision mentioned in Joel 3.
Jehoshaphat Mentioned in Joel 3, the valley between
Jerusalem and the Mount of Olives. From ancient
times it has been a Jewish burial ground.
5
10
15
20
25
30
35
24. Depart from me . . . his angels: Matthew 25:41. Most
of the preceding passage draws heavily on Matthew’s
description of the Last Judgement in Matthew
25:36-411.
Jehoshaphat, rich and poor,
gentle and simple, wise and
foolish, good and wicked. The
soul of every human being that
has ever existed, the souls of
all those who shall yet be born,
all the sons and daughters of
Adam, all are assembled on
that supreme day. And lo, the
supreme judge is coming! No
longer the lowly Lamb of God,
no longer the meek Jesus of
Nazareth, no longer the Man of
Sorrows, no longer the Good
Shepherd, He is seen now
coming upon the clouds, in
g r e a t p o w e r a n d m a j e s t y,
attended by nine choirs of
angels, angels and archangels,
principalities, powers and
virtues,
thrones
and
dominations, cherubim and
seraphim, God Omnipotent,
God Everlasting. He speaks:
and His voice is heard even at
the farthest limits of space,
even In the bottomless abyss.
Supreme Judge, from His
sentence there will be and can
be no appeal. He calls the just
to His side, bidding them enter
into the kingdom, the eternity
of bliss prepared for them. The
unjust He casts from Him,
crying in His offended majesty:
Josa phat, ricos y pobres, nobles y p lebeyos, sabios y mentecatos, buenos y malvados. Las
almas de todos los seres humanos que han existido y las de
aquellos que han de nacer aún;
todos los hijos y las hijas de
Adán, todos están reunidos en
aquel supremo día. ¡Mas, ay,
que el Supremo Juez se acerca!
No ya el humilde Cordero [129]
de Dios, no ya el manso Jesús
de Nazaret, no ya el Hombre
de Dolores, no ya el Buen
P a s t o r. E l q u e a h o r a s e
aproxima viene sobre las nubes c o n t o d o s u p o d e r y m a j e s t ad, asistido por nueve coros
de ángeles, ángeles y arcángeles,
principados, potestades y virtudes, tronos y dominaciones,
querubines y serafines, el Dios
Omnipotente, el Dios Eterno. Y
habla. Y su voz es oída en los
más remotos límites del espacio,
hasta en los abismos sin fondo.
Es el Supremo Juez, y de su
sentencia no habrá, no podrá
haber apelación. Helo que llama al justo a su lado, invitándole a entrar en su reino, en
la eterna felicidad que le tiene preparada. Pero al réprobo lo arroja de sí, gritando en
su ofendida majestad : Apartaos de mí, malditos, id al fuego que os ha sido preparado por
el demonio y sus ángeles. ¡Oh,
qué agonía entonces para los
miserables pecadores! El amigo es
arrancado de los brazos del amigo,
los hijos de los de sus padres, los
esposos de los de sus mujeres. El
pobre pecador extiende sus brazos
hacia aquellos que le fueron queridos en este mundo terrenal, hacia
aquellos de cuya simple piedad tal
vez hizo befa, hacia aquellos que le
aconsejaron bien y trataron de llevarle al camino de la virtud, hacia
el buen hermano, hacia la amorosa
hermana, hacia el padre y la madre
que tan intensamente le amaron.
Pero es demasiado tarde: el justo se
aparta de las miserables almas de
los condenados, que ahora aparecen
ante los ojos de todos en su monstruoso y depravado aspecto. ¡Ay de
vosotros, hipócritas, ay de vosotros
sepulcros blanqueados, ay de vosotros
los que presentáis al mundo una cara
pulida y sonriente, mientras el interior
DEPART FROM ME, YE CURSED,
40 INTO EVERLASTING FIRE WHICH
WAS PREPARED FOR THE DEVIL
AND HIS ANGELS. O,
what agony
then for the miserable sinners!
Friend is torn apart from
45
friend, children are torn from
their parents, husbands from
their wives. The poor sinner
holds out his arms to those who
50 were dear to him in this earthly
world, to those whose simple
piety perhaps he made a mock
of, to those who counselled
him and tried to lead him on the
55 right path, to a kind brother, to
a loving sister, to the mother
and father who loved him so
dearly. But it is too late: the
just turn away from the
60
wretched damned souls which
now appear before the eyes of
all in their hideous and evil
character. O you hypocrites, O,
65 you whited sepulchres, O you
who present a smooth smiling
face to the world while your
139
Joyce’s Portrait
generosity
5
10
15
20
25
30
35
40
45
Addison The reference is to Joseph Addison
(1672-1719), editor of the Spectator with Steele. In
addition he wrote some beautiful hymns.
50
55
25. O grave . . . thy sting?: adapted from I Corinthians
15:55 by Alexander Pope in his poem ‘The Dying
Christian to His Soul’. Joseph Addison (1672-x719)
is said to have sent from his deathbed for his stepson,
the Earl of Warwick, for whose wickedness there is
no evidence, and to have said to him, ‘See in what
peace a Christian can die.’
O grave where is thy victory? The quotation is from
Alexander Pope’s (1688-1744) poem ‘The Dying
Christian to his soul’.
60
65
soul within is a foul swamp of
sin, how will it fare with you
in that terrible day?
de vuestra alma es una inmunda ciénaga de pecado! ¿Qué será de vosotros en aquel terrible día?
And this day will come,
shall come, must come: the day
of death and the day of
judgement. It is appointed unto
man to die and after death the
judgement. Death is certain.
The time and manner are
uncertain, whether from long
disease or from some
unexpected accident: the Son
of God cometh at an hour when
you little expect Him. Be
therefore ready every moment,
seeing that you may die at any
moment. Death is the end of us
all. Death and judgement,
brought into the world by the
sin of our first parents, are the
dark portals that close our
earthly existence, the portals
that open into the unknown and
the unseen, portals through
which every soul must pass,
alone, unaided save by its good
works, without friend or brother
or parent or master to help it,
alone and trembling. Let that
thought be ever before our minds
and then we cannot sin. Death,
a cause of terror to the sinner,
is a blessed moment for him
who has walked in the right
path, fulfilling the duties of his
station in life, attending to his
morning and evening prayers,
approaching
the
holy
sacrament frequently and
performing good and merciful
works. For the pious and
believing catholic, for the just
man, death is no cause of
terror. Was it not Addison,
the great English writer, who,
when on his deathbed, sent
for the wicked young earl of
Warwick to let him see how a
christian can meet his end?
He it is and he alone, the
pious and believing christian,
who can say in his heart:
Y este día ha de venir, tiene
que venir, vendrá: el día de la
muerte, el día del juicio. Está decretado que todo hombre tiene
que morir; tras la muerte, juicio
final. La muerte es cierta. Lo que
es incierto es la fecha, el modo,
si ha de ser de larga enfermedad
o por algún accidente imprevisto.
El Hijo [130] de Dios vendrá a la
hora en que menos lo esperéis.
Estad por tanto preparados a cada
momento, puesto que a cada momento podéis morir. La muerte es
el término de todos nosotros.
Muerte y juicio, introducidos en
el mundo por el pecado de nuestros primeros padres, son como
los oscuros pórticos que cierran
nuestra existencia terrenal, los
pórticos que se abren a lo desconocido e imprevisto, pórticos por
los cuales toda alma tiene que
pasar, sin más ayuda que la de sus
buenas obras, sin amigo ni hermano ni padre ni maestro, sola y temblorosa. Que este pensamiento no
se aparte jamás de vuestras mentes y no podréis pecar. La muerte,
que es una causa de terror para el
pecador, es un momento de bendición para aquel que ha caminado por el sendero recto, cumpliendo plenamente sus deberes durante
el tránsito por la vida, rezando las
oraciones de la mañana y de la noche, aproximándose frecuentemente
a la sagrada eucaristía y realizando
obras buenas y misericordiosas. Para
el pío y creyente católico, para el hombre justo, la muerte no es causa de terror. ¿No fue Addison, el gran escritor inglés, quien, estando en su
lecho mortuorio, mandó llamar al
joven e impío conde de Warwick
para mostrarle cómo un cristiano afrontaba su acabamiento?
Aquél y sólo aquél, el cristiano
creyente y piadoso, es quien puede decir en su corazón:
O grave, where is thy
victory?
O death, where is thy sting?
¡Oh, tumba! ¿Dónde está tu victoria?
¡Oh, muerte! ¿Dónde está tu aguijón?
Every word of it was for
hi m . Aga i nst hi s sin, foul
and secret, the whole wrath
No había palabra que no se le
aplicase a él. Toda la cólera de
Dios se asestaba contra su asque140
Joyce’s Portrait
5
10
15
20
25
of God was aimed. The
preacher ’s knife had probed
deeply into his disclosed
conscience and he felt now
that his soul was festering in
sin. Yes, the preacher was
right. God’s turn had come.
Like a beast in its lair his
soul had lain down in its
own filth but the blasts of
t h e a n g e l ’s t r u m p e t h a d
driven him forth from the
darkness of sin into the
light. The words of doom
cried by the angel shattered
in
an
instant
his
presumptuous peace. The
wind of the last day blew
through his mind, his sins,
the jewel-eyed harlots of
his imagination, fled
before the hurricane,
squeaking like mice in
their terror and huddled
u n d e r a m a n e o f h a i r.
roso y secreto pecado. La lanceta del predicador había sondeado
profundamente su conciencia haciéndola reventar; y ahora sentía
que su alma estaba supurando en
el pecado. Sí, el predicador tenía
razón. Le había llegado su turno
a Dios. Como una bestia en su cubil, su alma se había revolcado
en su propia inmundicia, pero los
toques de la trompeta del ángel
habían hecho salir [131] de la oscuridad de la culpa hacia la luz.
El anuncio del juicio proclamado por el ángel había hecho
desmoronarse en un momento
toda su presuntuosa paz. El
viento del día postrero soplaba a través de su espíritu: las
rameras de ojos de pedrería,
moradoras de su imaginación,
huían ante el huracán, dando
chillidos como ratones aterrados, amontonándose bajo la pelambre de sus cabelleras.
As he crossed the square,
Al cruzar la plaza, ya de regreso, llegó hasta sus oídos congestionados la risa jovial de una
muchacha. Aquel son alegre y
quebradizo conmovió su corazón
más profundamente que el sonido de la trompeta, y no atreviéndose a levantar los ojos, se volvió hacia un lado y miró, mientras pasaba, hacia la umbría de
un macizo de arbustos. Una oleada de vergüenza se levantó de su
corazón herido e inundó todo su
ser. La imagen de Emma se le
apareció delante de él, y ante los
ojos de ella, la oleada de vergüenza volvió a brotar otra vez
de su corazón. ¡Si ella supiera a
qué cosas le había sometido la
imaginación o cómo el apetito
bestial había desgarrado y hollado su inocencia! ¿Era aquello el
primer amor? ¿Era aquello espíritu caballeresco? ¿Era aquello
poesía? Los sórdidos pormenores
de sus orgías le hedían físicamente en las ventanas de la nariz. Aquel paquete manchado de
grabados que él había ocultado en
el cañón de la chimenea, y ante
cuya inmundicia y vergonzosa
procacidad se había pasado las
horas muertas pecando en pensamiento y en acción; aquellos sueños monstruosos, poblados de
criaturas simiescas y de prostitu-
30 walking homeward, the light
Emma Elsewhere referred to as E-C-.
• Emma the reference is to Emma Clery, the young girl
to whom Stephen has written poems, much as Dante
did to Beatrice.
laughter of a girl reached his
burning ear. The frail gay
sound smote his heart more
s
35 t r o n g l y t h a n a t r u m p e t
blast, and, not daring to lift
his eyes, he turned aside
and gazed, as he walked,
into the shadow of the
40 tangled shrubs. Shame rose
fro m his smitten [hit] heart
and flooded his whole being.
The image of Emma
appeared before him, and
45
under her eyes the flood of
shame rushed forth anew
from his heart. If she knew
to what his mind had
50 s u b j e c t e d h e r o r h o w h i s
brute-like lust had torn and
trampled
upon
her
innocence! Was that boyish
l o v e ? Wa s t h a t c h i v a l r y ?
55 Was that poetry? The sordid
details of his orgies stank
under his very nostrils. The
soot-coated packet of
pictures which he had hidden
60
in the flue of the fireplace and
in the presence of whose
shameless or bashful [shy]
wantonness he lay for hours
65 sinning In thought and deed;
his monstrous dreams,
peopled by ape-like creatures
141
Joyce’s Portrait
5
10
15
20
and by harlots with gleaming
jewel eyes; the foul long
letters he had written in the
joy of guilty confession and
carried secretly for days and
days only to throw them
under cover of night among
the grass in the corner of a
field or beneath some
hingeless door in some niche
in the hedges where a girl
migh t c o m e u p o n t h e m a s
she walked by and read
t h e m s e c r e t l y. Mad! Mad!
Was it possibl e h e h a d d o n e
these things? A cold sweat
broke out upon his
forehead as the foul
memories
condensed
within his brain.
When
the
agony
tas cuyos ojos brillaban como joyeles; aquellas largas cartas llenas de obscenidad que habían
escrito sólo por el placer de la
confesión culpable y que había
llevado consigo días y días, para
arrojarlas luego, protegido por la
noche, en un rincón de un campo de hierba, o por debajo de una
puerta desvencijada o en el resquicio de un seto, donde una muchacha se las pudiera encontrar
al paso y leerlas después secretamente. ¡Loco! ¡Loco! ¿Era posible que hubiera hecho tales
cosas? Un sudor frío le brotaba en la frente mientras
[132] en el cerebro se le iban
condensando estos bochornosos recuerdos.
of
Cuando la agonía de la
vergüenza hubo pasado, trató de levantar su alma del
fondo de su abyecta impotencia. Dios y la Vi rgen María
estaban demasiado lejos de
él: Dios era demasiado grande y demasiado severo y la
Santísima Vi rgen demasiado
pura y santa. Pero se imaginaba estar en una amplia llanura al lado de Emma, y que,
humildemente, deshecho en
llanto, se inclinaba para besar el borde de su manga.
25 shame had passed from him
he tried to raise his soul
from
its
abject
powerlessness. God and the
Blessed Virgin were too far
30 f r o m h i m : G o d w a s t o o
great and stern and the
B l e s s e d Vi r g i n t o o p u r e
and holy. But he imagined
35 that he stood near Emma in
a wide land and, humbly
and in tears, bent and
kissed the elbow of her
sleeve.
40
26. is not like . . . bright and musical: from Cardinal
Newman. See note 9, above.
not like earthly beauty... Another quotation from The
Glories of Mary.
En un ancha llanura, bajo la
tierna luz de un firmamento crepuscular, mientras una nube derivaba hacia poniente por el mar gris
pálido de los cielos, allí estaban los
dos, juntos, como dos niños que
hubieran delinquido. Su error había ofendido profundamente la
majestad de Dios; pero no había
ofendido a aquella cuya belleza no
es como la belleza terrena, dañosa a quien la mira, sino como
la estrella de la mañana, emblema suyo, luciente y musical. Los
ojos de Ella, al volverse para mirarlos, no estaban ofendidos, ni
aún tenían un reproche. Y Ella
les unía las manos, palma contra palma, y les decía, hablándoles al corazón.
In the wide land under
a t e n d e r l u c i d e v e n i n g s k y,
a cloud drifting westward
amid a pale green sea of
45
heaven,
they
stood
t o g e t h e r, c h i l d r e n t h a t h a d
e r r e d . T h e i r e r r o r h ad
offended deeply God’s majesty
50 though it was the error of two
children; but it had not offended
her whose beauty IS NOT LIKE
EARTHLY BEAUTY, DANGEROUS TO
LOOK UPON, BUT LIKE THE MORNING
55 STAR WHICH. IS ITS EMBLEM, BRIGHT
The eyes were not
offended which she turned
upon him nor reproachful. She
placed their hands together,
60
hand in hand, and said,
speaking to their hearts:
AND MUSICAL.
—Unid vuestras manos,
Stephen y Emma. Hoy es un
hermoso atardecer en el cielo.
Habéis errado, pero continuáis
—Take hands, Stephen and
65 Emma. It is a beautiful evening
now in heaven. You have erred
but you are always my
142
Joyce’s Portrait
wan 1 (of a person’s complexion or
appearance) pale; exhausted; worn.
2 (of a star etc. or its light) partly
obscured; faint. 3 archaic (of night,
water, etc.) dark, black. 4 languid
(smile)
Mortecino, marchito,
mail : armor made of metal links or
sometimes plates
children. It is one heart that
loves another heart. Take hands
together, my dear children, and
you will be happy together and
5
your hearts will love each
other.
siendo mis hijos. He aquí un corazón que ama a otro corazón.
Juntad vuestras manos, hijos
míos, y seréis felices juntos, y
vuestros corazones se amarán
mutuamente.
The chapel was flooded by
t
h
e
dull scarlet light that
10
filtered through the lowered
blinds; and through the fissure
between the last blind and the
sash a shaft of wan light
15 e n t e r e d l i k e a s p e a r a n d
touched the embossed brasses
of the candlesticks upon the
altar that gleamed like the
battle-worn mail armour of
20
angels.
La capilla estaba inundada por
la triste luz rojiza que a través de
las corridas cortinas se filtraba; y
por la hendidura, entre el marco de
la ventana y la última cortina, un
dardo de luz descolorida pasaba
y descendía como una lanza
hasta tocar el repujado bronce
de los candelabros, que en el
altar brillaba como una armadura angélica, gastada por los
combates.
Rain was falling on the
chapel, on the garden, on the
college. It would rain for ever,
noiselessly. The water would
rise inch by inch, covering the
grass and shrubs, covering the
trees and houses, covering the
monuments and the mountain
tops. All life would be choked
off, noiselessly: birds, men,
elephants, pigs, children:
noiselessly floating corpses
amid the litter of the wreckage
of the world. Forty days and
forty nights the rain would fall
till the waters covered the face
of the earth.
Estaba lloviendo sobre la capilla, sobre el jardín, sobre el colegio. Y había de llover eternamente y sin ruido. El agua se iría
elevando, pulgada a pulgada, cubriendo la hierba y los [133] arbustos, cubriendo los árboles y las
casas, cubriendo los monumentos
y las cimas de los montes. Toda
la vida se ahogaría sin ruido: pájaros, hombres, elefantes, cerdos,
niños. Y sin ruido flotarían los cadáveres entre los detritus del naufragio del mundo. Y por cuarenta
días y cuarenta noches caería la
lluvia, hasta que las aguas cubriesen la faz de la tierra.
25
30
35
Forty days and forty nights the rain would fall: as when
God punished mankind by the Flood. See the Bible,
Genesis 7: 4
27. waters covered . . . the earth: Genesis 7:4.
40
It might be. Why not?
28. Hell . . . limits: Isaiah 5:14.
Hell has enlarged... Here the hell-fire sermon begins in
earnest. Joyce adapted much of the material in these
paragraphs from a seventeenth-century Italian
religious work. This he edited and, obviously,
condensed.
45
— HELL
Podía ser. ¿Por qué no?
—El infierno se ha engrandecido
y
ha
abierto
inmensamente su boca. Son
palabras tomadas, mis queridos hermanitos en Cristo Jesús, del libro de Isaías, capítulo
quinto, versículo décimo cuarto.
En el nombre del Padre y del Hijo
y del Espíritu Santo. Amén.
HAS ENLARGED ITS
SOUL AND OPENED ITS MOUTH
WITHOUT ANY LIMITS— words
taken, my dear little brothers in
Christ Jesus, from the book of
50 Isaias, fifth chapter, fourteenth
verse. In the name of the Father
and of the Son and of the Holy
Ghost. Amen.
55
The preacher took a
chainless watch from a pocket
within his soutane and, having
considered its dial for a
moment in silence, placed it
60
silently before him on the
table.
El predicador sacó un reloj
sin cadena de un bolsillo de la
sotana y después de contemplar
por un instante la esfera en silencio, lo colocó silenciosamente delante de él sobre la
mesa.
He began to speak in a quiet
Después comenzó a hablar
con tono reposado:
65 tone.
—Adán y Eva, mis queridos jó-
—Adam and Eve, my dear
143
e m b o s s ‹leather/metal› repujar;
embossed ‹stationery› con membrete
en relieve; ‹wallpaper› estampado en
relieve
emboss v.tr.1 carve or mould in relief. 2
form figures etc. so that they stand out
on (a surface). 3 make protuberant.
gofrar 1. tr. Estampar en seco, sobre papel
o en las cubiertas de un libro, motivos
en relieve o en hueco.
damasquinar 1. tr. Hacer labores de ataujía en armas y otros objetos de hierro y
acero.
cincelar 1. tr. Labrar, grabar con cincel en
piedras o metales.
repujar Labrar a martillo chapas metálicas,
de modo que en una de sus caras resulten figuras de relieve, o hacerlas resaltar en cuero u otra materia adecuada.
abollonar repujar foprmando bollones (
Clavo de cabeza grande, comúnmente dorada, que sirve para adorno.)
realzar labrar en realce
bordar Adornar una tela o piel con bordadura, labrándola en relieve.
estampar 1. tr. Imprimir, sacar en estampas una cosa; como las letras, las imágenes o dibujos contenidos en un molde. Ú. t. c. intr.
2. Dar forma a una plancha metálica por
percusión entre dos matrices, una fija
al yunque y la otra al martinete, de
modo que forme relieve por un lado y
quede hundida por otro.
3. Señalar o imprimir una cosa en otra;
como el pie en la arena.
Joyce’s Portrait
venes, los cuales, como sabéis, fueron nuestros primeros padres, fueron creados por Dios, como recordaréis, con objeto de que los puestos que habían quedado vacantes en
el cielo por la caída de Lucifer y de
sus ángeles rebeldes, pudieran ser ocupados de nuevo. Según se nos dice, Lucifer era un hijo de la mañana, un ángel poderoso y esplendente. Y sin
embargo, cayó. Cayó y con él
una tercera parte de las milicias celestiales. Cayó y fue
precipitado con sus ángeles
rebeldes en los infiernos.
Cuál fuera su pecado es lo
q u e n o p o d e m o s d e c i r. L o s
teólogos consideran que fue
el pecado de orgullo, el pecaminoso pensamiento concebido en un instante: non
serviam: no serviré. Y aquel instante fue su ruina.
He offended the majesty of
God by the sinful thought of
one instant and God cast him
30 out of heaven into hell for ever.
//Ofendió a la majestad de Dios con
el pensamiento pecaminoso de un
solo momento y fue precipitado en
los infiernos para siempre.
—Adam and Eve were then
created by God and placed in
Eden, in the plain of
Damascus, that lovely garden
resplendent with sunlight and
colour, teming with luxuriant
vegetation. The fruitful earth
gave them her bounty : beasts
and birds were their willing
servants: they knew not the ills
our flesh is heir to, disease and
poverty and death: all that a
great and generous God could
do for them was done. But
there was one condition
imposed on them by God:
obedience to His word. They
were not to eat of the fruit of
the forbidden tree.
»Adán y Eva fueron creados
por Dios y colocados en el Edén,
en la llanura de Damasco, en aquel
hermoso jardín resplandeciente de
sol y de color, lleno de una desbordante [134] vegetación. La tierra fértil les regalaba pródigamente con sus dones; bestias y pájaros
concurrían voluntariamente a su
servicio; no conocían los males,
herencia de nuestra carne: la enfermedad, la pobreza, la muerte.
Todo lo que un Dios grande y poderoso podía hacer por ellos, todo
estaba hecho. Pero había una condición que les había sido impuesta por Dios: la obediencia a su palabra. No hablan de comer de la
fruta del árbol prohibido.
—Alas, my dear little
»¡Ay, mis queridos jóvenes,
que ellos también cayeron! El demonio, en otro tiempo un ángel resplandeciente, hijo de la mañana, y
ahora un enemigo vil, vino en forma de serpiente, la más sutil de
todas las bestias del campo. Era
que les tenía envidia. Él, el magnate caído, no podía soportar el
pensamiento de que el hombre, ser
de arcilla, pudiera llegar a poseer
la herencia de la cual su pecado le
había desposeído para siempre. Y
5
29. Lucifer . . . son of the morning: Isaiah 14:12.
10
15
20
30. non serviam . . . serve: traditionally, Lucifer’s
declaration. Cf. Jeremiah 2:20.
non serviam: «I will not serve,» Satan’s defiant
statement
In the plain of Damascus: this seems to be Father Arnall’s
own location of the Garden of Eden
boys, were, as you know, our
first parents, and you will
remember that they were
created by God in order that
the seats in heaven left vacant
by the fall of Lucifer and his
rebellious angels might be
filled again. Lucifer, we are
told, was a son of the
morning, a radiant and
mighty angel; yet he fell: he
fell and there fell with him a
third part of the host of
heaven: he fell and was
hurled with his rebellious
angels into hell. What his sin
was
we
cannot
s a y.
Theologians consider that it
was the sin of pride, the sinful
thought conceived in an
instant: NON SERVIAM: I WILL
NOT SERVE . That instant was
his ruin.
25
35
40
45
50
55 b o y s , t h e y t o o f e l l . T h e
31. a serpent . . . field: Genesis 3:1.
devil, once a shining angel,
a son of the morning, now
a foul fiend came in the
s h a p e o f a s e r p e n t , the
60
subtlest of all the beasts of the
field. He envied them. He, the
fallen great one, could not bear
to think that man, a being of
65 c l a y, s h o u l d p o s s e s s t h e
inheritance which he by his sin
had forfeited for ever. He came
144
Joyce’s Portrait
32. the weaker vessel: I Peter 3:7.
33. become as gods: Genesis 3:4-5.
34. voice of God . . . account: Genesis 3:8-9.
fue a la mujer, vaso más frágil, y
deslizó el veneno de su elocuencia en los oídos de ella, prometiendo —¡oh, promesa blasfema!— que si ella y Adán comían
del árbol prohibido, serían como
dioses, más aún, como Dios mismo. Eva se rindió a las astucias
del tentador por excelencia. Comió de la manzana y dio también
de ella a Adán, quien no tuvo
valor moral para negarse. La lengua de veneno de Satán había realizado su obra. Y cayeron.
—And then the voice of
God was heard in that garden,
calling His creature man to
account: and Michael, prince
of the heavenly host, with a
sword of flame in his hand,
appeared before the guilty pair
and drove them forth from
Eden into the world, the world
of sickness and striving, of
cruelty and disappointment, of
labour and hardship, to earn
their bread in the sweat of their
b r o w. B u t e v e n t h e n h o w
merciful was God! He took
pity on our poor degraded
parents and promised that in
the fullness of time He would
send down from heaven One
who would redeem them, make
them once more children of
God and heirs to the kingdom
of heaven: and that One, that
Redeemer of fallen man, was
to be God’s only begotten Son,
the Second Person of the Most
Blessed Trinity, the Eternal
Word.
»Entonces se dejó oír en
aquel jardín la voz de Dios que
llamaba al hombre, su criatura,
a rendir cuentas. Y Miguel,
príncipe de la milicia celestial,
con una espada en la mano,
apareció ante la culpable pareja y la arrojó fuera del paraíso,
al mundo, al mundo lleno de
enfermedad y de lucha, de
crueldad y de pesadumbre, de
trabajo y de fatiga, a ganarse el
pan con el sudor de la frente.
¡Pero, aun entonces, cuán misericordioso fue Dios! Tuvo
piedad de nuestros primeros y
degradados padres y les prometió que en la plenitud de los
tiempos había de enviar desde
los cielos al mundo uno que los
habla de redimir, que los había
de hacer de nuevo hijos de Dios
y herederos de su gloria. Y ese
redentor de los hombres [135]
caídos en la culpa había de ser
el unigénito hijo de Dios, la Segunda Persona de la Santísima
Trinidad, el Verbo Eterno.
—He came. He was born
of
a virgin pure, Mary the
50
virgin mother. He was born
in a poor cowhouse in Judea
and lived as a humble
carpenter for thirty years
55 until the hour of His mission
had come. And then, filled
with love for men, He went
forth and called to men to
hear the new gospel.
»Vino. Fue nacido de una virgen pura, María, virgen y madre.
Nació en un pobre establo, en
Judea, y vivió como un humilde
carpintero durante treinta años,
hasta que llegó la hora de cumplir
su misión. Y entonces la cumplió
lleno de amor hacia los hombres,
se dio a conocer y convocó a los
hombres, para que oyeran el evangelio nuevo.
—Did they listen? Yes, they
listened but would not hear. He
was seized and bound like a
65 common criminal, mocked at
as a fool, set aside to give place
to a public robber, scourged
»Pero, ¿le oyeron? Sí, le
oyeron, pero no le quisieron
escuchar. Fue cogido como un
vulgar criminal, mofado
como loco, pospuesto a un
malhechor público, flagelado
20
35. Michael . . . Eden: Genesis 3:24.
25
36. to earn their bread . . . brow: Genesis 3:19.
30
37. He took pity on .. . the Eternal Word: based on various
passages from the proto-evangelium (Genesis 3:15)
to the testimony of John the Baptist (John 11:29).
35
40
45
38. He came . . . the new gospel: Luke z:7, John 1:17.
to the woman, the weaker vessel,
and poured the poison of his
eloquence into her ear, promising
her—O, the blasphemy of that
5
promise!—that if she and Adam ate
of the forbidden fruit they would
become as gods, nay as God
Himself. Eve yielded to the wiles
10 of the archtempter. She ate the
apple and gave it also to Adam
who had not the moral courage
t o r e s i s t h e r. T h e p o i s o n
tongue of Satan had done its
15 work. They fell.
60
39. They listened . . . blood issued continually: a slightly
embellished account of Christ’s passion as told in
the Gospels.
145
Joyce’s Portrait
• hanged upon a gibbet a strange, seemingly vernacular
description of the Crucifixion; perhaps Father Arnall
is using the phrase to impress upon the boys the
fact that Christ was executed «like a common criminal:’
with five thousand lashes,
crowned with a crown of
thorns, hustled through the
streets by the jewish rabble and
5
the Roman soldiery, stripped
of his garments and hanged
upon a gibbet and His side
was pierced with a lance and
10 from the wounded body of our
Lord water and blood issued
continually.
con cinco mil azotes, coronado de espinas, empujado brutalmente en las calles por el
populacho judío y la soldadesca romana, despojado de sus
vestiduras y colgado de un
patíbulo, y atravesado su
costado por una lanza; y del
llagado cuerpo de Nuestro Señor manaban incesantemente
agua y sangre.
—Yet even then, in that
Merciful Redeemer had pity
for mankind. Yet even there, on
t h e h i l l o f C a l v a r y, H e
founded the holy catholic
church against which, it is
promised, the gates of hell
shall not prevail. He founded
it upon the rock of ages, and
endowed it with His grace,
with sacraments and sacrifice,
and promised that if men would
obey the word of His church
they would still enter into
eternal life; but if, after all that
had been done for them, they
still persisted in their
wickedness, there remained for
them an eternity of torment:
hell.
»Y aun entonces, en aquella
hora de suprema agonía, nuestro piadoso redentor tuvo misericordia de la humanidad. Aun
entonces, sobre la colina del
Calvario, fundó la Santa Iglesia
Católica, contra la cual, así está
prometido, las puertas del infierno no prevalecerán. La fundó sobre la roca de los tiempos
y la dotó con su gracia, con los
sacramentos y el sacrificio, y
prometió que si los hombres
obedecían a la voz de su Iglesia, podrían entrar en la vida
eterna, pero que si después de
todo lo que había sido hecho en
favor de ellos persistían aún en
su maldad, habría para ellos una
eternidad de tormento: el infierno.
T h e p r e a c h e r ’s v o i c e
sank. He paused, joined
40 h i s p a l m s f o r a n i n s t a n t ,
parted them. Then he
resumed:
La voz del predicador se hundió. Hizo una pausa, juntó por un
instante las palmas de sus manos,
las volvió a separar. Luego, continuó:
—Now let us try for a
moment to realize, as far as
we can, the nature of that
abode of the damned which
the justice of an offended
50 God has called into existence
for the eternal punishment of
sinners. Hell is a strait and
dark and foul-smelling
prison, an abode of demons
55 and lost souls, filled with fire
and smoke. The straitness of
this prison house is expressly
designed by God to punish
those who refused to be
60
bound by His laws. In earthly
prisons the poor captive has
at least some liberty of
movement, were it only
65 within the four walls of his
cell or in the gloomy yard of
his prison. Not so in hell.
—Vamos a tratar ahora de
imaginarnos, en la medida que
podamos, la naturaleza de aquella mansión de los condenados
creada por la justicia de Dios
ofendido, para eterno castigo de
los pecadores. El infierno es una
angosta, oscura y mefítica mazmorra, mansión de los demonios
y las almas [136] condenadas,
llena de fuego y de humo. La angostura de esta prisión ha sido
expresamente dispuesta por Dios
para castigar a aquellos que no
quisieron sujetarse a sus leyes.
En las prisiones de la tierra el
pobre cautivo tiene al menos alguna libertad de movimiento,
aunque no sea más que entre las
cuatro paredes de su celda o en
el sombrío patio de la cárcel.
Pero no así en el infierno. Allí,
15 hour of supreme agony, Our
40. He founded . . . prevail: Matthew 16:x8-119. Joyce
liked the idea that the Church was founded upon a
pun - i.e., the Latin for Peter, Petrus, also means a
rock.
20
41. rock of ages: the title of a Protestant hymn by
Augustus Toplady (1740-78).
25
30
35
42. Now . . .: from this point the sermon by Fr Arnall is
modelled on Giovani Pietro Pinamonti’s Hell Opened
to Christians, to Caution Them from Entering into It
(x688), a Dublin translation of which appeared in
1868. Pinamonti’s treatise also adheres to many of
the precepts enjoined in The Spiritual Exercises
(1548) of St Ignatius Loyola, which recommend,
among other meditations, a meditation on hell in
which its physical characteristics and the
accompanying sensations are intensely imagined.
See James R. Thrane, ‘Joyce’s Sermon on Hell: Its
Sources and its Backgrounds’, A James Joyce
Miscellany: Third Series, ed. M. Magalaner
(Carbondale, Ill.: 1962), pp. 33-78.
45
146
Joyce’s Portrait
43. saint Anselm . . . that gnaws it: Pinamonti misquoting
St Anselm (c. 1033-1109). Besides fire, the other
cause of ‘positive punishment’ in hell is ‘the worm
that never dies’ - the anguish of remorse, for which
this is a traditional figure. The punishments of the
damned are of two kinds -poena damni is the
punishment of loss of the sovereign good; poena
sensus are all the other torments that the damned
experience.
Saint Anselm ... similitudes St Anselm (1033-1109),
Archbishop of Canterbury, a fine-principled man. Similitudes are likenesses, outward appearances,
comparisons.
44. Babylonian furnace . . . light: Daniel 3:19.7.
the Babylonian furnace: into which Nebuchadnezzar cast
Shadrach, Meshach, and Abednego (see the Bible,
Daniel 3: 13ff). Its heat was miraculously quenched
por razón del gran número de los
condenados, los prisioneros están hacinados unos contra otros
en su horrendo calabozo, las paredes del cual se dice tienen cuatro mil millas de espesor. Y los
condenados están de tal modo
imposibilitados y sujetos, que un
Santo Padre, San Anselmo, escribe en el libro de las Semejanzas
que no son capaces ni aun de
quitarse del ojo el gusano que se
lo está royendo.
15
—They lie in exterior
darkness. For, remember, the
fire of hell gives forth no light.
As, at the command of God,
the fire of the Babylonian
furnace lost its heat but not its
light, so, at the command of
God, the fire of hell, while
retaining the intensity of its
heat, burns eternally in
darkness. It is a never ending
storm of darkness, dark flames
and dark smoke of burning
brimstone, amid which the
bodies are heaped one upon
another without even a
g l i m p s e o f a i r. O f a l l t h e
plagues with which the land of
the Pharaohs were smitten
[hit] one plague alone, that
of darkness, was called
horrible. What name, then,
shall we give to the darkness
of hell which is to last not
for three days alone but for
all eternity?
»Allí yacen en la oscuridad
exterior. Porque habéis de recordar que el fuego del infierno no
da luz. Lo mismo que, por mandato de Dios, el fuego del horno
de Babilonia perdió el calor pero
no la luz, por voluntad de Dios,
el fuego del infierno, conservando la intensidad abrasadora de su
calor, arde eternamente en sombra. Allí en una tempestad sin
término de sombras, entre las llamas oscuras y el oscuro humo de
la ardiente piedra azufre, están
los cuerpos hacinados los unos
encima de los otros, sin recibir
nunca ni aun siquiera una vislumbre de aire. De todas las plagas que azotaron la tierra de los
faraones, hubo una tan sólo, la de
la oscuridad, a la cual se le diera
el dictado de horrible. ¿Qué
nombre habríamos de dar, pues,
a la oscuridad del infierno, la
cual ha de durar, no por tres días,
sino por toda la eternidad?
—The horror of this strait
and dark prison is increased by
its awful stench . A l l t h e
filth of the world, all the
o
50 f f a l [ a s a d u r a s ] a n d
scum o f t h e w o r l d , w e a r e
told, shall run there as to a
vast reeking sewer when the
terrible conflagration of the
55 l a s t d a y h a s p u r g e d t h e
world. The brimstone, too,
which burns there in such
prodigious quantity fills all
hell with its intolerable
60
stench; and the bodies of the
damned themselves exhale
such a pestilential odour
that, as saint Bonaventure
65 s a y s , o n e o f t h e m a l o n e
would suffice to infect the
whole world. The very air of
»El horror de esta angosta y oscura prisión se ve aumentado aún
por su insoportable hedor. Toda la
inmundicia del mundo, toda la
carroña y la hez del mundo,
afirman, habrá de desaguar
allí, como en un vasto y
vaheante albañ al, cuando la
terrible conflagración del último día haya purgado el mundo. La piedra azufre que arde
allí en prodigiosas cantidades
llena todo el infierno de su intolerable fetidez. Y los [137]
cuerpos mismos de los condenados exhalan u n o l o r t a n
pestilencial que, según dice
San Buenaventura, uno sólo
sería bastante para infestar
todo el mundo. El mismo aire
de este mundo, este puro ele-
20
25
30
45. Of all the plagues . . . horrible: Exodus 10:21ff.
There, by reason of the great
number of the damned, the
prisoners are heaped together
in their awful prison, the
5
walls of which are said to be
four thousand miles thick:
and the damned are so utterly
bound and helpless that, as a
10 blessed saint, saint Anselm,
writes in his book on
similitudes, they are not even
able to remove from the eye
a worm that gnaws it.
35
40
45
The horror of this strait Much emphasis is placed in the
sermon on a number of ‘considerations’. This, the
first, describes the prison of Hell.
stench, hedor, fetidez, hediondez, pestilencia a distinctive odor that is offensively
unpleasant, malodor, malodour, stink,
reek, fetor, foetor, mephitis
46. Bonaventure . . . infect the whole world: Pinamonti’s
adaptation of St Bonaventure (1221-74).
Saint Bonaventure (1221-74) A mystic, ironically, greatly
admired by Luther.
147
Joyce’s Portrait
mento, se hace hediondo e
irrespirable si ha estado cerrado por largo tiempo. Considerad cuál no será la hediondez del aire del infierno.
Imaginad un cadáver que hubiera estado yaciendo en su
tumba, pudriéndose y descomponiéndose, hasta llegar a
ser una masa gelatinosa de líquida corrupción. Imaginad
este cadáver pasto de las llamas, devorado por el fuego de
la hirviente piedra azufre de
modo que exhale densas y
sofocantes humaredas de nauseabunda descomposición. Y
luego, imaginad este pestífero olor multiplicado un millón
de veces y un millón de veces
de nuevo por los millones y
millones de fétidas carroñas
amontonadas en la humeante
oscuridad, como un hongo
monstruoso de podre humana.
Imaginad todo esto y podréis llegar a tener cierta idea del horroroso hedor del infierno.
—But this stench is not,
horrible though it is, the
35 greatest physical torment to
which the damned are
subjected. The torment of fire
is the greatest torment to which
the tyrant has ever subjected
40 his fellow creatures. Place your
finger for a moment in the
flame of a candle and you will
feel the pain of fire. But our
earthly fire was created by God
45
for the benefit of man, to
maintain in him the spark of
life and to help him in the
useful arts, whereas the fire of
50 hell is of another quality and
was created by God to torture
and punish the unrepentant
sinner. Our earthly fire also
consumes more or less rapidly
55 according as the object which
it attacks is more or less
combustible, so that human
ingenuity has even succeeded
in
inventing
chemical
60
preparations to check or
frustrate its action. But the
sulphurous brimstone which
burns in hell is a substance
65 which is specially designed to
burn for ever and for ever with
unspeakable fury. Moreover,
»Pero este hedor, por terrible que sea, no es el mayor
tormento físico al cual están
sujetos los condenados en el infierno. El tormento del fuego
e s e l m a y o r s u f r i m i e nto al
cual los tiranos de la tierra han
podido condenar a sus semejantes. Poned el dedo por un momento en la llama de una bujía
y sentiréis el dolor del fuego.
Pero el fuego de la tierra ha sido
creado por Dios para beneficio
del hombre, para mantener en él
la centella de la vida y para ayudarle en las artes útiles, mientras que el fuego del infierno es
de otra calidad y ha sido creado
por Dios para torturar y castigar
al impenitente pecador. Nuestro
fuego terrenal consume, también, más o menos rápidamente,
según que el objeto al cual ataca es más o menos combustible,
de tal modo que el ingenio humano ha logrado siempre discurrir procedimientos químicos
para impedir o frustrar su acción. Pero el azufre que arde en
el infierno es una sustancia especialmente creada para arder
eternamente y eternamente, con
indecible furia. Más aún, el fue-
5
10
15
20
25
30
47. The torment of fire ... rages for ever: this passage is
a redaction by Pinamonti of Suarez, St Thomas
Aquinas, Vazquez and others. Many commentators
were concerned with the problem of how
disembodied spirits suffered from material fire. The
consensus was that the pain they suffered was more
intense than physical pain because the fire happily
combined its usual capacity to inflict torment on
bodies with a preternatural capacity to do so on
spiritual substances.
The torment of fire This is the second of the definitions the nature of the fire of hell.
ingenuity traduce ingenio, inventiva, habilidad, ingeniosidad, artefacto ingenioso [tool], mientras que ingenuidad se
usa para candor, frankness, naiveté,
openness. Por otra parte, ingenuous
equivale a ingenuo, como inocente,
franco, sincero, aunque ingenuo puede degenerar en gullible I naïve [crédulo], pero ingenious se usa para hábil [bright], mañoso [gifted], genial [estratagema, truco]. El sustantivo inglés
ingenue se refiere a dama joven [de
teatro].
this world, that pure
element, becomes foul and
unbreathable when it has
been long enclosed. Consider
then what must be the
foulness of the air of hell.
Imagine some foul and putrid
corpse that has lain rotting
and decomposing in the
grave, a jelly-like mass of
liquid corruption. Imagine
such a corpse a prey to
flames, devoured by the fire
of burning brimstone and
giving off dense choking
fumes of nauseous loathsome
decomposition. And then
imagine this sickening
stench,
multiplied
a
millionfold and a millionfold
again from the millions upon
millions of fetid carcasses
massed together in the
reeking darkness, a huge and
rotting human fungus.
Imagine all this, and you will
have some idea of the horror
of the stench of hell.
148
Joyce’s Portrait
go de la tierra destruye al mismo tiempo que quema, de [138]
tal modo que, cuanto más intenso es, tanto menos dura; pero el
fuego del infierno tiene tal propiedad, que conserva lo mismo
que abrasa y, aunque brama con
indecible intensidad, brama
para siempre.
—Our earthly fire again,
no matter how fierce or
widespread it may be, is
always of a limited extent; but
the lake of fire in hell is
boundless, shoreless and
bottomless. It is on record
that the devil himself, when
asked the question by a
certain soldier, was obliged to
confess that if a whole
mountain were thrown into
the burning ocean of hell it
would be burned up In an
instant like a piece of wax.
And this terrible fire will not
afflict the bodies of the
damned only from without,
but each lost soul will be a
hell unto itself, the boundless
fire raging in its very vitals.
O, how terrible is the lot of
those wretched beings! The
blood seethes and boils in the
veins, the brains are boiling
in the skull, the heart in the
breast glowing and bursting,
the bowels a red-hot mass of
burning pulp, the tender eyes
flaming like molten balls.
»Nuestro fuego terreno,
sean cuales sean su furia y su
extensión, tiene siempre una
zona limitada; pero el lago de
fuego del infierno no tiene límites, ni playas, ni fondo. Se
dice que una vez el mismo diablo, preguntado por cierto soldado, se vio obligado a confesar que si toda una montaña
fuera arrojada en aquel océano hirviente sería consumida
en un instante como un pedazo de cera. Y este terrible fuego no aflige las almas de los
condenados solamente por
fuera, sino que cada alma condenada será un infierno dentro de sí misma, abrasada por
aquel fuego devorador en sus
mismos centros vitales. ¡Oh,
cuán terrible es la suerte de
aquellos miserables seres! La
sangre bulle y hierve en sus venas, los sesos se les abrasan en el
cráneo, el corazón se les quema en
el pecho como un ascua, sus intestinos son una masa rojiza de ardiente pulpa, sus tiernos ojos llamean como globos candentes.
—And yet what I have said
as to the strength and quality
and boundlessness of this fire
is as nothing when compared
50 to its intensity, an intensity
which it has as being the
instrument chosen by divine
design for the punishment of
soul and body alike. It is a
55 fire which proceeds directly
from the ire of God, working
not of its own activity but as
an instrument of Divine
vengeance. As the waters of
60
baptism cleanse the soul with
the body, so do the fires of
punishment torture the spirit
with the flesh. Every sense of
65 the flesh is tortured and every
faculty of the soul therewith:
the eyes with impenetrable
»Y todavía lo que he dicho
referente a la fuerza, cualidad
e ¡limitación de este fuego, no
es nada si se compara con su
intensidad, una intensidad que
ha sido el instrumento escogido por designio divino para
castigo del alma y del cuerpo
a la par. Es un fuego que procede directamente de la ira de
Dios, y que no obra por propia
actividad, sino como un instrumento de la divina venganza.
Como las aguas del bautismo
purifican el alma y el cuerpo
al mismo tiempo, así el fuego
del castigo tortura el espíritu y
la carne. Todos los sentidos de
la carne sufren tortura y todas
las facultades del alma al mismo tiempo. Los ojos, la impe-
15
20
25
30
35
seethe 1 estar furioso 2 boil out, bullir,
hervir: the square was seething with
tourists, la plaza rebosaba de turistas 3 intr. (of a liquid) seethe, foam
violently (the churning sea). 4 tr. agitate
or move (liquid) vigorously, causing it
to foam.
our earthly fire destroys at the
same time as it burns, so that
the more intense it is the
shorter is its duration; but the
5
fire of hell has this property,
that it preserves that which it
burns, and, though it rages with
incredible intensity, it rages for
10 ever.
40
45
149
Joyce’s Portrait
utter darkness, the nose with
noisome odours, the ears with
yells and howls and
execrations, the taste with
foul
m a t t e r,
leprous
corruption,
nameless
suffocating filth, the touch
with redhot goads and spikes,
with cruel tongues of flame.
And through the several
torments of the senses the
immortal soul is tortured
eternally in its very essence
amid the leagues upon
leagues of glowing fires
kindled in the abyss by the
offended majesty of the
Omnipotent God and fanned
into everlasting and everincreasing fury by the breath of
the anger of the God-head.
netrable y absoluta oscuridad;
la nariz, los pestilentes olores;
el oído, los alaridos, bramidos
e imprecaciones; el gusto, las
materias corrompidas, el estiércol sofocante e indescriptible;
el tacto, las punzadas de las
candentes aguijadas y púas y
los crueles lamidos [139] de las
lenguas de fuego. Y a través de
los múltiples tormentos de los
sentidos, el alma inmortal se ve
torturada eternamente en su íntima esencia entre legua s y l e guas de llamas ardientes
inflamadas en los abismos por
la majestad ofendida del omnipotente Dios y alimentadas con
una furia perdurable y cada vez
más intensa por el soplo de la
cólera de la divinidad.
—Consider finally that
the torment of this infernal
prison is increased by the
company of the damned
themselves. Evil company on
30 earth is so noxious that the
plants, as if by instinct,
withdraw from the company
of whatsoever is deadly or
35 hurtful to them. In hell all
laws are overturned—there is
no thought of family or
c o u n t r y,
of
ties,
of
relationships. The damned
40 h o w l a n d s c r e a m a t o n e
a n o t h e r, t h e i r t o r t u r e a n d
rage intensified by the
presence of beings tortured
and raging like themselves.
45
All sense of humanity is
forgotten. The yells of the
suffering sinners fill the
remotest corners of the vast
50 a b y s s . T h e m o u t h s o f t h e
damned
are
full
of
blasphemies against God and
of hatred for their fellow
s u ff e r e r s a n d o f c u r s e s
55 a g a i n s t t h o s e s o u l s w h i c h
were their accomplices in
sin. In olden times it was the
custom to punish the
parricide, the man who had
60
raised his murderous hand
against his father, by casting
him into the depths of the
sea in a sack in which were
65 p l a c e d a c o c k , a m o n k e y ,
and a serpent. The intention
of those law-givers who
»Considerad, finalmente,
que el tormento de esta infernal prisión está aumentado por
la misma compañía de los condenados. La mala compañía es
tan dañina que, aun en la tierra,
las plantas se retiran como por
instinto de todo lo que es fatal
o nocivo para ellas. En el infierno todas las leyes están cambiadas; ya no hay allí idea de familia, ni vínculo, ni parentesco. Los condenados braman y se
maldicen los unos a los otros y
tienen su tortura y su rabia intensificadas por la presencia de
otros seres tan torturados y rabiosos como ellos mismos.
Todo sentimiento de humanidad está olvidado allí. Los alaridos de los atormentados pecadores llenan los más remotos
rincones del vasto abismo. Las
bocas de los condenados están
llenas de blasfemias contra
Dios y de odio para sus compañeros de sufrimiento y de
maldiciones contra las almas
de aquellos que fueron sus
cómplices en el pecado. Allá en
tiempos antiguos había la costumbre de castigar al parricida, al hombre que se había
atrevido a levantar la mano
asesina contra su padre, arrojándole a los profundos del
mar dentro de un saco en compañía de un gallo, de un mono
y de una serpiente. La intención de los legisladores que
5
10
15
inspire, despertar
20
25
the company of the damned themselves The third quality
of Hell.
48. in a sack . . . a serpent: the Roman punishment for
a parricide.
150
Joyce’s Portrait
f o r j a r o n l a l e y, q u e h o y e n
nuestros tiempos nos parece
cruel, fue la de castigar al
criminal con la compañía de
aquellas odiosas y dañina s b e s tias. Pero, ¿qué valor tiene la
furia de aquellos mudos animales comparada con la furia de
execración que estalla en los
resecos labios del condenado
en los infiernos cuando contempló en sus compañeros de
sufrimiento, aquellos que le
ay u d a r o n e n e l p e c a d o y l e
i n d u j eron a él, aquellos cuyas
palabras sembraron la primera semilla [140] del mal pensamiento
y del mal vivir en su mente,
aquellos que con impúdicas sugestiones le llevaron a pecar,
aquellos cuyos ojos le seduje ron
y le apartaron del camino de la virtud? Y se vuelven a sus cómplices y
les reprochan y los maldicen. Pero
ya no tienen socorro ni esperanza:
ya es demasi a d o t a r d e p a r a e l
arrepentimiento.
—Last of all consider the
frightful torment to those
damned souls, tempters and
35 t e m p t e d a l i k e , o f t h e
company of the devils.
These devils will afflict the
damned in two ways, by
their presence and by their
40 reproaches. We can have no
idea of how horrible these
devils are. Saint Catherine
of Siena once saw a devil
and she has written that,
45
rather than look again for
one single instant on such a
frightful monster, she would
prefer to walk until the end
50 of her life along a track of
red coals. These devils, who
were once beautiful angels,
have become as hideous and
ugly as they once were
55 b e a u t i f u l . T h e y m o c k and
jeer at the lost souls whom
they dragged down to ruin.
It is they, the foul demons,
who are made in hell the
60
voices of conscience. Why
did you sin? Why did you
lend an ear to the temptings
of friends? Why did you turn
65 a s i d e f r o m y o u r p i o u s
practices and good works?
Why did you not shun the
»Considerad por último el
horrible tormento que sufren
aquellas almas, las de los tentadores lo mismo que las de los inducidos, en la compañía de los
demonios. Los demonios les afligen de dos modos distintos: con
su presencia y con sus sarcásticos reproches. No podemos formarnos idea de lo horribles que los
demonios son. Santa Catalina de
Siena vio una vez uno, y ha dejado escrito que mejor que volver
a ver, aunque sea por un solo instante, un monstruo tan espantoso, preferiría estar marchando
toda su vida sobre un rastro de carbones encendidos. Porque los diablos, que antes fueron ángeles hermosísimos, se convirtieron en
monstruos tan horrendos y repugnantes cuanto primero bellos. Los
diablos befan y escarnecen a las
almas condenadas, empujadas por
ellos a la ruina. Son ellos, los
protervos demonios, los que hacen en el infierno el papel de la
voz de la conciencia. ¿Por qué
pecaste? ¿Por qué prestaste oídos a las tentaciones de los amigos? ¿Por qué te apartaste de las
prácticas piadosas y de las buenas obras? ¿Por qué no evitaste
las ocasiones de pecar? ¿Por qué
5
10
abet assist or encourage, usually in some
wrongdoing, iinstigated, con la complicidad
f r a m e d s u c h a l a w, w h i c h
seems cruel in our times,
was to punish the criminal
by the company of hurtful
and hateful beasts. But what
is the fury of those dumb
beasts compared with the
fury of execration which
bursts from the parched lips
and aching throats of the
damned in hell when they
behold in their companions
in misery those who aided
a n d a b e t t e d them in sin,
those whose words sowed the
first seeds of evil thinking
and evil living in their minds,
those whose immodest
suggestions led them on to
sin, those whose eyes
tempted and allured them
from the path of virtue. They
turn upon those accomplices
and upbraid them and curse
them. But they are helpless
and hopeless: it is too late
now for repentance.
15
20
25
reproach
30
49. Saint Catherine of Siena ... red coals: Pinamonti
cites St Catherine of Siena (1347-80) for this detail.
Saint Catherine of Siena (1347-80) Patron Saint of the
Dominican Order, celebrated for her ecstasies and
visions, and for the marks of suffering which she
bore on her body.
151
Joyce’s Portrait
prompting pronto, rápido, presto, listo /
puntual, en punto, disponible / plazo,
vencimiento, aviso / impulsar, motivar,
incitar, apuntar, soplar
without prompting (= on one’s own initiative)
por iniciativa propia; motu propio
1 a acting with alacrity; ready. b made, done,
etc. readily or at once (a prompt reply).
a (of a payment) made forthwith. b (of
goods) for immediate delivery and
payment.
sentence, etc., to (an actor, reciter, etc.).
b assist (a hesitating speaker) with a
suggestion.
action, etc.).
1?a an act of prompting. b a thing said to
help the memory of an actor etc. c =
prompter 2. d Computing an indication
or sign on a VDU screen to show that
the system is waiting for input. 2?the
time limit for the payment of an account,
stated on a prompt note.
taunt 1. To reproach in a mocking,
insulting, or contemptuous manner.
Mofarse de, To ridicule. 2. To drive
or incite (a person) by taunting,
Echarle en cara a alguien algo. 3 A
scornful remark or tirade; a jeer, pulla, mofa, sarcasmo.
the temple of the Holy Ghost i.e. the body of man.
occasions of sin? Why did
you not leave that evil
companion? Why did you
not give up that lewd habit,
5
that impure habit? Why did
you not listen to the
counsels of your confessor?
Why did you not, even after
10 you had fallen the first or
the second or the third or the
fourth or the hundredth time,
repent of your evil ways and
turn to God who only waited
15 f o r y o u r r e p e n t a n c e t o
absolve you of your sins?
Now the time for repentance
has gone by. Time is, time
was, but time shall be no
20
m o r e ! Ti m e w a s t o s i n i n
secrecy, to indulge in that
sloth and pride, to covet the
unlawful, to yield to the
25 promptings of your lower
nature, to live like the beasts
of the field, nay worse than
the beasts of the field, for
they, at least, are but brutes
30 and have no reason to guide
them: time was, but time
shall be no more. God spoke
to you by so many voices,
35 but you would not hear. You
would not crush out that
pride and anger in your
heart, you would not restore
those ill-gotten goods, you
40 would not obey the precepts
of your holy church nor
attend to your religious
duties, you would not
abandon those wicked
45
companions, you would not
avoid those dangerous
temptations. Such is the
language of those fiendish
words
of
50 t o r m e n t o r s ,
taunting and of reproach, of
ha t r e d a n d o f d i s g u s t . O f
disgust, yes! For even they,
the very devils, when they
55 sinned, sinned by such a sin
as alone was compatible
with such angelical natures,
a rebellion of the intellect:
and they, even they, the foul
60
d e v i l s m u s t t u r n a w a y,
revolted and disgusted,
from the contemplation of
those unspeakable sins by
degraded
man
65 w h i c h
outrages and defiles the
t e m p l e o f t h e H o l y G h o s t,
no abandonaste aquella mala
compañía? ¿Por qué no abandonaste aquella lasciva costumbre,
aquel hábito impuro? ¿Por qué
no seguiste los consejos de tu
confesor? ¿Por qué, después
de haber caído la primera vez,
o la segunda, o la tercera, o la
cuarta, o la centésima, por qué
no te apartaste del mal camino y te volviste a Dios, que
sólo esperaba tu arrepentiiiento para absolverte de tus
pecados? Ahora ya ha pasado
el tiempo del arrepentimiento. ¡Tiempo hay, tiempo hubo,
pero ya no lo habrá jamás!
¡Tiempo hubo para pecar en
secreto, para regodearte en la
pereza y el or gullo, para ambicionar lo ilegítimo, para
entregarse a los más bajos
ímpetus de tu naturaleza, para
vivir como las bestias del
campo, ¡qué digo!, peor que
las bestias del campo, pues
ellas por lo menos son simples
brutos y no tienen razón que
las guíe. ¡Hubo tiempo, pero
ya no lo habrá jamás! Dios te
habló muchas veces..., ¡pero
no le quisiste oír! No querías
arrojar aquel orgullo y aquella cólera de tu corazón, no
querías devolver aquellos
bienes mal adquiridos, no
querías obedecer los preceptos de tu Santa Madre la Iglesia, no querías cumplir con
tus deberes religiosos, no
querías abandonar aquellas
malvadas compañías, no querías evitar aquellas peligrosas
tentaciones. Tal es el leng u a je de aquellos diabólicos
atormentadores: palabras
de vituperio y de reproc h e , d e o d i o y d e repulsión . ¡ D e r e p u l s i ó n , s í !
Porque hasta ellos, los
mismos demonios, pecaron sólo tal como era posible a sus angélicas naturalezas, sólo por la rebelión de la inteligencia; y
ellos, hasta ellos mismos,
se vuelven, asqueados y
repelidos, al contemplar
aquellos innombrables pecados, con los cuales el
hombre ultraja y m a n c i l l a
el templo del Espíritu
152
Joyce’s Portrait
defile 1 [+ honour] manchar [+ sacred thing, memory]
profanar [+ woman] deshonrar 2 mauntain pass,
desfiladero
defile 1 to make foul or dirty; pollute 2 to tarnish or sully
the brightness of; taint; corrupt 3 to damage or sully
(someone’s good name, reputation, etc.) 4 to make
unfit for ceremonial use; desecrate 5 to violate the
chastity of
defile 1 a narrow pass or gorge, esp. one between two
mountains 2 a single file of soldiers, etc. 3 (Chiefly
military) to march or cause to march in single file
defile to make unclean or impure: as a : to corrupt the
purity or perfection of : DEBASE <the countryside
defiled by billboards> b : to violate the chastity of :
DEFLOWER c : to make physically unclean
especially with something unpleasant or
contaminating <boots defiled with blood> d : to violate
the sanctity of : DESECRATE <defile a sanctuary>
e : SULLY, DISHONOR
synonym see CONTAMINATE
50. Depart from me . . . angels!: Matthew 25:41.
defiles
himself.
and
pollutes
S a n t o, se mancilla y se
empuerca a sí mismo.
—O, my dear little
brothers in Christ, may it
never be our lot to hear that
language! May it never be our
lot, I say! In the last day of
10 t e r r i b l e r e c k o n i n g I p r a y
fervently to God that not a
single soul of those who are in
this chapel today may be
found among those miserable
15 beings whom the Great Judge
shall command to depart for
ever from His sight, that not
one of us may ever hear ringing
in his ears the awful sentence
20
of rejection: DEPART FROM ME, YE
AND HIS ANGELS!
»¡Oh, queridos hermanitos
míos en Cristo, que nos esté destinado el oír este lenguaje! ¡Que no
nos esté destinado, os digo! Yo le
ruego fervientemente a Dios que
en el último día de la terrible
cuenta, ni una sola alma de las que
ahora están en esta capilla pueda
hallarse entre los miserables seres a los cuales el Gran Juez ha
de mandar apartarse para siempre
de su vista, que ni uno solo de
nosotros pueda oír retumbar en
sus oídos la espantosa sentencia
de c o n d e n a c i ó n : ¡ A p a r t a o s
de mí, malditos, id al fuego
que os ha sido preparado
por el demonio y sus ángeles!
He came down the
aisle of the chapel, his
legs shaking and the scalp
of his head trembling as
though it had been
touched
by
ghostly
fingers. He passed up the
staircase and into the
corridor along the walls of
w h i c h t h e o v e rc o a t s a n d
waterproofs hung like
gibbeted malefactors,
headless and dripping and
shapeless. And at every
step he feared that he had
already died, that his soul
had been wrenched forth
o f t h e s h e a t h o f h i s b o d y,
that he was plunging
headlong through space.
Stephen salió por uno de
los lados de la capilla, con
las piernas entrechocadas y
la cabeza temblorosa como
si hubiera sido tocada por
los dedos de una visión.
Subió la escalera y siguió
a lo largo de la s paredes
del corredor, de las cuales
pendían los abrigos y los
impermeables goteantes ,
como malhechores ejecutados, sin cabeza ni forma. A cada paso [142]
que daba, temía haberse muerto ya y qu e s u
alma desgajada de l a
envoltura del cuerpo
se est a b a h u n d i e n do
d e c abeza a través del espacio.
He could not grip the floor
with
his feet and sat heavily at
50
his desk, opening one of his
books at random and poring
over it. Every word for him. It
was true. God was almighty.
55 God could call him now, call
him as he sat at his desk, before
he had time to be conscious of
the summons. God had called
him. Yes? What? Yes? His
60
flesh shrank together as it felt
the approach of the ravenous
tongues of flames, dried up as
it felt about it the swirl of
65 stifling air. He had died. Yes.
He was judged. A wave of fire
swept through his body: the
No podía hacer pie en el suelo, y así, se
sentó pesadamente en su pupitre abriendo un libro al azar y quedándoselo mirando como hipnotizado. //No había habido palabra que no se le aplicase a
él. Era verdad. Dios era todopoderoso. Dios podía llamarle ahora, llamarle mientras estaba sentado en su
pupitre, antes de que hubiera podido
tener conciencia de la llamada. Dios
le había llamado. ¿Sí? ¿Cómo?
¿Sí? La carne se le contrajo como
si sintiera la proximidad de las
voraces llamas, reseca como si
sintiera a su alrededor el remolino del sofocante aire. Se había
muerto. Sí. Y estaba siendo juzgado. Una onda de fuego pasó rá-
5
CURSED, INTO EVERLASTING FIRE
WHICH WAS PREPARED FOR THE DEVIL
25
He came down... his legs shaking This represents the
break in the sermon, and Stephen’s initial, fearful
reaction to it.
30
35
the overcoats and waterproofs hung like gibbeted
malefactors... Notice how, because of the power of
the sermon, Stephen invests the commonplace with
tremendous significance here the garments are like
hanging men, symbols of his own sin.
40
45
headlong: rashly recklessly, hastily,
impetuously, impetuously acting
rashly or with sudden energy, moving
forcefully or rapidly; rushingly
actingly violently in advance or
attack; swiftly.
de cabeza, de bruces, precipitadamente
summon v.tr. 1 call upon to appear, esp.
as a defendant or witness in a lawcourt.
2 (usu. foll. by to + infin.) call upon
(summoned her to assist). 3 call
together for a meeting or some other
purpose (summoned the members to
attend).
1 (a una persona, una reunión) convocar
2 frml (ayuda) pedir 3 Jur citar
summon up (often foll. by to, for) gather
(courage, spirits, resources, etc.)
(summoned up her strength for the
task).
153
Joyce’s Portrait
like a corolla A whorl [verticilo, espiral,
espira] of leaves.
first. Again a wave. His brain
began to glow. Another. His
brain was simmering and
bubbling within the cracking
5
tenement of the skull. Flames
burst forth from his skull like
a c o ro l l a , s h r i e k i n g l i k e
voices:
pidamente por su cuerpo: la primera. Otra oleada. Su cerebro comenzó a abrasarse. Otra. Su cuerpo hervía y burbujeaba dentro de
la crepitante morada del cráneo.
Y las llamas salían de su cabeza
como una a u r e o l a , g r i t a n d o
como si fueran v o c e s :
10
—Hell! Hell! Hell! Hell!
Hell!
—¡Infierno! ¡Infierno! ¡Infierno! ¡Infierno! ¡Infierno!
Voices spoke near him:
Alguien hablaba cerca:
—On hell.
—Sobre el infierno.
15
—I suppose he rubbed it
into you well.
—Supongo que os lo habrá
hecho entrar bien a lo vivo.
— Yo u b e t h e d i d .
He put us all into a
blue funk.
—¡Bien a lo vivo! ¡Como
que nos ha hecho a todos dar
diente con diente!
—That’s what you fellows
want: and plenty of it to make
you work.
—¡Eso es lo que os hace buena falta! ¡Y mucho de eso! ¡A ver
si así trabajáis!
He leaned back weakly in
his desk. He had not died.
God had spared him still. He
was still in the familiar world
35 of the school. Mr Tate and
Vincent Heron stood at the
w i n d o w, t a l k i n g , j e s t i n g ,
gazing out at the bleak rain,
moving their heads.
Se inclinó indolentemente sobre la mesa. No se había muerto.
Dios le había dejado todavía. Estaba todavía en aquella clase que
tan familiar le era. Míster Tate y
Vincent Heron estaban de pie junto a la ventana, hablando, bromeando, contemplando la lluvia
fría y meneando la cabeza.
20
51. blue funk: a state of total fear.
blue funk (Made us) very frightened.
• in a blue funk to be in a state of terror; in American
slang, one could say that Father Arnall was trying to
scare the boys out of their wits.
blue funk: extreme depression and fear
25
30
40
—Quisiera que aclarara. Habíamos acordado dar una vuelta
en bici hasta Malahide. Pero debe
de llegar el agua hasta las rodillas por esos caminos.
—I wish it would clear up.
I had arranged to go for a spin
on the bike with some fellows
out by Malahide. But the roads
45
must be knee-deep.
The voices that he knew
so well, the common words,
the quiet of the classroom
when the voices paused and
the silence was filled by the
55 s o u n d o f s o f t l y b r o w s i n g
cattle as the other boys
munched their lunches
tranquilly, lulled his aching
soul.
—Puede ser que aclare, señor.
[143]
Aquellas voces que le eran tan
conocidas, las palabras usuales, la
quietud de la clase, donde cuando las voces callaban sólo se oía
un susurro como de ganado que
anduviese al ramoneo, pues los
otros chicos mascaban tranquilamente sus almuerzos, todo
eso tranquilizó su alma
dolorida.
There was still time. O
M a r y, r e f u g e o f s i n n e r s ,
intercede for him! O Virgin
65 Undefiled, save him from the
gulf of death!
Aún había tiempo. ¡Oh, María, refugio de los pecadores, interceded por él! ¡Oh, Virgen
Inmaculada, salvadle del piélago de la muerte!
—It might clear up, sir.
50
60
154
whorl n. 1 a ring of leaves or other organs
round a stem of a plant. 2 one turn of
a spiral, esp. on a shell. 3 a complete
circle in a fingerprint. 4 archaic a
small wheel on a spindle steadying
its motion.
corolla a whorl [verticilo, spiral,
espira] of leaves. Aureola,
espira Cada una de las vueltas de una
espiral.
voluta adorno en figura de espiral o caracol
Joyce’s Portrait
The English lesson began
with the hearing of the
h i s t o r y. R o y a l p e r s o n s ,
favourites,
intriguers,
bishops, passed like mute
phantoms behind their veil of
names. All had died: all had
been judged. What did it
profit a man to gain the
whole world if he lost his
soul? At last he had
understood: and human life
lay around him, a plain of
peace whereon ant-like men
laboured in brotherhood,
their dead sleeping under
quiet mounds. The elbow of
his companion touched him
and his heart was touched:
and when he spoke to answer
a question of his master he
heard his own voice full of
the quietude of humility and
contrition.
La lección de inglés comenzó por las preguntas de historia. Personas reales, favoritos,
intrigantes, obispos, pasaban
como fantasmas mudos, tras el
velo de sus nombres. Todos habían muerto: todos estaban ya
juzgados. ¿De qué le aprovechaba al hombre ganar todo el mundo, si perdía su alma? Por fin,
había comprendido: y la vida
humana yacía alrededor de él
como una llanura de paz, donde
los hombres trabajaban hermanados, como hormigas, con sus
muertos dormidos bajo unos
tranquilos montones de arena. El
codo de su compañero le tocó y
su corazón se sintió tocado a la
par. Y cuando habló para contestar a una pregunta del profesor sintió su propia voz llena de
una quietud de humildad y contrición.
His soul sank back deeper
into depths of contrite peace,
30 no longer able to suffer the
pain of dread, and sending
forth, as he sank, a faint
prayer. Ah yes, he would still
35 be spared; he would repent in
his heart and be forgiven; and
then those above, those in
heaven, would see what he
would do to make up for the
40 past: a whole life, every hour
of life. Only wait.
Su alma se hundió más profundamente en una contrita paz,
incapaz de soportar por más tiempo la pena del terror, y una vaga
plegaria iba brotando de ella
mientras se hundía. Ah, sí: todavía se le concedería un plazo; se
arrepentiría de corazón y sería
perdonado. Y luego, los de arriba, los del cielo, habían de ver lo
que él haría para compensar su
pasado. Toda su vida: cada hora
de su vida. ¡Al tiempo!
5
10
52. What did it profit . . . soul?: Matthew 16:26.
15
20
25
—All, God! All, all!
—¡Todo, oh, Dios! ¡Todo, todo!
45
A messenger came to
the door to say that
confessions were being
heard in the chapel. Four
50 b o y s l e f t t h e r o o m ; a n d h e
heard others passing
d o w n t h e c o r r i d o r. A
tremulous chill blew
round his heart, no
55 s t r o n g e r t h a n a l i t t l e
wind, and yet, listening
a n d s u f f e r i n g s i l e n t l y, h e
seemed to have laid an
ear against the muscle
60
of
his
own
heart,
feeling it close and
quail, listening to the
flutter of its ventricles.
Un mensajero llegó hasta
la puerta para decir que las
confesiones habían comenzado en la capilla. Cuatro muchachos salieron de la clase;
y se oían las pisadas de otros
que pasaban por el corredor. Un
tembloroso escalofrío le corrió
alrededor del corazón, no más
intenso que una brisilla leve;
pero, mientras sufría y escuchaba en silencio, se le hacía
[144] como si tuviera una oreja aplicada contra el músculo
de su propio corazón y l e e s tuviera sintiendo todo
tembloroso y cercano, y percibiera la palpitación de sus ventrículos.
65
No escape. He had to
confess, to speak out in
No había escape. Tenía que
confesarse, tenía que manifestar
155
Joyce’s Portrait
words what he had done
and thought, sin after sin.
How? How?
5
like a cold shining rapier The image is particularly
effective since the suffering of the flesh is what
Stephen is to wish for in the light of his sins.
10
15
20
25
30
He sat again . . . The continuation of the sermon.
53. I am cast away . . . eyes: Psalm 30:2,3 (Douay),
31:22 (AV).
con palabras todo lo que había pensado y hecho, pecado tras pecado.
—¿Y cómo? ¿Cómo?
—Father, I.
—Padre, yo...
The thought slid like a
cold shining rapier into his
tender flesh: confession. But
not there in the chapel of the
college. He would confess all,
every sin of deed and thought,
sincerely; but not there
among
his
school
companions. Far away from
there in some dark place he
would murmur out his own
shame; and he besought God
hum b l y n o t t o b e o ff e n d e d
with him if he did n o t d a r e
to confess in the college
chapel and in utter
abjection of spirit he
c r a v e d f o r g i v e ness mutely
of the boyish hearts about
him.
Aquel pensamiento resbalaba
como una hoja fría y brillante de
acero por la entraña de sus carnes: ¡confesión! Pero no en la capilla del colegio. Lo confesaría
sinceramente todo, cada uno de
sus pecados de hecho y de pensamiento: pero no allí, entre sus
compañeros de colegio. Lejos, en
algún sitio oscuro, sería donde
únicamente se atrevería a expresar su propia infamia; y le rogó
humildemente a Dios que no estuviera ofendido con él por no
atreverse a confesar en la capilla
del colegio; y con un total abatimiento de espíritu imploró mudamente el perdón de aquellos infantiles corazones que le rodeaban.
Time passed.
Pasaba el tiempo.
He sat again in the front
bench of the chapel. The
35 daylight without was already
failing and, as it fell slowly
through the dull red blinds, it
seemed that the sun of the last
day was going down and that
40 all souls were being gathered
for the judgement.
—I
Volvía a estar sentado en
el primer banco de la capilla.
La luz del día estaba ya decayendo y al penetrar por el
rojo denso de las cortinas,
parecía que el sol del último
día se estaba ocultando y que
todas las almas se congregaban para el juicio final.
words
45
taken, my dear little brothers
in Christ, from the Book of
P s a l m s , t h i r t i e t h c h a p t e r,
twenty-third verse. In the name
50 of the Father and of the Son
and of the Holy Ghost. Amen.
—Estoy apartado de la vista de tus ojos: palabras tomadas, mis queridos hermanitos
en Cristo, del Libro de los Salmos, capítulo trece, versículo
veintitrés. En el nombre del
Padre y del Hijo y del Espíritu Santo. Amén.
The preacher began to
speak in a quiet friendly tone.
55 H i s f a c e w a s k i n d a n d h e
joined gently the fingers of
each hand, forming a frail cage
by the union of their tips.
El predicador comenzó a hablar en un tono reposado y amistoso. Su rostro tenía una expresión
amable y juntaba despacito los dedos de cada mano formando una
caja delicada al reunir las yemas.
AM CAST AWAY FROM THE
SIGHT OF THINE EYES:
60
54. our holy founder . . . composition of place: in The
Spiritual Exercises, St Ignatius of Loyola
recommends meditating upon a physical object as
an aid to contemplating a spiritual truth.
—Esta mañana procurábamos,
en nuestra meditación del infierno, hacer lo que nuestro santo fundador llama en su libro [145] de
los Ejercicios Espirituales la composición de lugar. Esto es, tratábamos de imaginar con los senti-
—This morning we
endeavoured,
in
our
reflection upon hell, to make
what our holy founder calls in
65 his book of spiritual exercises,
the composition of place. We
endeavoured, that is, to
156
Joyce’s Portrait
prompting pronto, rápido, presto, listo / puntual, en
punto, disponible / plazo, vencimiento, aviso /
impulsar, motivar, incitar, apuntar, soplar
without prompting (= on one’s own initiative) por
iniciativa propia; motu propio
1 a acting with alacrity; ready. b made, done,
etc. readily or at once (a prompt reply). a (of
a payment) made forthwith. b (of goods)
for immediate delivery and payment.
sentence, etc., to (an actor, reciter, etc.). b
assist (a hesitating speaker) with a
suggestion.
action, etc.).
1?a an act of prompting. b a thing said to help
the memory of an actor etc. c = prompter 2.
d Computing an indication or sign on a VDU
screen to show that the system is waiting
for input. 2?the time limit for the payment of
an account, stated on a prompt note.
the pain of loss The fourth of the sufferings of Hell.
55. Saint Tbomas .. . the angelic doctor: St Thomas
Aquinas (1225-74), called the Angelic Doctor, was
the greatest of the medieval theologians. His Summa
Theologica, Part Ia, q. 64 and III, qq. 97-9, deals
with this issue.
Saint Thomas The reference is to Thomas Aquinas
(1227-74). Joyce himself made a great study of his
writings.
• Saint Thomas Saint Thomas Aquinas;
thirteenth-century monk, theologian, and philosopher.
His works summarize all that is known about God
by evidence of reasoning and faith and serve as the
cornerstone of the Roman Catholic faith. Stephen
develops his own aesthetic theory from the ideas of
Aquinas and Aristotle.
imagine with the senses of the
mind, in our imagination, the
material character of that awful
place and of the physical
5
torments which all who are in
hell endure. This evening we
shall consider for a few
m om e nt s t he na t ure of the
10 s p i r i t u a l t o r m e n t s o f h e l l .
dos de la mente, con nuestra imaginación, el carácter material de
las penas de aquel lugar espantoso y de los tormentos físicos que
sufren todos los que están en el
infierno. Esta tarde trataremos de
considerar por unos breves momentos la naturaleza de las penas
espirituales del infierno.
— S i n , r e m e m b e r, i s a
twofold enormity. It is a base
consent to the promptings of
15 o u r c o r r u p t n a t u r e t o t h e
lower instincts, to that which
is gross and beast-like; and
it is also a turning away from
the counsel of our higher
20
nature, from all that is pure and
h o l y, f r o m t h e H o l y G o d
Himself. For this reason mortal
sin is punished in hell by two
25 different forms of punishment,
physical and spiritual.
»Acordaos de que el pecado
constituye un doble delito. Es una
vil condescendencia con las inclinaciones de nuestra corrompida naturaleza hacia los más bajos instintos,
hacia lo que es grosero y bestial.
»Pero es también un apartamiento de lo más noble de
nuestro ser, de todo lo que es
puro y santo, del mismo Dios.
Por esta razón, el pecado mortal recibe en el infierno dos
clases diferentes de castigo,
mental y corporal.
Now of all these spiritual
pains by far the greatest is
30 the pain of loss, so great, in
fact, that in itself it is a
torment greater than all the
others. Saint Thomas, the
35 greatest doctor of the church,
the angelic doctor, as he is
called, says that the worst
damnation consists in this,
that the understanding of
40 man is totally deprived of
divine light and his affection
obstinately turned away from
the goodness of God. God,
r e m e m b e r, i s a b e i n g
45
infinitely
good,
and
therefore the loss of such a
being must be a loss
infinitely painful. In this life
50 we have not a very clear idea
of what such a loss must be,
but the damned in hell, for
their greater torment, have a
full understanding of that
55 which they have lost, a n d
understand that they have
lost it through their own
sins and have lost it for
ever. At the very instant of
60
death the bonds of the flesh
are broken asunder and the
soul at once flies towards
God as towards the centre
her
existence.
65 o f
R e m e m b e r, m y d e a r l i t t l e
boys, our souls long to be
»Pero de todas las penas
espirituales, la incomparablemente mayor es la pena de
daño , tan grande, realmente,
que es de por sí un tormento
mayor que todos los otros.
Santo Tomás, el máximo doctor de la Iglesia, el doctor angélico, como se le llama, dice
que la peor condenación resulta de que el entendimiento del hombre está totalmente privado de la divina luz y
su afecto inexorablemente
apartado de la divinidad de
Dios. Dios, acordaos de ello,
es un ser infinitamente bueno y, por tanto, la pérdida de
tal ser debe resultar infinitamente dolorosa. En esta vida
no podemos tener una idea
clara de lo que tal pérdida
es, pero en el infierno, el
condenado, para su mayor
tormento, tiene un conocimiento cabal de lo que ha perdido y sabe que lo ha perdido
por sus propios pecados y que
lo ha perdido para siempre.
En el mismo instante de la
muerte, se rompen las ligaduras de la carne y el alma
tiende inmediatamente hacia
Dios como hacia el centro de
su existencia. Acordaos, queridos niños, de que nuestras
almas ansían el estar con Dios.
157
main body.
Joyce’s Portrait
Venimos de Dios, vivimos por
Dios, pertenecemos a Dios; somos suyos, inalienablemente
suyos. Dios ama con un divino amor a [146] cada una de
las almas humanas, y cada una
de estas almas vive por aquel
amor. ¿Cómo podría ser de
otro modo? Cada soplo de
nuestro aliento, cada pensamiento de nuestro cerebro,
cada instante de nuestra vida,
proceden de la inagotable bondad de Dios. Y es doloroso
para una madre el ser apartada de su hijo, para un hombre
el destierro de su patria y de
su hogar, para un amigo el verse separado de su amigo,
pensad, pensad, qué pena, qué
angustia, debe de ser la de la
pobre alma al verse rechazada de la presencia de aquel supremo bien, de aquel amante
creador que la había formado de la nada, que la había
sostenido en vida y amado
con un i n m e n s u r a b l e a m o r.
Esto, pues, el ser separada
para siempre del mayor bien,
de Dios, el sentir la angustia
de esta separación, sabiendo
con absoluta certeza que no ha
de haber cambio posible, en
esto consiste el mayor tormento que el alma creada puede
sufrir: poema damni, la pena
de daño.
The second pain which
will afflict the souls of the
45
damned in hell is the pain of
conscience. Just as in dead
bodies
worms
are
engendered by putrefaction,
50 so in the souls of the lost
there arises a perpetual
remorse
from
the
putrefaction of sin, the sting
of conscience, the worm, as
55 P o p e I n n o c e n t t h e T h i r d
calls it, of the triple sting.
The first sting inflicted by
this cruel worm will be the
memory of past pleasures. O
60
what a dreadful memory will
that be! In the lake of alldevouring flame the proud
king will remember the
65 pomps of his court, the wise
but wicked man his libraries
and instruments of research,
»La segunda pena que afligirá las almas de los condenados en el infierno es la pena de
conciencia. Así como en los
cuerpos muertos se engendran
los gusanos por la descomposición, así en las almas de los
condenados, de la putrefacción
del pecado, nace un perpetuo
remordimiento, el aguijón de la
conciencia, el gusano, como el
papa Inocencio III lo llama, de
la triple mordedura. La primera manera de roer de este cruel
gusano será el recuerdo de los
pasados deleites. ¡Oh, qué horrendo recuerdo habrá de ser!
En el lago de llamas que todo
lo devora, el orgulloso rey recordará la pompa de su corte;
el hombre sabio, pero malvado, sus bibliotecas y sus instrumentos de investigación; el
5
10
15
20
sunder v.tr. & intr. archaic or literary
in sunder apart.
25
30
35
poena damni: torment of the damned (removal from
God’s sight)
the pain of conscience The next of the sufferings.
56. Pope Innocent the Third . . . the triple sting: Pope Innocent
III (116l-1216) is cited by Pinamonti on the worm of
conscience: ‘The Memory will afflict, late repentance
will trouble, and want of time will torment.’ (G)
Pope Innocent the Third (1160-1216) Generally regarded
as the greatest of that name, he vastly extended the
territorial power of the Church.
w i t h G o d . We c o m e f r o m
God, we live by God, we
belong to God: we are His,
inalienably His. God loves
with a divine love every
human soul, and every
human soul lives in that
love. How could it be
otherwise? Every breath
that we draw, every thought
of our brain, every instant
of life proceeds from God’s
inexhaustible goodness.
And if it be pain for a
mother to be parted from
her child, for a man to be
exiled from hearth and
home, for friend to be
s u n d ered from friend, O
think what pain, what
anguish it must be for the
poor soul to be spurned from
the presence of the supremely
good and loving Creator Who
has called that soul into
existence from nothingness and
sustained it in life and loved it
with an immeasurable love.
This, then, to be separated for
ever from its greatest good,
from God, and to feel the
anguish of that separation,
knowing full well that it is
unchangeable: this is the
greatest torment which the
created soul is capable of
bearing, POENA DAMNI , the
pain of loss.
40
158
Joyce’s Portrait
revel 1 deleitarse [in, con/en] regodearse
2 to revel in doing sthg, deleitarse haciendo algo
57. saint Augustine . . . God Himself this is adapted
from Pinamonti’s conflation of St Augustine’s remarks
on the pain of the damned in De Civitas Dei and
Enchiridion.
saint Augustine (354-430) The greatest of the Latin
fathers of the Church.
the lover of artistic pleasures
his marbles and pictures and
other art treasures, he who
delighted in the pleasures of
5
the table his gorgeous
feasts, his dishes prepared
w i t h s u c h d e l i c a c y, h i s
choice wines; the miser will
10 remember his hoard of gold,
the robber his ill-gotten
wealth, the angry and
revengeful and merciless
murderers their deeds of
15 blood and violence in which
they revelled, the impure and
adulterous the unspeakable
and filthy pleasures in which
they delighted. They will
20
remember all this and loathe
themselves and their sins.
For how miserable will all
those pleasures seem to the
25 soul condemned to suffer in
hellfire for ages and ages.
How they will rage and fume
to think that they have lost
the bliss of heaven for the
30 d r o s s o f e a r t h , f o r a f e w
pieces of metal, for vain
honours,
for
bodily
comforts, for a tingling of
35 the nerves. They will repent
indeed: and this is the
second sting of the worm of
conscience, a late and
fruitless sorrow for sins
40 c o m m i t t e d . D i v i n e j u s t i c e
insists
that
the
understanding of those
miserable wretches be fixed
continually on the sins of
45
which they were guilty, and
m o r e o v e r,
as
saint
Augustine points out, God
will impart to them His own
50 k n o w l e d g e o f s i n , s o t h a t
sin will appear to them in
all its hideous malice as it
appears to the eyes of God
Himself. They will behold
55 t h e i r s i n s i n a l l t h e i r
foulness and repent but it
will be too late and then
they will bewail the good
occasions which they
60
neglected. This is the last
and deepest and most cruel
sting of the worm of
conscience. The conscience
65 will say: You had time and
opportunity to repent and
would not. You were brought
amante de los placeres artísticos, sus mármoles, sus pinturas y sus otros tesoros de arte;
el que se deleitó con los placeres de la mesa, sus magníficos
festines, aquellos platos preparados con tan exquisita delicadeza, sus escogidos vinos; el
avaro recordará sus montones
de oro; el ladrón, sus mal adquiridas riquezas; los asesinos, coléricos, vengativos y
des piadados, aquellas violencias y aquellos crímenes en que
se gozaron; los lascivos [147] y
adúlteros, los innombrables y hediondos placeres que fueron sus
delicias. Recordarán todo esto
y se aborrecerán a sí mismos
y aborrecerán sus pecados. Porque, ¿cuán miserables no aparecerán todos estos placeres al alma
condenada a sufrir el fuego del infierno por los siglos de los siglos?
¡Cómo rabiarán y maldecirán al
considerar que han perdido la
bienaventuranza celestial por la
escoria de la tierra, por unos cuantos trozos de metal, por vanos honores, por comodidades corporales, por una simple comezón de
los sentidos! Y, ciertamente, se
arrepentirán; y ésta es la segunda roedura de la conciencia: un
tardío e infecundo arrepentimiento de los pecados cometidos. La justicia divina quiere
que las inteligencias de aquellos miserables condenados estén constantemente atareadas
en la contemplación de los pecados de que se hicieron reos,
y aún más, como señala San
Agustín, Dios les hará partícipes de su propio conocimiento
del pecado, de tal modo, que el
pecado aparecerá en ellos en
toda su mon s t r u o s a m a l i c i a
como aparece a los ojos de
Dios mismo. Contemplarán
sus pecados en toda su vileza
y se arrepentirán; pero será
demasiado tarde y entonces lamentarán las buenas ocasiones
que desperdiciaron. Ésta es la
última y más profunda y
cruel mordedura del gusano
de la conciencia. La conciencia dirá: tuviste tiempo
y oportunidad para arrepentirte y no quisiste; fuiste
educado religiosamente por
159
Joyce’s Portrait
58. sacraments . . . indulgences: a sacrament is a visible sign of invisible grace instituted for the justification
of mankind. There are seven sacraments - Baptism,
Penance, Holy Communion, Confirmation,
Matrimony, Holy Orders, Extreme Unction. An
indulgence is the remission of the temporal
punishment that derives from sin; it is only effective
when the sin has been forgiven.
t us padres; tuviste en tu ayuda
la gracia y los s a c r a m e n t o s
e indulgencias de la Iglesia; tuviste ministros de
Dios que te predicaran, que
te llamaran al redil si te habías extraviado, que te perdonaran tus pecados, sin que
importase cuántos o cuán
horribles fuesen, con sólo
que te hubieras confesado y
arrepentido. N o . N o q u i s i s t e . Hiciste mofa de los
sacerdotes de la santa religión, volviste la espalda al
confesionario,
te
encenagaste más y más en el
lodazal del pecado. D i o s t e
r o g a b a , t e amenazaba,
t e i m p l o r a b a q u e v o l vieses a él. ¡Oh, qué miseria, qué
vergüenza! E l l e g i s l a d o r d e l
universo te suplicaba a ti,
c r i a tura de arcilla, para que
guardaras su ley y para [148]
que le amaras a él, a él que te
había creado. No. No quisiste. Y ahora, aunque inundaras
todo el infierno con tus lágrimas, si p u d i e r a s l l o r a r t o d a vía, todo ese mar de arrepentimiento no te podría procurar lo que una sola lágrima
de contrición verdadera vertida durante tu vida mortal.
Y ahora clamas por un solo
momento de vida terrena
para convertirte: ¡en vano!
Ha pasado el tiempo. Ha pasado para siempre.
—Such is the threefold
sting of conscience, the viper
which gnaws the very heart’s
core of the wretches in hell,
50 s o t h a t f i l l e d w i t h h e l l i s h
fury they curse themselves
for their folly and curse the
evil companions who have
brought them to such ruin
55 a n d c u r s e t h e d e v i l s w h o
tempted them in life and now
mock them in eternity and
e v e n re v i l e a n d c u r s e t h e
Supreme Being Whose
60
goodness and patience they
scorned and slighted but
Whose justice and power
they cannot evade.
»Es tal la triple mordedura de la conciencia cuando
roe el mismo centro del corazón de los miserables en el
infierno, que, llenos de una
furia in fernal, se maldicen a sí
mismos por su locura, y maldicen a los malos compañeros que
los condujeron a tal ruina, y maldicen a los demonios que los
tentaron en vida y que ahora se
mofan de ellos en la eternidad,
y hasta ul t r a j a n y m a l dicen al Supremo Ser,
a aquel cuya bondad
desdeñaron y menospreciaron, pero de cuya justicia y
poder no pueden librarse.
5
10
15
besought
up religiously by your
p a r e n t s . Yo u h a d t h e
s a c r a m e n t s and grace and
indulgences of the church to
aid you. You had the minister
of God to preach to you, to
call you back when you had
strayed, to forgive you your
sins, no matter how many,
how abominable, if only you
had confessed and repented.
N o . Yo u w o u l d n o t . Yo u
flouted the ministers of holy
religion, you turned your
back on the confessional,
you wallowed deeper and
deeper in the mire of sin.
God appealed to you,
threatened you, entreated
you to return to Him. O,
what shame, what misery!
Th e R u l e r o f t h e u n i v e r s e
entreated you, a creature
o f c l a y, t o l o v e H i m W h o
made you and to keep His
l a w. N o . Yo u w o u l d n o t .
A n d n o w, t h o u g h y o u
were to flood all hell with
your tears if you could
still weep, all that sea of
repentance would not
gain for you what a single
tear of true repentance
shed during your mortal
life would have gained
f o r y o u . Yo u i m p l o r e n o w
a moment of earthly life
wherein to repent: In
vain. That time is gone:
g o n e f o r e v e r.
20
25
30
35
40
45
revile v. 1 tr. abuse; criticize abusively. 2
intr. talk abusively; rail. Envilecer, deshonrar, denigrar, traicionar
etc.). Ignore, Desairar, ofender, insultar, desdeñar
65
—The next spiritual pain
to which the damned are
»La siguiente pena espiritual, a la cual los condenados
160
flout 1 tr. express contempt for (the law,
rules, etc.) by word or action; mock;
insult (flouted convention by shaving
her head).
flout no prestar atención a, [ law] incumplir, desobedecer, desacatar, burlarse,
pasar por alto
Usage often confused with flaunt .
flaunt ostentar, hacer alarde, show off 1 (often
refl.) display ostentatiously (oneself or one’s
finery); show off; parade (liked to flaunt his gold
cuff-links; flaunted themselves before the
crowd). 2 intr. (often foll. by at) mock or scoff at.
Joyce’s Portrait
están sujetos, es la pena de
ex t e n s i ó n . E n e s t a v i d a , e l
hombre, aunque capaz de muchos males, no los puede tener
todos a un tiempo, desde el
momento que cada mal de por
sí aminora otro y se contrapone a él. En el infierno, al contrario, un tormento, en lugar de
contraponerse a otro, le presta
aún mayor fuerza. Y más aún,
como las facultades internas
son más perfectas que los sentidos externos, resultan, por
esta razón, más capaces de sufrimiento. Lo mismo que cada
sentido se ve atormentado por
su pena correspondiente, lo
mismo ocurre con las facultades espirituales: la imaginación, con horrendas imágenes;
la facultad sensitiva, con intervalos de deseo y de rabia; la
mente y la inteligencia, con
unas tinieblas internas más terribles aún que la oscuridad
exterior que reina en aquel horrible calabozo. La malicia,
aunque impotente, de la que estas almas endemoniadas se ven
poseídas, es un mal de ilimitada
extensión, un terrible estado de
perversidad que apenas si nos
podemos imaginar, a menos
[149] que no tengamos en nuestra mente la enormidad del pecado y el odio que Dios le profesa.
—Opposed to this pain of
extension and yet coexistent
45
with it we have the pain of
intensity. Hell is the centre of
evils and, as you know, things
are more intense at their centres
50 than at their remotest points.
There are no contraries or
admixtures of any kind to
temper or soften in the least the
pains of hell. Nay, things which
55 are good in themselves become
evil in hell. Company,
elsewhere a source of comfort
to the afflicted, will be there a
continual torment: knowledge,
60
so much longed for as the chief
good of the intellect, will there
be hated worse than ignorance:
light, so much coveted by all
65 creatures from the lord of
creation down to the humblest
plant in the forest, will be
»Opuesta a la pena de extensión, y, sin embargo, coexistente con ella, tenemos la pena de
intensidad. El infierno es el centro de los males, y, como sabéis,
las cosas son más intensas en su
centro que en sus puntos remotos. Allí en el infierno no hay remedios, ni pociones que puedan
templar o suavizar en lo más mínimo las penas infernales. La
compañía, que en todas partes es
una fuente de consuelo para el
afligido, será allí un continuo
tormento. El saber, tan ansiado
como principal bien de la inteligencia, será allí odiado más que
la ignorancia; la luz, amada por
todas las criaturas, desde el rey
de la creación hasta la más humilde planta del bosque, será intensamente aborrecida. En esta
vida, nuestros pesares o no son
the pain of extension The sixth of the sufferings of Hell.
5
10
15
20
25
30
35
40
the pain of intensity This co-exists with ‘extension’. Taken
together they mean continuing forever, with no
diminishing of power. The result is hopelessness.
coveted : envied, anhelado, codiciado
subjected is the pain of
extension. Man, in this earthly
life, though he be capable of
many evils, is not capable of
them all at once, inasmuch as
one evil corrects and
counteracts another just as one
poison frequently corrects
a n o t h e r. I n h e l l , o n t h e
contrary, one torment, instead
o f c o u n t e r a c t i n g a n o t h e r,
lends it still greater force: and,
m o r e o v e r, a s t h e i n t e r n a l
facultie s a r e m o r e p e r f e c t
than the external senses, so
are they more capable of
suffering. Just as every sense
is afflicted with a fitting
torment, so is every spiritual
faculty; the fancy with
horrible images, the sensitive
faculty with alternate longing
and rage, the mind and
understanding with an interior
darkness more terrible even
tha n t h e e x t e r i o r d a r k n e s s
which reigns in that dreadful
prison.
The
malice,
impotent though it be,
which possesses these
d e m o n s o u l s i s a n e v i l of
b o u n d l ess extension, of
limitless duration, a frightful
state of wickedness which we
can scarcely realize unless we
bear in mind the enormity of
sin and the hatred God bears
to it.
161
Joyce’s Portrait
5
10
15
20
25
30
etc.). Ignore, Desairar, ofender, insultar, desdeñar
35
loathed intensely. In this life our
sorrows are either not very long
or not very great because
nature either overcomes them
by habits or puts an end to
them by sinking under their
weight. But in hell the torments
cannot be overcome by habit,
for while they are of terrible
intensity they are at the same
time of continual variety, each
pain, so to speak, taking fire
from another and re-endowing
that which has enkindled it
with a still fiercer flame. Nor
can nature escape from these
intense and various tortures by
succumbing to them for the
soul is sustained and
maintained in evil so that its
suffering may be the greater.
Boundless extension of
torment, incredible intensity of
suffering, unceasing variety of
torture—this is what the divine
m a j e s t y, s o o u t r a g e d b y
sinners, demands; this is what
the holiness of heaven,
slighted and set aside for the
lustful and low pleasures of
the corrupt flesh, requires;
this is what the blood of the
innocent Lamb of God, shed
for the redemption of sinners,
trampled upon by the vilest of
the vile, insists upon.
muy duraderos o no son muy intensos, porque la naturaleza o
bien se sobrepone a ellos por la
costumbre o los hace cesar al
hundirse bajo su carga. Pero en
el infierno, los tormentos no
pueden ser amansados por la
costumbre, porque al mismo
tiempo que son de terrible intensidad, están cambiando continuamente, cada pena, por decirlo así, inflamándose al contacto
de otra nueva, que a su vez dota
de una más fiera intensidad el
fuego de la antigua. Ni puede la
naturaleza tampoco escapar al
sufrimiento sucumbiendo a él,
porque el alma está mantenida y
sostenida en su daño de tal
modo que su sufrimiento pueda
ser aún mayor siempre. Ilimitada extensión de tormento, increíble i n t e n s i d a d d e d o l o r, i n ce s a n te variedad de
t o r t u r a : e sto es lo que la divina majestad, tan ultrajada por los
pecadores, exige.
X
Esto es lo que reclama la sangre del Cordero de Dios, vertida para redimir a los pecadores y hollada por los más
viles entre los viles.
40
—Last and crowning
torture of all the tortures of
that awful place is the
eternity of hell. Eternity! O,
45
dread and dire word.
Eternity! What mind of man
can understand it? And
remember, it is an eternity of
50 pain. Even though the pains
of hell were not so terrible as
they are, yet they would
become infinite, as they are
destined to last for ever. But
55 while they are everlasting
they are at the same time, as
y o u k n o w, i n t o l e r a b l y
intense,
unbearably
extensive. To bear even the
60
sting of an insect for all
eternity would be a dreadful
torment. What must it be,
then, to bear the manifold
65 tortures of hell for ever? For
ever! For all eternity! Not for
a year or for an age but for
»La última tortura, la que sirve de remate a todas las otras del
infierno, es su eternidad. ¡Eternidad! ¡Oh, tremenda y espantosa palabra! ¿Qué mente humana
podrá comprenderla? Y tened
presente que se trata de una eternidad de sufrimiento. [150] Aunque las penas del infierno no
fueran tan terribles como son, se
harían infinitas sólo por estar
destinadas a durar para siempre.
Pero al mismo tiempo que son
eternas, son también, como sabéis, insufriblemente intensas,
intolerablemente extensas. Sufrir aunque fuera sólo la picadura de un insecto por toda la eternidad, sería un tormento espantoso. ¿Qué será, pues, el sufrir
para siempre las múltiples torturas del infierno? ¡Para siempre! ¡Por toda la eternidad! No
por un año, ni por un siglo, no
por una era, sino para siempre.
162
Joyce’s Portrait
e v e r. Tr y t o i m a g i n e t h e
awful meaning of this. You
have often seen the sand on
the seashore. How fine are its
5
tiny grains! And how many
of those tiny little grains go
to make up the small handful
which a child grasps in its
10 p l a y. N o w i m a g i n e a
mountain of that sand, a
million miles high, reaching
from the earth to the farthest
heavens, and a million miles
15 broad, extending to remotest
space, and a million miles in
thickness; and imagine such
an enormous mass of
countless particles of sand
20
multiplied as often as there
are leaves in the forest, drops
of water in the mighty ocean,
feathers on birds, scales on
25 fish, hairs on animals, atoms
in the vast expanse of the air:
and imagine that at the end
of every million years a little
bird came to that mountain
30 and carried away in its beak
a tiny grain of that sand. How
many millions upon millions
of centuries would pass
35 before that bird had carried
away even a square foot of
that mountain, how many
eons upon eons of ages
before it had carried away
40 all? Yet at the end of that
immense stretch of time not
even one instant of eternity
could be said to have ended.
At the end of all those
45
billions and trillions of
years eternity would have
scarcely begun. And if that
mountain rose again after it
50 had been all carried away,
and if the bird came again
and carried it all away again
grain by grain, and if it so
rose and sank as many times
55 as there are stars in the sky,
a t o m s i n t h e a i r, d r o p s o f
water in the sea, leaves on
the trees, feathers upon
birds, scales upon fish,
60
hairs upon animals, at the
end
of
all
those
innumerable risings and
sinkings
of
that
vast
65 i m m e a s u r a b l y
mountain not one single
instant of eternity could be
Tratad de representaron la horrible significación de estas palabras. Vosotros habréis visto frecuentemente las arenas de una playa. ¡Qué diminutos son los
granillos de arena! ¡Y cuántos de
estos granillos hacen falta para
formar el puñadito que un niño
abarca con la mano en el juego!
Pues imaginad ahora una montaña de esta arena de más de un millón de millas de altura, de más
de un millón de millas de ancho,
tal que se extendiera hasta el espacio más remoto, y de más de
un millón de millas de espesor;
e imaginad esta enorme masa
de innumerables partículas de
arena, multiplicada tantas veces como hojas hay en el bosque, gotas de agua en el enorme océano, plumas en los pájaros, escamas en el pez, pelos
en los animales y átomos en la
vasta extensión de los aires. E
imaginad que al cabo de un millón de años viniera una avecilla a la montaña y se llevara en
el pico un solo granillo de arena. ¿Cuántos millones de millones de centurias transcurrirían
antes de que la avecilla hubiese
transportado ni tan siquiera un
pie cuadrado de la arena de la
montaña, y cuántos siglos de siglos de edades tendrían que
transcurrir antes de que la hubiese transportado toda? Y sin embargo, al final de tan enorme período de tiempo ni aun siquiera
un solo instante de la eternidad
podría decirse que había transcurrido. Al fin de todos esos billones y trillones de años, la
eternidad apenas si habría empezado. Y si esta montaña volviera a levantarse tan pronto como
el pajarillo hubiera terminado de
transportarla, y el pájaro volviera y la comenzara [151] a transportar de nuevo, grano a grano,
y así se volviera a levantar y a ser
transportada tantas veces como estrellas hay en el cielo, átomos en
el aire, gotas de agua en el mar,
hojas en los árboles, plumas en los
pájaros, escamas en el pez, pelos
en los animales, al fin de todas estas innumerables formaciones y
desapariciones de aquella montaña inmensurablemente grande, no
se podría decir ni que un solo ins163
Joyce’s Portrait
said to have ended; even
then, at the end of such a
period, after that eon of
time the mere thought of
5
which makes our very brain
reel dizzily, eternity would
scarcely have begun.
tante de la eternidad había transcurrido; aun entonces, al fin de
aquel enorme período, que sólo
el imaginarlo hace girar nuestro
cerebro vertiginosamente, aun
entonces, la eternidad apenas si
habría comenzado.
—A holy saint (one of our
own fathers I believe it was)
was once vouchsafed a
vision of hell. It seemed to
him that he stood in the midst
15 o f a g re a t h a l l , d a r k a n d
silent save for the ticking of
a great clock. The ticking
went on unceasingly; and it
seemed to this saint that the
20
sound of the ticking was the
ceaseless repetition of the
w o r d s - e v e r, n e v e r ; e v e r,
n e v e r. E v e r t o b e i n h e l l ,
25 never to be in heaven; ever
t o b e s h u t o ff f r o m t h e
presence of God, never to
enjoy the beatific vision;
ever to be eaten with flames,
30 gnawed by vermin, goaded
with burning spikes, never to
be free from those pains;
ever to have the conscience
35 upbraid [reproach] one, the
memory enrage, the mind
filled with darkness and
despair, never to escape;
ever to curse and revile the
40 f o u l d e m o n s w h o g l o a t
fiendishly over the misery of
their dupes, never to behold
the shining raiment of the
blessed spirits; ever to cry
45
out of the abyss of fire to
God for an instant, a single
instant, of respite from such
a w f u l a g o n y, n e v e r t o
50 receive, even for an instant,
God’s pardon; ever to suffer,
never to enjoy; ever to be
damned, never to be saved;
ever, never; ever, never. O,
55 what a dreadful punishment!
An eternity of endless agony,
of endless bodily and
spiritual torment, without
one ray of hope, without one
60
moment of cessation, of
agony limitless in intensity,
of torment infinitely varied,
of torture that sustains
65 e t e r n a l l y t h a t w h i c h i t
eternally devours, of anguish
that everlastingly preys upon
»Un bienaventurado santo (y
me parece que era uno de nuestros padres), fue favorecido una
vez con una visión del infierno.
Le pareció encontrarse en un
grande y oscuro vestíbulo, sumido en un profundo silencio,
turbado sólo por el tic-tac de un
gran reloj. El tic-tac seguía incesantemente. Y le pareció al santo
aquel, que el sonido del tic-tac
era la incesante repetición de las
palabras, siempre, jamás, siempre, jamás. Siempre, estar en
el infierno; jamás, estar en el
cielo; siempre, estar privado
de la presencia de Dios; jamás, gozar de la visión
beatífica. Siempre, ser comido por las llamas, roído por
l a g u s a n e r a , p i n c h a d o con
púas; jamás, verse libre de estas
penas. Siempre, tener la conciencia atormentada, la memoria exasperada, la mente llena de
oscuridad y desesperación; jamás,
escapar de estos tormentos. Siempre, maldecir y denostar a los horrendos demonios que se gozan en
contemplar la miseria de las víctimas de sus engaños; nunca, contemplar los brillantes ropajes de
los santos espíritus; siempre, clamar a Dios, desde los abismos del
fuego, por un instante, un solo
instante de tregua a la horrible
agonía, y nunca, recibir, ni aun
por un instante, el perdón de
Dios. Siempre sufrir, nunca gozar; siempre, estar condenado, y
nunca obtener salvación; siempre, nunca; siempre, nunca. ¡Oh,
cuán horrendo castigo! Una eternidad de inacabable agonía, de
inacabable tormento espiritual y
corporal, sin [152] un rayo de esperanza, sin un momento de descanso. Una eternidad de agonía
ilimitada en intensidad, de tormento infinitamente variado, de
tortura, que alimenta eternamente aquello que eternamente devora, de angustia, que perdurablemente oprime el espíritu mientras
10
a great hall ... the ticking of a great clock ... ever, never;
ever, never . . . The words, the repetitions, would
have a particular force for Stephen, who is very aware
of sound. Consider the pack, puck, pock, from the
cricket field which is reiterated in his consciousness.
59. beatific vision: the sight of God, face to face, the
essential bliss of angels and humankind.
revile v. 1 tr. abuse; criticize abusively. 2
intr. talk abusively; rail. Envilecer, deshonrar, denigrar, traicionar
raiment: clothing, galas
164
vouchsafe 1 to give or grant or condescend to give or grant
example: she vouchsafed no reply example: he
vouchsafed me no encouragement 2 [may take a clause
as object or an infinitive] to agree, promise, or permit, often
graciously or condescendingly example: he vouchsafed
to come yesterday 3 (obsolete) a to warrant as being safe
b to bestow as a favour (upon)
gloat (often foll. by on, upon, over) consider
or contemplate with lust, greed, malice,
triumph, etc. (gloated over his
collection).
1 the act of gloating or dwell on with
satisfaction
2 a look or expression of triumphant
satisfaction, gaze at or think about
something with great self-satisfaction,
gratification, or joy regodeo, goce
maligno
relamerse, regodearse, refocilarse,
Joyce’s Portrait
60. mortal sin . . . venial sin: mortal sin destroys the
soul; venial sin infects it but leaves it in a reparable
condition. Venial sin is, after mortal sin, the greatest
of all evils.
the spirit while it racks the
f l e s h , a n e t e r n i t y, e v e r y
instant of which is itself an
eternity of woe. Such is the
5
terrible punishment decreed
[ordained] for those who die
in mortal sin by an almighty
and a just God.
despedaza la carne, una eternidad, cada instante de la cual es
ya de por sí una eternidad de
d o l o r. Ta l e s e l t e r r i b l e t o rmento decretado, para aquellos que mueren en pecado
mortal, por un Dios justo y todopoderoso.
10
—Yes, a just God! Men,
reasoning always as men, are
astonished that God should
mete out an everlasting and
infinite punishment in the fires
of hell for a single grievous sin.
They reason thus because,
blinded by the gross illusion of
the flesh and the darkness of
human understanding, they are
unable to comprehend the
hideous malice of mortal sin.
They reason thus because they
are unable to comprehend that
even venial sin is of such a
foul and hideous nature that
even if the omnipotent Creator
could end all the evil and
misery in the world, the wars,
the diseases, the robberies, the
crimes, the deaths, the
murders, on condition that he
allowed a single venial sin to
pass unpunished, a single
venial sin, a lie, an angry look,
a moment of wilful sloth,
He, the great omnipotent
God could not do so
because sin, be it in thought
or deed, is a transgression
of His law and God would
n o t b e God if He did not
punish the transgressor.
»¡Sí, un Dios justo! Los
hombres, al razonar como hombres, se asombran de que Dios
haya podido decretar un castigo eterno e infinito en las llamas del infierno por un solo pecado mortal. Razonan así porque cegados por la gran ilusión de la carne y la oscuridad
de la humana inteligencia, son
incapaces de comprender la horrenda malicia de un pecado
mortal. Razonan así porque son
incapaces de comprender que
aun el pecado venial es de tan
monstruosa y repugnante naturaleza, que si el creador omnipotente pudiera hacer acabar
todos los males y las miserias
del mundo, las guerras, las enfermedades, los robos, los crímenes, los asesinatos, sólo a
condición de dejar pasar impune un simple pecado venial, una
mentira, una mirada colérica,
un momento de voluntaria pereza, él, el grande y omnipotente Dios, no lo podría hacer,
porque el pecado, ya de pensamiento, ya de hecho, es una
transgresión de su ley divina y
Dios no sería Dios ni no castigara al transgresor.
—A sin, an instant of
rebellious pride of the
50 intellect, made Lucifer and a
third part of the cohort of
angels fall from their glory. A
sin, an instant of folly and
weakness, drove Adam and
55 Eve out of Eden and brought
death and suffering into the
w o r l d . To r e t r i e v e t h e
consequences of that sin the
Only Begotten Son of God
60
came down to earth, lived and
suf f e r e d a n d d i e d a m o s t
painful death, hanging for
three hours on the cross.
»Un pecado, un instante
de rebelde orgullo de la inteligencia, hizo caer de la gloria a Lucifer y a la tercera
parte de la cohorte celestial.
Un pecado, un solo instante
de locura y debilidad arrojó
a Adán y Eva del paraíso y
trajo la muerte y el sufrimiento al mundo. Para reparar las consecuencias de este
pecado, el Hijo Unigénito de
Dios bajó a la tierra, vivió,
padeció y murió de la más
penosa muerte, colgado por
tres horas de la cruz.
[153]
»Ay, mis queridos hermanitos en Cristo Jesús, ¿ofen-
15
20
25
• venial sin a minor sin, committed without full
understanding of its seriousness or without full
consent of the will.
30
35
wilful adj. (US willful) 1 (of an
action or state) intentional,
deliberate (wilful murder; wilful
neglect; wilful disobedience) ale- 40
voso (perfidious), premeditado. 2
(of a person) obstinate,
headstrong. Unruly, headstrong.
wilful, willful 1 (= obstinate) testarudo, terco 2 (= deliberate) intencionado, deliberado, premedita45
do; [murder etc] premeditado
65
—O, my dear little
brethren in Christ Jesus,
165
main body.
Joyce’s Portrait
Will we trample again up on that torn and mangled
corpse? Notice the number of rhetorical questions,
indeed the nature of the repetitive rhetoric that runs
through the passage. The words may be equated
with the ritual -they are the verbal equivalent to it.
deremos también nosotros al
buen Redentor y provocaremos su cólera? ¿Pisotearemos
también de nuevo ese cuerpo
lacerado y desgarrado? ¿Escupiremos en ese rostro tan
lleno de pena y de amor? ¿Iremos también, como los crueles judíos y la brutal soldadesca, a burlarnos de aquel manso y compasivo salvador que
holló solo el lagar por nuestro amor? Cada palabra pecaminosa es una herida en su
amoro so costado. Cada acto pecaminoso es una espina que taladra su cabeza. Cada pensamiento
impuro deliberadamente consentido es una aguda lanza
que traspasa su sagrado y
amoroso corazón. N o , n o .
Es imposible que un
ser humano haga lo
que ofende tan profundamente a la divina majestad, aquello
que crucifica de nuevo al Hijo de Dios y
hace befa de él.
—I pray to God that my
p
o
o
r words may have
35
availed today to confirm in
holiness those who are in a
state
of
grace,
to
strengthen the wavering,
40 t o l e a d b a c k t o t h e s t a t e o f
grace the poor soul that has
strayed if any such be
a m ong you. I pra y to G od,
and do you pray with me,
45
that we may repent of our
sins. I will ask you now, all
of you, to repeat after me
the act of contrition,
50 k n e e l i n g h e r e i n t h i s
humble chapel in the
presence of God. He is
there in the tabernacle
burning with love for
55 mankind, ready to comfort
the afflicted. Be not afraid.
No matter how many or
how foul the sins if you
only repent of them they
60
w i l l b e f o rg i v e n y o u . L e t
no worldly shame hold you
back. God is still the
merciful Lord who wishes
65 n o t t h e e t e r n a l d e a t h o f t h e
sinner but rather that he be
converted and live.
»Yo le pido a Dios que mis
pobres palabras hayan servido para confirmar en santidad
a aquellos que estén en estado de gracia, para fortalecer
a los que flaqueen, para traer de
nuevo al estado de gracia a la
pobre alma que se haya extraviado, si hubiera alguna entre vosotros. Yo le pido a Dios, y vosotros debéis hacerlo conmigo,
que nos podamos arrepentir de
nuestros pecados. Y ahora os voy
a rogar a todos vosotros que repitáis conmigo el acto de contrición,
arrodillándoos aquí, en esta
hum i l d e c a p i l l a , e n l a
presencia de Dios. Él está aquí
en el tabernáculo
abrasándose de amor de la humanidad, dispuesto a confortar
al afligido. No tengáis miedo.
No importa nada, cuántos o
cuán monstruosos sean los pecados; basta que os arrepintáis
de ellos y se os perdonarán. No
permitáis que una vergüenza al
estilo mundano os impida hacerlo. Dios es todavía el señor
misericordioso que no desea la
muerte del pecador, sino que se
convierta y viva.
5
10
15
deliberately 1 pausadamente, con tranquilidad, prudentemente 2 intencionadamente, a propósito, deliberadamente
deliberate 1 a intentional (a deliberate foul).
b fully considered; not impulsive (made
a deliberate choice). 2 slow in deciding;
cautious (a ponderous and deliberate
mind). 3 (of movement etc.) leisurely
and unhurried.
1intr. think carefully; take counsel (the jury
deliberated for an hour). 2tr. consider,
discuss carefully (deliberated the
question)
20
25
30
waver 1 be or become unsteady; falter;
begin to give way. 2 be irresolute or
undecided between different courses or
opinions; be shaken in resolution or
belief. 3 (of a light) flicker.
titubear, vacilar
WAVER 1 : to vacillate irresolutely between
choices : fluctuate in opinion, allegiance,
or direction 2 a : to weave or sway
unsteadily to and fro : REEL, TOTTER b :
QUIVER, FLICKER <wavering flames> c :
to hesitate as if about to give way : FALTER
3 : to give an unsteady sound : QUAVER
1 (= oscillate)[needle] oscilar [flame] temblar 2 (= hesitate) vacilar; dudar
(between entre) (= weaken) [courage,
support] flaquear(= falter) [voice] temblar
• he repeated the act of contrition Stephen is repeating
the traditional prayer of repentent sinners, vowing
nevermore to sin.
act of contrition: formal prayer expressing remorse
w i l l w e t h e n o ff e n d t h a t
good
Redeemer
and
provoke His anger? Will we
trample again upon that
torn and mangled corpse?
Will we spit upon that face
so full of sorrow and love?
Will we too, like the cruel
jews and the brutal soldiers,
mock that gentle and
compassionate Saviour Who
trod alone for our sake the
awful wine-press of sorrow?
Every word of sin is a
wound in His tender side.
Every sinful act is a thorn
piercing His head. Every
impure thought, deliberately
yielded to, is a keen lance
transfixing that sacred and
loving heart. No, no. It is
impossible for any human
being to do that which
offends so deeply the divine
m a j e s t y, t h a t w h i c h i s
punished by an eternity of
agony, that which crucifies
again the Son of God and
makes a mockery of Him.
166
mangle, mutilate, cut up destroy or injure
severely;
mangle 1 a machine having two or more
cylinders usu. turned by a handle,
between which wet clothes etc. are
squeezed and pressed.
press (clothes etc.) in a mangle.
mangle 2 v.tr. 1 hack, cut about, or mutilate
by blows etc. 2 spoil (a quotation, text,
etc.) by misquoting, mispronouncing,
etc. 3 cut roughly so as to disfigure.
deliberately 1 pausadamente, con tranquilidad, prudentemente, pausado
lento, prudente, intencionado 2 intencionadamente, a propósito, deliberadamente, deliberado, premeditado,
voluntario, pensado.
Joyce’s Portrait
—He calls you to Him. You
are His. He made you out of
nothing. He loved you as only
5
a God can love. His arms are
open to receive you even
though you have sinned
against Him. Come to Him,
10 poor sinner, poor vain and
e r r i n g s i n n e r. N o w i s t h e
acceptable time. Now is the
hour.
»Él os está llamando. Sois
suyos. Él os sacó de la nada.
Él os amó como sólo un Dios
puede amar. Sus brazos están
abiertos para recibiros, aunque hayáis pecado contra él.
Llégate a él, ¡oh, pobre pecador!, ¡oh, pobre y errado pecador! Ahora es el tiempo
oportuno. Ahora es el momento.
[154]
El sacerdote se levant ó y, v o l v i é n d o s e h a c i a
e l a l t a r, s e a r r o d i l l ó s o bre la grada delante del
tabernáculo, en la oscuridad del crepúsculo.
Luego, levantando la cabeza,
repitió fervorosamente, frase por
frase, el acto de contrición. Los
muchachos contestaban frase por
frase también. Stephen, con la
lengua pegada al paladar, inclinó la cabeza y rezó con el corazón.
15
The priest rose and, turning
towards the altar, knelt upon
the step before the tabernacle
in the fallen gloom. He waited
till all in the chapel had knelt
20
and every least noise was still.
Then, raising his head, he
repeated the act of contrition,
phrase by phrase, with fervour.
25 The boys answered him phrase
by phrase. Stephen, his tongue
cleaving to his palate, bowed
his head, praying with his
heart.
30
61. O my God! . . . and to amend my life: one phrase
has been omitted: ‘Who art so deserving’ should read
‘Who for thy infinite goodness art so deserving’. This
is probably inadvertent but unfortunate since a perfect
act of contrition involves sorrow for sin arising from
a recognition of God’s infinite goodness.
- Oh my God! - Notice that the prayer is repeated by the
boys hence the repetition of the printed word on the
page.
35
40
45
50
55
60
—O my God!—
—O my God!—
—I am heartily sorry—
—I am heartily sorry—
—for having offended Thee—
—for having offended Thee—
—and I detest my sins—
—and I detest my sins—
—above every other evil—
—above every other evil—
—because they displease
Thee, my God—
—because they displease
Thee, my God—
—Who art so deserving—
—Who art so deserving—
—of all my love—
—of all my love—
—and I firmly purpose—
—and I firmly purpose—
—by Thy holy grace—
—by Thy holy grace—
—never more to offend Thee—
—never more to offend Thee—
—and to amend my life—
—and to amend my life—
—Oh, Dios mío
—Oh, Dios mío
—me pesa de corazón
—me pesa de corazón
—de haberte ofendido
—de haberte ofendido
—y detesto mis pecados
—y detesto mis pecados
—sobre todo mal
—sobre todo mal
—porque te desagradan a ti,
Dios mío,
—porque te desagradan a ti,
Dios mío,
—que eres tan digno
—que eres tan digno
—de todo mi amor
—de todo mi amor
—y estoy firmemente resuelto
—y estoy firmemente resuelto
—con ayuda de tu divina gracia
—con ayuda de tu divina gracia
—a nunca más ofenderte
—a nunca más ofenderte
—ya enmendar mi vida.
—y a enmendar mi vida.
[155]
***
*****
He went up to his room
after dinner in order to be
65 alone with his soul, and at
every step his soul seemed to
sigh; at every step his soul
Después de la cena, subió a su
habitación con objeto de estar a
solas con su alma, y a cada peldaño su alma parecía suspirar, y
a cada peldaño su alma subía al
167
heartily adv. 1 in a hearty manner; with
goodwill, appetite, or courage. 2 very;
to a great degree (esp. with ref. to personal feelings) (am heartily sick of it;
disliked him heartily). (estar completamente harto)
sinceramente, cordialmente, enérgicamente, fuertemente, (laugh) a carcajadas, (eat) con buen apetito, (thank) con
efusión, (sing) con entusiasmo
Joyce’s Portrait
mounted with his feet,
sighing in the ascent, through
a region of viscid gloom.
mismo tiempo que sus pies, y
suspiraba al ascender a través de
una región de viscosas tinieblas.
He halted on the landing
before the door and then,
grasping the porcelain knob,
opened the door quickly. He
10 w a i t e d i n f e a r , h i s s o u l
pining within him, praying
pine long eagerly, ache, yearn, yen,
languish
silently that death might not
touch his brow as he passed
over the threshold, that the
15 fiends that inhabit darkness
might not be given power
over him. He waited still at
the threshold as at the
entrance to some dark cave.
20
Faces were there; eyes: they
waited and watched.
Se detuvo a la entrada en
el descansillo, y luego cogió
el tirador de porcelana y abrió
la puerta suavemente. Esperó
lleno de miedo, sintiendo que
el alma le desfallecía y rogando en silencio que la muerte
no le tocara en la frente al
trasponer el umbral, que los
demonios que moran en las tinieblas no tuvieran poder contra él. Y esperó aún en el umbral, como a la entrada de una
caverna sombría. Había caras
allí, ojos: le estaban esperando y acechando.
viscid Sticky, semi-fluid.
5
We knew perfectly well ... of course perfectly well The
words appear to come from the ‘eyes’ and ‘faces’
who have waited for him in the darkness; perhaps
they come from Stephen’s consciousness, ending,
as they began, the circle of his sin. We soon learn
that the words ‘had seemed to rise murmurously from
the dark.’
absolute es un adjetivo de moda en EEUU que no solo
traduce absoluto [independiente, decisivo, ilimitado, terminante, categórico], sino otros conceptos
más o menos similares, como total, completo, verdadero, pleno, perfecto, rotundo, incondicional, indiscutible, auténtico. El adverbio absolutely es absolutamente, y sigue los pasos del adjetivo en frecuencia y en significados.
An absolute idiot = un perfecto idiota.
An absolute goddess = toda una diosa.
Absolute nonsense = pura tontería.
This cathedral is an absolute jewel. = Esta catedral es
una verdadera joya.
The newlyweds enjoy absolute happiness. = Los recién casados gozan de completa felicidad.
You can rely on my absolute support. = Cuenta con mi
apoyo incondicional.
He’s an absolute coward. = Es un perfecto cobarde.
beset acosar, perseguir, obstruir, plagar
1 : to set or stud with or as if with ornaments
2 : TROUBLE, HARASS <inflation besets the
economy>
3 a : to set upon : ASSAIL <the settlers were beset by
savages> b : to hem in : SURROUND
he was beset with or by fears le acosaban los temores
a policy beset with dangers una política plagada [eri-
— We k n e w p e r f e c t l y
was bound to come to the
light
he
would
find
considerable difficulty in
endeavouring to try to
30 i n d u c e h i m s e l f t o t r y t o
endeavour to ascertain the
spiritual plenipotentiary and
so we knew of course
35 perfectly well—
—Sabíamos desde luego
perfectamente que esto tendría que venir a dar a la luz
pública aunque él había de
tropezar con extraordinarias
dificultades al procurar tratar
de comprometerse a tratar de
proponerse averiguar el plenipotenciario espiritual de modo
que desde luego sabíamos perfectamente bien...
Murmuring faces waited
and watched; murmurous
voices filled the dark shell
40 o f t h e c a v e . H e f e a r e d
intensely in spirit and in
flesh but, raising his head
bravely, he strode into the
room firmly. A doorway, a
45
room, the sam e r o o m , s a m e
w i n d o w. H e t o l d h i m s e l f
c a l m l y t h a t t h o se words
had absolutely no sense
w
50 h i c h h a d s e e m e d t o r i s e
murmurously from the dark.
He told himself that it was
simply his room with the
door open.
Caras que murmuraban le estaban
esperando;
voces
murmurantes que llenaban la
cóncava oscuridad de la cueva.
Sintió miedo en el alma y en la
carne, más, levantando bravamente la cabeza, entró con resolución en el cuarto. Una puerta,
una habitación, la misma habitación, la misma ventana. Y pensó que aquellas palabras que le
habían parecido levantarse como
un murmullo de la oscuridad, carecían totalmente de sentido. Y
se dijo que todo era simplemenX te su habitación, su habitación
con la puerta abierta.
25 well of course that though it
55
He closed the door and,
walking swiftly to the bed,
knelt beside it and covered his
face wi t h h i s h a n d s . H i s
60
hands were cold and damp
and his limbs ached with
chill. Bodily unrest and chill
and weariness beset him,
65 routing his thoughts. Why was
he kneeling there like a child
saying his evening prayers? To
Cerró la puerta, y marchando
en derechura hacia la cama, se
arrodilló al lado de ella y se cubrió la cara con las manos. Tenla
las manos frías y húmedas y los
miembros
doloridos
y
escalofriados. Inquietud corporal y
escalofríos y cansancio le acosaban,
poniendo en fuga sus pensamientos. ¿Por qué estaba allí, arrodillado, como un niño que reza sus
168
en derechura. 1. loc. adv. Por el camino recto. 2.
Sin detenerse ni pararse.
Joyce’s Portrait
be alone with his soul, to
examine his conscience, to
meet his sins face to face, to
recall their times and manners
5
and circumstances, to weep
over them. He could not weep.
He could not summon them to
his memory. He felt only an
10 ache of soul and body, his
whole being, memory, will,
understanding,
flesh,
benumbed and weary.
oraciones de la noche? Para estar a solas con su alma, para examinarse [156] la conciencia, para
afrontar cara a cara sus pecados,
para evocar sus modos, sus épocas, sus circunstancias, para
llorarlos. No podía llorar. No podía evocarlos en su memoria.
Sentía sólo un dolor en el alma y
en el cuerpo: todo su ser —memoria, voluntad, entendimiento,
carne— entumecido y cansado.
15
That was the work of
devils, to scatter his thoughts
and
over-cloud
his
conscience, assailing him at
the gates of the cowardly and
20
sin-corrupted flesh: and,
praying God timidly to
forgive him his weakness, he
crawled up on to the bed and,
25 wrapping the blankets closely
about him, covered his face
again with his hands. He had
sinned. He had sinned so
deeply against heaven and
30 before God that he was not
worthy to be called God’s
child.
Aquélla era la obra de los
demonios, que trataban de diseminar sus pensamientos y
burlar su conciencia asaltándole por las puertas de la carne
cobarde y corrompida por el
pecado. Y pidiéndole tímidamente a Dios que le perdonara
su debilidad, se metió lentamente en el lecho, se arrebujó
bien en las coberturas y ocultó
de nuevo la cara entre las manos. Había pecado. Había pecado tan gravemente contra el
cielo y delante de Dios, que no
era digno ya de ser llamado
hijo de Dios.
Could it be that he,
Stephen Dedalus, had done
those things? His conscience
sighed in answer. Yes, he had
done them, secretly, filthily,
40 t i m e a f t e r t i m e , a n d ,
hardened
in
sinful
impenitence, he had dared to
wear the mask of holiness
before the tabernacle itself
45
while his soul within was a
living mass of corruption.
How came it that God had
not struck him dead? The
50 leprous company of his sins
closed about him, breathing
upon him, bending over him
from all sides. He strove to
f o rg e t t h e m i n a n a c t o f
55 prayer, huddling his limbs
closer together and binding
down his eyelids: but the
senses of his soul would not
be bound and, though his
60
eyes were shut fast, he saw
the places where he had
sinned and, though his ears
were tightly covered, he
65 heard. He desired with all his
will not to hear or see. He
desired till his frame shook
¿Era posible que él, Stephen
Dédalus, hubiera realizado tales
cosas? Su conciencia suspiró por
toda respuesta. Sí, las había realizado,
en
secreto,
repugnantemente, una vez y otra
vez, y, endurecido en la
impenitencia del pecado, se había
atrevido a llevar su máscara de
santidad hasta delante del tabernáculo mismo, cuando su alma no
era otra cosa que una masa viviente de corrupción. ¿Cómo era
posible que Dios no le hubiera
matado de repente? La multitud
inmunda de sus pecados se estrechaba en torno de él, le lanzaba
el aliento, se doblegaba sobre él
por todos lados. Se esforzó en olvidarlos mediante una oración,
arrebujándose como un ovillo y
apretando los párpados cerrados.
Pero, ¿cómo sujetar los sentidos
del alma?; que aunque sus ojos
estaban fuertemente cerrados,
veía los lugares donde había pecado; y oía, aun con los oídos bien
tapados. Deseaba con toda su
alma dejar de oír y de ver, y lo
deseó tanto, que por fin la armazón de su cuerpo se puso a tem-
35
169
Joyce’s Portrait
under the strain of his desire
and until the senses of his
soul closed. They closed for
an instant and then opened.
5
He saw.
A field of stiff weeds and thistles This is a kind of waking
dream, with the stress on what is physically
repugnant, something that has always worried
Stephen from his earliest days in Clongowes.
tuft mechón, porción de pelos, hebras o hilos,
separada de un conjunto de la misma clase.
tufted 1 crested, topknotted, tufted (of a bird
or animal) having a usually ornamental tuft
or process on the head; often used in
combination; «golden crested»; «crested iris»;
«crested oriole»; «tufted duck»; «tufted
loosestrife»
2 tufted having or adorned with tufts; «a tufted
bedspread»
3 caespitose, cespitose, tufted (of plants)
growing in dense clumps or tufts
bristle cerda f; [of beard] bristle(s) barba fsing
(incipiente)
1 [hair] erizarse, ponerse de punta; to bristle
with (= be riddled with) estar plagado de;
he was bristling with anger temblaba de
rabia or cólera
2 (= react angrily) resentirse (at de)
bristle 1a short stiff hair, esp. one of those on
an animal’s back. 2 this, or a man-made
substitute, used in clumps to make a brush.
1 a intr. (of the hair) stand upright, esp. in anger
or pride. b tr. make (the hair) do this. 2 intr.
show irritation or defensiveness. 3 intr. (usu.
foll. by with) be covered or abundant (in).
bristly full of bristles; rough, erizad,o prickly.
hirsuto áspero y duro, bristly, rough, erizado
hirsute hairy, shaggy, untrimmeds
haggy enmarañado, greñudo
grey as indiarubber Almost a casual simile from his daily
experience in the schoolroom.
glitter : brillo, oropel, tinsel, sparkle, glint;
relucir, centellear, fulgir
rictus Gape of a person’s or animal’s mouth.
tuft mechón, porción de pelos, hebras o hilos, separada de un conjunto de la misma clase, mata, fronda, penacho,
or animal) having a usually ornamental
tuft or process on the head; often used
in combination; “golden crested”;
“crested iris”; “crested oriole”; “tufted
duck”; “tufted loosestrife”
2 tufted having or adorned with tufts; “a
tufted bedspread”
3 caespitose, cespitose, tufted of plants)
swishing rustling, hissing, zumbido, chasquido, sibilante
swish 1 tr. swing (a scythe or stick etc.)
audibly through the air, grass, etc. 2 intr.
move with or make a swishing sound.
3 tr. (foll. by off) cut (a flower etc.) in
this way.
blar bajo la fuerza de su deseo y
los sentidos de su alma se cerraron. Se cerraron por un instante,
pero se abrieron en seguida. Y
vio.
[157]
U n campo de hierba j o s ,
de cardos y de matas d e
ortigas. Entre las
m a t a s espesas y ásperas de las
plantas yacían innumerables latas
viejas y destrozadas y coágulos de
materias fecales y montones en espiral
de excremento sólido. Un débil reflejo de luz pantanosa se elevaba de
toda esta podredumbre a través del
gris verdoso de la erizada maleza. Y u n m a l o l o r , n a u s e a b u n d o , débil como
l a luz, subía en pesadas
vedijas de las latas viejas y de
la basura añeja y costrosa.
A field of stiff weeds
and thistles and tufted
10 n e t t l e - b u n c h e s . T h i c k
among the tufts of rank
s t i ff g r o w t h l a y b a t t e r e d
canisters and clots and
coils of solid excrement.
15 A
faint
marshlight
struggling upwards from all
the ordure through the
bristling grey-green weeds.
An evil smell, faint and foul
20
as the light, curled upwards
sluggishly out of the
canisters and from the stale
crusted dung.
25
Creatures were in the
field: one, three, six:
creatures were moving in the
f i e l d , h i t h e r a n d t h i t h e r.
30 Goatish creatures with human
faces, hornybrowed, lightly
bearded and grey as indiarubber. The malice of evil
glittered
in their hard eyes,
35
as they moved hither and
thither, trailing their long
tails behind them. A rictus of
cruel malignity lit up greyly
40 their old bony faces. One was
clasping about his ribs a torn
flannel waistcoat, another
complained monotonously as
his beard stuck in the tufted
45
weeds. Soft language issued
from their spittleless lips as
they swished in slow circles
round and round the field,
50 winding hither and thither
through the weeds, dragging
their long tails amid the
rattling canisters. They
moved in slow circles,
55 circling closer and closer to
enclose, to enclose, soft
language issuing from their
lips, their long swishing tails
besmeared with stale shite,
60
thrusting upwards their
terrific faces
Algunos seres se movían por el campo: uno,
tres, seis. Entes errantes,
acá, allá. Seres cabrunos
con cara humana, frente
cornuda y barba rala de un
color gris como el del cauc h o . La perversidad del mal
les brillaba en la mirada dura,
mientras se movían, acá, allá,
arrastrando en pos de sí la larga cola. Un rictus de cruel maldad
iluminaba con un resplandor grisáceo sus caras viejas y huesudas. El uno
se cubría las costillas con un harapiento chaleco franela; otro se lamentaba monótonamente porque la barba se le enredada entre la_______
maleza. Un lenguaje impreciso salía de sus bocas sin saliva, mientras zumbaban en lentos círculos, cada vez más estrechos, dando vueltas y vueltas alrededor del campo, arrastrando las largas c o l a s e n t r e
las latas tintineantes. Se
movían en lentos círculos,
para encerrar, para encer r a r. . . c o n e l l e n g u a j e i n d i s tinto de sus labios, y el
si l bido de sus largas colas
embadurnadas de estiércol enranciado
... impeliendo hacia lo alto las
espantosas caras...
Help!
¡Socorro!
65
He flung the blankets
from him madly to free his
Arrojó enloquecido las coberturas lejos de sí para
170
battered 1 (coche) abollado,-a: she drives around in
a battered old car, conduce un viejo cacharro 2
(persona) maltratado,-a 3 Culin rebozado,-a
vedija 1. f. Mechón de lana. 2. Pelo enredado en
cualquier parte del cuerpo del animal. 3. Mata
de pelo enredada y ensortijada.
Joyce’s Portrait
lecherous goatish fiends Obviously he sees this kind of
Hell because he feels his sins have been sexual.
face and neck. That was
his hell. God had allowed
him to see the hell
reserved for his sins:
5
stinking,
bestial,
malignant, a hell of
l e c h e r o u s g o a t i s h f i e n d s.
For him! For him!
libertarse la cara y el cuello.
Aquél era su infierno. Dios le
había permitido ver el infierno
que estaba reservado para sus
pecados. Un infierno nauseabundo, bestial, perverso, un infierno
de demonios cabrunos y lascivos.
¡Para él! ¡Para él!
10
He sprang from the bed,
the reeking odour pouring
down his throat, clogging and
revolting his entrails. Air!
15 T h e a i r o f h e a v e n ! H e
stumbled
towards
the
window, groaning and almost
fainting with sickness. At the
washstand a convulsion
20
seized him within; and,
clasping his cold forehead
wildly, he vomited profusely
in agony.
Saltó de la cama. Sentía la
nauseabunda vaharada que se
le metía garganta abajo,
asqueándole y revolviéndole las
entrañas. ¡Aire! ¡Aire del cielo! Se arrastró a encontronazos
hacia la ventana, gimiente y
casi desvanecido de malestar.
[158] Frente al lavabo una náusea se apoderó de él. Y
oprimiéndose con frenesí la
frente helada, vomitó en agonía, profusamente.
25
embrasure 1 (Fortifications) an opening or indentation,
as in a battlement, for shooting through, tronera aspillera, cañonera
2 (alféizar) 1 the bevelling (biselado) of a wall at the
sides of a door or window (alféizar); splaying (biselado,
achaflanado / outstretch, estirar, spread outward
awkwardly).
alféizar Vuelta o derrame que hace la pared en el corte
de una puerta o ventana, tanto por la parte de adentro como por la de afuera, dejando al descubierto el
grueso del muro.
antepecho pretil o baranda que se coloca en lugar alto
para poder asomarse sin peligro de caer.
the city was spinning about herself a soft cocoon of
yellowish haze Again, even at this moment of crisis
and agony, a superb poetic effect.
30
35
40
shimmer shine with a tremulous or faint
diffused light. Reluciente, centelleante,
radiante,
titilar 1. intr. Agitarse con ligero temblor alguna parte del organismo animal. 2.
Centellear con ligero temblor un cuerpo luminoso.
45
When the fit had spent
itself he walked weakly to the
window and, lifting the sash,
sat in a corner of the
embrasure and leaned his
elbow upon the sill. The rain
had drawn off; and amid the
moving vapours from point to
point of light the city was
spinning about herself a soft
cocoon of yellowish haze.
Heaven was still and faintly
luminous and the air sweet to
breathe, as in a thicket drenched
with showers; and amid peace
and shimmering lights a n d
quiet fragrance he
made a covenant with
his heart.
X
Y oró:
He prayed:
62. He once had meant . . . Jesus, guide us home: cited
from Newman’s ‘The Glories of Mary for the Sake of
her Son’, discourse XVII in Discourses to Mixed
Congregations (1849)
He once had meant to come on earth ... guide us home
The paragraph is from The Glories of Mary, but with
some adjustments.
50
—Un día, quiso venir a la
tierra en toda su gloria celestial. Pero pecamos. Y ya
no nos pudo visitar sino
ocultando su majestad, sofocando su resplandor porque
era Dios. Y vino como débil,
no como poderoso, y te envió
a ti en su lugar, criatura dotada del encanto de las criaturas, y de atractivos humanos, proporcionados a nuestra condición. Y ahora, tu
mismo rostro y forma, querida madre, nos están hablando del eterno. No como la belleza ter rena, dañosa a quien
—HE ONCE HAD MEANT TO
COME ON EARTH IN HEAVENLY
GLORY BUT WE SINNED; AND THEN
HE COULD NOT SAFELY VISIT US
BUT WITH A SHROUDED MAJESTY
55 AND A BEDIMMED RADIANCE FOR
HE WAS GOD. SO HE CAME
HIMSELF IN WEAKNESS NOT IN
POWER AND HE SENT THEE, A
60
Cuando el malestar hubo pasado, caminó con dificultad hasta la ventana y, levantando el bastidor, se sentó en el extremo del
alféi z a r y a p o y ó e l c o d o s o bre el antepecho. La lluvia
había cesado y entre movibles masas de vapor de
agua, la ciudad estaba hilando de luz a luz el delicado
capullo de una neblina amarillenta. El cielo estaba tranquilo y tenía una
vaga luminosidad. Y el aire resultaba grato al pulmón como en una arboleda bien
calada a chaparrones. Y, en medio de
aquella paz de las luces temblorosas
y la quieta fragancia de la noche, Stephen hizo un pacto con
su corazón.
CREATURE IN HIS STEAD, WITH A
CREATURES COMELINESS AND
LUSTRE SUITED TO OUR STATE.
AND NOW THY VERY FACE AND
FORM, DEAR MOTHER SOAK TO US
65 OF THE ETERNAL NOT LIKE
EARTHLY BEAUTY, DANGEROUS TO
LOOK UPON, BUT LIKE THE
171
vaharada 1. f. Acción y efecto de arrojar o echar el
vaho, aliento o respiración. 2. Golpe de vaho, olor,
calor, etc.
Joyce’s Portrait
la mira, sino como la estrella de la mañana, emblema
tuyo, radiante y musical, que
habla del cielo y paz infunde.
¡Oh, heraldo de la ma ñana!
¡Oh, luz del peregrino! Síguenos
conduciendo como hasta ahora
lo hiciste, a través del desierto
inhospitalario, guíanos a Jesús
Nuestro Señor, guíanos a nuestra patria.
MORNING STAR WHICH IS THY
EMBLEM, BRIGHT AND MUSICAL,
BREATHING PURITY, TELLING OF
HEAVEN AND INFUSING PEACE. O
5
HARBINGER OF DAY! O LIGHT OF
THE PILGRIM! LEAD US STILL AS
THOU HAST LED. IN THE DARK
NIGHT,
ACROSS
THE
BLEAK
10 WILDERNESS GUIDE US ON TO
OUR LORD JESUS, GUIDE US
HOME.
to heaven, he wept for the
innocence he had lost.
Sus ojos estaban empañad o s d e l á g r i m a s y, m i r a n d o
humildemente al cielo, lloró por su inocencia perdida.
When evening had fallen he
left the house, and the first
touch of the damp dark air and
the noise of the door as it
closed behind him made ache
25 again his conscience, lulled by
prayer and tears. Confess!
Confess! It was not enough to
lull the conscience with a tear
and a prayer. He had to kneel
30 before the minister of the Holy
Ghost and tell over his hidden
sins truly and repentantly.
Before he heard again the
35 footboard of the housedoor
trail over the threshold as it
opened to let him in, before he
saw again the table in the
kitchen set for supper he would
40 have knelt and confessed. It
was quite simple.
T h e ache of conscience
ceased and he walked onward
swiftly through the dark
45
streets. There were so many
flagstones on the footpath of
that street and so many streets
in that City and so many cities
50 in the world. Yet eternity had
no end. He was in mortal sin.
Even once was a mortal sin. It
could happen in an instant. But
how so quickly? By seeing or
55 by thinking of seeing. The eyes
see the thing, without having
wished first to see. Then in an
instant it happens. But does
that part of the body
60
understand or what? The
serpent, the most subtle beast
of the field. It must understand
when it desires in one instant
65 and then prolongs its own
desire instant after instant,
sinfully. It feels and understands
Cuando hubo caído la noche,
salió de casa. El primer contacto
del aire húmedo y oscuro y el ruido de la puerta el cerrarse en pos
de él despertaron de nuevo el dolor
de su conciencia, tranquilizada a
fuerza de oración y de lágrimas.
[159] ¡Confesarse! ¡Confesarse! No era bastante el aliviar el
alma con una lágrima y una oración. Tenía que arrodillarse delante del ministro del Espíritu
Santo y contarle sus pecados
con arrepentimiento y verdad.
Antes de oír de nuevo el batiente de la puerta girar sobre el
umbral para darle paso, antes de
volver a ver en la cocina la
mesa dispuesta para la cena, se
habría ya arrodill a d o y c o n f e s a d o . ¡ Q u é s e n c illo era!
El dolor de su conciencia cesó y
Stephen comenzó a avanzar despacio por las calles sombrías.
¡Había tantas losas en la acera
de la calle y tantas calles en la
ciudad y tantas ciudades en el
mundo! Y sin embargo, la eternidad no tenía fin. Estaba en pecado mortal. Aun una sola vez,
ya era pecado mortal. Podía ocurrir en un instante. ¿Cómo podía
ocurrir tan de prisa? O viendo o
imaginando ver. Primero, los
ojos veían la cosa sin haber deseado verla. Después, todo ocurría en un instante. Pero ¿es que
esa parte del cuerpo comprende
o qué? La serpiente, el animal
más astuto del campo. Claro que
debe de comprender, cuando desea
así, en un momento, y luego puede
prolongar pecaminosamente su
propio deseo, instante tras instante. Siente y comprende y desea.
His eyes were dimmed with
15 tears and, looking humbly up
20
63. The ache of conscience ... O why?: Stephen,
associating sexual arousal with sin, is, according to
Catholic doctrine, in error. Concupiscence is the
appetite of the fallen state. It is an incentive to sin,
not a sin in itself.
172
Joyce’s Portrait
and desires. What a horrible
thing! Who made it to be like
that, a bestial part of the body
able to understand bestially
5
a n d desire besti a l l y ? Wa s
that then he or an inhuman
thing moved by a lower soul?
His soul s i c k e n e d at the
10 t h o u g h t o f a t o r p i d s n a k y
life feeding itself out of the
tender marrow of his life
and fattening upon the slime
of lust. O why was that so?
15 O why?
64. angel guardian: Catholic belief assigns an angel
guardian to every person as a defence against evil
and a help towards salvation.
• his angel guardian every baptized Roman Catholic has
a personal guardian angel.
He cowered in the shadow
of the thought, abasing himself
in the awe of God Who had
20
made all things and all men.
Madness. Who could think
such a thought? And, cowering
in darkness and abject, he
25 prayed mutely to his guardian
angel to drive away with his
sword the demon that was
whispering to his brain.
30
X
Se humilló entre las sombras de
su pensamiento, abatiéndose ante el
respeto a la divinidad que había hecho todas las cosas y todos los hombres. ¿Cómo se le podía ocurrir tal
pensamiento? Y doblegándose
rendido en sus propias tinieblas,
rogó en silencio a su ángel de la
guarda que apartara con su espada al demonio que le estaba susurrando en el cerebro.
The whisper ceased and he
knew then clearly that his own
soul had sinned in thought and
word and deed wilfully
t h r o u g h h i s o w n b o d y.
Confess! He had to confess
every sin. How could he
utter in words to the priest
what he had done? Must,
must. Or how could he
explain without dying of
shame? Or how could he
have done such things
without
shame?
A
madman! Confess! O he
would indeed to be free
and
sinless
again!
Perhaps the priest would
k n o w. O d e a r G o d !
El susurro cesó y entonces
comprendió claramente que era su
propia alma la que había pecado
voluntariamente mediante [160]
su cuerpo, de pensamiento, palabra y obra. ¡Confesarse! Tenía que
confesarse de cada uno de sus pecados. ¿Y cómo expresarle en palabras al sacerdote lo que había
hecho? No había otro remedio, no
había otro remedio. ¿Y cómo decirlo sin morirse de vergüenza? O
mejor: ¿cómo había hecho aquellas cosas sin avergonzarse? ¡Ay,
loco! ¡Confesarse! ¡Oh, sí, seguramente se iba a quedar limpio y libre otra vez! __ _____
_______ _______ ____ ____
¡Ay, Dios del alma!
He walked on and on
through ill-lit streets, fearing to
stand still for a moment lest it
55 might seem that he held back
from what awaited him, fearing
to arrive at that towards which
he still turned with longing.
How beautiful must be a soul
60
in the state of grace when God
looked upon it with love!
Siguió andando a través de
calles mal alumbradas temiendo detenerse ni aun un momento, no pareciese que reculaba
ante lo que le estaba esperando, y temiendo llegar a lo mismo que ansiaba. ¡Cuán hermosa debía de parecer un alma en
estado de gracia cuando Dios
la mira amorosamente!
Frowsy
girls
sat
the curbstones
before their baskets.
Their dank [disagreeably damp and
Había sentadas en el borde de
la acera delante de sus cestas unas
muchachas desharrapadas.
Mechones de pelo húmedo les
35
40
45
50
frowzy 1 fusty, musty, ill-smelling, close. 2 slatternly,
unkempt, dingy.
¡Qué cosa tan horrible! ¿Quién
formó así esa parte del cuerpo,
capaz de comprender y de desear
bestialmente? Y según eso,
aquello ¿era una parte de él o
era una cosa inhumana, movida por un alma bajuna? Sentía un malestar en el alma al
imaginarse una torpe vida de
reptil que dentro de él se estaba
alimentando de su delicada sustancia vital, engordando entre el
cieno del placer. Oh, ¿por qué ocurría esto así? ¿Por qué?
65 a l o n g
173
cower agazaparse, agacharse, amedrentarse, acobardarse, alebrarse=echarse
en le suelo pegándose contra él como las
liebres.
cower encogerse 1 fawn, crawl, creep,
cringe, grovel show submission or fear
2 huddle, cower crouch or curl up; «They
huddled outside in the rain»
cower 1 crouch or shrink back, esp. in fear;
cringe. 2 stand or squat in a bent
position.
cringe 1 encogerse 2 avergonzarse:
her manners make me cringe, sus
modales me hacen sentir vergüenza
ajena 3 figurado reptar
cringe A verb 1 flinch, squinch, funk,
shrink, wince, recoil, quail draw back,
as with fear or pain; «she flinched when
they showed the slaughtering of the
calf» 2 fawn, crawl, creep, cower,
grovel show submission or fear (servil
o temerosa)
Joyce’s Portrait
cold] hair hung trailed over their
brows. They were not beautiful
to see as they crouched in the
mire. But their souls were seen
5
by God; and if their souls were
in a state of grace they were
radiant to see: and God loved
them, seeing them.
colgaban por encima de l a
frente. Ciertamente no estaban hermosas, sentadas
así sobre el fango. Pero
Dios veía sus almas, y si
estaban en estado de gracia, eran bellas y Dios las
amaba al mirarlas.
10
15
20
25
(>solus=solo=waste).
30
35
40
45
50
65. Church Street chapel: a Franciscan Capuchin friary
in central Dublin.
A wasting breath of
humiliation blew bleakly over
his soul to think of how he had
fallen, to feel that those souls
were dearer to God than his.
The wind blew over him and
passed on to the myriads and
myriads of other souls on
whom God’s favour shone now
more and now less, stars now
brighter and now dimmer
sustained and failing. And the
glimmering souls passed away,
sustained and failing, merged in
a moving breath. One soul was
lost; a tiny soul: his. It flickered
on c e
and
went
out,
forgotten, lost. The end:
black, cold, void waste.
Un soplo frío de humillación pasó por su alma al pensar cuán bajo había caído, al
sentir que aquellas almas eran
más gratas a Dios que la suya.
El viento pasaba por encima
de él y se iba a otras innumerables almas que brillaban con el favor de Dios, t a n
pronto más, tan pronto menos, que flotaban o se hundían, fundidas en aquel soplo huidizo. Pero un alma
estaba perdida, un alma diminuta: la suya propia.
H a b í a vacilado un instante,
se había apagado, olvidada,
perdida. Y nada más: negrura,
frío, vacío, desolación
Consciousness of place
came ebbing back to him
slowly over a vast tract of
time
unlit,
unfelt,
unlived. The squalid
scene composed itself
around him; the common
accents, the burning gasjets in the shops, odours
of fish and spirits and wet
sawdust, moving men and
women. An old woman
was about to cross the
street, an oilcan in her
hand. He bent down and
asked her was there a
c h a p e l n e a r.
La conciencia del lugar en que
se encontraba fue refluyendo lentamente a su espíritu por encima
de un vasto y oscuro período de
tiempo sin sensación ni vida. La
escena sórdida iba resucitando
ahora en torno de él: la entonación familiar, los mecheros de
gas encendidos en las tiendas, y
olores a aguardiente, a pescado,
a serrín húmedo, y mujeres y
hombres que pasaban de un lado
a otro. Una vieja se disponía a
[161] cruzar la calle con su lata
de aceite en la mano. Se inclinó
y le preguntó si había una capilla por allí cerca.
—A chapel, sir?
Ye s ,
sir.
Church
St r e e t c h a p e l .
—¿Una capilla, señor? Sí, señor. La capilla de la calle de la
Iglesia.
55
—Church?
—¿De la Iglesia?
She shifted the can to her
other hand and directed him;
60
and, as she held out her
reeking withered right hand
under its fringe of shawl, he
b e n t l o w e r t o w a r d s h e r,
65 saddened and soothed by her
voice.
La vieja se pasó de mano la
lata para indicarle la dirección.
Y al sacar su mano ennegrecida
y marchita de debajo de los flecos del mantón, Stephen se inclinó más profundamente, entristecido y aliviado por la voz
de la vieja.
174
flicker 1 vislumbrar o brillar con luz mortecina, trémula, temblorosa; quiver, waver.
Vacilar, oscilar, titilar, centellear, flamear, fulgir, vislumbrar,
1 (of light) shine unsteadily or fitfully. 2 (of a
flame) burn unsteadily, alternately flaring
and dying down. 3 a (of a flag, a reptile’s
tongue, an eyelid, etc.) move or wave to
and fro; quiver; vibrate. b (of the wind)
blow lightly and unsteadily. 4(of hope
etc.) increase and decrease unsteadily
and intermittently.
Joyce’s Portrait
5
10
66. a canopy: sometimes called a baldacchino, the
canopy is carried over the priest who bears the
blessed Sacrament in procession on feast days.
sacristan Sexton of parish church.
15
20
25
30
35
—Thank you.
—Gracias.
—You are quite welcome, sir.
—No hay de qué, señor.
The candles on the high
altar had been extinguished but
the fragrance of incense still
floated down the dim nave.
Bearded workmen with pious
faces were guiding a canopy
out through a side door, the
sacristan aiding them with
quiet gestures and words. A
few of the faithful still lingered
praying before one of the sidealtars or kneeling in the
benches near the confessionals.
He approached timidly and
knelt at the last bench in the
body, thankful for the peace
and silence and fragrant
shadow of the church. T h e
boa r d o n w h i c h he
knelt was narrow and worn X
and those who knelt near
him were humble followers
of Jesus. Jesus too had
been born in poverty and
had worked in the shop of
a c a r p e n t e r, c u t t i n g b o a r d s
and planing them, and had
first
spoken
of
the
kingdom of God to poor
fishermen, teaching all
men to be meek and
humble of heart.
Los cirios del altar mayor estaban ya apagados, pero la fragancia del incienso se difundía
aún, flotando por la nave. Unos
trabajadores barbudos y de cara
piadosa estaban sacando un palio
por una puerta lateral y el
s a c r i s tán los ayudaba con gestos y con palabras suaves. Unos
cuantos devotos permanecían todavía rezando delante de uno de
los altares laterales, o arrodillados en los bancos cerca de los
confesionarios. Stephen se acercó humildemente y se arrodilló en
el último banco, con el alma confortada por la paz, el silencio y la
fragante sombra de la capilla. El
larguero sobre el que estaba
arodillado era estrecho y estaba desgastado, y aquellos que
estaban de rodillas cerca de él
eran humildes seguidores de Jesús. También Jesús había nacido pobremente y había trabajo
en el taller de un carpintero, serrando tablas y cepillándolas, y
cuando había comenzado a hablar del reino de Dios había sido
a pobres pescadores, enseñando así a todos a ser humildes y
mansos de corazón.
40
He bowed his head
upon his hands, bidding
his heart be meek and
humble that he might be
45
like those who knelt
beside him and his prayer
a s acceptable as theirs. He
prayed beside them but it
50 was hard. His soul was foul
with sin and he dared not
ask forgiveness with the
simple trust of those whom
Jesus, in the mysterious
55 w a y s o f G o d , h a d c a l l e d
first to His side, the
carpenters, the fishermen,
poor and simple people
following a lowly trade,
60
handling and shaping the
wood of trees, mending
their nets with patience.
Inclinó la cabeza sobre las manos y mandó a su corazón que fuese manso y humilde para poder
llegar a ser como aquellos que estaban arrodillados cerca de él y
para que su oración fuera
propiciatoria cual la de ellos.
Oraba junto a ellos, pero comprendía que en su caso era más
arduo. Su alma estaba manchada
por el pecado, y no se atrevía a
pedir el perdón de sus culpas con
la simple confianza de aquellos
[162] a los cuales, por inescrutable designio de Dios, había llamado los primeros a su lado, carpinteros y pescadores, gente pobre y
sencilla dedicada a humildes tareas, a obrar y modelar la madera de los árboles o a remender
pacientemente las redes.
A tall figure came down
the aisle and the penitents
stirred; and at the last
Una sombra alta avanzó por
la nave lateral y los penitentes se
removieron. Y por último, levan-
65
175
Joyce’s Portrait
67. brown habit of a capuchin: members of the Capuchin
order, a reform of the Franciscan order, were bearded
and wore the long pointed capuche, or cowl.
Otherwise they had the brown habit and white
robe-belt of the Franciscans.
brown habit of a capuchin: belted robe worn by Capuchins,
a branch of the Franciscan order of friars
capuchin A member of the Franciscan order.
moment, glancing up swiftly,
he saw a long grey beard and
the brown habit of a
capuchin. The priest entered
5
the box and was hidden. Two
penitents rose and entered
the confessional at either
side. The wooden slide was
10 d r a w n b a c k a n d t h e f a i n t
murmur of a voice troubled
the silence.
tando un momento los ojos, distinguió una larga barba gris y el
hábito oscuro de un capuchino.
El religioso entró en el confesonario y quedó oculto. Los penitentes se levantaron y se colocaron a ambos lados del confesonario. Se oyó el ruido de un cierre de madera al descorrerse y el
murmullo de una voz comenzó a
turbar el silencio.
His
blood began to
in his veins,
murmuring like a sinful city
summoned from its sleep to
hear its doom. Little flakes of
fire fell and powdery ashes
20
fell softly, alighting on the
houses of men. They stirred,
waking from sleep, troubled
by the heated air.
//La sangre le comenzó a murmurar en las venas, como una
ciudad pecadora despertada del
sueño para oír su sentencia de
destrucción. Copos de fuego y
polvo de cenizas c a í a n
mansamente sobre las casas de
los hombres. I’ ellos se agitaban,
despertando del sueño, turbados
por el aire abrasador.
15 m u r m u r
like a sinful city... Notice how the image is continued by
the fever of the imagination.
powdery pulverulento, polvorosa,
polvoriento, empolvado
25
The slide was shot
back.
The
penitent
emerged from the side o f
the box. The farther side
30 w a s d r a w n . A w o m a n
entered quietly and
deftly where the first
penitent had knelt. The
35 f a i n t m u r m u r b e g a n
again.
El cierre volvió a correrse
y el penitente emergió de la
sombra por el costado del confesonario. Se descorrió el cierre del otro lado. Una mujer
entró con calmosa compostura
en el sitio donde el primer penitente había estado arrodillado. Y el leve murmullo comenzó de nuevo.
He could still leave the
chapel. He could stand up,
put one foot before the
other and walk out softly
and then run, run, run
swiftly through the dark
streets. He could still
escape from the shame.
Had it been any terrible
crime but that one sin! Had
it been murder! Little fiery
flakes fell and touched him
at all points, shameful
thoughts, shameful words,
shameful acts. Shame
covered him wholly like
fine glowing ashes falling
c o n t i n u a l l y. To s a y i t i n
words! His soul, stifling
and helpless, would cease
to be.
Aún podía abandonar la capilla. Podía levantarse, echar un pie
tras otro, salir suavemente y luego correr, correr, correr a toda velocidad a través de las calles oscuras. Aún tenía tiempo de escapar de aquel bochorno. Si hubiera sido algún terrible crimen,
;pero aquel pecado! ¡Si hubiera
sido un asesinato! Menudos copos de fuego caían abrasándole
por todas partes: pensamientos
vergonzosos, palabras vergonzosas, actos vergonzosos. Y la vergüenza le cubría totalmente como
una capa impalpable de abrasadora ceniza que iba cayendo sin
cesar. ¡Expresarlo con palabras!
Su alma, entre el ansia de la asfixia y el desamparo, quería dejar de existir.
[163]
El cierre fue descorrido otra
vez. Un penitente emergió del
lado opuesto del confesionario.
Otra vez el cierre. Un penitente entró en el sitio de donde el
anterior había salido. El suave
40
45
50
55
60
The slide was shot back. A
penitent emerged from the
farther side of the box. The
65 n e a r s l i d e w a s d r a w n . A
penitent entered where the
other penitent had come out. A
176
Joyce’s Portrait
68. God’s yoke . . . light: cf. Matthew 1x:2,9-30.
soft whispering noise floated in
vaporous cloudlets out of the
box. It was the woman: soft
whispering cloudlets, soft
5
whispering vapour, whispering
and vanishing.
susurro salía en vaporosas
nubecillas de la caja de madera. Era la mujer: nubecillas tenues y susurrantes, vapor tenue
en susurros, que susurraba, que
se desvanecía.
He beat his breast with his
fist
humbly, secretly under
10
cover of the wooden armrest.
He would be at one with
others and with God. He
would love his neighbour. He
15 w o u l d l o v e G o d w h o h a d
made and loved him. He
would kneel and pray with
o t h e r s a n d b e h a p p y. G o d
would look down on him and
20
on them and would love them
all.
Secretamente, por debajo
del antepecho del banco, se
golpeó humildemente el
seno. Viviría en paz con Dios
y con los otros. Amaría a su
prójimo. Amaría a Dios que
le había creado y le había
amado. Se arrodillaría y rezaría con los demás, y sería
feliz. Dios se dignaría posar
su mirada sobre él y sobre
los otros y los amaría a todos.
It was easy to be good.
light. It was better never to
have sinned, to have remained
always a child, for God loved
little children and suffered
30 them to come to Him. It was a
terrible and a sad thing to sin.
But God was merciful to poor
sinners who were truly sorry.
35 How true that was! That was
indeed goodness.
¡Qué fácil es ser el bueno! El
yugo de Dios era ligero y suave.
Mejor era no haber pecado nunca, haber permanecido siempre
como un niño, porque Dios amaba a los pequeñuelos y dejaba
que se acercasen a él. Pero Dios
era misericordioso para los pobres pecadores que se arrepentían de corazón. ¡Cuán cierto era
aquello! ;Eso sí que se podía llamar bondad!
The slide was shot to
suddenly. The penitent came
40 out. He was next. He stood up
in terror and walked blindly
into the box.
El cierre se corrió de
pronto. Él era el siguiente. Se levantó lleno de terror y caminó a ciegas hasta el confesonario.
At last it had come. He
knelt in the silent gloom and
raised his eyes to the white
crucifix suspended above
him. God could see that he
50 was sorry. He would tell all
his sins. His confession
would be long, long.
Everybody in the chapel
would know then what a
55 sinner he had been. Let them
know. It was true. But God
had promised to forgive him
if he was sorry. He was sorry.
He clasped his hands and
60
raised them towards the white
form, praying with his
darkened eyes, praying with
a l l h i s t r e m b l i n g b o d y,
65 swaying his head to and fro
like a lost creature, praying
with whimpering lips.
Había llegado por fin. Se arrodilló en la silenciosa oscuridad y
levantó los ojos hacia el blanco
crucifijo que estaba colgado encima de él. Dios podría ver que
le pesaba. Diría todos sus pecados. Su confesión sería larga. Todo el mundo en la capilla comprendería cuán pecador había sido. ¡Que lo supieran! Era verdad. Pero
Dios había prometido perdonarle, con tal de que le pesase de corazón. Y le pesa b a .
Ju n t ó l a s m a n o s y l a s
l evantó h a c i a l a b l a n c a
f o r m a , r o g a n d o con sus ojos
entenebrecidos , rogando con
todo el trémulo cuerpo, moviendo
la cabeza de un lado a otro tamo
una criatura abandonada, rogando
con los gimientes labios.
25 God’s yoke was sweet and
45
177
Joyce’s Portrait
—Sorry! Sorry! O sorry!
—¡Me pesa! ¡Me pesa! ¡Me pesa!
The slide clicked back
and his heart bounded
i n h i s b r e a s t . T he face
of an old priest was at the
grating, averted from him,
10 l e a n i n g u p o n a h a n d . H e
made the sign of the cross
and prayed of the priest to
bless him for he had sinned.
Then, bowing his head, he
15 r e p e a t e d t h e C O N F I T E O R i n
fright. At the words MY MOST
GRIEVOUS FAULT he ceased,
breathless.
El cierre se descorrió con un golpe brusco y el corazón le dio un salto en el pecho. Por la rejilla se veía
la cara de un anciano [164] sacerdote, apartada del penitente, apoyada sobre una mano. Stephen
hizo la señal de la cruz y rogó
al sacerdote q u e le bendijera
porque había pecado. Luego, inclinando l a c a b e z a , r e c i t ó
despavo rido el Conf i t e o r. A l
llegar a las palabras de mi
g r a v í s i m a c u lp a , c e s ó , s i n
aliento.
5
69. Confiteor . . . breathless: the penitential prayer in
which the penitent confesses to his sins and his
responsibility for them. Stephen stops in mid-prayer,
before the pleas for absolution and forgiveness.
20
—¿Cuánto tiempo hace desde
su última confesión, hijo mío?
—How long is it since your
last confession, my child?
—A long time, father.
—Mucho tiempo, padre.
—A month, my child?
—¿Un mes, hijo mío?
—Longer, father.
—Más, padre.
—Three months, my child?
—¿Tres meses, hijo mío?
—Longer, father.
—Más aún, padre.
—Six months?
___________
—Eight months, father.
—Ocho meses, padre.
25
30
35
Había comenzado. El sacerdote preguntó:
He had begun. The priest
40 asked:
—And what do you
remember since that time?
—¿Y de qué se acuerda usted
desde entonces?
He began to confess his
sins: masses missed, prayers
not said, lies.
Comenzó a confesar sus pecados: misas perdidas, oraciones
no dichas, mentiras.
—Anything else, my
child?
—¿Alguna cosa más, hijo
mío?
S i n s o f a n g e r, e n v y o f
o t h e r s , g l u t t o n y, v a n i t y,
55 disobedience.
Pecados de cólera, envidia de
lo ajeno, glotonería, vanidad, desobediencia.
45
50
—¿Alguna cosa más, hijo mío?
—Anything else, my child?
60
There was no help. He
murmured:
No había otro remedio.
Murmuró:
—Icommitted
impurity, father.
of
—He... cometido pecados de
impureza, padre.
The priest did not turn
his head.
El sacerdote no volvió la
cabeza.
sins
65
178
Joyce’s Portrait
— Wi t h y o u r s e l f , m y
child?
5
10
—¿Consigo mismo, hijo
mío?
—Andwith others.
—Y .. con otros.
—With women, my child?
—¿Con mujeres, hijo mío?
—Yes, father.
—Sí, padre.
— We r e t h e y
women, my child?
married
—¿Eran mujeres casadas,
hijo mío?
He did not know. His sins
trickled from his lips, one by
one, trickled in shameful
drops from his soul, festering
and oozing like a sore, a
20
squalid stream of vice. The
last sins oozed forth,
sluggish, filthy. There was no
more to tell. He bowed his
25 head, overcome.
No lo sabía. Sus pecados le
iban goteando de los labios
y ______ ________ ____ ____
_______ del alma, rezumando,
supurando como una corriente
de vicio sucia y emponzoñada.
Los últimos pecados salieron
por fin, lentos y asquerosos.
Ya no había más que decir. Inclinó la cabeza, rendido.
The Priest was silent. Then
he asked:
El sacerdote callaba. Después, preguntó:
[165]
—¿Qué edad tiene usted,
hijo mío?
15
trickle 1 intr. & tr. flow or cause to flow in
drops or a small stream (water trickled
through the crack). 2 tr. come or go
slowly or gradually (information trickles
out). gotear, leak slowly out
— n. a trickling flow. reguero
trickle charger an electrical charger for
batteries that works at a steady slow
rate from the mains. cargador
30
—How old are you, my
child?
—Sixteen, father.
—Dieciséis años, padre.
35
The priest passed his
hand several times over his
face. Then, resting his
forehead against his hand, he
40 leaned towards the grating
and, with eyes still averted,
spoke slowly. His voice was
weary and old.
El sacerdote se pasó la
mano varias veces por la
cara. Después descansó la
frente sobre una mano, se recostó contra la rejilla y, los
ojos todavía desviados, habló lentamente. Tenía la voz
cansada y vieja.
45
— Yo u a r e v e r y y o u n g ,
my child, he said, and let
me implore of you to give
up that sin. It is a terrible
50 sin. It kills the body and it
kills the soul. It is the cause
of many crimes and
misfortunes. Give it up, my
child, for God’s sake. It is
55 dishonourable and unmanly.
You cannot know where that
wretched habit will lead
you or where it will come
against you. As long as you
60
commit that sin, my poor
child, you will never be
worth one farthing to God.
Pray to our mother Mary to
65 help you. She will help you,
my child. Pray to Our
Blessed Lady when that sin
—Es usted muy joven, hijo
mío, y me va usted a permitir
que le ruegue que abandone ese
pecado. Es un pecado terrible.
Mata el cuerpo y mata el alma.
Es la causa de muchos crímenes y desgracias. Abandónelo
usted, hijo mío, por el amor de
Dios. Es deshonroso e indigno
de hombres. Usted no sabe hasta dónde ese maldito hábito le
puede llevar a usted o hasta
dónde puede llegar él en contra suya. Mientras cometa usted ese pecado, su alma carecerá absolutamente de valor
[no valdrá un ápice] a los ojos
de Dios. Pídale a nuestra madre María que le ayude. Ella le
ayudará, hijo mío. Ruégueselo
a Nuestra Señora cada vez que
179
Joyce’s Portrait
comes into your mind. I am
sure you will do that, will
you not? You repent of all
those sins. I am sure you do.
5
And you will promise God
now that by His holy grace
you will never offend Him
any more by that wicked
10 s i n . Yo u w i l l m a k e t h a t
solemn promise to God, will
you not?
este pecado le venga a la imaginación. Estoy seguro de que
lo hará así, ¿no es cierto? Usted se arrepiente de todos estos
pecados. Estoy seguro. Y le va
usted a prometer a Dios que,
con ayuda de su santa gracia, no
le va a volver a ofender con ese
pecado asqueroso. Hágale esta
promesa a Dios. ¿La hará usted?
—Yes, father.
—Sí, padre.
15
The old and weary voice
fell like sweet rain upon his
quaking parching heart.
How sweet and sad!
La voz, vieja y cansada, caía
como una suave lluvia sobre su
corazón trémulo y reseco. ¡Cuán
suave! ¡Cuán triste!
—Do so my poor child.
The devil has led you astray.
Drive him back to hell
25 w h e n h e t e m p t s y o u t o
dishonour your body in that
way—the foul spirit who
hates our Lord. Promise
God now that you will give
30 u p t h a t s i n , t h a t w r e t c h e d
wretched sin.
—Hágalo así, pobre hijo mío.
El demonio le tiene extraviado.
Rechácele hacia el infierno siempre que le traiga la tentación de
deshonrar su cuerpo de esta manera; rechace al espíritu infernal
que aborrece a Nuestro Señor.
Prométale a Dios que abandonará ese pecado vil, ese pecado asqueroso.
Blinded by his tears and by
the
light of God’s mercifulness
35
he bent his head and heard the
grave words of absolution
spoken and saw the priest’s
hand raised above him in
40 token of forgiveness.
—God bless you, my child.
Pray for me.
Cegado por las lágrimas y por
la luz de la misericordia divina,
Stephen inclinó la cabeza y oyó
las graves palabras de la absolución y vio cómo la mano del sacerdote se levantaba sobre él en
prenda de perdón.
[166]
—Dios le bendiga, hijo mío.
Ruegue a Dios por mí.
He knelt to say his
penance, praying in a
corner of the dark nave; and
his prayers ascended to
50 heaven from his purified heart
like per f u m e s t r e a m i n g
u p w a r d s f ro m a h e a r t o f
white rose.
Se arrodilló para rezar la penitencia en un rincón de la oscura nave; y sus oraciones ascendían al cielo desde el corazón purificado como una oleada de aroma que fluyera aire
arriba desde el corazón de una
rosa blanca.
55
¡Qué alegres, las calles enfangadas! Marchaba hacia casa a
grandes pasos, consciente de una
gracia que se difundía por sus
miembros y los aligeraba. A pesar de todo, lo había hecho. Se
había confesado y Dios le había
perdonado. Su alma era pura y
santa una vez más, santa y feliz.
20
70. absolution . . . forgiveness: the priest would say the
words of absolution in Latin while making the sign of
the cross over the penitent.
45
like perfume streaming upwards from a heart of white
rose Again, a subtle look back - remember that
Stephen, when young and pure, wore the white rose
of York at Clongowes.
The muddy streets were
gay. He strode homeward,
conscious of an invisible grace
pervading and making light
his limbs. In spite of all he had
60
done it. He had confessed and
God had pardoned him. His
soul was made fair and holy
once more, holy and happy.
65
¡Qué hermoso morir ahora, si
fuera voluntad de Dios! Y qué
It would be beautiful to die
if God so willed. It was
180
Joyce’s Portrait
forbearance 1 a delay in enforcing rights
or claims or privileges; refraining from
acting; «his forbearance to reply was
alarming» 2 patience, longanimity
good-natured tolerance of delay or
incompetence
abstención, templanza, tolerancia, indulgencia, paciencia, perseverancia
beautiful to live in grace a life
of peace and virtue and
forbearance with others.
hermoso vivir en gracia una
vida de paz y de virtud y de
indulgencia para con los demás.
He sat by the fire in the
kitchen, not daring to
s p e a k f o r h a p p i n e s s . Ti l l
that moment he had not
known how beautiful and
peaceful life could be. The
green square of paper
pinned round the lamp cast
down a tender shade. On
the dresser was a plate of
sausages and white pudding
and on the shelf there were
eggs. They would be for the
breakfast in the morning
after the communion in the
college chapel. White
pudding and eggs and
sausages and cups of tea.
How simple and beautiful
wa s l i fe a ft e r a l l ! And life
l a y a l l b e f o re h i m.
Se sentó al fuego en la cocina, sin atreverse a hablar de
pura felicidad. Hasta aquel
momento no había sabido
cuán hermosa y apacible podía ser la vida. El cuadrado de
papel verde, prendido con alfileres alrededor de la lámpara, proyectaba un dulce reflejo. Sobre la mesa había un
plato de salchichas y pudding
blanco y, en la repisa, huevos.
Todo para el desayuno del día
siguiente, después de la comunión en la capilla del colegio.
Pudding blanco y huevos y
salchichas y tazas de té. Después de todo, ¡qué simple y
qué hermosa era la vida! Y
toda la vida yacía ahora delante de él.
In a dream he fell
rose and saw that it
was morning. In a
waking dre a m h e w e n t
35 through the quiet morning
towards the college.
Como en un ensueño, cayó
dormido. Como en un ensueño,
se levantó y vio que ya era de
mañana. Como en un ensueño
de duermevela, caminó hacia
el colegio a través de la mañana tranquila.
The boys were all there,
kneeling in their places. He
40 knelt among them, happy and
shy. The altar was heaped with
fragrant masses of white
flowers; and in the morning
light the pale flames of the
45
candles among the white
flowers were clear and silent
as his own soul.
Todos los muchachos estaban ya arrodillados en sus sitios. Se arrodilló entre ellos,
tímido y feliz. El altar estaba
recubierto de masas olorosas
de flores blancas. Y, en la luz
matinal, las llamas pálidas de
los cirios ardían entre las blancas flores, pulcras y silenciosas como su propia alma.
He knelt before the altar
with his classmates, holding
the altar cloth with them
over a living rail of hands.
His hands were trembling
55 and his soul trembled as he
heard the priest pass with the
ciborium from communicant
to communicant.
Se arrodilló delante del altar con sus compañeros y sostuvo al par que ellos el paño
que descansaba como sobre
una balaustrada de manos. Las
suyas temblaban y su alma con
[167] ellas, mientras el sacerdote iba avanzando de sito en sitio
llevando el copón.
5
10
15
20
25
And life lay all before him A half echo of the end of Milton’s
Paradise Lost, for the two sinners - ‘The world was
all before them’.
30 a s l e e p . I n a d r e a m h e
50
71. ciborium: the cup or chalice in which the eucharistic
wafer is carried. This use of the . word was confined
to Ireland and England. On the Continent, ciborium
meant a canopy.
ciborium Silver cup, holding the consecrated wafers, in
the Communion service.
72. Corpus Domini nostri . .. In vitam eternam: ‘(May)
The Body of Our Lord (lead you to) Life Everlasting’,
the first and last three words spoken by the priest as
he administers communion.
Corpus Domini nostri .:. In vitam eternam ‘The body of
our Lord . . . to life everlasting.’
Corpus Domini nostri: the Body of our Lord
60
—Corpus Domini nostri.
—CORPUS DOMINI NOSTRI.
¿Sería posible? Estaba arrodillado allí, tímido y limpio de pecado. Y sostendría en su lengua
la hostia y Dios entraría en su
cuerpo purificado.
Could it be? He knelt there
sinless and timid; and he would
65 hold upon his tongue the host
and God would enter his
purified body.
181
duermevela 1. amb. fam. Sueño ligero en que se halla
el que está dormitando. 2. fam. Sueño fatigoso y
frecuentemente interrumpido.
Joyce’s Portrait
—In vitam eternam. Amen.
—IN VITAM ETERNAM. AMEN.
• In vitam eternam. Amen. Into eternal life. So be it.
In vitam eternam: unto everlasting life
5
Another life! A life of grace
and virtue and happiness! It
was true. It was not a dream
from which he would wake.
The past was past.
¡Una nueva vida!
¡Una vida de gracia
y de virtud y de felicidad! Y lo pasado, pasado.
—CORPUS DOMINI NOSTRI.
—Corpus Domini nostri.
T h e ciborium h a d c o m e
to him.
La copa sagrada había llegado hasta él.
10
• Corpus Domini nostri the Body of our Lord; the words
spoken before serving the Host, or wafer, during
communion.
• the ciborium the container for the consecrated wafers.
15
20
25
30
35
40
45
50
55
60
65
182
Joyce’s Portrait
Chapter 4
Cuatro
5
1. Sunday was dedicated . . . Virgin Mary: adapted from
The Sodality Manual; or a Collection of Prayers and
Spiritual Exercises for Members of the Sodality of
the Blessed Virgin Mary (Dublin, x896), from the
section entitled ‘Devotions for Every Day of the
Week’. (G)
Sunday was dedicated to
the mystery of the Holy
Trinity, Monday to the Holy
10 G h o s t , Tu e s d a y t o t h e
Guardian Angels, Wednesday
to saint Joseph, Thursday to
the Most Blessed Sacrament
of the Altar, Friday to the
15 Suffering Jesus, Saturday to the
Blessed Virgin Mary.
Los domingos los tenía dedicados al misterio de la Santísima Trinidad; los lunes, al Espíritu Santo; los martes, a los
Ángeles Custodios; los miércoles, a San José; los jueves, al
Santísimo Sacramento del Altar; los viernes, a la Pasión de
Jesús; los sábados, a la Santísima Virgen María.
Every
morning
he
hallowed himself anew in the
presence of some holy image
or mys t e r y. H i s d a y b e g a n
w i t h a n h eroic offering of its
every moment of thought or
action for the intentions of the
sovereign pontiff and with an
early mass. The raw morning
air whetted his resolute piety;
and often as he knelt among the
few worshippers at the sidea l t a r, f o l l o w i n g w i t h h i s
interleaved prayer-book the
murmur of the priest, he
glanced up for an instant
towards the vested figure
standing in the gloom between
the two candles, which were
the old and the new testaments,
and imagined that he was
kneeling at mass in the
catacombs.
To d a s l a s m a ñ a n a s s e
santificaba de nuevo en la presencia de alguna sagrada imagen o de
algún misterio. El día comenzaba
para él con el ofrecimiento heroico de cada uno de sus pensamientos y acciones por la intención del
Sumo Pontífice y con una misa temprana. El aire crudo de la mañana
aguzaba su decidida piedad; y a
menudo, arrodillado entre los escasos fieles d e l a n t e d e u n a l t a r l a t e r a l , s i g u i e n d o el
murmullo del sacerdote en su devocionario lleno de estampas que
servían de señal, echaba una rápida ojeada hacia la figura revestida,
en pie, allá en la oscuridad, entre los
dos cirios que representaban el
Antiguo y el Nuevo Testamento,
y se imaginaba que estaba
asistiendo a una misa en las
catacumbas.
His daily life was laid out
in devotional areas. By
means of ejaculations and
prayers he stored up
ungrudgingly for the souls
50 i n p u r g a t o r y c e n t u r i e s o f
days and quarantines and
years; yet the spiritual
triumph which he felt in
achieving with ease so many
55 f a b u l o u s ages of canonical
penances did not wholly reward
his zeal of prayer, since he
could never know how much
temporal punishment he had
60
remitted by way of suffrage
for the agonizing souls; and
fearful lest in the midst of the
purgatorial fire, which differed
65 from the infernal only in that
i t was not everlasting, his
penance might avail no more
Su vida diaria estaba dividida en diversas áreas de devoción. Por medio de jaculatorias
y d e o r a c i o n e s , a c u m u laba
de muy buena voluntad centenas y cuarentenas de días, y aun
[168] [169] años enteros, en favor
de las almas del purgatorio; aunque el triunfo espiritual que sentía
al ganar con tan poca molestia tan
largos períodos de penitencia canónica no le recompensaba completamente su celo, desde e l
momento que ignoraba cuánto sufrimiento temporal había
evitado a las pobres almas por medio de su sufragio; e introdujo su
alma en un círculo cada vez más
amplio de obras heroicas, temeroso de que para con el fuego del purgatorio, que no se diferencia del infernal más que en no ser eterno, su
20
2. heroic offering: ‘heroic’ in this instance means an act
by which the agent offers to God all the satisfactory
works which he performs in his lifetime for the sake
of another or others - in this case for the sake of the
Pope.
25
sovereign pontiff i.e. the Pope.
whet 1 sharpen (a scythe or other tool) by grinding.
2 stimulate (the appetite or a desire, interest,
etc.), estimular. Frotar, masturbarse,
1 the act or an instance of whetting. 2 a small
quantity stimulating one’s appetite for more.
Aguzar, animar, avivar.
30
3, interleaved prayerbook: a prayerbook containing
devotional and in memoriam cards; a serious sign of
piety.
35
4. two candles . . . old and the new testaments: at low
mass, two lit candles flanked the crucifix, the two
lights of the Old and New Testaments that illuminated
Christ’s sacrifice.
5. catacombs: under Roman persecution, the early
Christians celebrated Mass in the catacombs with
the marble slab of a sepulchre serving as an altar.
40
45
6. ejaculations: short exclamatory prayers.
ejaculations Brief prayers.
• ejaculation a short, sudden prayer or exclamation.
ejaculations: brief outcries or prayers
7. days and quarantines and years: a quarantine is a
period of forty days. Stephen is offering up his prayers
and devotions for the sake of the souls in purgatory.
They gain remission of punishment; he gains in
holiness and discipline.
183
Joyce’s Portrait
8. works of supererogation: he did more than was
required for fear that should not be enough.
supererogation A reserve fund of merit that can be drawn
on in favour of sinners.
supererogation: acts beyond the requirements of duty
to establish a «reservoir of merit»
than a drop of moisture, he
drove his soul daily through an
increasing circle of works of
supererogation.
penitencia no tuviera más validez
que la de una gota de agua. __
_____ _____ ____ _____ __ __ __
__ _ __ ___ ____ __
E v e r y p a r t o f h i s d a y,
divided by what he regarded
now as the duties of his station
in life, circled about its own
centre of spiritual energy. His
life seemed to have drawn near
to eternity; every thought,
word, and deed, every instance
of consciousness could be
made to revibrate radiantly in
heaven; and at times his sense
of
su c h
immediate
repercussion was so lively
that he seemed to feel his
s o u l i n d e v o t i o n p r e s sing
like fingers the keyboard of
a great cash register and to
see the amount of his purchase
start forth immediately in
heaven, not as a number but as
a frail column of incense or as
a slender flower.
Cada momento del día, dedicado ahora a los que miraba
como deberes de su paso por la
vida, giraba en torno de su actividad espiritual. Su vida parecía haberse aproximado a la
eternidad. Podía lograr que
cada uno de sus pensamientos,
palabras y obras, revibrara
radiantemente en el cielo; y a
veces la sensación de ese repercutir inmediato era tan intensa,
que le parecía que su alma devota obraba como los dedos sobre el teclado de una gran caja
registradora y que podía ver la
suma de su adquisición aparecer inmediatamente inscrita en
el cielo, no como una cifra, sino
como una débil columnilla de
incienso o como una delicada
flor.
The rosaries, too, which he
said constantly—for he
carried his beads loose in his
trousers’ pockets that he might
tell them as he walked the
streets—transformed
themselves into coronals of
flowers of such vague
unearthly texture that they
seemed to him as hueless and
odourless as they were
nameless. He offered up each
of his three daily chaplets that
his soul might grow strong in
each of the three theological
virtues, in faith in the Father
Who had created him, in hope
in the Son Who had redeemed
him and in love of the Holy
Ghost Who had sanctified
him; and this thrice triple
prayer he offered to the Three
Persons through Mary in the
name of her joyful and
sorrowful and glorious
mysteries.
También los rosarios que rezaba constantemente —pues llevaba las cuentas sueltas en los
bolsillos del pantalón para poder rezar por la calle— se le
transformaban en coronas de
flores de una contextura tan
extraterrena, tan vaga, que le
parecían carecer de matiz y de
olor, del mismo modo que carecían de nombre. Cada uno de sus
tres rosarios cotidianos era ofrecido para que su alma creciera
más vigorosamente en cada una
de las virtudes teologales, en la
fe en el Padre que le había creado, en la esperanza en el Hijo
que le había redimido y en el
amor al Espíritu Santo que le
había santificado; y esta plegaria tres veces triple la ofrecía a
las tres personas de la Santísima Trinidad por mediación de
María considerada en sus mist e r i o s g o z o s o s , d olorosos y
gloriosos.
[170]
Cada día de los siete de la
semana rezaba para que uno de
los siete dones del Espíritu
Santo descendiera sobre su
alma y arrojara día por día a
cada uno de los siete pecados
mortales que le habían manci-
5
10
15
20
like fingers the keyboard of a great cash register... This
image, which rings up pardons, is not without a
certain cynicism on the part of Joyce.
25
30
35
40
9. chaplets: a rosary consists of fifteen decades of Aves,
preceded by a Pater Noster and followed by a Gloria. Each decade is dedicated to a mystery of religion;
the rosary itself is divided into three chaplets of five
decades each. The first chaplet is given to
contemplation of the five joyful mysteries, the second
to the five sorrowful mysteries and the third to the
five glorious mysteries. All of these mysteries are
mediated through the Blessed Virgin Mary.
45
• the three theological virtues faith, hope, and charity.
50
joyful mysteries: the Annunciation, the Visitation, the
Nativity of Christ, the Presentation of Christ in the
Temple, the finding of the child Jesus in the Temple
sorrowful mysteries: the Agony in Gethsemane, the
Scourging of Jesus, His crowning with thorns, His
carrying of the cross, His crucifixion
glorious mysteries: the Resurrection, the Ascension, the
Descent of the Holy Spirit at Pentecost, the
Assumption of the Virgin Mary, the Coronation of the
Virgin Mary
10. . . . mysteries: Stephen says three chaplets to
strengthen his hold on the three theological virtues Faith, Hope and Charity - each identified with one of
the Three Persons in God and each assigned to one
of the three sets of mysteries.
11. seven gifts of the Holy Ghost: Wisdom,
Understanding, Counsel, Piety, Fortitude,
Knowledge, Fear of the Lord.
seven gifts of the Holy Ghost: wisdom, understanding,
counsel, fortitude, knowledge, piety, fear of the Lord
55
60
On each of the seven days
of the week he further prayed
that one of the seven gifts of
the Holy Ghost might descend
65 upon his soul and drive out of
it day by day the seven deadly
sins which had defiled it in the
184
Joyce’s Portrait
llado en el pasado; y rezaba
para obtener cada don en su
día señalado, con la confianza de que descenderían sobre
él, aunque le resultaba extraño algunas veces que tres dones como sabiduría, entendimiento y ciencia, fuesen tan
distintos que necesitaran cada
uno por su lado un día diferente. Con todo, creía que en una
etapa futura de su progreso espiritual, quedaría la dificultad
resuelta cuando su alma pecadora estuviera más fortalecida
y alumbrada por la tercera
persona de la Tr i n i d a d S a n tísima. Pero lo creía tanto más, y aun con ansia,
a causa de la divina oscuridad y silencio donde
mora
el
invisible
P a r á c l i t o c u y o s símbolos
son una paloma y un viento poderoso; pecar contra Él es pecado que no encuentra perdón;
Él es, en fin, aquel eterno, secreto y misterioso ser al que
como a Dios ofrecen los sacerdotes una misa cada año revestidos del rojo de las llamas de
fuego.
The imagery through which
the nature and kinship of the
Three Persons of the Trinity
were darkly shadowed forth in
the books of devotion which he
read—the Father contemplating
from all eternity as in a mirror
His Divine Perfections and
thereby begetting eternally
the Eternal Son and the Holy
Spirit proceeding out of
Father and Son from all
eternity—were easier of
acceptance by his mind by
reason of their august
incomprehensibility than was
the simple fact that God had
loved his soul from all
eternity, for ages before he
had been born into the world,
for ages before the world
itself had existed.
Las imágenes bajo las cuales quedaban veladas en los libros de devoción la naturaleza
y las relaciones de las tres personas de la Santísima Trinidad
—el Padre, que se contempla
por una eternidad, como en un
espejo, en sus divinas perfecciones, y de ahí engendra a su
Eterno Hijo, y el Espíritu Santo, que procede eternamente
del Padre y del Hijo—, estas
imágenes oscuras eran, en razón de su augusta incomprensibilidad, más fácilmente aceptadas por su mente que el simple hecho de que Dios hubiera
amado al alma de él, de su criatura, desde una eternidad, eras
y eras antes de que naciera el
mundo, eras antes de que el
mismo mundo existiera.
He had heard the names
of the passions of love and
hate pronounced solemnly
65 o n t h e s t a g e a n d i n t h e
pulpit, had found them set
forth solemnly in books and
Había oído pronunciar solemnemente en la escena y en el púlpito los nombres de las pasiones
del amor y del odio; las había visto expuestas pomposamente en
los libros, y se preguntaba por
5
10
15
20
tremulous agitation
12. the unseen Paraclete: a name given to the Holy
Ghost, the Third Person of the Trinity. ‘Paraclete’
means advocate or pleader. The name appears in
the Gospel of St John.
Paraclete The Comforter. (The Holy Ghost.)
• Paraclete another name for the Holy Ghost.
13- Whose symbols .. . fire: the New Testament emblems
for the Holy Ghost were those of the dove and the
wind. The descent of the Holy Ghost upon the
Apostles is celebrated at Pentecost (Whit Sunday),
when the vestments are red to commemorate the
‘cloven tongues like as of fire’ (Acts z:3) that descended upon them. The six sins against the Holy
Ghost are Presumption of God’s Mercy, Despair,
Resisting Christian truth, Envy at another’s spiritual
good, Obstinacy in Sin, Final Impenitence. For the
last of these there is no forgiveness.
past; and he prayed for each
g i f t o n i t s a p p o i n t e d d a y,
confident that it would descend
upon him, though it seemed
strange to him at times that
wisdom and understanding and
knowledge were so distinct in
their nature that each should be
prayed for apart from the
others. Yet he believed that at
some future stage of his
spiritual
progress
this
difficulty would be removed
when his sinful soul had been
raised up from its weakness
and enlightened by the Third
Person of the Most Blessed
Trinity. He believed this all the
more, and with trepidation,
because of the divine
gloom and silence wherein
dwel t the unseen Paracl ete,
W h o s e s y m b o l s we r e a
dove and a mighty wind,
to sin against Whom was
a sin beyond forgiveness,
the eternal mysterious
secret Being to Whom, as
God, the priests offered
u p m a s s o n c e a year, robed
in the scarlet of the tongues of
fire.
25
30
35
40
45
50
55
60
185
Joyce’s Portrait
qué su alma era incapaz de albergar ni el uno ni el otro ni aun siquiera de forzar los labios a pronunciar sus [171] nombres con
convicción. A menudo había sentido un breve acceso de cólera,
pero nunca había sido capaz de
conservar su resentimiento largo
rato, sino que había sentido que
se iba desvaneciendo en seguida
como una cáscara o una piel que
se desprendiera con toda suavidad de su propio cuerpo. Y había
sentido también una presencia
oscura, sutil y susurrante que penetraba por todo su ser, que lo
incendiaba en las llamas pasajeras de un deseo vedado. Y también este anhelo resbalaba hasta
colocarse fuera de su alcance,
dejando su mente indiferente y
lúcida. Parecían éstos el único
amor y el único odio que su alma
era capaz de albergar.
But he could no longer
disbelieve in the reality of
30 love, since God Himself had
loved his individual soul with
divine love from all eternity.
Gradually, as his soul was
35 e n r i c h e d w i t h s p i r i t u a l
knowledge, he saw the whole
world forming one vast
symmetrical expression of
God’s power and love. Life
40 became a divine gift for every
moment and sensation of
which, were it even the sight
of a single leaf hanging on the
twig of a tree, his soul should
45
praise and thank the Giver.
The world for all its solid
substance and complexity no
longer existed for his soul
50 save as a theorem of divine
power and love and
universality. So entire and
unquestionable was this sense
of the divine meaning in all
55 nature granted to his soul that
he could scarcely understand
why it was in any way
necessary that he should
continue to live. Yet that was
60
part of the divine purpose and
he dared not question its use,
he above all others who had
sinned so deeply and so foully
65 against the divine purpose.
Meek and abased by this
consciousness of the one
Pero ahora no podía dejar por
más tiempo de creer en la realidad del amor, puesto que el mismo Dios había amado a su alma
individual con un amor divino por
una eternidad toda. Gradualmente, según su alma se iba enriqueciendo en conocimiento espiritual,
iba viendo cómo el mundo todo
formaba una expresión simétrica
del poder y el amor de Dios. La
vida se convertía en un don divino, y por cada sensación, por cada
momento de él, su alma tenía que
alabar y dar gracias a Dios, aunque no fuera más que de ver cómo
colgaba una hoja de la rama de un
árbol. El mundo, no obstante su
solidez y su complejidad, ya no
existía para Stephen más que
como un teorema de la universalidad, el amor y el poder divinos. Y tan íntegra e incuestionable era la sensación de un divino sentido que la naturaleza le
daba, que llegó a casi no comprender para qué era necesario
que él siguiera existiendo en el
mundo. Y, sin embargo, esto formaba parte del designio divino
y no era él, por tanto, quien lo
había de discutir, él menos que
nadie, pues había pecado tan
gravemente, tan horrendamente
contra los designios de Dios.
Manso y abatido por este conocimiento de una realidad
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10
15
20
25
save as a theorem of divine power... Notice the language,
for Stephen is always rational as well as spiritual.
had wondered why his soul
was unable to harbour them
for any time or to force his
lips to utter their names
with conviction. A brief
anger had often invested
him but he had never been
able to make it an abiding
passion and had always felt
himself passing out of it as
if his very body were being
divested with ease of some
outer skin or peel. He had
felt a subtle, dark, and
murmurous
presence
penetrate his being and fire
him with a brief iniquitous
lust: it, too, had slipped
beyond his grasp leaving
his
mind
lucid
and
indifferent. This, it seemed,
was the only love and that
the only hate his soul would
harbour.
186
Joyce’s Portrait
eterna, omnipresente y perfecta, se refugió de nuevo en su
carga de devociones, misas,
preces, mortificaciones y sacramentos, y sólo entonces por primera vez desde que cavilaba en el
gran misterio del amor, sintió dentro de sí un cálido [172] movimiento como de algo recién nacido, una nueva vida o una nueva
virtud de su propia alma. La actitud de éxtasis que conocía por el
arte sagrado, las manos separadas
y en alto, los labios entreabiertos,
los ojos como los de quien está
próximo a desmayarse, esta actitud llegó a ser para él la imagen
del alma en oración, humillada y
débil delante de su Creador.
But he had been forewarned
of the dangers of spiritual
25 exaltation and did not allow
himself to desist from even the
least or lowliest devotion,
striving also by constant
mortification to undo the
30 s i n f u l p a s t r a t h e r t h a n t o
achieve a saintliness fraught
with peril. Each of his senses
was brought under a rigorous
35 discipline. In order to mortify
the sense of sight he made it
his rule to walk in the street
with downcast eyes, glancing
neither to right nor left and
40 never behind him. His eyes
shunned every encounter with
the eyes of women. From time
to time also he balked them by
a sudden effort of the will, as
45
by lifting them suddenly in the
middle of an unfinished
sentence and closing the book.
To m o r t i f y h i s h e a r i n g h e
50 exerted no control over his
voice which was then
breaking, neither sang nor
whistled, and made no attempt
to flee from noises which
55 caused him painful nervous
irritation such as the
sharpening of knives on the
knife board, the gathering of
cinders on the fire-shovel and
60
the twigging of the carpet. To
mortify his smell was more
difficult as he found in himself
no instinctive repugnance to
65 bad odours whether they were
the odours of the outdoor
world, such as those of dung
Pero había sido prevenido contra los peligros de la exaltación espiritual y no se permitió, por tanto, cejar en la más nimia o insignificante de sus devociones, y tendía también por medio de una
constante mortificación más a borrar su pasado pecaminoso que
a adquirir una santidad l l e n a
d e p e ligros. Cada uno de sus
sentidos estaba sometido a una
rigurosa disciplina. Con objeto
de mortificar el sentido de la
vista, se puso como norma de
conducta el caminar por la calle con los ojos bajos, sin mirar
ni a derecha ni a izquierda y ni
por asomo hacia atrás. Sus ojos
evitaban todo encuentro con
ojos de mujer. Y de vez en cuando los refrenaba mediante un
repentino esfuerzo de voluntad, dejando a medio leer una
frase comenzada y cerrando de
golpe el libro. Para mortificar
el oído dejaba en libertad su
voz, que estaba por entonces
cambiando, no cantaba ni silbaba nunca y no hacía lo más
mínimo para huir de algunos
ruidos que le causaban una
penosa irritación de los nervios, como el oír afilar cuchillos en la plancha de la cocina, el ruido de recoger la ceniza en el cogedor o el varear
de una alfombra. Mortificar el
olfato le resultaba más difícil,
porque no sentía la menor repugnancia instintiva de los malos olores, ya fueran exteriores, como los del estiércol o el
5
10
15
20
fraught 1 archaic a : LADEN, cargado b :
well supplied or provided 2 : full of or
accompanied by something specified —
used with with <a situation fraught with
danger> 3 : causing or characterized by
emotional distress or tension : UNEASY
<a fraught relationship> Nervioso
fraught 1 cargado,-a [with, de] a situation
fraught with danger, una situación muy
peligrosa 2 (ambiente, persona) nervioso
14. twigging: brushing with a stiff (twig) broom.
• twigging scraping a twig broom across a carpet.
twigging: brushing with a short broom
eternal omnipresent perfect reality
his soul took up again her burden
of pieties, masses and prayers and
sacraments and mortifications,
and only then for the first
time since he had brooded
on the great mystery of love
did he feel within him a
warm movement like that of
some newly born life or
virtue of the soul itself. The
attitude of rapture in sacred
art, the raised and parted
hands, the parted lips and
eyes as of one about to
swoon, became for him an
image of the soul in prayer,
humiliated and faint before
her Creator.
187
devotion n. 1 (usu. foll. by to) enthusiastic
attachment or loyalty (to a person or
cause); great love. 2 a religious
worship. b (in pl.) prayers. c
devoutness, religious fervour.
amor, afecto, veneración, dedicación, entrega, lealtad, fidelidad, afición,
devote 1 (foll. by to) apply or give over
(resources etc. or oneself) to (a particular activity or purpose or person)
(devoted their time to reading; devoted
himself to his guests). 2 archaic doom
to destruction.
devoted adj. very loving or loyal (a devoted
husband). devoto, leal, fiel, dedicado,
consagrado
devotee n. 1 (usu. foll. by of) a zealous
enthusiast or supporter. 2 a zealously
pious or fanatical person.
Joyce’s Portrait
alquitrán, ya fueran de su propia persona. Entre todos ellos
había hecho muchas curiosas
comparaciones y experimentos,
hasta que decidió que el único
olor contra el cual su olfato se
rebelaba, era una especie de hedor como a pescado podrido o
como a orines viejos y descompuestos; y cada vez que le era posible, se sometía por mortificación a este olor desagradable.
Para mortificar [173] el gusto se
sujetaba a normas muy estrictas
en la mesa; observaba a la letra
los ayunos de la Iglesia y procuraba distrayéndose apartar la
imaginación d e l g usto de los
diferentes platos. Pero era en
la mortificación del tacto donde su inventiva y su ingenuidad trabajaron más infatigablemente. No cambiaba nunca
conscientemente de posición en
la cama, se sentaba en las posturas menos cómodas, sufría pacientemente todo picor o dolor,
se separaba del fuego, estaba de
rodillas toda la misa, excepto durante los evangelios, dejaba parte
de la cara y del cuello sin secar
para que se le cortaran con el aire
y, cuando no estaba rezando el rosario, llevaba los brazos rígidos,
colgados a los costados como un
corredor, y nunca metía las manos
en los bolsillos ni se las echaba a
la espalda.
He had no temptations to
sin mortally. It surprised him
45
however to find that at the
end of his course of intricate
piety and self-restraint he was
so easily at the mercy of
50 c h i l d i s h a n d u n w o r t h y
imperfections. His prayers
and fasts availed him little for
the suppression of anger at
hearing his mother sneeze or
55 a t b e i n g d i s t u r b e d i n h i s
devotions. It needed an
immense effort of his will to
master the impulse which
urged him to give ou t l e t t o
60
such irritation. Images of
the outbursts of trivial
anger which he had often
noted among his masters,
65 t h e i r t w i t c h i n g m o u t h s ,
close-shut
lips
and
f l u s h e d cheeks, recurred to
No tenía tentaciones de pecar
mortalmente. Pero le sorprendía,
sin embargo, el ver que después
de todo aquel complicado curso de
piedad y de propia contención, se
hallaba a merced de las más pueriles e insignificantes imperfecciones. Todos sus ayunos y oraciones le servían de poco para llegar a suprimir el movimiento de
cólera que experimentaba al oír
estornudar a su madre o al ser interrumpido en sus devociones. Y
necesitaba un inmenso esfuerzo
de su voluntad para dominar el
impulso que le excitaba a dar salida a su irritación. Se le representaban ahora las imágenes de cólera trivial que había observado entre sus maestros, las bocas crispadas, los labios contraídos, las
mejillas arreboladas, y estos recuerdos le descorazonaban, a pe-
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10
15
20
the mortification of touch In this phase Stephen mortifies
his senses, but touch - from Eileen’s hands onwards
through sexual experience - seems to him the most
sinful of his senses.
25
30
15. remained on his knees ... gospels: it was obligatory
to stand up at the reading of the gospels. In the
interval, Stephen remained kneeling; many others
would sit rather than kneel, except at the
consecration.
35
stiffly at his sides like a runner Childhood is never far
away for Stephen. Remember his runs around the
park at Blackrock under the tutelage of Mike Flynn.
twigging: brushing with a stiff (twig) broom.
or tar, or the odours of his own
person among which he had
made
many
curious
comparisons and experiments.
He found in the end that the
only odour against which his
sense of smell revolted was a
certain stale fishy stink like
that of long-standing urine;
and whenever it was possible
he subjected himself to this
unpleasant odour. To mortify
the taste he practised strict
habits at table, observed to the
letter all the fasts of the
church and sought by
distraction to divert his mind
from the savours of different
foods. But it was to the
mortification of touch he
brought the most assiduous
ingenuity of inventiveness. He
never consciously changed his
position in bed, sat in the most
uncomfortable positions,
suffered patiently every itch
and pain, kept away from the
fire, remained on his knees
all through the mass except at
the gospels, left part of his
neck and face undried so that
air might sting them and,
whenever he was not saying
his beads, carried his arms
stiffly at his sides like a
runner and never in his
pockets or clasped behind
him.
40
188
Joyce’s Portrait
UBERA MEA COMMORABITUR.
sar de sus prácticas de humildad,
al establecer una comparación con
sus propios arrebatos. Confundir
su vida en la común marea de todas las otras era lo que se le hacía
más difícil que todo ayuno u oración; fracasaba constantemente
cuando se proponía hacerlo a todo
su sabor, y estos fracasos le llegaron a dejar en el alma una sensación de sequedad espiritual junto a brotes de dudas y de escrúpulos. Su alma atravesaba por un
período de desolación en el cual
hasta los mismos sacramentos parecían [174] haberse convertido en
fuentes agotadas. La confesión le
servía sólo como un canal de desagüe para sus escrúpulos y sus imperfecciones incorregibles. Y
cuando recibía ahora la eucaristía, no le aportaba aquellos fervorosos momentos de entrega
vir ginal que aún le proporcionaban las comuniones espirituales hechas algunas veces al final de una visita al
Santísimo Sacramento. El libro que usaba para tales visita s e r a u n l i b r o d e s e c h a d o e s c r i to por San Alfonso
María de Ligorio, de pálidos
caracteres y secas y amarillentas hojas. Un mundo marchito
de amor ferviente y virginales
respuestas parecía ser evocado por su alma a la lectura de
estas páginas, en las cuales la
serie metafórica de los cánticos
estaba entretejida con las oraciones del que hacía la comunión espiritual. Una voz imperceptible
parecía acariciar el alma, una voz
que le decía sus glorias y sus nombres, que la invitaba a levantarse
y salir al encuentro del cortejo de
bodas, que la invitaba a avizorar
al esposo desde Amana y desde las
montañas de los leopardos; y el
alma parecía contestar, entregándose con la misma imperceptible voz: Inter ubera mea
c o m m o r a b i t u r.
This idea of surrender
had a perilous attraction for
his mind now that he felt his
soul beset [acosar] once
again by the insistent voices
65 of the flesh which began to
murmur to him again during
his prayers and meditations.
Esta idea de la entrega tenía
una peligrosa atracción para su
mente, pues ahora sentía el
alma asediada de nuevo por las
insistentes voces de la carne
que comenzaba a murmurarle al
oído durante sus plegarias y sus
meditaciones. Le daba un inten-
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10
15
20
actual (En) real, verdadera, efectivo, concreto, auténtico, mismo [very],
actual (Sp) 1. adj. presente, en el mismo
momento. 2. Que existe, sucede o se
usa en el tiempo de que se habla. Reciente, reinante, palpitante
actuality n. (pl. -ies) 1 reality; what is the
case [constatación, implementación].
2 (in pl.) existing conditions.
116. visit to the Blessed Sacrament: a visit to the church
to pray before the tabernacle where the host resided.
17. book . . . saint Alphonsus Liguori: St Alphonsus (x696-x787)
wrote Visits to the Most Blessed Sacrament.
saint Alphonus Liguori (1696-1787) Barrister who became a
priest and eventually founded the Redemptorists, a group
of missionaries working in the Naples area.
25
30
35
sere foxpapered leaves i.e. dry, brown-stained pages.
• foxpapered discolored by age or mildew.
foxpapered: having pages that are «foxed,» or
discolored
40
18. canticles: in the Douay Bible, the Canticle of
Canticles, cited by St Alphonsus.
the canticles Little songs, hymns. Amana A mountain.
45
Bidding her arise as for espousal and come away: see
the Bible, Song of Solomon 2: 13-‘Arise, my love,
my fair one, and come away’
50
19. from Amana ... leopards: phrases from the Canticle
of Canticles 4:8.
55
20. Inter ubera mea commorabitur: ‘He shall lie between
my breasts’, Canticle of Canticles 1:x3.
Inter ubera mea commorabitur ‘He shall stay betwixt
my breasts’ (Song of Solomon, 1, 13).
• Inter ubera mea commorabitur part of Song of Solomon
(1:13/, rendered in Latin. The entire verse reads: «My
beloved is to me a bag of myrrh that lies between
my breasts.» Raditionally, the image suggests
Christ’s precious relation to the Church.
Inter ubera mea commorabitur: «He shall lie between
by breasts,» from «Song of Solomon.»
beset acosar, perseguir, obstruir, plagar
1 : to set or stud with or as if with ornaments
2 : TROUBLE, HARASS <inflation besets the economy>
3 a : to set upon : ASSAIL <the settlers were beset by
savages> b : to hem in : SURROUND
he was beset with or by fears le acosaban los temores
a policy beset with dangers una política plagada [erizada] de peligros
his memory, discouraging him,
for all his practice of humility,
by the comparison. To merge
his life in the common tide of
other lives was harder for him
than any fasting or prayer and
it was his constant failure to
do this to his own satisfaction
which caused in his soul at last
a sensation of spiritual
dryness together with a growth
of doubts and scruples. His
soul traversed a period of
desolation in which the
sacraments themselves seemed
to have turned into dried-up
sources. His confession
be c a m e a c h a n n e l f o r t h e
escape of scrupulous and
unrepented imperfections. His
actual reception of the
eucharist did not bring him the
same dissolving moments of
virginal self-surrender as did
those spiritual communions
made by him sometimes at the
close of some visit to the
Blessed Sacrament. The book
which he used for these visits
was an old neglected book
written by saint Alphonsus
Lig u o r i , w i t h f a d i n g
characters
a n d s e re
foxpapered leaves. A faded
world of fervent love and
virginal responses seemed to
be evoked for his soul by the
reading of its pages in which
the imagery of the canticles
w as interwoven with the
communicant’s prayers. An
inaudible voice seemed to caress
the soul, telling her names and
glories, bidding her arise
as for espousal and come
a w a y, b i d d i n g h e r l o o k
forth, a spouse, from Amana
and from the mountains of
the leopards; and the soul
seemed to answer with the
same inaudible voice,
surrendering herself: INTER
60
189
sere being dried and withered, marchito
Joyce’s Portrait
so sentido de su poder el conocer que con un simple acto de
consentimiento, en un instante
podía deshacer todo lo que había hecho. Le parecía sentir una
inundación que iba avanzando
poco a poco hacia sus pies desnudos y estar esperando la llegada de la primera y diminuta
onda que, débil, silenciosa, se
iba aproximando tímidamente
hasta él. Y entonces, cuando
casi estaba al borde de consentir en el pecado, se encontraba
de repente lejos de la onda sobre la ribera segura, salvado por
un acto instantáneo de su voluntad o por una jaculatoria repentina; y al ver desde lejos la línea argentada de las ondas que
comenzaban de nuevo un lento
avanzar hacia sus pies, un estremecimiento de satisfacción
[175] le conmovía el alma, por
la conciencia del propio poder,
porque no se había rendido, porque no había deshecho todo lo
edificado.
When he had eluded the
flood of temptation many
35 times in this way he grew
troubled and wondered
whether the grace which he
had refused to lose was not
being filched from him little
40 by little. The clear certitude
of his own immunity grew
dim and to it succeeded a
vague fear that his soul had
really fallen unawares. It was
45
with difficulty that he won
back his old consciousness
of his state of grace by
telling himself that he had
50 p r a y e d t o G o d a t e v e r y
temptation and that the grace
which he had prayed for must
have been given to him
inasmuch as God was obliged
55 t o g i v e i t . T h e v e r y
frequency and violence of
temptations showed him at
last the truth of what he had
heard about the trials of the
60
saints. Frequent and violent
temptations were a proof that
the citadel of the soul had not
fallen and that the devil
65 raged to make it fall.
Después de haber esquivado
varias veces por este procedimiento el piélago de la tentación, se sintió turbado, y se preguntaba si la
gracia que se había negado a perder en el ataque cara a cara no le
estaría siendo arrebatada poco
a poco. Se le enturbió la clara certidumbre de su inmunidad y en
su lugar nació un vago recelo de
que su alma no se hubiera rendido ya sin darse cuenta. Sólo con
dificultad volvía a adquirir la
conciencia de hallarse en estado
de gracia al repetirse a sí mismo
que había rogado a Dios en cada
una de sus tentaciones y que la
gracia que había pedido le tenía
que haber sido concedida, ya que
el mismo Dios estaba obligado a
darla. La mucha frecuencia y furor de sus tentaciones le dieron a
conocer por fin cuán verdad era
lo que había oído decir acerca de
las pruebas a que se veían sometidos los santos. Las tentaciones
frecuentes y violentas eran precisamente la prueba de que la ciudadela del alma no se había rendido y de que el demonio rabiab a p o r h a c e r l a c a e r.
5
a flood slowly advancing... Image associated with
passion, here the movement of temptation.
10
15
20
25
30
filch : pilfer, steal, sisar, ratear,
sustraer, sisar
It gave him an intense sense
of power to know that he
could, by a single act of
consent, in a moment of
thought, undo all that he
had done. He seemed to feel
a flood slowly advancing
towards his naked feet and
to be waiting for the first
faint
timid
noiseless
wavelet to touch his fevered
skin. Then, almost at the
instant of that touch, almost
at the verge of sinful
consent, he found himself
standing far away from the
flood upon a dry shore,
saved by a sudden act of the
will
or
a
sudden
ejaculation; and, seeing the
silver line of the flood far
away and beginning again
its slow advance towards
his feet, a new thrill of
power and satisfaction
shook his soul to know that
he had not yielded nor
undone all.
Often
when
he
had
Al confesar sus dudas y
190
Joyce’s Portrait
5
10
15
20
25
30
35
confessed his doubts and
scruples—some momentary
inattention at prayer, a movement
of trivial anger in his soul, or a
subtle wilfulness in speech or
act—he was bidden by his
confessor to name some sin of
his past life before absolution
was given him. He named it
with humility and shame and
repented of it once more. It
humiliated and shamed him to
think that he would never be
freed from it wholly, however
holily he might live or
whatever virtues or perfections
he might attain. A restless
feeling of guilt would always
be present with him: he would
confess and repent and be
absolved, confess and repent
again and be absolved again,
fruitlessly. Perhaps that first
hasty confession wrung from
him by the fear of hell had not
been
good?
Perhaps,
concerned only for his
imminent doom, he had not had
sincere sorrow for his sin? But
the surest sign that his
confession had been good and
that he had had sincere sorrow
for his sin was, he knew, the
amendment of his life.
sus escrúpulos —descuidos
momentáneos en la oración, fútiles movimientos
interiores de cólera o leves
voluntariedades de palabra o de
hecho— se veía a menudo invitado por el confesor a nombrar
algún pecado de la vida pasada
antes de recibir la absolución. Y
lo nombraba con humildad y vergüenza y se arrepentía de él de
nuevo. Le humillaba y le avergonzaba el pensar que no se vería libre enteramente de él jamás, por muy santamente que viviese, por muchas virtudes y perfecciones que llegase a alcanzar.
Siempre existiría en su alma un
inquieto sentimiento de culpa; se
arrepentiría, se confesaría, sería
absuelto, se volvería a arrepentir, a confesar, le volverían a absolver: todo inútil. Quizás aquella primera confesión hecha a
toda prisa, arrancada sólo por el
temor del infierno, no había sido
válida. Quizás movido sólo por
su inminente condenación no
[176] había tenido sincero dolor
de su pecado. Pero la prueba más
indudable de que su confesión
había sido válida, era —lo veía
muy bien— la enmienda de su
vida.
—I have amended my life,
—Porque he enmendado mi
vida, ¿verdad? —se preguntaba.
40 have I not? he asked himself
***
embrasure 1 (Fortifications) an opening or indentation,
as in a battlement, for shooting through, tronera, aspillera, cañonera,
2 (alféizar) an opening forming a door or window,
having splayed sides that increase the width of the
opening in the interior
alféizar Vuelta o derrame que hace la pared en el corte
de una puerta o ventana, tanto por la parte de adentro como por la de afuera, dejando al descubierto el
grueso del muro.
looping the cord of the other blind The gesture seems
symbolic - almost as if the reflex action is ‘snaring’
Stephen.
***
The director stood in the
embrasure of the window,
his back to the light, leaning
an elbow on the brown
crossblind, and, as he spoke
and
smiled, slowly dangling and
50
looping the cord of the other
blind, Stephen stood before
him, following for a moment
with his eyes the waning of the
55 long summer daylight above
t h e r o o f s o r t h e s l o w deft
movements of the pri e s t l y
fingers. The priest’s face was
in total shadow, but the waning
60
daylight from behind him
touched the deeply grooved
temples and the curves of the
skull.
El director estaba en pie junto a l marco de la ventana, dando
la espalda a l a c l a r i d a d y c o n
e l a n t e b r a z o a p oyado en el
oscuro visillo. Mientras hablaba
y sonreía se entretenía, ya en balancear la cuerda de la cortina, ya
en anudarla. Stephen estaba delante de él y seguía alternativamente, tan pronto la lenta luz de
un día de verano que se iba desvaneciendo, tan pronto los pausados y hábiles movimientos de los
dedos del religioso. La cara del
sacerdote estaba sumergida en
total oscuridad, pero la luz pálida llegaba por detrás hasta
tocarle las hundidas sienes y la
forma del cráneo.
45
65
Stephen followed also with
his ears the accents and
//Stephen seguía también con el
oído el son y las pausas de la voz
191
Joyce’s Portrait
del director, que estaba tratando
en un tono grave y cordial de varios temas indiferentes: de las vacaciones que justamente habían
terminado, de los colegios que la
Orden tenía en el extranjero, de
los cambios de los profesores. La
voz grave y cordial seguía adelante con su charla y Stephen se
sentía obligado en las pausas a
hacerla continuar proponiendo
alguna respetuosa pregunta. Sabía que todo aquello no era más
que un prólogo y se preguntaba
en qué vendría a parar. Desde que
había recibido la cita del director, su mente había estado luchando por descifrar la intención
de tal mensaje; y durante la larga espera en la sala de visitas del
colegio, sus ojos habían ido pasando revista mecánicamente a
los severos cuadros que pendían
de las paredes mientras su imaginación se deshacía en hipótesis; hasta que por fin el objeto
de la convocatoria se le había
hecho casi claro: Y entonces,
cuando estaba deseando que alguna causa imprevista impidiera la venida [177] del director,
había sentido el ruido del pestillo de la puerta y el roce de
una sotana.
The director had begun to
franciscan orders and of the
friendship between saint
Thomas
and
saint
Bonaventure. The capuchin
45
dress, he thought, was rather
too
El director se había puesto a hablar de las órdenes de
los dominicos y los franciscanos y de la amistad entre
S a n t o To m á s y S a n B u e n a ventura. El hábito de los capuchinos, a su parecer, era
demasiado...
St e p h e n ’s f a c e g a v e
b
a
c
k t h e p r i e s t ’s i n d u l g e n t
50
smile and, not being
anxious to give an opinion, he
made a slight dubitative
movement with his lips.
El rostro de S tephen reflejó la indulgente sonrisa
del director, y como no tenía
e s p e c i a l i n t e r é s e n o p i n a r,
hizo un leve gesto de duda
con los labios.
5
10
15
20
25
30
35
• dominicans a Catholic order founded by St. Dominic for
the purpose of saving souls by preaching the gospel.
• franciscans a Catholic order founded by St. Francis for
the purpose of imitating Christ’s life of asceticism,
coupled with a deep love of nature. Today, the order
is associated with learning.
21. saint Tbomas and saint Bonaventure: St Bonaventure
(c. 12211-74), a Franciscan, and St Thomas Aquinas
(1215-74), a Dominican, were friends at the
University of Paris.
dubitative Inclined to doubt or hesitation.
intervals of the priest’s voice
as he spoke gravely and
cordially of indifferent themes,
the vacation which had just
ended, the colleges of the order
abroad, the transference of
masters. The grave and cordial
voice went on easily with its
tale and in the pauses Stephen
felt bound to set it on again
with respectful questions. He
knew that the tale was a
prelude and his mind waited
for the sequel. Ever since the
message of summons had come
for him from the director his
mind had struggled to find the
meaning of the message; and,
during the long restless time he
had sat in the college parlour
waiting for the director to
come in, his eyes had wandered
from one s o b e r picture to
another around the walls and
his mind wandered from one
guess to another until the
meaning of the summons had
almost become clear. Then,
just as he was wishing that
some unforeseen cause might
prevent the director from
coming, he had heard the
handle of the door turning and
the swish of a soutane.
40 speak of the dominican and
55
22. See Chapter III, note 67.
—I believe, continued the
director, that there is some talk
now among the capuchins
themselves of doing away with
60
it and following the example of
the other franciscans.
—Me parece —continuó
el director— que se habla
ahora, hasta por los mismos
capuchinos, de desecharlo
y de seguir el ejemplo de
los otros franciscanos.
—I suppose they would
—Pero seguirán llevándolo en el convento
—dijo Stephen.
65 retain it in the cloisters? said
Stephen.
192
sober adj. & n. 1 not affected by alcohol,
sobrio. 2 not given to excessive
drinking of alcohol. 3 moderate, wellbalanced, tranquil, sedate, serio, formal, sensato, sereno. 4 not fanciful or
exaggerated (the sober truth, la pura
verdad). 5 (of a colour etc.) quiet and
inconspicuous, discreto.
— v.tr. & intr. 1 (often foll. by down, up)
make or become sober or less wild,
reckless, enthusiastic, visionary, serenarse, calmarse, etc. (a sobering
thought). 2 Decir con seriedad
anxious
1 inquieto, angustiado, desasosegado,
preocupado to be anxious about sthg,
estar preocupado por algo
2 (entusiasmado) interesado, ansioso,
con ganas : I am anxious to meet him,
tengo muchas ganas de conocerle
Joyce’s Portrait
— O c e r t a i n l y, s a i d t h e
director. For the cloister it is
all right but for the street I really
think it would be better to do
5
away with it, don’t you?
—Claro, desde luego —dijo el
director—. Para el convento está
perfectamente, pero para salir a la
calle, me parece que harían mejor
en dejarlo de una vez, ¿no crees?
—It must be troublesome, I
imagine.
—Me parece que debe de ser
molesto.
—Of course it is, of course.
Just imagine when I was in
Belgium I used to see them out
cycling in all kinds of weather
15 with this thing up about their
knees! It was really ridiculous.
LES JUPES , they call them in
Belgium.
—Claro que lo es, claro. Figúrate que cuando yo estaba en
Bélgica los veía, hiciera el tiempo que hiciese, montar en bicicleta, con esa cosa que se les subía hasta las rodillas. Era verdaderamente ridículo. En Bélgica
les llaman les jupes.
10
23. Les jupes: French for ‘skirts’.
Les jupes Those wearing skirts.
20
Cambiaba de tal modo la vocal que era imposible comprender.
The vowel was so modified
as to be indistinct.
—What do they call them?
—¿Cómo les llaman?
— LES JUPES.
—Les jupes.
—O!
—¡Ah!
25
30
Stephen volvió a sonreír en
respuesta a la sonrisa del sacerdote, sonrisa que él no podía llegar a distinguir en el rostro recatado en la sombra, pero cuya imagen o cuyo espectro le pasó rápidamente por la imaginación al
sentir llegar a su oreja el sonido
discreto de la palabra pronunciada en voz baja. Se puso a mirar
serenamente el cielo que palidecía y se sintió contento del fresco
del atarceder y de aquella débil
luz amarillenta que ocultaba el
leve rubor que le había subido a
las mejillas.
[178]
Los nombres de las prendas
de vestir de las mujeres o el de
algunas telas suaves y delicadas
que sirven para hacerlas, solían
llevar a su imaginación un perfume delicado y pecaminoso. De
niño había imaginado que las
riendas de los caballos eran sutiles bandas de seda, y se había
quedado decepcionado al sentir
en Stradbrooke el roce del cuerpo grasiento de los arneses. Había sufrido otra decepción al
sentir por primera vez entre sus
dedos trémulos la frágil contextura de una media de mujer;
como no retenía de sus lecturas
más que lo que le parecía un eco
Stephen smiled again
in answer to the smile
which he could not see
o n t h e p r i e s t ’s s h a d o w e d
its
image
or
35 f a c e ,
spectre only passing
rapidly across his mind
as the low discreet
a c c e n t f e l l u p o n h i s e a r.
40 H e g a z e d c a l m l y b e f o r e
h i m a t t h e w a n i n g s k y,
glad of the cool of the
evening and of the faint
yellow glow which hid
45
the tiny flame kindling
upon his cheek.
24. Stradbrook: a village near Blackrock where the young
Stephen had travelled in a milk cart (see Chapter II,
note r6).
The names of articles of
dress
worn by women or of
50
certain soft and delicate stuffs
used in their making brought
always to his mind a delicate
and sinful perfume. As a boy
55 he had imagined the reins by
which horses are driven as
slender silken bands and it
shocked him to feel at
St r a d b ro o k e t h e g r e a s y
60
leather of harness. It had
shocked him, too, when he had
felt for the first time beneath
his tremulous fingers the
65 brittle texture of a woman’s
stocking for, retaining nothing
of all he read save that which
193
Joyce’s Portrait
seemed to him an echo or a
prophecy of his own state, it
was only amid soft-worded
phrases or within rose-soft
5
stuff’s that he dared to conceive
of the soul or body of a woman
moving with tender life.
o una profecía de su propio estado, sólo podía imaginar que el
cuerpo o el alma de una mujer
pudiesen palpitar llenos de su
vida delicada entre palabras musicales o dentro de telas blandas
como el pétalo de las rosas.
But the phrase on the
priest’s lips was disingenuous
for he knew that a priest
should not speak lightly on
that theme. The phrase had
15 b e e n s p o k e n l i g h t l y w i t h
design and he felt that his face
was being searched by the
eyes in the shadow. Whatever
he had heard or read of the
20
craft of jesuits he had put
aside frankly as not borne out
by his own experience. His
masters, even when they had
25 not attracted him, had seemed
to him always intelligent and
serious priests, athletic and
high-spirited prefects. He
thought of them as men who
30 washed their bodies briskly
with cold water and wore
clean cold linen. During all
the years he had lived among
35 them in Clongowes and in
Belvedere he had received
only two pandies and, though
these had been dealt him in
the wrong, he knew that he
40 h a d
often
escaped
punishment. During all
those years he had never
heard from any of his
masters a flippant word: it
45
was they who had taught
him christian doctrine and
urged him to live a good life
and, when he had fallen into
50 grievous sin, it was they who
had led him back to grac e.
Th e i r p r e s e n c e h a d m a d e
him diffident of himself
when he was a muff in
55 Clongowes and it had made
him diffident of himself
a l so while he had held his
equivocal
position
in
Belvedere. A constant sense
60
of this had remained with him up
to the last year of his school life.
He had never once disobeyed or
allowed turbulent companions
65 to seduce him from his habit
of quiet obedience; and,
even when he doubted
Pero la frase de los labios del
sacerdote no era inocente, pues
sabía que un religioso no podía
hablar ligeramente de un tema
como aquél. La frase había sido
dejada caer con intención y
Stephen notaba que su rostro estaba siendo espiado por dos ojos
que se recataban en la sombra.
Todo lo que había oído o leído de
la astucia de los jesuitas, lo había
apartado resueltamente de sí,
como materia no confirmada por
su propia experiencia. Sus profesores, aun aquellos que no le eran
simpáticos, le hablan parecido
siempre ser sacerdotes serios e inteligentes, prefectos endurecidos
en los deportes y de alma franca.
Se los representaba como hombres
que se lavoteaban bravamente el
cuerpo con agua fría y que llevaban bien limpia la ropa interior.
Durante todo el tiempo que había
estado en Clongowes sólo había
recibido dos palmetazos, y aunque éstos habían sido injustos,
comprendía, sin embargo, que
había escapado al castigo
muchas otras veces. Durante
todos aquellos años jam á s h a bía oído a sus profesores
tratar de un tema serio ligeramente.
Ellos eran los que le habían enseñado la doctrina cristiana, los que
le habían excitado a llevar una
buena vida, los que cuando había
caído en pecado mortal le habían
ayudado a volver a la gracia.
<-Pero, ellos, la presencia de
ellos, era lo que le había hecho desconfiar de sí mismo en Clongowes,
cuando todavía era un chiquillo, y
lo que le había hecho desconfiar de
sí mismo mientras se había ido sosteniendo en posición equívoca en
el Belvedere. Una constante sensación de esto la había estado
acompañando hasta el último año
de su vida de colegial. Nunca había desobedecido, nunca había tolerado que compañeros turbulentos
le apartasen de sus hábitos de tranquila obediencia, v aun, si alguna
10
petulante se usa para arrogant, vain,
flippant, smug [presumido],
insolent
25. a muff a beginner.
muff Awkward or stupid.
• a muff someone who’s awkward at sports; here,
Stephen is using the term to describe his youthful
naivete at Clongowes.
muff: a bungler, novice, or outsider
26. equivocal position: Stephen paid no fees; he was
there by special arrangement.
194
Joyce’s Portrait
27. Lord Macaulay: Thomas Babington Macaulay
(1800-1859), English historian, essayist, politician.
The remark is inane.
Lord Macaulay (1800-59) The great essayist and historian who had a remarkable memory.
inane asinine, fatuous, mindless, vacuous
complacently or inanely foolish, vano, fútil,
inútil, inane
inanely fatuously, vacuously or complacently
and unconsciously foolish
some statement of a
master, he had never
p r e s u m e d t o d o u b t o p e n l y.
L ately some of their judgements
5
had sounded a little childish in
his ears and had made him feel
a regret and pity as though he
were slowly passing out of an
10 a c c u s t o m e d w o r l d a n d w e r e
hearing its language for the last
time. One day when some boys
had gathered round a priest under
the shed near the chapel, he had
15 heard the priest say:
vez había dudado de lo afirmado
por un profesor, nunca había hecho
alarde de dudar abiertamente. Recientemente, algunos de los juicios
emitidos por ellos le habían parecido un poco pueriles y había sentido pena como si estuviera saliendo lentamente de un mundo familiar y oyera su lenguaje por última
vez. Un día que estaban varios
alumnos congregados alrededor de
un padre en el cobertizo de al lado
de la capilla, oyó que el padre decía:
—I believe that Lord
Macaulay was a man who
probably never committed
20
a mortal sin in his life, that
i s t o s a y, a d e l i b e r a t e
mortal sin.
—Tengo la convicción de
que lord Macaulay fue un hombre que probablemente no cometió ni un pecado mortal en toda
su vida, es decir, un pecado mortal deliberado.
Some of the boys had then
asked the priest if Victor Hugo
were not the greatest French
writer. The priest had answered
that Victor Hugo had never
30 written half so well when he
had turned against the church
as he had written when he was
a catholic.
Algunos de los chicos le
preguntaron entonces si
Victor Hugo era el mejor escritor francés. El sacerdote
contestó que Victor Hugo no
había escrito ni con mucho
tan bien cuando se había
vuelto contra la Iglesia como
cuando era católico.
25
28. Victor Hugo: (1802-85), dominant figure in French
Romanticism.
Victor Hugo (1802-85) Celebrated French poet, novelist
and dramatist.
35
29. Louis Veuillot: (11813-83), French journalist and
militant defender of the Papacy.
Louis Veuillot (1813-83) French journalist of strong
Catholic views.
inspire, despertar
30. slim jim: see Chapter II, note 65.
—But there are many
eminent French critics, said the
priest, who consider that even
Vi c t o r H u g o , g r e a t a s h e
40 certainly was, had not so pure
a French style as Louis
Veuillot.
—Pero hay muchos críticos
franceses —agregó el padre—
que consideran que Victor Hugo,
siendo un gran escritor como es,
no tiene, sin embargo, un estilo
francés tan puro como Louis
Veuillot.
The tiny flame which
t h e p r i e s t ’s a l l u s i o n h a d
kindled upon Stephen’s cheek
had sunk down again and his
eyes were still fixed calmly on
50 the colourless sky. But an
unresting doubt flew hither and
thither before his mind.
Masked memories passed
quickly before him: he
55 recognized scenes and persons
yet he was conscious that he
had failed to perceive some
vital circumstance in them. He
saw himself walking about the
60
grounds watching the sports in
Clongowes and eating slim jim
out of his cricket cap. Some
jesuits were walking round the
65 cycle-track in the company of
ladies. The echoes of certain
expressions used in Clongowes
Se había desvanecido ya
la ligerísima oleada de rubor
que a la alusión del director
había t e ñ i d o l a s m e j i l l a s d e
Stephen, pero sus ojos estaban fijos todavía en el descolorido cielo de la tarde.
Una duda inquieta revoloteaba aquí y allá por su mente.
Se veía a sí mismo paseando
por los campos de deporte de
Clongowes un día en que se
celebraban unos juegos y comiendo algún comistrajo
que iba sacando de su gorra
de [180] cricket. Unos jesuitas se paseaban por la pista
de las bicicletas en compañía de algunas señoras. Y en
las cavernas más apartadas
de su imaginación resonaba
ahora el eco de ciertas ex-
45
195
Joyce’s Portrait
sounded in remote caves of his
mind.
presiones que había oído en
Clongowes.
His ears were listening to
these distant echoes amid the
silence of the parlour when he
became aware that the priest
was addressing him in a
10 different voice.
Su
oído
estaba
atento a estos ecos
lejanos, cuando notó
de pronto que el director se dirigía a él
en un tono distinto:
— I s e n t f o r y o u t o d a y,
Stephen, because I wished to
speak to you on a very
15 important subject.
— Te h e h e c h o v e n i r
h o y, S t e p h e n , p o r q u e d e seaba hablarte de un asunto de mucha importancia.
5
—Yes, sir.
—Dígame, señor.
—Have you ever felt that
you had a vocation?
—¿Has sentido alguna
vez vocación?
Stephen parted his lips to
answer yes and then withheld
25 the word suddenly. The priest
waited for the answer and
added:
Stephen abrió la boca para
contestar que sí, pero de pronto retuvo la salida de la palabra. El religioso aguardó la respuesta y luego añadió:
—I mean, have you ever
soul, a desire to join the
order? Think.
—Quiero decir si has sentido
alguna vez dentro de ti mismo, en
tu alma, el deseo de entrar en
nuestra Orden. Piénsalo.
—I have sometimes
thought of it, said Stephen.
—Algunas veces he pensado
en ello —dijo Stephen.
The priest let the
blindcord fall to one side and,
40 uniting his hands, leaned his
chin gravely upon them,
communing with himself.
El sacerdote dejó caer la cuerda de la cortina y, uniendo las manos, apoyó la barbilla gravemente sobre ellas, como si comulgara consigo mismo.
—In a college like this, he
said at length, there is one boy
or perhaps two or three boys
whom God calls to the religious
life. Such a boy is marked off
50 from his companions by his
piety, by the good example he
shows to others. He is looked up
to by them; he is chosen perhaps
as prefect by his fellow
55 sodalists. And you, Stephen,
have been such a boy in this
college, prefect of Our Blessed
Lady’s sodality. Perhaps you
are the boy in this college
60
whom God designs to call to
Himself.
—En un colegio como éste —
dijo al cabo de un rato—, hay
siempre un muchacho o dos o tres
a los cuales Dios llama a la vida
religiosa. Un muchacho de esta
clase resalta entre sus compañeros por su piedad, por el buen
ejemplo que da a los otros. Todos se miran en él; tal vez es elegido prefecto por sus compañeros de congregación. Y tú,
Stephen, has sido un alumno de
este tipo, has sido prefecto de la
congregación de Nuestra Señora. Quizás eres el muchacho de
este colegio al cual Dios se propone llamar para sí.
A strong note of pride
Un timbre de orgullo que reforzaba la grave voz del sacerdote hizo que, por toda respuesta,
el corazón de Stephen comenza-
20
30 felt within yourself, in your
35
45
65 r e i n f o r c i n g t h e g r a v i t y
of the priest’s voice
made Stephen’s heart
196
Joyce’s Portrait
ra a latir más apresuradamente.
To receive that call,
Stephen, said the priest, is the
greatest honour that the
Almighty God c a n b e s t o w
[grant] upon a man. No king
or emperor on this earth has
the power of the priest of
God. No angel or archangel in
heaven, no saint, not even the
Blessed Virgin herself, has the
power of a priest of God: the
power of the keys, the power
to bind and to loose from sin,
the power of exorcism, the
power to cast out from the
creatures of God the evil spirits
that have power over them; the
power, the authority, to make
the great God of Heaven come
down upon the altar and take the
form of bread and wine. What
an awful power, Stephen!
—Recibir este llamamiento —continuó el director—, es
el mayor honor que el Omnipotente puede otorgar a un
alma. No hay rey ni emperador en la tierra que tenga el
poder de [181] un sacerdote
de Dios. No hay ángel ni arcángel en el cielo, ni santo, ni
aun la Santísima Virgen, que
tenga el mismo poder que un sacerdote de Dios, el poder de las
llaves, el poder de atar y desatar
los pecados, el poder de exorcismo, el poder de arrojar de las
criaturas de Dios los malos espíritus que se han posesionado
de ellas; el poder, la autoridad
de hacer que el gran Dios del
cielo baje hasta el altar y tome
la forma del pan y el vino. ¡Qué
tremendo poder, Stephen!
A flame began to flutter
again on Stephen’s cheek as
30 h e h e a r d i n t h i s p r o u d
address an echo of his own
proud musings. How often
had he seen himself as a
35 priest wielding calmly and
humbly the awful power of
which angels and saints
stood in reverence! His soul
had loved to muse in secret
40 on this desire. He had seen
himself, a young and silentmannered priest, entering a
confessional
s w i f t l y,
ascending the altarsteps,
45
incensing, g e n u f l e c t i n g ,
accomplishing the vague acts
of the priesthood which
pleased him by reason of
50 t h e i r s e m b l a n c e o f r e a l i t y
and of their distance from it.
In that dim life which he had
lived through in his musings
he had assumed the voices
55 and gestures which he had
noted with various priests.
He had bent his knee
sideways like such a one, he
had shaken the thurible only
60
slightly like such a one, his
chasuble had swung open
like that of such another as
he turned to the altar again
65 a f t e r h a v i n g b l e s s e d t h e
people. And above all it had
pleased him to fill the second
Una oleada comenzó a teñir
de nuevo las mejillas de
Stephen al sentir en aquella
orgullosa arenga un eco de sus
propias fantasías. A menudo se
había visto a sí mismo en figura de sacerdote, provisto de
aquel tremendo poder ante el
cual ángeles y s a n t o s s e i n c l i n a n r e v e r e n t e s . S u alma
había cultivado secretamente
aquel deseo. Se había visto a
sí mismo, sacerdote joven y de
maneras silenciosas, entrar rápidamente en el confesionario, s u b i r l a s g r a d a s d e l a l t a r,
inc e n s ando, haciendo genuflexiones, ejecutando todos aquellos vagos actos sacerdotales que
le agradaban por su parecido con
la realidad y por lo apartados
que al mismo tiempo estaban de
la realidad misma. En aquella borrosa vida que él había vivido, en
sus fantasías, se había arrogado
las voces y los gestos observados
en algunos sacerdotes. Se había
visto doblar la rodilla de lado como
hacía aquél, mover muy tenuemente el incensario como tal otro, volverse de nuevo cara al altar después
de dar la bendición al pueblo, con la
casulla entreabierta y f l o t a n t e ,
c o m o h a b í a o b s e r v a do en
el de más allá. Pero, sobre todo,
lo que le agradaba era el desempeñar un papel secundario en es-
5
10
31. the power of the keys . . . sin: the power to hear
confession and to give (or withhold) absolution.
power of the keys: authority to forgive sins and thereby
open the gate of heaven (see the Bible, Matthew 16:
18-19)
15
20
25
muse on contar, reflexionar, meditar,
elucubrar
1 intr. a (usu. foll. by on, upon) ponder,
reflect. b (usu. foll. by on) gaze
meditatively (on a scene etc.). 2 tr. say
meditatively.
genuflecting Bending the knee in worship.
32. thurible: the vessel in which incense is burned.
thurible Censer, a vessel in which incense is burned.
• thurible a censer, where the incense is burned.
33. chasuble: the outer sleeveless vestment worn by a
priest at Mass.
chasuble Sleeveless vestment of celebrant at Mass or
Eucharist.
• chasuble a sleeveless, outer garment worn by the priest
who celebrates the mass.
quicken in response.
197
Joyce’s Portrait
tas escenas entrevistas en su
imaginación. Se sustraía de la
dignidad de celebrante, pues le
desagradaba el pensar que toda
aquella misteriosa pompa pudiera convergir hacia su propia persona o que el ritual le hubiese de
asegurar un oficio tan claro y tan
definido. Anhelaba en cambio los
oficios de los ordenados de menores, el estar vestido en la misa
mayor con l a t ú n i c a d e
subdiácono, apartado del altar, olvidado por la gente, con
los hombros cubiertos [182]
por el velo humeral y sosteniendo la patena entre sus pliegues, o bien, acabado el sacrificio, estar actuando de diácono,
de pie sobre la grada siguiente
a la del celebrante, con las manos juntas y el rostro dirigido
hacia el pueblo, entonando el
Ite, missa est. Si a l g u n a v e z
se había visto de celebrante, había sido, como en los
dibujos de su libro de misa
de cuando niños, en una
iglesia si n m á s f i e l e s
q u e e l á n g e l d e l sacrificio,
oficiando ante un altar desnudo, ayudado por un acólito apenas un poco más
niño que él mismo. Sólo en
v a g o s ensueños sacerdotales
parecía que su voluntad quería
salir al encuentro de la realidad.
Y la ausencia de un rito determinado era lo que había hecho que
su alma se hubiera conservado en
la inacción, lo mismo cuando había dejado que el silencio cubriera sus movimientos de cólera o
de orgullo que cuando se había
limitado a recibir un beso que hubiera querido dar.
He listened in reverent
silence now to the priest’s
appeal and through the words
55 he heard even more distinctly
a voice bidding him approach,
offering him secret knowledge
and secret power. He would
know then what was the sin of
60
Simon Magus and what the
sin against the Holy Ghost for
which
there
was
no
forgiveness. He would know
65 obscure things, hidden from
others, from those who were
conceived and born children
Y ahora escuchaba reverentemente y en silencio el llamamiento del director, a través de
cuyas palabras oía, cada vez
más distintamente, una voz que
le estaba invitando a aproximarse, ofreciéndole una ciencia misteriosa, un misterioso
poder. Entonces podría saber
cuál fue el pecado de Simón
Mago, y cuál era el pecado
contra el Espíritu Santo para el
cual no hay perdón. Sabría cosas oscuras, ocultas para otros,
para todos los concebidos y na-
5
10
34. tunicle of subdeacon: short outer vestment worn by
the assistant to the deacon who is himself assistant
to the priest.
tunicle Short vestment at Eucharist.
tunicle of subdeacon: vestment with wide sleeves worn
by the person who prepares the sacred vessels
during the celebration
15
35. humeral veil: an oblong veil or scarf worn on the
shoulders by the subdeacon at High Mass. Sacred
vessels are wrapped in it when he handles them.
humeral veil Oblong silk scarf worn around priest’s
shoulders during part of the Mass.
36. paten: a plate used to hold the consecrated Host at Mass.
paten Shallow dish used for bread at Eucharist.
• paten the metal plate on which the bread is placed for
the celebration of the Eucharist.
37. dalmatic of cloth of gold: the dalmatic is a vestment
open on each side, with wide sleeves and marked with
two stripes. Its colour should conform to that of the
priest’s chasuble. It is worn by deacons at High Mass.
dalmatic Wide-sleeved, loose, long vestment.
38. Ite, missa est: the words that end the Mass - ‘Go,
the Mass is ended.’
Ite, missa est Depart, the mass is ended.
• Ite, missa est words spoken at the end of the Mass,
meaning «Go, the Mass is ended:’
20
25
30
35
40
45
50
39. Simon Magus ... no forgiveness: Simon Magus
offered money in exchange for spiritual power - hence
the sin of simony. The sin against the Holy Ghost
was Final Impenitence, involving a refusal to
acknowledge even the existence of a spiritual force
for good.
Simon Magnus See Acts 8, verses 9 onwards, for an
account of Simon’s sorceries and his later attempt
to gain, by bribery, the power of the laying on of
hands.
• the sin of Simon Magus a magician who tried to persuade Peter and John to sell him the power to confer
place in those dim scenes of
his imagining. He shrank
from the dignity of celebrant
because it displeased him to
imagine that all the vague
pomp should end in his own
person or that the ritual
should assign to him so clear
and final an office. He
longed for the minor sacred
offices, to be vested with the
tunicle of subdeacon at
high mass, to stand aloof
from the altar, forgotten by the
people, his shoulders covered
with a humeral veil, holding
the paten within its folds or,
when the sacrifice had been
accomplished, to stand as
deacon in a dalmatic of cloth
of gold on the step below the
celebrant, his hands joined and
his face towards the people, and
sing the chant ITE, MISSA
E S T. I f e v e r h e h a d s e e n
himself celebrant it was as
in the pictures of the mass
i n h i s c h i l d ’s ma ssbook, in
a church without worshippers,
save for the angel of the
sacrifice , a t a b a r e a l t a r ,
and served by an acolyte
scarcely more boyish
t han himself. In vague
sacrificial or sacramental acts
alone his will seemed
drawn to go forth to
encounter reality; and it
was partly the absence of an
appointed rite which had
always constrained him to
inaction whether he had
allowed silence to cover
his anger or pride or had
suffered only an embrace
he longed to give.
198
Joyce’s Portrait
the spirit of the Holy Ghost.
cidos como hijos de ira. Conocería los pecados de los otros,
los pensamientos y actos pecaminosos que le serían murmurados en sus oídos, en el confesonario, bajo el cobijo vergonzoso de una capilla sombría, por labios de mujeres y de
muchachas. Pero, inmunizado
misteriosamente en la ordenación por la imposición de manos, su alma volvería
incontaminada a la paz blanca
del altar. Ni huella de pecado
quedaría en las manos con que
había de alzar y partir la hostia, ni huella de pecado quedaría en sus labios en oración, ni
huella de pecado que le pudiera hacer comer y beber su propia condena y negar el cuerpo
del Señor. Y conservaría su
misterioso poder y su ciencia
misteriosa, [183] puro como un
pequeñuelo, y sería sacerdote
para siempre según la orden de
Melchisedec.
—I will offer up my mass
tomorrow morning, said the
director, that Almighty God
35 may reveal to you His holy
will. And let you, Stephen,
make a novena to your holy
patron saint, the first martyr,
who is very powerful with God,
40 that God may enlighten your
mind. But you must be quite
sure, Stephen, that you have a
vocation because it would be
terrible if you found afterwards
45
that you had none. Once a
priest always a priest,
remember. Your catechism
tells you that the sacrament of
50 Holy Orders is one of those
which can be received only
once because it imprints on the
soul an indelible spiritual mark
which can never be effaced. It
55 is before you must weigh well,
n o t a f t e r. I t i s a s o l e m n
question, Stephen, because on
it may depend the salvation of
your eternal soul. But we will
60
pray to God together.
—Ofreceré la misa de mañana para que el Omnipotente te revele su santa voluntad.
Haz, tú, una novena a tu santo patrón, el protomártir, que
tiene gran poder con Dios, a
fin de que Dios ilumine tu
mente. Pero tienes que estar
bien seguro de que sientes
vocación porque sería después terrible, si encontraras
que te habías equivocado.
Una vez sacerdote, sacerdote
para siempre, acuérdate bien.
El catecismo te dice que el
sacramento de las Sagradas
órdenes sólo puede ser recibido una vez porque imprime
en el alma una huella indeleble, que nunca puede ser borrada. Por eso lo tienes que
pensar bien primero, no después. Es ésta una cuestión solemne, Stephen; como que de
ella depende la salvación de
tu alma inmortal. Pero los dos
rogaremos a Dios para que te
ilumine.
He held open the heavy hall
door and gave his hand as if
65 already to a companion in the
spiritual life. Stephen passed
out on to the wide platform
Tenía abierta la puerta del
vestíbulo y le daba la mano
como si se tratase ya de un compañero de vida espiritual.
Stephen salió al amplio rellano
5
10
15
20
40. eat and drink . . . Lord: I Corinthians 11x:27.
eat and drink damnation to himself, not discerning the
Lord’s body: Stephen is quoting St Paul’s
warning-‘For he that eateth and drinket unworthily,
eateth and drinketh damnation to himself, not.
discerning the Lord’s body’ (see the Bible, I
Corinthians 11: 29)
25
41. order of Melchisedec: Hebrews 5:6-7.
Melchisedec This means ‘King of righteousness’. (See
Psalm 110, 4 - ‘Thou art a priest for ever after the
order of Melchisedec’. )
30
42. novena . . . patron saint, the first martyr: a novena is
a period of nine days devoted to special prayer
dedicated to a saint or the Virgin for a particular goal
or purpose. Stephen was the first Christian martyr,
stoned to death outside the walls of Jerusalem.
novena Special prayers or services on nine successive
days.
• a novena a devotion consisting of prayers on nine
consecutive days.
novena: a series of spiritual exercises lasting nine
days
of wrath. He would know the
sins, the sinful longings and
sinful thoughts and sinful acts,
of others, hearing them
murmured into his ears in
the confessional under the
shame of a darkened chapel
by the lips of women and of
girls; but rendered immune
mysteriously at his ordination
by the imposition of hands, his
soul would pass again
uncontaminated to the white
peace of the altar. No touch of
sin would linger upon the
hands with which he would
elevate and break the host; no
touch of sin would linger on
his lips in prayer to make him
eat and drink damnation to
himself not discerning the
body of the Lord. He would
hold his secret knowledge and
secret power, being as sinless
as the innocent, and he would
be a priest for ever according
to the order of Melchisedec.
199
render hacer inútil, resultar, dejar (ciego), presentar, dar, rendir (cuentas),
prestar (ayuda) , enlucir, interpretar,
traducir, verter
render v.tr. 1 cause to be or become; make
(rendered us helpless). 2 give or pay
(money, service, etc.), esp. in return or
as a thing due (render thanks; rendered
good for evil). 3 (often foll. by to) a give
(assistance) (rendered aid to the injured
man). b show (obedience etc.). c do (a
service etc.). 4 submit; send in; present
(an account, reason, etc.). 5 a represent
or portray artistically, musically, etc. b
act (a role); represent (a character, idea,
etc.) (the dramatist’s conception was
well rendered). c Mus. perform; execute.
6 translate (rendered the poem into
French). 7 (often foll. by down) melt
down (fat etc.) esp. to clarify; extract
by melting. 8 cover (stone or brick) with
a coat of plaster. 9 archaic a give back;
hand over; deliver, give up, surrender
(render to Caesar the things that are
Caesar’s). b show (obedience).
Joyce’s Portrait
43. Findlater’s church: a Presbyterian church in Rutland
(now Parnell) Square.
que conducía a la escalinata y
sintió la caricia del tibio aire
del anochecer. En dirección a la
iglesia de Findlater marchaban
a grandes zancadas cuatro
mozalbetes, cogidos del brazo,
llevando con la cabeza el compás de la ágil melodía que el que
hacía de jefe tocaba al acordeón.
La música pasó en un instante,
como siempre ocurre con los
primeros compases de una música repentina, pasó sobre las
fantásticas construcciones de
su imaginación, disolviéndolas
sin dolor y sin ruido, como una
ola inesperada disuelve en la
playa a los castillos de arena de
los niños. Stephen sonrió al escuchar la musiquilla y levantó
los ojos hacia el rostro del sacerdote; y viendo en ellos un
reflejo triste del día muerto, libertó despacio la mano que ya
había consentido débilmente
en la alianza.
As he descended the steps
the impression which effaced
his troubled self-communion
was that of a mirthless mask
35 reflecting a sunken day from
the threshold of the college.
The shadow, then, of the life of
the college passed gravely over
his consciousness. It was a
40 g r a v e a n d o r d e r e d a n d
passionless life that awaited
him, a life without material
cares. He wondered how he
would pass the first night in the
45
novitiate and with what
dismay he would wake the first
morning in the dormitory. The
troubling odour of the long
50 corridors of Clongowes came
back to him and he heard the
discreet murmur of the burning
gasflames. At once from every
part of his being unrest began
55 t o i r r a d i a t e . A f e v e r i s h
quickening of his pulses
followed, and a din of
meaningless words drove his
reasoned thoughts hither and
60
thither confusedly. His lungs
dilated and sank as if he were
inhaling a warm moist
unsustaining air and he smelt
65 again the moist warm air which
hung in the bath in Clongowes
above the sluggish turf-
Al bajar los escalones, la impresión que acabó de borrar el
turbado recogimiento de su
mente fue la de que una máscara triste estaba reflejando el día
ido, desde el umbral del colegio.
[184] Y entonces la sombra de
la vida en el colegio pasó gravemente por su cerebro. Lo que
le esperaba allí era una vida
grave, ordenada e impasible,
una vida sin cuidados materiales. Se imaginaba cómo pasaría
la primera noche en el noviciado y con qué decaimiento se
había de levantar la primera mañana en el dormitorio. Volvió a
sentir el extraño olor de los largos tránsitos de Clongowes y a
oír el discreto murmullo de los
mecheros de gas. De pronto,
una difusa intranquilidad comenzó a propagarse por todos
sus miembros. Siguió a esto un
latir febril de sus arterias y un
zumbido de palabras incoherentes llevó de acá para allá la línea constructiva de sus pensamientos. Los pulmones se le
dilataban y se le contraían como
si estuviera respirando un aire
tibio, húmedo y enrarecido y
volvió a sentir otra vez el olor
del aire tibio y húmedo que dormía en Clongowes sobre el agua
5
10
15
a sudden wave dissolves the sand-built turrets of children
Interesting image which looks forward to the
sequence where Stephen sees the girl, but again
temptation is present in it. An imposed way of life is
a sandcastle to be broken.
above the steps and was
conscious of the caress of
m i l d e v e n i n g a i r. Towards
Findlater’s church a quartet
of young men were striding
along with linked arms,
swaying their heads and
stepping to the agile melody
of their leader ’s concertina.
The music passed in an
ins t a n t , a s t h e f i r s t b a r s o f
sudden music always did,
over the fantastic fabrics of
his mind, dissolving them
painless ly and noiselessly as
a sudden wave dissolves the
sand-built turrets of
c h i l d re n. S m i l i n g a t t h e
trivial air he raised his eyes
t o t h e p r i e s t ’s f a c e a n d ,
seeing in it a mirthless
reflection of the sunken
d a y, d e t a c h e d h i s h a n d
slowly
which
had
acquiesced faintly in the
companionship.
20
25
30
novitiate: time of probation for aspiring priests
200
Joyce’s Portrait
muerta y rojiza del baño.
Some instinct, waking at
these memories, stronger than
education or piety, quickened
within him at every near
approach to that life, an
instinct subtle and hostile, and
armed
him
against
acquiescence. The chill and
order of the life repelled him.
He saw himself rising in the
cold of the morning and filing
down with the others to early
mass and trying vainly to
struggle with his prayers
against the fainting sickness
of his stomach. He saw himself
sitting at dinner with the
community of a college. What,
then, had become of that deeprooted shyness of his which
had made him loth to eat or
drink under a strange roof?
What had come of the pride of
his spirit which had always
made him conceive himself as
a being apart in every order?
Con estos recuerdos, se le
despertó un instinto más fuerte
que la educación y la piedad, un
instinto que se vivificaba en su
interior ante la proximidad de
aquella existencia, un instinto
agudo y hostil que le prohibía dar
su consentimiento. La frialdad y
el orden de aquella existencia le
repelían. Se veía a la hora de levantarse en el frío del alba, y bajar luego en fila con los otros para
asistir a la misa primera y cómo
procuraría en vano adormecer por
medio de oraciones la debilidad y
el malestar de su estómago. Se vio
en la comida sentado con los otros
de la comunidad. ¿Qué se había
hecho, entonces, de aquella esquivez que le hacía aborrecer la comida y la bebida bajo un techo extraño? ¿Qué había sido del orgullo de su espíritu que le había hecho siempre imaginarse a sí propio como un ser aparte en todos
los órdenes de la vida?
The Reverend Stephen
Dedalus, S.J.
El Reverendo Padre Stephen
Dédalus, S. J.
His name in that new life
leaped into characters before
his eyes and to it there
followed a mental sensation
of an undefined face or
colour of a face. The colour
faded and became strong like
a changing glow of pallid
b r i c k r e d . Wa s i t t h e r a w
reddish glow he had so often
seen on wintry mornings on
the shaven gills of the
priests? The face was eyeless
and sour-favoured and
devout, shot with pink tinges
of suffocated anger. Was it
not a mental spectre of the
face of one of the jesuits
whom some of the boys
called Lantern Jaws and
others Foxy Campbell?
Su nuevo nombre saltaba con
todos sus caracteres delante de él,
seguido de la sensación mental de
una cara indefinida, o mejor, del
color indefinido de una cara. El
color se desvanecía y luego se hacía intenso como el color cambiante de un [185] ladrillo rojo y
pálido. ¿Era aquél el color rojizo
y crudo que había observado con
tanta frecuencia en las afeitadas
sotabarbas de los padres las mañanas de invierno? El rostro carecía de ojos y tenía un aire
deboto y de pocos amigos, con
un tinte rosa de cólera reprimida. ¿No era aquél el espectro
mental de uno de aquellos jesuitas a los cuales algunos chicos
llamaban «Quijadas largas» y
otros «Doña Raposa»?
He was passing at that
moment before the jesuit house
in Gardiner Street and
wondered vaguely which
window would be his if he ever
65 j o i n e d t h e o r d e r. T h e n h e
wondered at the vagueness of
his wonder, at the remoteness of
En aquel momento pasaba por
la calle Gardiner, por delante de la
Residencia de los Jesuitas, y se
preguntó vagamente cuál sería su
ventana si alguna vez entraba en la
Compañía. Después se maravilló
de la vaguedad de su pregunta, de
la lejanía en la que su alma se en-
5
10
15
44. the fainting sickness o f his stomach: because he
would, as a novice, be fasting from the night before
in order to be able to receive Holy Communion.
coloured water.
20
25
30
45. S. ].: Society of Jesus.
35
40
45
50
55
46. Jesuit house in Gardiner Street: the house attached
to the Jesuit church of St Francis Xavier in Gardiner
Street Upper, off Mountjoy Square, north-east of the
city centre.
Lantern jaws ... Foxy Campbell Nicknames.
60
201
Joyce’s Portrait
his own soul from what he had
hitherto
imagined
her
s a n c t u a r y, a t t h e f r a i l h o l d
which so many years of order
and obedience had of him when
once a definite and irrevocable
act of his threatened to end for
ever, in time and in eternity, his
freedom. The voice of the
director urging upon him the
proud claims of the church and
the mystery and power of the
priestly office repeated itself
idly in his memory. His soul
was not there to hear and greet
it and he knew now that the
exhortation he had listened to
had already fallen into an idle
formal tale. He would never
swing the thurible before the
tabernacle as priest. His destiny
was to be elusive of social or
religious orders. The wisdom of
the priest’s appeal did not touch
him to the quick. He was
destined to learn his own
wisdom apart from others or to
learn the wisdom of others
himself wandering among the
snares of the world.
contraba de lo que había sido hasta entonces su santuario, de la fuerza de tantos años de disciplina y
de obediencia, de lo lejos que se
veía de todo eso en el momento en
que un acto definido e irrevocable
de su voluntad amenazaba acabar
con su libertad para siempre. La
voz del director que le excitaba
desplegando ante él las orgullosas
prerrogativas de la Iglesia y el misterio y el poder del oficio sacerdotal, resonaba en vano en su memoria. Su alma no estaba allí para oírla y recibirla y comprendió que
aquel discurso que había escuchado se le había ya convertido en una
fábula vana y convencional. Nunca había él de ser el sacerdote que
balancea el incensario ante el tabernáculo. Su destino era eludir
todo orden, lo mismo el social que
el religioso. La sabiduría del llamamiento del sacerdote no le había tocado en lo vivo. Estaba destinado a aprender su propia sabiduría aparte de los otros o a aprender la sabiduría de los otros por sí
mismo, errando entre las asechanzas del mundo.
The snares of the world
were its ways of sin. He would
fall. He had not yet fallen but
he would fall silently, in an
instant. Not to fall was too
40 hard, too hard; and he felt the
silent lapse of his soul, as it
would be at some instant to
come, falling, falling, but not
yet fallen, still unfallen, but
45
about to fall.
Las asechanzas del mundo
eran los caminos mundanales
del pecado. Caería. No había
caído aún pero caería silenciosamente, en un momento. El no
caer era demasiado duro, demasiado duro; y sintió la silenciosa caída de su alma tal como
había de llegar a su hora. Caía,
caía. No estaba caída aún, pero
sí a punto de caer.
[186]
Cruzó el puente sobre el
curso del Tolka y volvió fríamente los ojos por un momento hacia la hornacina azul y descolorida de la Santísima Virgen, que como un ave sobre su
alcándara preside allí el amontonamiento de las casuchas miserables. Luego, torciendo hacia
la izquierda, siguió la callejuela
que conducía a su casa. Un agrio
olor a berzas podridas le llegaba de las hue r t a s s i t u a d a s
en la cuesta, sobre el río.
S o n r i ó al pensar que era este
desorden, este desgobierna,
confusión de la casa paterna y
de la putrefacción de la
vida vegetal lo que había de
5
10
15
20
25
30
35
47. bridge . . . Tolka: the Tolka is one of the Dublin rivers;
the bridge is Ballybough bridge.
the faded blue shrine of the Blessed Virgin which stood
fowl-wise... Patricia Hutchins recalls seeing the
statue among the Tolka cottages when she went
there, but it was later removed.
dour adj. severe, stern, or sullenly obstinate in manner
or appearance. Austero, severo
He crossed the Tolka and
turned his eyes coldly for an
50 i n s t a n t t o w a r d s t h e f a d e d
blue shrine of the Blessed
Virgin which stood fowl-wise
on a pole in the middle of a
ham-shaped encampment of
55 poor cottages. Then, bending
to the left, he followed the
lane which led up to his
house. The faint dour stink
of rotted cabbages came
60
towards him from the kitchen
gardens on the rising ground
above the river. He smiled to
think that it was this
65 disorder , the misrule and
confusion of his father’s house
and the stagnation of vegetable
202
dour duro, inflexible, hosco; severe,
stern, or sullenly obstinate in
manner or appearance.
Joyce’s Portrait
life, which was to win the day
in his soul. Then a short laugh
br o k e f r o m h i s l i p s a s h e
thought of that solitary
5
farmhand in the kitchen
gardens behind their house
whom they had nicknamed
the man with the hat. A
10 s e c o n d l a u g h , t a k i n g r i s e
from the first after a pause,
broke from him involuntarily
as he thought of how the man
with the hat worked,
15 considering in turn the four
points of the sky and then
regretfully plunging his
spade in the earth.
20
coronar aquel día suyo. Y
u n b r e v e golpe de risa le subió a los labios al acordarse de
aquel solitario cultivador de
las huertas que caían a la espalda de su casa, al cual había
puesto él de sobrenombre «el
hombre del sombrero». Y otro
golpe de risa, provocado, tras
una pausa, por el primero, salió de él involuntariamente al
pensar en el modo que el
hombre aquel tenía que trabajar: contemplaba alternativamente los cuatro puntos cardinales y luego clavaba a desgana en tierra el azadón.
He pushed open the
latchless door of the porch and
passed through the naked
hallway into the kitchen. A
group of his brothers and
sisters was sitting round the
table. Tea was nearly over and
only the last of the second
watered tea remained in the
bottoms of the small glass jars
and jampots which did service
for teacups. Discarded crusts
and lumps of sugared bread,
turned brown by the tea which
had been poured over them, lay
scattered on the table. Little
wells of tea lay here and there
on the board, and a knife with a
broken ivory handle was stuck
through the pith of a
ravaged turnover.
Empujó la puerta sin pestillo
de la entrada y pasó hasta la cocina a través del desnudo recibimiento. Sus hermanos y hermanas estaban sentados en grupo alrededor de la mesa. El té estaba
casi agotado: no quedaban más
que los posos del segunda té,
aguado ya, en el fondo de los jarros de cristal v frascos de confitura que hacían oficio de tazas.
Desparramados sobre la mesa
yacían cortezas desechadas
migones de pan con manteca teñidos del color del té que se
había vertido. Charquitos de
té yacían acá y allá sobre la mesa
y un cuchillo con el mango d e
m a d e r a r o t o e s t a b a clavado
en la entraña de los restos de una tarta rellena de confitura.
The sad quiet grey-blue glow
of the dying day came through
the window and the open door,
allay calmar, aliviar, mitigar, aplacar, descovering over and allaying
pejar
quietly a sudden instinct of
50 remorse in Stephen’s heart.
All that had been denied
them had been freely given
to him, the eldest; but the
quiet glow of evening
55 showed him in their faces no
sign of rancour.
El gris azulenco de la luz triste
y serena del atardecer entraba por
la ventana y por la puerta abierta y
acallaba quietamente un remordimiento que se había despertado en
el corazón de Stephen. Todo lo que
les había sido negado a ellos le
había sido concedido a él, el hermano mayor. Pero la [187/193] luz
serena del atardecer no delataba en
el rostro de los hermanos ninguna
huella de rencor.
He sat near them at the
table and asked where his
60
father and mother were.
One answered:
Se sentó al lado de
ellos a la mesa y preguntó
dónde estaban sus padres.
Uno contestó:
—Goneboro toboro lookboro
—Fue-rí ron-tí bus-lí
car-di ca-ní sa-bí.
25
Tea was nearly over This whole paragraph is redolent of
the sordid reality which Stephen faces. Having
determined to reject the proffered (put forth] hand of
religion, he is determined to reject this too.
48. second watered tea: hot water had been poured for
a second time on the tealeaves to make another pot
- a sign of poverty.
30
35
ravaged devastated, plundered, wasted, arrasado, asolado, devastado, estragado, destrozado
holllar abatir, destrozar, humillar
40
turnover Semi-circular pie or tart.
45
Goneboro... The double syllable which follows each word
is typical of childish affectation - and it’s also
expressive of the monotony of their poor existence.
65 atboro aboro houseboro.
¡Otra mudanza más! Un chi-
Still another removal! A
203
allay v.tr. 1 diminish (fear, suspicion,
etc.) [fears] aquietar, calmar. 2 relieve or alleviate (pain, hunger, etc.),
[doubts] despejar
allay 1 quench, slake, allay, assuage
satisfy (thirst); «The cold water
quenched his thirst» 2 still, allay, relieve, ease lessen the intensity of or
calm;
allay calmar, aliviar, mitigar, aplacar,
despejar, disipar, despejar
Joyce’s Portrait
boy named Fallon in
Belvedere had often asked
him with a silly laugh why
they moved so often. A frown
5
of scorn darkened quickly his
forehead as he heard again
the silly laugh of the
questioner.
co del colegio llamado Fallon le
solía preguntar con una risilla
idiota por qué razón se mudaban
con tanta frecuencia. Una arruga
de desdén sombreó la frente de
Stephen, porque le pareció oír una
vez más la risilla mema del curioso.
10
He asked:
—Why are we on the
m o v e a g a i n i f i t ’s a f a i r
15 q u e s t i o n ?
—¿Por qué causa vamos a mudarnos de nuevo, si es que se puede saber?
—Becauseboro theboro
landboro lordboro willboro
putboro usboro outboro.
—Por-ni que-bí eltí ca-dí se-Ií ro-bí
nos-dí e-lí cha-bí.
The voice of his youngest
brother from the farther side of
the fireplace began to sing the
25 air OFT IN THE STILLY NIGHT .
One by one the others took up
the air until a full choir of
voices was singing. They
would sing so for hours,
30 melody after melody, glee
after glee, till the last pale
light died down on the
horizon, till the first dark
35 night clouds came forth and
night fell.
La voz del hermano más
pequeño comenzó a cantar
desde cerca del fuego la tonada de A menudo en la noche serena. Uno a uno, los
otros se le fueron juntando
hasta formar un coro completo. Se estarían así cantando
las horas muertas, tonada
tras tonada, hasta que la pálida luz desapareciera del horizonte, hasta que avanzaran
las primeras nubes nocturnas
y la noche cayese.
He waited for some
moments, listening, before he
40 too took up the air with them. He
was listening with pain of spirit
to the overtone of weariness
b e h i n d t h e i r f r a i l f re s h
innocent voices. Even
45
before they set out on life’s
journey they seemed weary
already of the way.
Esperó algunos momentos,
escuchando, hasta que por fin
se unió a ellos también. Le
daba pena sentir el fondo de
cansancio que se escondía
tras la frágil frescura de sus
inocentes voces. Aún no se habían puesto en camino para la
jornada de la vida y ya estaban cansados del viaje.
He heard the choir of voices
in the kitchen echoed and
multiplied through an endless
reverberation of the choirs of
endless generations of children
55 and heard in all the echoes an
echo also of the recurring
note of weariness and pain.
All s e e m e d w e a r y o f l i f e
even before entering
60
upon
it.
And
he
remembered
that
Newman had heard this
note also in the broken
65 l i n e s o f V i r g i l , G I V I N G
Oía el coro de voces
que en la cocina sonaba,
repetido y multiplicado
por el coro innumerable
de infinitas generaciones
de niños; y en todas estas
voces sonaba una nota de
cansancio eterno, de eterno dolor.
<-Todos parecían cansados
de la vida antes de haber entrado en ella. Y se acordaba de que
Newman había oído también esa
misma nota salir de entre los
versos entrecortados de Virgilio
y expresar, igual que la voz de
la misma naturaleza [188] ,
aquella pena y aquel cansancio,
20
49. Oft in the Stilly Night: a popular song by Thomas
Moore (11779-1852), Ireland’s national bard.
Oft in the Stilly Night Irish melody by Thomas Moore
(1770-1852).
Preguntó:
50
50. Newman . . . every time: the quotation is from
Newman’s An Essay in Aid of a Grammar of Assent
(118811).
Newman ... Virgil The quotation is from Newman (see
earlier note). Virgil (70-19 BC) is a Latin poet, author
of the Aemid, the Georgics and the Eclogues.
giving utterance, like the voice of nature herself... : the
quotation is from Cardinal Newman’s An Essay in
Aid of a Grammar of Assent (1881)
U T T ERANCE, LIKE THE VOICE
OF NATURE HERSELF TO THAT
204
fresh es fresco con varias denotaciones,
como nuevo, reciente, puro, sano, lozano ( saludable, altivo, vigoroso).
Como todos los adjetivos ordinarios, las
combinaciones de estas voces con
nombres son distintas: fresh se usa
para dulce [agua], inexperto [persona],
nuevo / otro [delante del nombre], recién [llegado, salido, etc.], puro [aire],
tierno / del día [panadería], limpio [ropa],
natural [fruta, vegetales], descansado
[rested person], en blanco [página] y,
en sentido familiar, bebido, chispo,
achispado, medio borracho; a veces degrada su connotación a descarado,
atrevido, insolente.
A su vez fresco tiene matices propios como cool / cold [clima], light /
cool [ropa], calm / cool [sereno] y, en
sentido negativo, shameless [desvergonzado]. Fresco como sustantivo significa fresh air, y fresco se usa en las
dos lenguas para el tipo de pintura sobre yeso fresco, tan popular en el Renacimiento.
As fresh as a daisy = tan fresco como
una lechuga.
What nerve! = ¡qué fresco!
Joyce’s Portrait
pero al mismo tiempo, aquella
esperanza de otras cosas mejores que han sentido sus hijos en
todas las edades.
PAIN AND WEARINESS YET HOPE
OF BETTER THINGS WHICH HAS
BEEN THE EXPERIENCE OF HER
CHILDREN IN EVERY TIME.
5
***
*****
No podía esperar por más tiempo.
He could wait no longer.
10
From the door of Byron’s
public-house to the gate of
Clontarf Chapel, from the
gate of Clontail Chapel to the
door of Byron’s public-house
and then back again to the
chapel and then back again to
the public- house he had
paced slowly at first, planting
his steps scrupulously in the
spaces of the patchwork of
the footpath, then timing
their fall to the fall of
verses. A full hour had
passed since his father had
gone in with Dan Crosby, the
t u t o r, t o f i n d o u t f o r h i m
something
about
the
university. For a full hour
he had paced up and down,
waiting: but he could wait
no longer.
De la puerta de la taberna de
Byron hasta la entrada de la capilla de Clontarf, desde la entrada de la capilla de Clontarf hasta
la puerta de la taberna de Byron,
y vuelta otra vez hasta la capilla
y vuelta de nuevo hasta la taberna, había estado recorriendo este
camino, al principio, a pasos lentos, colocando sus pisadas en los
intersticios de las losas de la acera, y luego ajustando la caída de
sus pasos a un ritmo de versos.
Una hora entera había transcurrido desde que su padre había ido
con Dan Crosby, el tutor de estudios, a enterarse de algo que le
concernía relativo a la Universidad. Por espacio de una hora
había estado paseando, arriba,
abajo, en espera; pero no podía
aguardar más.
He set off abruptly for
the Bull, walking rapidly
lest his father ’s shrill
whistle might call him
40 b a c k ; a n d i n a f e w
moments he had rounded
the curve at the police
barrack and was safe.
Se dirigió de repente hacia el Bull, aligerando el paso,
temeroso de que el agudo silbido de su padre le obligara a
volver atrás; y al cabo de un
momento había ya traspuesto
la esquina del cuartel de la policía y estaba a salvo.
51. Clontarf Chapel: on the Clontarf Road in north Dublin.
15
20
25
52. the university: University College, Dublin. Crosby is
obviously a tutor there and Simon Dedalus is looking
for information about it.
30
35
53. the Bull: a seawall that runs from the shore at Clontarf
into Dublin Bay.
45
without regret of a first noiseless sundering of their lives
The ‘without regret’ is very significant. Stephen has
willed himself to follow what he thinks is the right
path for himself.
Ye s , h i s m o t h e r w a s
hostile to the idea, as he
had read from her l i s t l e s s
s i l e n c e . Ye t h e r m i s t r u s t
50 p r i c k e d h i m m o r e k e e n l y
than his father ’s pride and
he thought coldly how he
had watched the faith which
was fading down in his soul
55 ageing and strengthening in
her eyes. A dim antagonism
gathered force within him
and darkened his mind as a
cloud against her disloyalty
60
and when it passed, cloudlike, leaving his mind
serene and dutiful towards
her again, he was made
65 a w a r e d i m l y a n d w i t h o u t
re g ret of a first noiseless
sunder ing of their lives.
Sí, su madre se mostraba
opuesta a la idea; era lo que se podía deducir de aquel obstinado silencio suyo. La desconfianza de su
madre le aguijoneaba más agudamente que la fanfarronería paterna. Y pensó fríamente cómo había
ido observando que la fe que estaba desapareciendo de su alma se
iba encendiendo y fortificando en
los ojos de su madre. Un antagonismo confuso iba cobrando fuerzas dentro de él y nublando su
mente como una nube que los separara; y cuando la nube se desvanecía dejando su inteligencia serena y consciente de sus deberes para
con su madre, sentía indistintamente algo como el dolor de la primera y silenciosa separación de las
vidas de ambos.
205
Joyce’s Portrait
The university! So he had
passed beyond the challenge of
the sentries who had stood as
guardians of his boyhood and
had sought to keep him among
them that he might be subject
to them and serve their ends.
Pride after satisfaction uplifted
him like long slow waves. The
end he had been born to
serve yet did not see had led
him to escape by an unseen
path and now it beckoned to
him once more and a new
adventure was about to be
opened to him. It seemed to
him that he heard notes of
fitful music leaping upwards
a tone and downwards a
diminished fourth, upwards a
tone and downwards a major
third, like triple-branching
flames leaping fitfully, flame
after flame, out of a midnight
wood. It was an elfin
prelude,
endless
and
formless; and, as it grew
wilder and faster, the flames
leaping out of time, he
seemed to hear from under
the boughs and grasses wild
creatures racing, their feet
pattering like rain upon the
leaves. Their feet passed in
pattering tumult over his
mind, the feet of hares and
rabbits, the feet of harts and
hinds and antelopes, until he
heard them no more and
remembered only a proud
cadence from Newman:
—Whose feet are as the feet
of harts and underneath the
everlasting arms.
The pride of that dim
image brought back to his
mind the dignity of the office
he had refused. All through
55 his boyhood he had mused
upon that which he had so
often thought to be his
destiny and when the moment
had come for him to obey the
60
call he had turned aside,
obeying a wayward instinct.
Now time lay between: the
oils of ordination would
65 never anoint his body. He
had refused. Why?
La nobleza de aquella imagen
oscura llevó otra vez a su imaginación la dignidad del oficio que
había rechazado. Durante toda su
infancia había estado haciendo
fantasías acerca de aquello que
solía considerar como su destino; pero al sonar la hora de obedecer al llamamiento, se había
desviado, siguiendo un instinto
que le impulsaba hacia adelante. Ya había pasado el tiempo, y
nunca habían de ungir su cuerpo los óleos de la ordenación.
Había rehusado. ¿Por qué?
5
10
like long slow waves... The familiar image, b2ut used
with rather a different emphasis.
beckon = hacer señas, gesticular / atraer
beckon
1 tr. attract the attention of;
summon by gesture. 2 intr. (usu. foll.
by to) make a signal to attract a person’s
attention; summon a person by doing
this. llamar por señales, hacer señas,
indicar con gesto o señas,
15
20
25
30
35
Their feet passed in pattering tumult... Compare this
sequence with the earlier one on p. 126, where the
‘goatish creatures’ are described. This is deliberate
contrast to underline Stephen’s sense of freedom
through the imagery.
40
45
54. Whose feet ... the everlasting arms: a quotation from
Newman’s The Idea of a University Defined and
Illustrated, Discourse I (1873). Newman had
delivered this as a speech when he was rector of
the new Catholic University in Dublin in 1854-8. As
University College, the Catholic University was
administered by the Jesuits from 1883 to i9o8.
Whose feet are as the feet of harts... Fine extension of
the above by direct quotation from Newman’s Idea
of a University.
- Whose feet are as the feet of harts and underneath the
everlasting arms : the quotation is from Cardinal
Newman’s The Idea of a University (1852)
[189]
¡La Universidad! ¿De modo
que había burlado el quién vive de
los centinelas que habían sido los
guardianes de su infancia, de los
que habían querido retenerle para
someterle y hacer servir a los fines de ellos? Satisfacción y orgullo le aupaban como olas anchas y
lentas. El fin para el cual estaba destinado, aunque él mismo no lo conociera, era lo que le había hecho escapar por un camino imprevisto, lo
que ahora le estaba alentando una
vez más con aquella nueva aventura que estaba a punto de abrirse delante de él. Le parecía escuchar las notas de una música
caprichosa que saltase un tono
hacia arriba y luego una cuarta
menor hacia abajo, un tono hacia arriba y una tercera menor
hacia abajo, como llamas
tripartitas que brotaran intermitentemente del misterio de
una selva, a la media noche.
Era como un preludio encantado de elfos, sin término y sin
forma;, según se iba haciendo
más salvaje y más rápido, mientras las llamas brotaban a contratiempo, le parecía oír bajo las
ramas, sobre la hierba, las pisadas veloces de seres salvajes
que hollaban las hojas con el ruido de las gotas de la lluvia. Aquellos pies pasaban en tumulto por
su mente, pies de liebres, de conejos, de gamos, de ciervos, de
antílopes; hasta que ya no los oyó
más y sólo pudo recordar la noble cadencia de un pasaje de
Newman: «Sus pies son como los
pies de la cierva; pero debajo están los brazos eternales».
50
206
Joyce’s Portrait
55. Dollymount: Stephen is turning to cross a footbridge
that links Clontarf to the Bull Wall and marks the
boundary with the area known as Dollymount.
5
56. christian brothers: see Chapter II, note 27.
10
uncouth (= unrefined) zafio, burdo, grosero, inculto; (= clumsy ) torpe,
desmañado
uncouth adj. 1 (of a person, manners,
appearance, etc.) lacking in ease and
polish; uncultured, rough (uncouth
voices; behaviour was uncouth). 2
archaic not known; desolate; wild;
uncivilized (an uncouth place).
15
20
25
tape-like collars i.e. very narrow ones.
30
He turned seaward from
the road at Dollymount
and as he passed on to the
thin wooden bridge he
felt the planks shaking
with the tramp of heavily
shod feet. A squad of
c h r i s t i a n b r o t h e r s was on
its way back from the Bull and
had begun to pass, two by two,
across the bridge. Soon the
whole bridge was trembling
and resounding. The uncouth
faces passed him two by two,
stained yellow or red or livid
by the sea, and, as he strove to
look at them with ease and
indifference, a faint stain of
personal
shame
and
commiseration rose to his own
face. Angry with himself he
tried to hide his face from their
eyes by gazing down sideways
into the shallow swirling water
under the bridge but he still
saw a reflection therein of their
top-heavy silk hats and humble
tape-like collars and looselyhanging clerical clothes.
Al llegar a Dollymount se
desvió del camino dirigiéndose hacia el mar. Las planchas del débil puente de madera temblaban bajo las pisadas de unos pies reciamente
calzados. Un [190] pelotón
de hermanos de la Doctrina
Cristiana volvía de Bull; cruzaban de dos en dos por el
puente. Pronto todo el puente comenzó a temblar y a ‘resonar. Las caras toscas pasaban
de dos en dos, rojas, amarillas o
lívidas de la brisa del mar, y aunque Stephen procuraba mirarlas
sin turbación y con indiferencia,
sintió que un rubor de vergüenza personal y de piedad le subía
al rostro. Molesto consigo mismo trató de esquivar aquellos
ojos bajando la mirada hacia un
lado, pero hasta en el agua, poco
profunda y arremolinada, de debajo del puente, continuó viendo los pesados sombreros de
seda, la raya blanca de los cuellos y los amplios y colgantes
hábitos clericales.
—Hermano Hickey.
Hermano Quaid.
Hermano Mac Ardle.
Hermano Keogh—.
—Brother Hickey.
35 Brother Quaid.
Brother MacArdle.
Brother Keogh.—
Su piedad debía de ser como
sus nombres, como sus caras,
como sus hábitos; y era inútil que
se dijera a sí mismo que quizás
aquellos contritos y humildes
corazones darían un fruto de
devoción mucho más rico que el
de su propio corazón, un don diez
veces más aceptable que el de su
adoración meticulosa. Y era inútil que tratara de excitarse a ser
más generoso para con ellos, diciéndose que si alguna vez llegase a sus puertas, despojado de
su orgullo, roto y en andrajos,
ellos batirían de ser compasivos
para con él y le habían de amar
como a sí mismos. Era inútil
y amargante, en fin, el oponer a su serena certidumbre
el argumento [mandato] de que el
mandamiento del amor no nos ordena amar a nuestro prójimo como a
nosotros mismos, con la misma cantidad e intensidad de amor que a nosotros mismos, sino con la misma
especie de amor.
Their piety would be like
40 their names, like their faces,
like their clothes, and it was
idle for him to tell himself that
their humble and contrite
hearts, it might be, paid a far
45
richer tribute of devotion than
his had ever been, a gift tenfold
more acceptable than his
elaborate adoration. It was idle
50 for him to move himself to be
generous towards them, to tell
himself that if he ever came to
their gates, stripped of his
pride, beaten and in beggar’s
55 weeds, that they would be
generous towards him, loving
him as themselves. Idle and
embittering, finally, to argue,
against his own dispassionate
60
certitude, that the commandment of
love bade us not to love our
neighbour as ourselves with
the same amount and
65 intensity of love but to love
him as ourselves with the
same kind of love.
207
Joyce’s Portrait
57. A day . . . clouds: an inaccurate quotation from The
Testimony of the Rocks; or, Geology in Its Bearings
on the Two Theologies, Natural and Revealed
(Boston, 1857), by Hugh Miller (1805-56). Miller wrote
‘breeze-borne’ not ‘seaborne’. (G)
A day of dappled seaborne clouds This is from a book by
Hugh Miller. Miller (1802-56) was a journalist and
geologist, born in Cromarty, and self-educated. As the
phrase suggests, he had considerable literary ability.
He drew forth a phrase
from his treasure and
spoke it softly to himself:
5
—A day of dappled
seaborne clouds.
Escogió una frase
de su tesoro y se la
repitió suavemente:
— Un d í a a v e l l o n a d o p o r
l a s n u b e s d e l m a r.
The phrase and the day
and the scene harmonized in
a c h o r d . W o r d s . Wa s i t
their colours? He allowed
t he m t o gl ow a nd fade, hue
after hue: sunrise gold, the
russet and green of apple
orchards, azure of waves,
the grey-fringed fleece of
clouds. No, it was not their
colours: it was the poise and
balance of the period itself.
Did he then love the rhythmic
rise a n d f a l l o f w o r d s
better
than
their
a s s ociations of legend and
colour? Or was it that, being
as weak of sight as he was shy
of mind, he drew less pleasure
from the reflection of the glowing
sensible world through the prism
of a language many-coloured
and richly storied than from
the contemplation of an inner
world of individual emotions
mirrored perfectly in a lucid
supple periodic prose?
La frase, el día y la escena
se armonizaban en un acorde
único. Palabras. ¿Era a causa de
los colores que sugerían? Los
[191] fue dejando brillar y desvanecerse, matiz a matiz: oro del
naciente, verdes arreboles de
pomares y avellanales, azul de
ondas saladas, orla gris de vellones celestes. No. No era a
causa de los colores: era por el
equilibrio y contrabalanceo del
período mismo. ¿Era que amaba
el rítmico alzarse y caer de las
palabras más que sus asociaciones de significado y de color?
¿O era que, siendo tan débil su
vista como tímida su imaginación, sacaba menos placer
del refractarse del brillante
mundo sensible a través de
un lenguaje policromado y
rico en sugerencias, que de la
contemplación de un mundo interno
de emociones individuales perfectamente reflejado en el espejo de un período de prosa lúcida y alada?
10
Words ... lucid supple periodic prose This paragraph
should be studied in detail as Stephen ponders on
the associations of words, what they mean to him,
how best he loves to hear them and see them.
15
20
25
30
Words ... lucid supple periodic prose This paragraph
should be studied in detail as Stephen ponders on
the associations of words, what they mean to him,
how best he loves to hear them and see them.
35
He
passed
from
the
land again. At that instant, as
it seemed to him, the air was
chilled and, looking askance
towards the water, he saw a
45
flying squall darkening and
crisping suddenly the tide. A
faint click at his heart, a faint
throb in his throat told him
50 once more of how his flesh
dreaded the cold infrahuman
odour of the sea; yet he did not
strike across the downs on his
left but held straight on along
55 the spine of rocks that pointed
against the river’s mouth.
Salió de nuevo del puente trepidante a tierra firme. En ese instante le pareció que el aire estaba
helado, y mirando de lado al agua,
vio pasar el vuelo de una racha,
que oscureció), rizó de pronto la
superficie. Un vago estremecimiento del corazón y una débil
contracción de la garganta le dijeron una vez más el miedo que
su carne sentía al olor frío e
infrahumano del mar; sin embargo, no se dirigió a través de las
dunas, a su izquierda, sino que
continuó hacia adelante a lo largo de la cima de las rocas que
avanzaban hacia la boca del río.
A veiled sunlight lit up
faintly the grey sheet of water
60
where the river was embayed.
In the distance along the course
of the slow-flowing Liffey
slender masts flecked the sky
65 and, more distant still, the dim
fabric of the city lay prone in
haze. Like a scene on some
La voz velada del sol iluminaba débilmente el gris mantel
de agua del estero. A lo lejos,
siguiendo el lento curso del
Liffey, esbeltos mástiles manchaban el cielo, y, más lejos aún,
el confuso caserío de la ciudad
y a c í a sumido e n l a n e b l i n a .
Como en un tapiz borroso y tan vie-
40 trembling bridge on to firm
infrahuman i.e. below the human.
spine of rocks ... river’s mouth Marvellously economic
image, part of Joyce’s own ‘lucid supple’ poetic prose
in this section.
208
dapple 1 to mark or become marked with spots or
patches of a different colour; mottle 2 mottled or
spotted markings 3 a dappled horse, etc. 4 marked
with dapples or spots
avellonado: no en DRAE, Probablemente formado de
vellón :1. m. Toda la lana junta de un carnero u oveja
que se esquila. 2. zalea, cuero curtido del carnero o
de la oveja con su lana. 3. Vedija o guedeja de lana.
sensible se refiere a cuerdo, razonable, acertado [gusto, idea, plan],
sensato, módico [precio], prudente, lógico, consciente, práctico /
cómodo [ropa, calzado], mientras
que el español sensible traduce
sensitive, feeling, sentient,
regrettable, noticeable / marked,
sizable, deplorable, tender, sore
[adolorido]. Sensibility es sensibilidad, en el sentido de habilidad
de sentir, receptividad, en el mundo personal, y además precisión,
en el mundo mecánico; el plural
sensibilities se usa para susceptibilidad, sentimientos delicados,
delicadeza; a su vez, sensibilidad
traduce sensitivity, como percepción por los sentidos, radio, TV,
foto.
Joyce’s Portrait
58. seventh city of christendom: the phrase seems to
be Joyce’s own.
59. thingmote: the place of the Scandinavian council
of law, a huge mound (thingmount) in the centre
of Dublin, demolished in the late seventeenth
century.
thingmote: place where Danes held council of law when
they ruled Dublin in medieval times
voyaging across the deserts of the sky . . : Europe...
Stephen’s mind, like the clouds, is moving into new
areas of contemplation.
15
25
30
35
40
Stephanos: (Greek) garland
Stephanos: Greek for crown, wreath, or garland
45
60. a stuff in the kisser: a blow in the face.
a stuff in the kisser ‘A punch in the mouth.’
• a stuff in the kisser a punch in the face.
stuff in the kisser: punch in the mouth
Disheartened, he raised
his eyes towards the slowdrifting clouds, dappled and
seaborne.
They
were
voyaging across the deserts
of the sky, a host of nomads
on the march, voyaging high
over Ireland, westward bound.
The Europe they had come
from lay out there beyond the
Irish Sea, Europe of strange
tongues and valleyed and
woodbegirt and citadelled and
of entrenched and marshalled
races. He heard a confused
music within him as of
memories and names which he
was almost conscious of but
could not capture even for an
instant; then the music seemed
to recede, to recede, to recede,
and from each receding trail of
nebulous music there fell
always one longdrawn calling
note, piercing like a star the
dusk of silence. Again! Again!
Again! A voice from beyond
the world was calling.
Descorazonado, levantó los
ojos hacia las nubes que derivaban lentamente como vellones
marinos. Viajaban a través de
los desiertos del cielo, como un
ejército de nómadas en [192] camino; viajaban por encima de Irlanda, con rumbo a occidente. Y
Europa, de donde venían, yacía,
lejos, al otro lado del mar de Irlanda; Europa, la de las extrañas
lenguas, con sus valles y sus
bosques y sus ciudadelas, con
sus razas dispuestas y atrincheradas. Oyó dentro de sí una confusa música hecha de recuerdos
y de nombres, de los cuales casi
era consciente, pero que no podía capturar ni por un momento; luego la música pareció ir cejando, cejando, y de cada paso
de su retroceso salía siempre
una larga nota de llamada que
atravesaba como una estrella el
crepúsculo de silencio. ¡Otra
vez! ¡Otra vez! ¡Otra vez! Una
voz del otro mundo le estaba llamando.
—Hello, Stephanos!
—¡Eh! ¡Stephanos!
—Here comes The Dedalus!
—¡Mira el Dédalus!
—Ao! Eh, give it over,
Dwyer, I’m telling you, or I’ll
give you a stuff in the kisser
50 for yourself. Ao!
—¡Au!... ¡Oye, tú, Dwyer, dámelo! ¡Te digo que me lo des, o
si no, te zampo un porrazo en los
morros!... ¡Au!
— G o o d m a n , To w s e r !
Duck him!
—¡Bravo, Towser! ¡Dale un
chapuzón!
—Come along, Dedalus!
Bous Stephanoumenos! Bous
Stephaneforos!
—¡Arrímate, Dédalus! ¡Bous
Stephanoumenos!
!Bous
Stephanephoros!
—Duck him! Guzzle him
now, Towser!
—¡Chapúzale! ¡Que trague
ahora, Towser!
55
61. Bous Stephanoumenos! Bous Stephaneforosl: Greek
for ‘Ox as garland-bearer of the sacrifice’; and for
the ‘ox- or bullsoul of Stephen’.
Bous Stephanoumenos! Bous Stephaneforos! The ox
with a garland! The ox, carrier of a garland! The
punning connections with Stephen are obvious, since
St Stephen (literally ‘a garland’) was the first Christian
martyr. Stephen’s awakening from his dream is a
kind of martyrdom, and the comparisons of these
boys with the ‘goatish’ people of his hell-fire vision
are implicit (again see p. 126).
Bous Stephanoumenos! Bous Stephaneforos!: Greek
variants for «ox bearing wreaths» (i.e., being led for
sacrifice).
jo como el cansancio del hombre,
la imagen de la sépti ma ciudad de la
cristiandad le era visible a través del
aire, del aire que no varía con los años;
y la ciudad no aparecía más vieja ni
más cansada, ni menos sufrida en la esclavitud que en tiempos de las asambleas medievales.
10
20
A voice from beyond the world... The voices) Stephen
actually hears are coarse and down to earth, so that
his vision is tinged with irony.
vague arras, old as man’s weariness,
the image of the seventh city
of christendom was visible
to him across the timeless
5
air, no older nor more weary
nor less patient of subjection
than in the days of the
thingmote.
60
—¡Socorro! ¡Socorro!... ¡Au!
—Help! Help! Ao!
65
Pudo reconocer sus voces
colectivamente antes de llegar
a distinguir las caras. La sim-
He recognized their speech
collectively
before
he
distinguished their faces. The
209
dapple 1 to mark or become marked with spots or
patches of a different colour; mottle 2 mottled or
spotted markings 3 a dappled horse, etc. 4 marked
with dapples or spots
avellonado: no en DRAE, Probablemente formado de
vellón :1. m. Toda la lana junta de un carnero u oveja que
se esquila. 2. zalea, cuero curtido del carnero o de la
oveja con su lana. 3. Vedija o guedeja de lana.
Joyce’s Portrait
ple vista de aquel revoltijo de
chorreante desnudez le hizo sentir un escalofrío en los mismos
huesos. Los cuerpos, de un blancor cadavérico o bañados de una
pálida luz dorada o crudamente
tostados por el sol, brillaban con
el agua del mar. La piedra desde
donde se lanzaban, puesta en equilibrio sobre rudos soportes, trepidante a cada zambullida, y los escarpados peñascos del rompeolas,
por donde trepaban a cuatro patas, todo relucía con un brillo
frío y húmedo. Las toallas con
las
que
se
fustigaban
X sonoramente, pendían pesadas de
agua fría de mar. Y empapados de
agua salada y fría estaban también
los mechones de sus greñas.
He stood still in deference
banter with easy words. How
characterless they looked:
Shuley without his deep
u n b u t t o n e d c o l l a r, E n n i s
without his scarlet belt with the
snaky clasp, and Connolly
without his Norfolk coat with
the flapless side-pockets! It
was a pain to see them, and a
sword-like pain to see the signs
of adolescence that made
repellent their pitiable
nakedness. Perhaps they had
taken refuge in number and
noise from the secret dread in
their souls. But he, apart from
them
and
in
silence,
remembered in what dread he
stood of the mystery of his own
body.
Se qu
edó parado ante sus gritos
y les devolvió las bromas
con palabras usuales.
¡Cómo perdían su individualidad así [193] desnud o s ! S h u l e y, s i n e l c u e l l o
grande y desabrochado;
Ennis, sin el cinturón rojo
con el cierre en forma de
c u l e b r a , y C o n n o l l y, s i n s u
cazadora de bolsillos
desorejados. Daba pena
verlos, y una pena aguda
como una espada, el ver
los signos de la adolescencia, que hacían repelente
su lamentable desnudez.
Quizás habían buscado refugio en el agrupamiento y
la bulla para huir del secreto espanto de sus almas.
—Stephanos Dedalos!
Bous
Stephanoumenos! Bous
50
Stephaneforos!
—¡Stephanos Dédalos!
¡Bous Stephanoumenos! ¡Bous
Stephanephoros!
Their banter was not new
to him and now it flattered his
55 mild proud sovereignty. Now,
as never before, his strange
name seemed to him a
prophecy. So timeless seemed
the grey warm air, so fluid
60
and impersonal his own
mood, that all ages were as
one to him. A moment before
the ghost of the ancient
65 kingdom of the Danes had
looked forth through the
vesture of the hazewrapped
La zumba aquella no era nueva para él, y ahora se sentía blandamente halagado por semejante especie de tumultuoso acatamiento.
Ahora más que nunca le parecía
profético aquel extraño nombre que
llevaba. Tan fuera del curso del
tiempo parecía el aire tibio y gris,
tan fluido e impersonal su propio
modo de ser, que todas las edades
se le confundían en una sola sensación. Un momento antes el espectro del antiguo reino danés había
surgido evocado por el ropaje de ne-
suffuse 1 (of colour, moisture, etc.)
spread from within to colour or 5
moisten (a blush suffused her
cheeks). 2 cover with colour etc.
Impregnar, saturar, bañar, inundar, empañar
suffuse 1 (of colour, moisture, etc.)
spread from within to colour or
moisten (a blush suffused her 10
cheeks). 2 cover with colour etc.
suffuse [light] bañar [colour,
flush] teñir [delight, relief]
inundar suffused with light bañado de luz
15
smack
— n. 1 a sharp slap or blow esp. with the palm
of the hand or a flat object. 2 a hard hit at
cricket etc. 3 a loud kiss (gave her a hearty
smack). 4 a loud sharp sound (heard the
smack as it hit the floor).
— v. 1 tr. strike with the open hand etc. 2 tr. part
(one’s lips) noisily in eager anticipation or
enjoyment of food or another delight. 3 tr.
crack (a whip).
4tr. & intr. move, hit, etc., with a smack.
— adv. colloq. 1 with a smack. 2 suddenly;
directly; violently (landed smack on my desk).
3 exactly (hit it smack in the centre).
mere sight of that medley of
wet nakedness chilled him to
the bone. Their bodies,
corpse-white or suffused with
a pallid golden light or rawly
tanned by the sun, gleamed
with the wet of the sea. Their
diving-stone, poised on its
rude supports and rocking
under their plunges, and the
rough-hewn stones of the
sloping breakwater over which
they scrambled in their
horseplay gleamed with cold
wet lustre. T h e t o w e l s w i t h
which they smacked
their bodies were heavy with
cold seawater; and drenched
w i t h c o l d b r i n e was their
matted hair.
20
25 to their calls and parried their
30
Norfolk coat A loose jacket with a waistband.
35
40
45
the ancient kingdom of the Danes . . . See note above
on ‘thingmote’.
210
scramble n. 1 scamper, scurry rushing about
hastily in an undignified way 2 scuffle, make
one’s way to, pasar con esfuerzo, como se
pueda an unceremonious and disorganized
struggle 3 scramble to one’s feet ponerse de pie
con esfuerzo, como se pueda, con dificultad.
4 tr. Revolver mix together indiscriminately.
b jumble or muddle.
v. 1 make unintelligible; “scramble the
message so that nobody can understand it” 2
beat, stir vigorously; “beat the egg whites”;
“beat the cream” 3 jumble, throw together
bring into random order 4 to move hurriedly
arreglarse a toda prisa; “The friend
scrambled after them” 5 clamber, shin, shinny,
skin, struggle, sputter climb awkwardly, as if
by scrambling
scramble I v. tr. 1 mezclar 2 Tele (mensaje)
codificar
II v. intr. 1 ir gateando to scramble across a
field, cruzar un campo gateando; to scramble
up a tree, trepar a un árbol 2 pelearse [for,
por], andar a la rebatiña [for, por]: fans were
scrambling for the concert tickets, los fans se
tiraban de los pelos por una entrada para el
concierto 3 Dep hacer motocross
III n. 1 subida o escalada difícil 2
confusión, rebatiña
3 Dep carrera de
motocross
matted 1a tr. (esp. as matted adj.) entangle
in a thick mass (matted hair). b intr.
become matted. 2 tr. cover or furnish
with mats.
matted A adj. 1 matted tangled in a dense
mass; “tried to push through the matted
undergowth” 2 flat, mat, matt, matte,
matted not reflecting light; not glossy;
“flat wall paint”; “a photograph with a
matte finish”
matted adj. (pelo) enmarañado
Joyce’s Portrait
62. artificer: Daedalus, father of Icarus.
the fabulous artificer See section on Mythical background,
but study this whole paragraph carefully. Stephen,
always aware of names and especially his own, is
searching out his own future through the legend and
its implications for himself.
artificer: inventor or craftsman (i.e., Daedalus)
City. Now, at the name of the
f a b u l o u s a r t i f i c e r, h e
seemed to hear the noise of
dim waves and to see a
winged form flying above the
waves and slowly climbing
the air. What did it mean?
Wa s i t a q u a i n t d e v i c e
opening a page of some
medieval book of prophecies
and symbols, a hawk-like
man flying sunward above
the sea, a prophecy of t he
end he had been born to serve
and had been following
through the mists of childhood
and boyhood, a symbol of the
a r t i s t f o rg i n g a n e w i n h i s
workshop out of the
sluggish matter of the earth a
new soaring impalpable
imperishable being?
blina de la ciudad. Ahora, al nombre del fabuloso artífice, le parecía oír el rumor confuso del
mar y ver una forma alada que
volaba por encima de las ondas y escalaba lentamente el
cielo. ¿Qué significaba aquello? ¿Era como el lema al frente de una página en algún libro medieval de profecías y de
símbolos, aquel hombre que
como un neblí volaba hacia el
sol sobre la mar? ¿Era una profecía del destino para el que
había nacido, y que había estado siguiendo a través de las
nieblas de su infancia y de su
adolescencia, un símbolo del
artista que forja en su oficina
con el barro inerte de la tierra
un ser nuevo, alado, impalpable, imperecedero?
His heart trembled; his
breath came faster and a wild
spirit passed over his limbs as
though he was soaring
30 sunward. His heart trembled
in an ecstasy of fear and his
soul was in flight. His soul was
soaring in an air beyond the
35 world and the body he knew
was purified in a breath and
delivered of incertitude and
made radiant and commingled
with the element of the spirit.
40 An ecstasy of flight made
radiant his eyes and wild his
breath and tremulous and wild
and radiant his windswept
limbs.
// Su corazón temblaba; respiraba
anhelosamente y un hálito impetuoso pasaba por sus miembros
como si estuviera remontando,
rumbo al sol. Su corazón temblaba en un éxtasis de pavor y el
alma le huía. El alma se remontaba en una atmósfera que no era
de este mundo, y el cuerpo suyo
había sido purificado por un solo
soplo, libertado de la incertidumbre, iluminado, confundido
en el elemento del espíritu. Un
éxtasis de huida [194] hacía brillar sus ojos y aceleraba su respiración y hacía a sus miembros
acariciados por el viento, trémulos, potentes, gloriosos.
5
10
15
20
25
he was soaring sunward... Like Icarus. The irony is
farreaching. Will Stephen himself be burned?
45
—A la una, a las dos... ¡Cuidado!
—One! Two! Look out!
Gripes Again the coarse voices cut across his vision
and his elation. This means ‘Christ’.
I’m
—¡Tú, Cripes, que me
ahogo!
—One! Two! Three and
away!
—A la una, a las dos, ¡a las
tres!
—Oh,
drownded!
50
55
60
Cripes,
—The next! The next!
—¡El siguiente! ¡El siguiente!
—One! UK!
—A la una... ¡Plum!
—Stephaneforos!
—¡Stephanephoros!
Le atormentaba la garganta un
deseo de gritar, de gritar como el
halcón, como el águila en las alturas, de proclamar penetrantemente
a los vientos la liberación de su
alma. Éste era el llamamiento de la
His throat ached with a
desire to cry aloud, the cry of
a hawk or eagle on high, to cry
65 piercingly of his deliverance
to the winds. This was the call
of life to his soul not the dull
211
Joyce’s Portrait
main body.
gross voice of the world of
duties and despair, not the
inhuman voice that had called
him to the pale service of the
5
altar. An instant of wild flight
had delivered him and the cry
of triumph which his lips
withheld cleft his brain.
vida, no la voz grosera y turbia del
mundo lleno de deberes y de pesares, no la voz inhumana que le había llamado al lívido servicio del altar. Un instante de vuelo pleno le
acababa de libertar y el grito de triunfo que sus labios aprisionaban estallaba en su cerebro.
10
—Stephaneforos!
cerements: burial clothes
—¡Stephanephoros!
What were they now
but cerements shaken
15 f r o m t h e b o d y o f d e a t h —
the fear he had walked in
night
and
d a y,
the
incertitude that had
ringed him round, the
20
shame that had abased
him within and without—
c e re m e n t s, the linens of
the grave?
¿Qué habían sido todas
aquellas cosas sino el sudario
que se acababa de desprender
del cuerpo mortal? ¿Qué eran
el miedo que le había acompañado día y noche, la incertidumbre que le había estado
rondando, el oprobio que le
había envilecido en alma y
cuerpo, qué eran sino sudarios,
lienzos de sepultura?
25
the stoneblock: term for a group of rocks on the side of
Bull Wall suitable for diving
a lust of wandering This lust, both of the imagination
and of physical travel, is not to be stilled.
His soul had arisen from
the grave of boyhood,
spurning her grave-clothes.
Ye s ! Ye s ! Ye s ! H e w o uld
30 create proudly out of the
freedom and power of his soul,
as the great artificer whose
name he bore, a living thing,
35 new and soaring and beautiful,
impalpable, imperishable.
Su alma se acababa de levantar de la tumba de su adolescencia, apartando de sí sus
vestiduras mortuorias. ¡Sí! ¡Sí!
¡Sí! Encarnaría altivamente en
la libertad y el poder de su
alma, como el gran artífice cuyo
nombre llevaba, en ser vivo,
nuevo y alado y bello, impalpable, imperecedero.
He started up nervously
from the stone-block for he
40 could no longer quench the
flame in his blood. He felt his
cheeks aflame and his throat
throbbing with song. There
was a lust of wandering in his
45
feet that burned to set out for
the ends of the earth. On! On!
h i s h e a r t s e e m e d t o c r y.
Evening would deepen above
50 the sea, night fall upon the
plains, dawn glimmer before
the wanderer and show him
strange fields and hills and
faces. Where?
//S e a r r a n c ó n e r v i o s a m e n t e
de la roca porque no podía
ahogar por más tiempo la llama
de su sangre. Sentía las mejillas
abrasadas y que en la garganta le
palpitaba un canto. Y sus pies,
ansiosos de errar, pugnaban por
partir hacia los confines del mundo. ¡Adelante! ¡Adelante!, tal era
el grito de su corazón. El atardecer descendería sobre el mar, la
noche caería sobre las llanuras,
[195] y la aurora brillaría ante el
errabundo y le mostraría campos
extraños y colinas y rostros.
¿Dónde?
55
63. Howth: the north-east headland of Dublin Bay.
Howth A place of cliffs, bays and woodland, with a famous
castle.
• seawrack seaweed that has been cast up on shore.
He looked northward
towards Howth. The sea had
fallen below the line of
seawrack on the shallow side
60
of the breakwater and already
the tide was running out fast
along the foreshore. Already
one long oval bank of sand
65 lay warm and dry amid the
wavelets. Here and there warm
isles of sand gleamed above the
X
212
Miró hacia el norte, en dirección
a Howth. El mar había ya dejado al descubierto la línea de
algas en la rampa del
rompeolas y la marea
descendía de nuevo play a a b a j o . Ya había quedado descubierto un largo y ovalado banco de arena que
yacía ahora enjuto y oreado entre el agua
rizada del reflujo. Ac á y allá brillaban tibios islotes cercados de
Joyce’s Portrait
teso 1. p. p. irreg. de tesar1. 2. adj. tieso. 3. Arq. V.
lima tesa. 4. m. Colina baja que tiene alguna extensión llana en la cima. 5. Pequeña salida en
una superficie lisa. 6. Áv. Cada una de las divisiones del rodeo en las ferias. 7. Tol. Sitio en
que se efectúa la feria de ganados.
shallow tide and about the isles
and around the long bank and
amid the shallow currents of
the beach were lightclad
5
figures, wading and delving.
agua somera, y formas vestidas
de claro circulaban vadeando y
removiendo en la arena por los
canalillos del reflujo, entre los
islotes y el teso.
Inca few moments he was
barefoot, his stockings folded
10 in his pockets and his canvas
shoes dangling by their knotted
laces over his shoulders and,
picking a pointed salt-eaten
stick out of the jetsam among
15 the rocks, he clambered down
the slope of the breakwater.
En un abrir y cerrar de ojos
se descalzó, se metió las medias en los bolsillos y se colgó
del hombro los zapatos de
lona, atándolos por los cordones. Cogió un palo puntiagudo
abandonado por el mar y roído
por las sales, y descendió por
la rampa del rompeolas.
There was a long rivulet in
the strand and, as he waded
slowly up its course, he
wondered at the endless drift
of seaweed. Emerald and black
and russet and olive, it moved
beneath the current, swaying
and turning. The water of the
rivulet was dark with endless
drift and mirrored the highdrifting clouds. The clouds
were drifting above him
silently and silently the
seatangle was drifting below
him and the grey warm air was
still and a new wild life was
singing in his veins.
//Corría un largo arroyuelo por la
arena y mientras lo vadeaba lentamente, lentamente, admiró el
fluir interminable de las algas.
Negras y esmeralda, bermejas y
verde oliva, derivaban en la corriente, ondeaban con giros y con
juegos. El agua del arroyuelo
negreaba de aquel fluir inacabable y en ella se reflejaban las nubes que pasaban a la deriva por
el cielo alto. Arriba, el derivar silencioso de las nubes; abajo, el
silencioso fluir de las algas de
mar; el aire gris, tibio aún; y en
sus venas, la canción nueva y
salvaje de la vida.
Where was his boyhood
now? Where was the soul that
40 h a d h u n g b a c k f r o m h e r
destiny, to brood alone upon
the shame of her wounds and
in her house of squalor and
subterfuge to queen it in faded
45
cerements and in wreaths that
withered at the touch? Or
where was he?
¿Dónde estaba ahora su adolescencia? ¿Dónde estaba el alma
que había reculado ante su destino para cavilar a solas sobre su
propia miseria y para coronarla
allá en su morada de sordidez y
subterfugios, envuelta en un lívido sudario, con guirnaldas, marchitas ya al primer roce? ¿Dónde,
dónde estaba?
He was alone. He was
unheeded, happy and near to
the wild heart of life. He was
alone and young and wilful and
wildhearted, alone amid a waste of
55 wild air and brackish [salty]
waters and the sea-harvest of
shells and tangle and veiled
grey sunlight and gayclad
lightclad figures of children and
60
girls and voices childish and
X
girlish in the air.
Solo. Libre, feliz, al lado del
corazón salvaje de la vida . E s taba solo y se sentía lleno
de voluntad, con el corazón salvaje, solo en un desierto de aire
libre y de agua amarga, entre la
cosecha marina de algas y de conchas; solo en la luz velada y [ 1 9 6 ]
g r i s d e l s o l , e n t r e f o r m a s g a ya s ,
claras, de niños y de doncellitas,
entre gritos infantiles y voces de
muchachas _________.
climb with hands
and feet, esp. with difficulty or
laboriously;; trepar sobre algo, subir
clamber over/up sth
gateando sobre algo
wade vadear con dificultad
wade v. 1 intr. walk through water
or some impeding medium e.g. 20
snow, mud, or sand. 2 intr. make
one’s way with difficulty or by force. 3 intr. (foll. by through) read (a
book etc.) in spite of its dullness
etc. 4 intr. (foll. by into) colloq.
attack (a person or task) vigorously.
5 tr. ford (a stream etc.) on foot. 25
30
35
her house of squalor and subterfuge to queen it in faded
cerements The language reflects his own poverty
and the way he ‘buried’ himself in the grave clothes
of religious observance.
He was alone His isolation is stressed, but note the
repetitions of this paragraph, the repetitions of
ecstasy.
brackish (of water etc.) slightly salty
a girl stood before him... This superb picture, imbued
with the bird imagery which characterizes the flight
of Stephen’s imagination and the hope for his future,
is at once poetic and mystical.
50
A girl stood before him
Una muchacha estaba ante él,
en medio de la corriente, mirando sola y tranquila mar afuera.
Parecía que un arte mágico le die-
65 in midstream, alone and still,
gazing out to sea. She
seemed like one whom magic
213
Joyce’s Portrait
had changed into the likeness
of a strange and beautiful
seabird. Her long slender
bare legs were delicate as a
crane’s and pure save where
an emerald trail of seaweed
had fashioned itself as a sign
upon the flesh. Her thighs,
fuller and soft-hued as ivory,
were bared almost to the
hips, where the white fringes
of her drawers were like
feathering of soft white
down. Her slate-blue sk i r t s
were kilted boldly about
her waist and dovetailed
b e h i n d h e r. H e r b o s o m w a s
a s a b i r d ’s , s o f t a n d s l i g h t ,
slight and soft as the
breast of some darkplumaged dove. But her
long fair hair was girlish:
and girlish, and touched
with the wonder of mortal
b e a u t y, h e r f a c e .
ra la apariencia de un ave de mar
bella y extraña. Sus piernas desnudas y largas eran esbeltas
como las de la grulla y sin macha,
salvo allí donde el rastro esmeralda de un alga de mar se había
quedado prendido como un signo sobre la carne. Los muslos
más llenos, y de suaves matices
de marfil, estaban desnudos casi
hasta la cadera, donde las puntillas blancas de los pantalones fingían un juego de plumaje suave
y blanco. La falda, de un azul pizarra, la llevaba despreocupadamente recogida hasta la cintura
y por detrás colgaba como la cola
de una paloma. Su pecho era
como el de un ave, liso y delicado, delicado y liso como el de
una paloma de plumaje oscuro.
Pero el largo cabello rubio era el
de una niña; y de niña, y sellado
con el prodigio de la belleza mortal, su rostro.
She was alone and still,
she felt his presence and the
worship of his eyes her eyes
turned to him in quiet
sufferance of his gaze, without
shame or wantonness. Long,
long she suffered his gaze and
then quietly withdrew her eyes
from his and bent them
towards the stream, gently
stirring the water with her
foot hither and thither. The
fi rst faint noise of gently
moving water broke the silence,
low and faint and whispering,
faint as the bells of sleep;
hither and thither, hither and
thither; and a faint flame
trembled on her cheek.
Estaba sola e inmóvil mirando mar adentro, y cuando sintió
la presencia y la adoración de los
ojos de Stephen, los suyos se volvieron hacia él, soportando tranquilamente aquella mirada, ni
vergonzosos ni provocativos. Estuvo así largo tiempo, y luego,
imperturbable, retiró sus ojos de
los de él y, dirigiéndolos hacia la corriente, se puso a
menear despacito el agua, acá
y allá, con los pies. El primer
rumor del agua dulcemente removida rompió el silencio, suave, tenue, susurrante, tenue como
las campanas de un ensueño. Acá
y allá, acá y allá. Y una llamita
imperceptible temblaba en las
mejillas de la muchacha.
—Heavenly God! cried
Stephen’s soul, in an outburst
of profane joy.
—¡Dios del cielo! —exclamó
el alma de Stephen en un estallido de pagana alegría.
He turned away from her
suddenly and set off across
the strand. His cheeks were
aflame; his body was aglow;
60
his limbs were trembling. On
and on and on and on he
strode, far out over the
sands, singing wildly to the
65 s e a , c r y i n g t o g r e e t t h e
advent of the life that had
cried to him.
Se apartó súbitamente de ella
y echó a andar playa adelante. Tenía las mejillas encendidas; el
cuerpo, como una brasa; le temblaban los miembros. Y avanzó
adelante, adelante, adelante, playa afuera, cantándole un canto
salvaje al mar, [197] voceando
para saludar al advenimiento de
la vida, cuyo llamamiento acababa de recibir.
5
10
15
20
25
30 gazing out to sea; and when
35
40
45
faint as the bells of sleep Another echo stretching back
into childhood (‘Dingdong! The castle bell! Farewell
my mother!’). The second line is particularly relevant
here, since Stephen’s decision involves leaving his
mother, spiritually and, later, in the flesh.
50
55
214
Joyce’s Portrait
Her image had passed into
his soul for ever and no word
had broken the holy silence of
5
h i s e c s t a s y. H e r e y e s h a d
called him and his soul had
leaped at the call. To live, to
e r r, to fall, to triumph, to
10 recreate life out of life! A
wild angel had appeared to
him, the angel of mortal youth
and beauty, an envoy from the
fair courts of life, to throw
15 open before him in an instant
of ecstasy the gates of all the
ways of error and glory. On
and on and on and on!
20
La imagen de la muchacha había penetrado en su alma para
siempre y ni una palabra había roto
el santo silencio de su éxtasis. Los
ojos de ella le habían llamado y su
alma se había precipitado al llamamiento. ¡Vivir, errar, caer, triunfar,
volver a crear la vida con materia
de vida! Un ángel salvaje se le había aparecido, el ángel de la juventud mortal, enviado por el tribunal
estricto de la vida para abrirle de
par en par, en un instante de éxtasis, las puertas de todos los caminos del error y de la gloria. ¡Adelante! ¡Adelante! ¡Adelante!
He halted suddenly and
heard his heart in the
silence. How far had he
walked? What hour was it?
Se detuvo, de súbito, y oyó en
el silencio el zumbido de su corazón. ¿Hasta dónde había caminado? ¿Qué hora era?
There was no human figure
near him nor any sound borne
to him over the air. But the
tide was near the turn and
30 already the day was on the
wane. He turned landward and
ran towards the shore and,
running up the sloping beach,
35 reckless of the sharp shingle,
found a sandy nook amid a
ring of tufted sandknolls and
lay down there that the peace
and silence of the evening
40 m i g h t s t i l l t h e r i o t o f h i s
blood.
No había persona alguna cerca de él; ni el más leve son le
traía el aire. Mas la marea iba a
comenzar a subir y el día menguaba. Se volvió hacia tierra y
echó a correr por la playa hasta
la rampa del rompeolas; la escaló a toda prisa, sin preocuparse
de los cortantes guijarros y, encontrando un hoyo en la arena
rodeado de lomillas entre matas
de vegetación, se tendió allí para
ver si la paz y el silencio del atardecer conseguían aplacar el tumulto de su sangre.
He felt above him the vast
indifferent dome and the calm
45
processes of the heavenly
bodies; and the earth beneath
him, the earth that had borne
him, had taken him to her
50 breast.
Sentía sobre él la gran cúpula indiferente del cielo y el
reposado avance de los cuerpos celestes; y, debajo, la tierra, la tierra que le había engendrado, le tenía cobijado en
el seno.
He closed his eyes in the
languor of sleep. His eyelids
trembled as if they felt the vast
55 cyclic movement of the earth
and her watchers, trembled as
if they felt the strange light of
some new world. His soul was
swooning into some new
60
world,
fantastic,
dim,
uncertain as under sea,
traversed by cloudy shapes
and beings. A world, a
65 g l i m m e r o r a f l o w e r ?
Glimmering and trembling,
trembling and unfolding, a
Cerró los ojos, adormilado.
Le temblaban los párpados
como si sintieran el gran movimiento cíclico de la tierra y
de sus satélites, como si sintieran la luz extraña de un
mundo nuevo. Su alma se iba
hundiendo en aquel mundo
desconocido, fantástico, vago
como las profundidades submarinas, surcado por formas y
seres de niebla. ¿Era un mundo, una luz vaga o una flor?
Brillo y temblor, temblor y flujo, luz en aurora, flor que se
25
tuft mechón, porción de pelos, hebras o
hilos, separada de un conjunto de la
misma clase, mata, fronda, penacho,
or animal) having a usually ornamental
tuft or process on the head; often used
in combination; “golden crested”;
“crested iris”; “crested oriole”; “tufted
duck”; “tufted loosestrife”
2 tufted having or adorned with tufts; “a
tufted bedspread”
3 caespitose, cespitose, tufted of plants)
A world, a glimmer or a flower? A superb poetic conveying
of ecstasy, a mood of exaltation at the richness of
experience and the beauty of life. Here the repetitions
are those of the moments before sleep.
215
Joyce’s Portrait
breaking light, an opening
flower, it spread in endless
succession to itself, breaking
in full crimson and unfolding
5
and fading to palest rose, leaf
by leaf and wave of light by
wave of light, flooding all the
heavens with its soft flushes,
10 every flush deeper than the
other.
abre, manaba continuamente de
sí mismo en una sucesión indefinida, hasta la plenitud neta
del rojo, hasta el desvanecimiento de un rosa pálido, hoja
a hoja, y onda de luz a onda de
luz, para inundar el cielo todo
de sus [198] dulces tornasoles,
a cada matiz más densos, a
cada oleada más ocuros.
Evening had fallen
when he woke and the sand
15 a n d a r i d g r a s s e s o f h i s b e d
g l o w e d n o l o n g e r. H e r o s e
slowly and, recalling the
rapture of his sleep, sighed
a t i t s j o y.
Cuando se incorporó, la tarde había caído ya. La arena y las
plantas raquíticas de su lecho ya
habían perdido su dulce calor. Se
levantó lentamente y, al recordar
el gozo arrobado de su sueño, suspiró.
He climbed to the crest of
the sandhill and gazed about
him. Evening had fallen. A rim
25 of the young moon cleft the
pale waste of skyline, the rim
of a silver hoop embedded in
grey sand; and the tide was
flowing in fast to the land with
30 a low whisper of her waves,
islanding a few last figures in
distant pools.
Trepó hasta la cresta de la colina de arena y miró en derredor.
La tarde se había hundido. El borde de la luna nueva rasgaba la pálida aridez del horizonte, tal un
aro de plata a medio enterrar en
la arena; y el flujo de la marea
trepaba tierra adelante y aislaba,
allá lejos, algunas figuras humanas diseminadas aún por la playa
entre los últimos charcos.
20
the rim of a silver hoop embedded in grey sand This
whole section is a poetic flow of consciousness, of
mood expressed through images.
35
40
45
50
55
60
65
216
Joyce’s Portrait
5
10
bog 1 a wet spongy ground. b a stretch of such ground.
Pantano, ciénaga,
15
20
docket n. & v. — n. 1Brit. a a document or label listing
goods delivered or the contents of a package, or
recording payment of customs dues etc. b a voucher
(vale, bono, título) ; an order form
marbete es cédula o papel manuscrito que se adhiere
a ropas, equipajes, frascos etc.
1. Daly or MacEvoy: assumed names for the pawnshop.
25
Buskins Boots reaching to the calf or the knee.
30
louse marks Note the way the sordid is contrasted with
the ecstatic of the previous section.
Cinco
He drained his third cup of
watery tea to the dregs and set
to chewing the crusts of fried
bread that were scattered near
him, staring into the dark pool
of the jar. The yellow dripping
had been scooped out like
a boghole and the pool
under it brought back to
h i s memory the dark turfcoloured water of the bath
in Clongowes. Th e b o x o f
pawn tickets at his elbow
had just been rifled and he
took up idly one after
another in his greasy
fingers the blue and white
dockets, scrawled and
sanded and creased and
bearing the name of the
pledger
as
Daly
or
MacEvoy.
Apuró hasta el fondo la tercera taza de té aguado y se dedicó a roer las cortezas de pan frito que yacían diseminadas alrededor, mientras contemplaba fijamente el negro hoyo del tarro.
El unto amarillento había sido
excavado en él formando como
un hoyo en tierra pantanosa; la
contemplación de aquella sima le
trajo a la memoria el recuerdo del
agua terrosa y oscura que había
en el baño de Clongowes. Una
caja, recientemente revuelta, de
papeletas de empeño, yacía junto a su brazo; fue cogiendo mecánicamente con sus dedos manchados de grasa aquellos papelitos, blancos y azules, llenos de
dobleces y de arena, mal
garrapateados con la firma de
un prestamista: Daly o Mac Evoy.
1
1
3
1
Pair Buskins.
D. Coat.
Articles and White.
Man’s Pants.
1 par de borceguíes.
1 abrigo.
3 varios y blanca.
1 pantalones caballero.
Then he put them aside
a
n
d
gazed thoughtfully at
35
the lid of the box, speckled
with louse marks, and asked
vaguely:
Después los puso a un lado y se quedó contemplando pensativamente la tapa
de la caja, manchada con huellas de insectos; y, por fin, preguntó indiferentemente:
—How much is the clock
fast now?
His mother straightened
the battered alarm clock that
45
was lying on its side in the
middle of the mantelpiece
until its dial showed a quarter
to twelve and then laid it once
50 more on its side.
—¿Cuánto adelanta ahora el
reloj? [199]
[200]
Su madre enderezó el destartalado despertador que yacía
tumbado sobre la repisa de la
chimenea, hasta que se pudo ver
la esfera que señalaba las doce
menos cuarto, y luego lo volvió
a colocar como antes.
—An hour and twentyfive minutes, she said. The
right time now is twenty past
55 t e n . T h e d e a r k n o w s y o u
might try to be in time for
your lectures.
—Una hora y veinticinco minutos —contestó—. Date prisa,
por Dios, si quieres
llegar a tiempo a clase.
—Fill out the place for me
to wash, said Stephen.
—Que me llenen la palangana para lavarme.
—Katey, fill out the place
for Stephen to wash.
—Katey, prepara la palangana para que se lave Stephen.
—Boody, fill out the place
for Stephen to wash.
—Boody, prepara la palangana para que se lave Stephen.
40
2. The dear knows: God knows. The Irish words for ‘God’
and ‘deer’ were the same (Fiadh); to avoid speaking
God’s name, the word for ‘deer’ was used instead.
In its passage to English, ‘deer’ became ‘dear’.
The dear Mrs Dedalus always observing her religion,
cannot bring herself to say ‘the dear Lord’.
Chapter 5
60
65
217
Joyce’s Portrait
3. I’m going for blue: she is going out to get blue, a
laundry powder.
I’m going for blue Blue is a substance used by
laundresses; the girl is obviously going out to get
some to wash the clothes.
going for blue: working as hard as possible (alternatively,
«bluing» is used in washing clothes)
—I can’t, I’m going for
blue. Fill it out, you, Maggy.
—No puedo. Tengo que ir
por añil. Prepárala tú, Maggy.
When the enamelled basin
had been fitted into the well
of the sink and the old
washing glove flung on the
10 s i d e o f i t h e a l l o w e d h i s
mother to scrub his neck and
root into the folds of his ears
and into the interstices at the
wings of his nose.
Por fin colocaron una jofaina esmaltada en el hueco del
vertedero, en unión de un
guante viejo de baño, y
Stephen dejó que su madre le
restregara bien el cuello, y le
escarbara entre los repliegues
de las orejas y en los huecos
de la nariz.
5
15
— We l l , i t ’s a p o o r
case, she said, when a
university student is so
dirty that his mother has
20
to wash him.
—Es verdaderamente un
caso lastimoso —dijo la madre— el de todo un estudiante
de universidad, tan sucio, que
su madre le tiene que lavar.
—But it gives you pleasure,
said Stephen calmly.
—Pero, ¡si te gusta! —contestó tranquilamente Stephen.
An ear-splitting whistle
was heard from upstairs and
his mother thrust a damp
overall into his hands,
30 saying:
Un silbido desgarrante sonó
en el piso de arriba, y la madre de
Stephen le puso en las manos a
toda prisa un mandil húmedo, diciendo:
—Dry yourself and hurry
out for the love of goodness.
—Sécate y vete más que a
paso, por el amor de Dios.
A second shrill whistle,
prolonged angrily, brought one
of the girls to the foot of the
staircase.
Un segundo silbido prolongado por la cólera, hizo que una de
las muchachas se asomara al pie
de la escalera.
25
35
40
—¿Qué quiere, padre?
—Yes, father?
45
—¿Se ha ido por fin ese marmota de tu hermano?
—Is your lazy bitch of a
brother gone out yet?
—Yes, father.
—Sí, padre.
—Sure?
—¿De verdad?
—Yes, father.
—Sí, padre.
—Hm!
—¡Jem!
50
55
60
The girl came back,
m a ki ng si gns t o hi m to be
quick and go out quietly by
the back. Stephen laughed
and said:
La muchacha volvió haciéndole señas para que se diera prisa
y saliese sin hacer ruido por la
puerta de atrás. Stephen se echó
a reír y dijo:
—He has a curious idea of
genders if he thinks a bitch is
masculine.
—¡Sí que tiene una buena
idea de los géneros si piensa que
marmota es masculino!
[201]
—Es una vergüenza y un
bochorno, Stephen, y ya
65
—Ah, it’s a scandalous
shame for you, Stephen, said
218
Joyce’s Portrait
his mother, and you’ll live to
rue the day you set your foot
in that place. I know how it has
changed you.
llorarás el día en que pusiste los pies en tal sitio.
Bien se te ve cómo te me
han cambiado allí.
—Good
morning,
e v e r y b o d y, s a i d S t e p h e n ,
smiling and kissing the tips of
10 his fingers in adieu.
—Adiós a todo el mundo —
dijo Stephen sonriendo y besándose las puntas de los dedos
como despedida.
The lane behind the
terrace was waterlogged
and as he went down it
15 slowly, choosing his steps
amid heaps of wet rubbish,
he heard a mad nun
screeching in the nuns’
madhouse beyond the wall.
La callejuela a la espalda de
la terraza estaba llena de agua y
para bajar por ella tuvo que ir fijándose dónde pisaba y poniendo
los pies sobre los montones de
basura húmeda. Una monja chillaba al otro lado del muro en el
manicomio para religiosas.
5
soggy, soaked with water, empapada
4. nuns’ madhouse beyond the wall: St Vincent’s Lunatic
Asylum in Fairview, run by nuns. The Dedalus
family’s new abode corresponds to the Joyce family
address at 8 Royal Terrace in Fairview.
20
—Jesus! O Jesus! Jesus!
—¡Jesús! ¡Ay, Jesús! ¡Jesús!
He shook the sound out of
25 his ears by an angry toss of his
moulder v. intr. (US molder) 1 decay to
dust. 2 (foll. by away) rot or crumble. 3
deteriorate.
deleznable 1. adj. Que se rompe, disgrega o deshace fácilmente. 2. Que se
desliza y resbala con mucha facilidad.
3. fig. Poco durable, inconsistente, de
poca resistencia.
30
35
40
45
5. Gerhart Hauptmann: German author (r862-1946).
Women in his plays tended to be of the pallid-pathetic
school.
Gerhart Hauptmann (1862-1946) German dramatist in
whom Joyce was greatly interested. Stephen is
thinking of the romantic facets of Hauptmann’s work.
• Gerhart Hauptman (1862-1946/ a naturalist who treated
serious subjects /such as alcoholism) in a raw,
down-to-earth way.
6. the sloblands of Fairview: the tidal flats where the
Tolka river enters Dublin Bay. Now reclaimed land,
much of the infill was provided by the debris left by
the Rising of 1916.
sloblands Marshes.
sloblands: local term for a particular trashy area of tidal
flatland
cloistral silver-veined prose of Newman The number of
references to Newman -and their tone - shows what
a deep impression he made on Joyce.
7. prose o f Newman: the delicacy of Newman’s prose is
his counteragent to the sloblands.
head and hurried on, stumbling
through the mouldering offal, X
his heart already bitten by an
ache of loathing and bitterness.
His father ’s w h i s t l e , h i s
m o t h e r ’s m u t t e r i n g s , t h e
screech of an unseen maniac
were to him now so many
voices
o ff e n d i n g
and
threatening to humble the pride
of his youth. He drove their
echoes even out of his heart
with an execration; but, as he
walked down the avenue and
felt the grey morning light
falling about him through the
dripping trees and smelt the
strange wild smell of the wet
leaves and bark, his soul was
loosed of her miseries.
The rain-laden trees of
the
avenue evoked in him, as
50
always, memories of the girls
and women in the plays of
Gerhart Hauptmann ; and
the memory of their pale
55 sorrows and the fragrance
falling from the wet branches
mingled in a mood of quiet
joy. His morning walk across
the city had begun, and he
60
foreknew that as he passed
the sloblands of Fairview
he w o u l d t h i n k o f t h e
cloistral silver-veined
65 prose of Newman; that as he
walked along the North
Strand Road, glancing idly at
X
219
Sacudió, molesto, la cabeza
para arrojar de sus oídos aquellas
voces, y se apresuró a tropezones
por entr e la basura corrompida.
___________________________
___________________________
El s i l b i d o d e s u p a d r e , l a s
reconvenciones de su madre, los
al a r i d o s d e l a l o c a o c u l t a t r a s
la pared, eran otras tantas
voces que herían y trataban
de abatir el orgullo de su juv e n t u d . Arrojó de su corazón,
maldiciéndolos, hasta los ecos de
aquellas voces. Pero cuando comenzó
a bajar por la avenida y vio cómo descendía en torno a él la luz gris y mañanera
filtrada a través de los árbo l e s
g o t e a n t e s , cuando percibió el
olor selvático y extraño de las hojas y de las
cortezas húmedas, entonces su alma se
sintió libre de todas sus miserias.
Los árboles cargados de lluvia de la avenida le evocaban,
como siempre, un recuerdo de las
muchachas y las mujeres de las
obras de Gerhart Hauptmann, las
pálidas tristezas de estos seres
y la fragancia que caía de las hojas húmedas se le mezclaban en
una espcie de reposada alegría.
Su paseo matinal a través de la
ciudad había comenzado y ahora sabía ya de antemano que al
pasar por los pantanos de
Fairview había de pensar en la
prosa claustral y veteada de plata de Newman; que al pasear lanzando miradas ociosas a los escaparates de las tiendas de co-
Joyce’s Portrait
8. Guido Cavalcanti: Italian poet (1259-1300) whose
famous poetic style, developed for the expression
of pure feeling, would be a contrast to the cheap
world of commerce and provision shops.
Guido Cavalcanti (1250-1300) Italian poet, celebrated
for the style of his romantic love poetry.
• Guido Cavalcanti Dante’s fellow poet and friend.
9. Talbot Place . . . Ibsen: Henrik Ibsen (1828-r9o6), the
great Norwegian dramatist, one of Joyce’s mentors.
Joyce wrote an essay on Ibsen’s drama in 1900 and
remarked that in When We Dead Awaken, the
sculptor Rubek’s wife (awakened from her spiritual
death) is ‘as a breath of keen air’. This may be the
association with the stonecutter’s works. But part of
the meaning of this programmed journey to the
university, with all its attendant associations, is its
privacy. Stephen is creating an imaginative world that
runs parallel to the actual world he inhabits.
Ibsen (1828-1906) A Norwegian dramatist who had a
great influence on the young Joyce, who wrote an
essay on him. Ibsen was, as Joyce became, an exile.
10. Ben Jonson . . . 1 was not wearier where 1 lay: Ben
Jonson (1572-1637), English poet and dramatist. The
line is from the Epilogue spoken by Aurora in The
Vision of Delight (1617).
Ben Jonson (1573-1637) Famous contemporary of
Shakespeare, he was a poet and dramatist. The line
is from the epilogue to one of his masques, The Vision
of Delight.
mestibles, a lo largo de North
Strand Road, se había de acordar del sombrío humor de Guido
Cavalcanti y sonreír después;
que al pasar por los talleres de
los [202] tallistas en la plaza de
Talbot, el espíritu de Ibsen le
traspasaría como un viento agudo, como un hálito de belleza indomable y juvenil; que al cruzar
frente al tenducho de un comerciante en artículos navales, al
otro lado del Liffey, había de repetir la canción de Ben Jonson,
que comienza:
I w a s n o t w e a r i e r w h e re I
l a y.
No más cansado estaba do yacía...
His mind when wearied of
its search for the essence of
beauty amid the spectral
words of Aristotle or Aquinas
turned often for its pleasure
to the dainty songs of the
Elizabethans. His mind, in the
vesture of a doubting monk,
stood often in shadow
under the windows of that
a g e , t o h ear the grave and
mocking music of the lutenists
or t h e f r a n k l a u g h t e r of
waist-co a t e e r s u n t i l a
laugh
too
low,
a
phrase, tar n i s h e d by
t i m e , of chambering and
false honour stung his
monkish pride and drove him
on from his lurking-place.
Cuando se le cansaba la mente de rebuscar la esencia de la belleza entre las obras espectrales de
Aristóteles o del de Aquino, se
volvía a menudo en busca de placer a las canciones de los poetas
de la época de Isabel. Su espíritu, como un monje escéptico,
gustaba de detenerse en la sombra bajo los ventanales de aquella época, para oír la grave y burlona música de los tañedores de
laúd o las sonoras carcajadas de
las mozas del partido, hasta que
una risotada demasiado plebeya o
una frase oxidada por el tiempo, llena de un pundonor añejo
y falso, herían su orgullo
monástico y le hacían apartarse de su escondite.
20
25
30
11. waist-coateers: prostitutes.
waist-coateers Low-class prostitutes.
waistcoateers: prostitutes (Elizabethan term)
35
tarnish 1 a a loss of lustre. b a film of colour formed on
an exposed surface of a mineral or metal. 2 a blemish;
a stain. empañar, deslustrar
12. chambering: sexual promiscuity.
chambering Licentiousness.
chambering: wanton sexual indulgence (Elizabethan
term) chambering: wanton sexual indulgence
(Elizabethan term)
the windows of the provision
shops, he would recall the
dark humour of Guido
Cavalcanti and smile; that as
5
he
went
by
B a i r d ’s
stonecutting works in Talbot
Place the spirit of Ibsen
would blow through him like
10 a k e e n w i n d , a s p i r i t o f
wayward boyish beauty; and
that passing a grimy marine
d e a l e r ’s s h o p b e y o n d t h e
Liffey he would repeat the
15 song by Ben Jonson which
begins:
40
X
X
The lore which he was
believed to pass his days
brooding upon so that it had rapt
him from the companionship of
youth was only a garner of
slender
sentences
from
50
Aristotle’s
poetics
and
psychology and a SYNOPSIS
Toda aquella ciencia con la
que suponían que él llenaba sus
horas y que le había apartado de
sus camaradas de juventud, se
reducía a un almacén d e
máximas de la poética y la
psico l o g í a d e A r i s t ó t e les
y
a
una
Synopsis
Philosophiae Scholasticae ad
mentem divi Thomae. Su pensamiento era como un crepúsculo de duda y de desconfianza propia, alumbrado acá y allá por los
relámpagos de la intuición, pero
relámpagos de tan diáfana claridad, que en aquellos instantes el
mundo se deshacía bajo sus pies,
como si hubiera sido consumido
por el fuego; después su lengua
se anudaba y sus ojos permanecían mudos ante las miradas de
los demás, porque se sentía en-
45
13. Aristotle’s poetics and psychology: Stephen’s
acquaintance with Aristotle derives from a textbook
selection of the Poetics and of the treatises De Anima (Of the Soul) and De Sensu (Of the Senses).
Aristotle (385-322 BC) Chief writings were The Politics
and The Poetics. He greatly influenced philosophers
and theologians of all times.
14. Synopsis Philosophies , . . Thomoe: A Synopsis of
Scholastic Philosophy for the Understanding of St
Thomas. This may be a version of Elementa
Philosophise ad mentem D. Thomae Aquinatis, ed.
G. M. Mancini (Rome, 1898). (A)
Synopsis Philosophise A reference to the writings of St
Thomas Aquinas.
• Synopsis Philosophiae Scholasticae ad mentem divi
Thomae Summary of the Philosophy and Academic
Opinions of Saint Thomas.
PHILOSOPHIAE SCHOLASTICAE
AD MENTEM DIVI THOMAE. His
55 thinking was a dusk of doubt
and self-mistrust, lit up at
moments by the lightnings of
intuition, but lightnings of so
clear a splendour that in those
60
moments the world perished
about his feet as if it had been
fire-consumed; and thereafter
his tongue grew heavy and he
65 met the eyes of others with
unanswering eyes, for he felt
that the spirit of beauty had
220
grimy adj sucio,-a, mugriento: he wore a
grimy coat, llevaba un abrigo mugriento
garner 1 a : GRANARY b : a grain bin 2 : something that
is collected : ACCUMULATION: an archaic word for: 3
(archaic) a place for storage or safekeeping
1 a : to gather into storage b : to deposit as if in a
granary <volumes in which he has garnered the fruits
of his lifetime labors — Reinhold Niebuhr> 2 a : to
acquire by effort : EARN b : ACCUMULATE, COLLECT
Joyce’s Portrait
• hoardings board fence pasted up with lots of
advertisements.
hoardings: billboards
vuelto como en un manto en el
espíritu de la belleza —y en contacto, aunque sólo fuera en sueños, con todo lo noble. Pero
cuando le abandonaban estos
breves raptos de silencioso orgullo, se sentía contento de hallarse entre las otras vidas vulgares,
de seguir su camino impávido
[203] y con alegre corazón a través de la miseria, el bullicio y la
indolencia de la ciudad.
15
Near the hoardings on the
canal he met the consumptive
man with the doll’s face and the
brimless hat coming towards
him down the slope of the bridge
with little steps, tightly buttoned
into his chocolate overcoat, and
holding his furled umbrella a
span or two from him
like a divining rod. It
must be eleven, he
thought, and peered into a
dairy to see the time. The clock
in the dairy told him that it was
five minutes to five but, as he
turned away, he heard a clock
somewhere near him, but
unseen, beating eleven strokes
in swift precision. He laughed
as he heard it for it made him
think of McCann, and he saw
him a squat figure in a
shooting jacket and breeches
and with a fair goatee,
standing in the wind at
Hopkins’ corner, and heard
him say:
Cerca de la empalizada del
canal se cruzó con el tísico de
la cara de muñeco y el sombrero sin alas, que muy abrochado en su abrigo color chocolate, ba j a b a p o r l a r a m p a
d e l p u e n t e e m p u ñ a n d o la
enrollada sombrilla a poca distancia de su cuerpo, como si
fuera la varilla de un adivino.
Deben de ser las once, pensó, y echó un vistazo en una lechería para ver la hora. El reloj de la lechería le dijo que
eran las cinco menos cinco,
pero, al volverse, la campana
de un reloj invisible, pero cercano, dio once golpes apresurados, precisos. Se rió al oírlos porque le hicieron acordarse de McCann y hasta vio la silueta del propagandista que, encogido
dentro de una chaqueta de caza y con
pantalones de montar y perilla r u bia, parado al viento en la
esquina de Hopkins, le
decía:
—Dedalus, you’re an
antisocial being, wrapped up in
yourself. I’m not. I’m a
democrat and I ‘Il work and act
50 for social liberty and equality
among all classes and sexes in
the United States of the
Europe of the future.
—Dédalus, usted es un ser
antisocial, un ser envuelto en su
propio egoísmo. Yo no. Yo soy
demócrata y he de trabajar en
favor de la libertad social y de
la igualdad de clases y de sexos
en los Estados Unidos de la Europa futura.
55
¡Las once! ¡Ya era también
hoy tarde para clase! ¿Qué día de
la semana era? Se paró ante un
puesto de periódicos para leer la
primera línea de un anuncio.
Jueves. De diez a once, inglés;
de once a doce, francés; de
doce a una, física. Se imaginó
la clase de inglés y se sintió,
aun a distancia, descompuesto
y deprimido. Veía las cabezas
de sus compañeros inclinadas
consumptive man with the doll’s face... Even in a
sentence or two, a fine example of how the unusual
or the grotesque makes its impact upon Stephen’s
consciousness.
20
25
peered :looked keenly
30
35
15. MacCann: this character is modelled on Francis
Sheehy-Skeffington (1878-1916), a contemporary of
Joyce at University College. Skeffington was an
ardent pacifist, feminist and believer in the possibility
of universal peace. He was murdered by a British
army officer in 1916.
goatee A beard.
folded him round like a
mantle and that in revery at
least he had been acquainted
with nobility. But when this
5
brief pride of silence upheld
him no longer he was glad to
find himself still in the midst
of common lives, passing on
10 his way amid the squalor and
noise and sloth of the city
fearlessly and with a light
heart.
40
16. Hopkins’ corner: Hopkins and Hopkins was a
jeweller’s and watchmaker’s shop at the southern
end of Lower Sackville (now O’Connell) Street.
45
17. United States of Europe of the future: a characteristic
passion of Skeffington. The English journalist William
Thomas Stead (1849-1912) published a book The
United States of Europe in 1899.
Eleven! Then he was late
for that lecture too. What day
of the week was it? He
stopped at a newsagent’s to
read the headline of a placard.
60
T h u r s d a y. Te n t o e l e v e n ,
English; eleven to twelve,
French; twelve to one,
physics. He fancied to himself
65 the English lecture and felt,
even at that distance, restless
and helpless. He saw the heads
221
span A 1 (de las alas) envergadura (de
la mano) palmo 2 (de tiempo) lapso,
espacio 3 Arquit (de un puente, etc)
the bridge has a span of 100 metres,
el puente tiene 100 metros de largo
4 Arquit arco a bridge with four spans,
un puente con cuatro ojos
B 1 (un arco, puente, etc) cruzar 2
(en el tiempo) abarcar 3 pareja de
caballería
Joyce’s Portrait
18. nominal definitions, essential definitions: a distinction
Aristotle makes in his Posterior Analytics, nominal
referring to descriptions of effect and essential to
analysis of cause.
squarely 1 (= directly) directamente 2
(= honestly, fairly) justamente
a priest-like face The priestly associations with Cranly
indicate his role for Stephen - he hears his artistic
confessions.
of his classmates meekly bent
as they wrote in their notebooks
the points they were bidden to
note, nominal definitions,
5
essential definitions and
examples or dates of birth or
death, chief works, a
favourable
and
an
unfavourable
criticism
side
by
10
side. His own head was unbent
for his thoughts wandered
abroad and whether he looked
around the little class of
15 students or out of the window
across the desolate gardens of
the green an odour assailed
him of cheerless cellar-damp
and decay. Another head than
20
his, right before him in the
first benches, was poised
squarely above its bending
fellows like the head of a
25 p r i e s t a p p e a l i n g w i t h o u t
humility to the tabernacle for
the humble worshippers about
him. Why was it that when he
thought of Cranly he could
30 never raise before his mind the
entire image of his body but
only the image of the head and
face? Even now against the
35 grey curtain of the morning he
saw it before him like the
phantom of a dream, the face
of a severed head or deathmask, crowned on the brows
40 by its stiff black upright hair
as by an iron crown. It was a
priest-like face, priest-like in
its palor, in the wide winged
nose, in the shadowings below
45
the eyes and along the jaws,
priest-like in the lips that were
long and bloodless and faintly
smiling;
and
Stephen,
remembering
swiftly
how he
50
had told Cranly of all the
tumults and unrest and
longings in his soul, day after
day and night by night, only
55 to be answered by his friend’s
listening silence, would have
told himself that it was the
face of a guilty priest who
heard confessions of those
60
whom he had not power to
absolve but that he felt again
in memory the gaze of its dark
womanish eyes.
dolientemente mientras escribían en sus cuadernos los puntos que les recomendaban anotar: definiciones nominales, definiciones esenciales, ejemplos,
fechas de nacimiento y de
muerte, con las críticas favorables y adversas contrapuestas a
dos columnas. Pero su cabeza
no se inclinaba porque sus pensamientos erraban lejos, y lo
mismo si miraba a sus compañeros de clase, que al jardín desolado que por las ventanas se
veía, le sobrevenía una sensación de olor a humedad triste
de cueva, a vejez. Además de
la suya había otra cabeza,
allá, delante, en los primeros
bancos, que se [204] levantaba, rígida sobre las otras inc l i n a das de sus compañeros,
como la de un sacerdote que rogase orgullosamente ante el tabernáculo en favor de los humilX des fieles prosternados en torno
de él. ¿Cómo era que cuando pensaba en Cranley nunca podía evocar la imagen de todo su cuerpo,
sino sólo la de su cabeza y cara?
Aun ahora, le veía delante de él,
contra la gris cortina de la mañana, como un fantasma de una pesadilla que sólo consistiera en una
cabeza decapitada o en una mascarilla mortuoria, coronadas por
un pelo recio, negro y erizado
como una corona de hierro. Era
una cara de sacerdote, de sacerdote por su palidez, por las anchas
ventanas de la nariz, por los matices de sombra de las ojeras y las
mandíbulas, por aquella sonrisa tenue que erraba sobre los labios anchos y descoloridos. Y Stephen,
al recordar cómo le había él contado a Cranley todos los tumultos
y las inquietudes y los anhelos de
su alma para no recibir más respuesta que el silencio atento de su
amigo, se hubiera dicho ahora que
aquella cara era como la de un
sacerdote culpable que escuchara
la confesión de aquellos a los cuales no tenía la facultad de absolver... se lo hubiera dicho, a no
sentir de pronto otra vez en la
memoria la mirada fija de sus
ojos negros y femeninos.
65
Through this image he had a
glimpse of a strange dark cavern
A través de esta mirada, se
le abrió una extraña y oscura
222
varias de este tipo de palabras tienen un
una equivalencia cabal en las voces castellanas empleadas. Prosternados (kneeling)
que significa arrodillados, inclinados por respeto o postrados podría haber sido usada
por el autor y no lo hizo.
Joyce’s Portrait
diffusing : spreading, shedding, diffusing
caverna de meditaciones, pero
la apartó de su mente comprendiendo que no era todavía
hora de entrar en ella. Mas la
indiferencia de su amigo parecía estarse difundiendo por el aire
como un narcótico, como un vaho tenue y mortal. Y se encontró, de pronto, mirando las palabras casuales que
a su derecha o a su izquierda surgían,
y —estúpidamente maravillado de
que se hubieran desposeído en silencio de todo sentido actual, de tal
modo, que hasta el más insignificante letrero de tienda llegaba a aprisionar su espíritu como si se tratase de
las palabras de un ensalmo; y el alma
se le iba arrugando, suspirante
de puro vieja, mientras avanzaba
por aquella callejuela entre montones de lenguaje muerto. Su
[205] propia c o n c i e n c i a d e l
lenguaje estaba refluyendo
de su cerebro y condensándose en simples palabras
que se ponían a e n l a z a r s e
y d e s e n l a z a r s e c o n ritmos
traviesos:
The ivy whines upon the wall,
And whines and twines upon
the
wall,
35
The yellow ivy upon the wall,
Ivy, ivy up the wall.
La yedra llora en la pared,
llora y se azora en la
p a red,
yedra amarilla en la pared,
yedra, la yedra en la pared.
Did anyone ever hear
drivel?
Lord
Almighty! Who ever heard
of ivy whining on a wall?
Ye l l o w i v y ; t h a t w a s a l l
r i g h t . Ye l l o w i v o r y a l s o .
45
And what about ivory ivy?
¿Qu i é n había oído jamás
despropósito semejante? ¡Dios del cielo! ¿Quién había visto nunca una yedra
que llorase en la pared? Yedra amarilla... bueno, eso estaba bien. O marfil
amarillo también podía haber sido.
Pero, ¿y yedra de marfil?
The word now shone in
his brain, clearer and
50 b r i g h t e r t h a n a n y i v o r y
sawn from the mottled
t u s k s o f e l e p h a n t s . IVORY,
IVOIRE, AVORIO, EBUR. One of
the first examples that he
55 had learnt in Latin had run :
INDIA MITTIT EBUR; a n d h e
recalled the shrewd northern face
of the rector who had taught him
to construe the Metamorphoses
60
of Ovid in a courtly English,
made whimsical by the
mention of porkers and
potsherds and chines of
65 bacon. He had learnt w h a t
little he knew of the laws
of Latin verse from a
La palabra le brillaba ahora
en el cerebro, más clara y más
resplandeciente que todo marfil extraído de los veteados colmillos de los elefantes. Ivory,
ivoire, avorio, ebur. Uno de los
primeros ejemplos que se había aprendido en latín, había
sido: India mittit ebur; y se
acordaba de la astuta cara del
rector que le había enseñado a
traducir las Metamorfosis de
Ovidio en un inglés pulido en
el cual disonaba curiosamente
la m e n c i ó n d e p o r q u e r o s ,
cascos de alfarería y lomos de
cerdo. Lo poco que sabía de
las leye s d e l v e r s o latino lo hab í a a p r e nd i d o d e u n l i b r o
5
10
stolid impasible; imperturbable (pejorative)
terco 1 lacking or concealing emotion or
animation. 2 not easily excited or moved.
stolid Etymology: Latin stolidus dull, stupid :
having or expressing little or no sensibility
: UNEMOTIONAL
synonym see
IMPASSIVE imperturbable, flemático, con
sosiego, impasible
estólido = estúpido, dimwitted (falto de razón),
necio, insensato, bobo. DRAE = falto de
razón y discurso.
shrivel contract or wither into a wrinkled, folded, rolledup, contorted, or dried-up state, consumido, apergaminado, falto de lozanía
Secar (se), marchitar (se), encoger (se), consumir (se),
reducir (se), arrugar (se), empequeñecer (se), avellanarse, apergaminarse
15
20
25
30
s’enrouler
with) pair.
drivel memez, tontería, papanatería, silly nonsense;
twaddle A noun 1 drool, dribble, drivel, slobber
saliva spilling from the mouth 2 drivel, garbage a
worthless message B decir tonterías verb 1
drivel, drool, slabber, slaver, slobber, dribble let
saliva drivel from the mouth; «The baby
drooled» babosear
Ivory He is playing on and with words, but the
associations once more go back to childhood - the
Litany of the Blessed Virgin, tower of ivory, white
hands, and so on.
19. Ivoire, avorio, ebur: French, Italian and Latin for
‘ivory’.
Ivory, ivoire, avorio, ebur: the same word in English,
French, Italian, and Latin.
20. India mittit ebur: ‘India sends ivory.’
India mittit ebur India sends ivory.
• India mittit ebur India exports ivory.
India mittit ebur: India sends (or produces) ivory
21. Metamorpboses of Ovid: Publius Ovidius Naso (43
BC-AD 18), the Roman poet whose Metamorphoses
is a collection of verse narratives concerning
miraculous transformations.
potsherd a broken fragment of pottery
of speculation but at once turned
away from it, feeling that it was
not yet the hour to enter it. But
the nightshade of his friend’s
listlessness s e e m e d t o b e
diffusing in the air around
him a tenuous and deadly
exhalation and be found himself
glancing from one casual w o r d
to another on his right
or left in stolid wonder
that they had been so
silently emptied of
instantaneous
sense
until every mean shop
l egend bound his mind like
the words of a spell and his
soul s h r i v e l l e d u p s i g h i n g
with age a s h e w a l k e d
o n i n a l a n e a m o ng
heaps of dead language. His
own consciousness of
language was ebbing from
his brain and trickling into
the very words themselves
which set to band and
disband themselves in
wayward rhythms:
40 s u c h
223
shrivel I verbo transitivo 1 (una planta)
secar 2 (la piel) arrugar, decrease in
size, range, or extent; «His earnings
shrank»; «My courage shrivelled
when I saw the task before me»
II vi (tb shrivel up) 1 marchitarse, secarse 2 (la piel) arrugarse,
wither, especially with a loss of
moisture; «The fruit dried and
shriveled»
shrivel contract or wither into a wrinkled,
folded, rolled-up, contorted, or dried-up
state, consumido, apergaminado, falto
de lozanía
Secar (se), marchitar (se), encoger (se),
consumir (se), reducir (se), arrugar (se),
empequeñecer (se), avellanarse,
apergaminarse
azorarse: get alarmed, get upset, get rattled / be
embarrassed, turbarse, get flushed (nervous, confused)
El traductor, como poeta, parece haber querido conservar el ritmo vocálico del inglés
en la «i» larga con «ora», pero en detrimento del sentido; aunque ilustra el contexto y sale justificadamente airoso del paso,
se traiciona el sentido por el sonido. En caso
de no encontrar una equivalencia que tenga en cuenta los dos elementos, soy partidario de que la imagen prevalezca sobre el
sonido. A falta de una alternativa ideal, que
incluya ambos elementos sería ‘Y aferrada
se retuerce en la pared’ en lugar de «y se
azora en la pared». En el presente caso
puede considerarse excepcional. En general, la imagen parece ser prevalente: la voz
‘pan’ puede sonar muy diferentemente en
todas las lenguas pero ¿qué sucedería si
hiciésemos primordialmente correspondencia del sonido de la voz a la lengua de llegada? Una torre de Babel. La literatura, incluida la poesía, es universal, principal y primordialmente traslación de imágenes.
construe v.tr. 1 interpret (words or actions)
(their decision can be construed in
many ways). 2 (often foll. by with) combine (words) grammatically (‘rely’ is
construed with ‘on’). 3 analyse the
syntax of (a sentence). 4 translate word
for word.
interpretar, inferir, traducir
Joyce’s Portrait
ragged book written by a
Portugues e priest.
ragged (= in tatters) [clothes] andrajoso; hecho jirones [person] andrajoso; harapiento
22. Contrahit orator . . . vates: ‘The orator summarizes;
the poet-prophets transform (elaborate) in their verses.’ The citation is from a rule for scansion found in
the Prosodia of the Portuguese Jesuit Emmanuel
Alvarez (1526-82).
Coatrahit orator ‘The orator cuts down, the poet extends
in song.’ But Stephen is speaking of the laws of Latin
verse, and his consciousness does not explain
exactly what he means, it merely expresses.
• Contrahit orator, variant in carmine vates. A speaker
concludes; poets vary in their rhymings.
Contrahit orator, variant in
carmine vates.
The crises and victories and
secessions in Roman history
were handed on to him in the
trite words IN TANTO DISCRIMINE
and he had tried to peer into the
social life of the city of cities
through the words IMPLERE
OLLAM DENARIORUM which the
rector
had
render ed
sonorously as the filling of a
pot with denaries. The pages
of his time-worn Horace
never felt cold to the touch
even when his own fingers
were cold; they were human
pages and fifty years before
they had been turned by the
human fingers of John
Duncan I n v e r a r i t y a n d b y
his
b r o t h e r,
Wi l l i a m
M a l c o l m I n v e r a r i t y. Ye s ,
those were noble names on
the dusky flyleaf and, even
for so poor a Latinist as he,
the dusky verses were as
fragrant as though they had
lain all those years in myrtle
and lavender and vervain;
but yet it wounded him to
think that he would never be
but a shy guest at the feast of
the world’s culture and that
the monkish learning, in
terms of which he was
striving to forge out an
esthetic philosophy, was held
no higher by the age he lived
in than the subtle and curious
jargons of heraldry and
falconry.
Las crisis, las victorias y las
luchas civiles de Roma le habían
sido transmitidas en aquella retahíla: in tanto discrimine; v había
tratado de formarse una idea de
la vida social de la ciudad de las
ciudades a través de las palabras
implere ollam denariorum, que el
rector pronunciaba sonoramente
como si estuviese llenando una
olla de denarios. Las páginas de
su traído y llevado Horacio, nunca estaban frías al tacto aunque
sus propios dedos lo estuviesen:
¡páginas llenas de [206] humanidad que habían sido pasadas cincuenta años antes por los dedos
cálidos de John Duncan Inverarity
y de su hermano William Malcolm
Inverarity! Sí, que aquellos venerables nombres escritos en la amarillenta hoja primera, y aquellos
versos patinados por los siglos,
conservaban, hasta para un
latinista tan deficiente como él,
una fragancia como si hubieran estado guardados todos aquellos años
entre mirto, verbena y espliego.
Pero le hería el pensar que él no
había de ser nunca más que un
invitado retraído en medio del
banquete de la cultura del mundo y que aquella erudición conventual de la cual se estaba esforzando en extraer una filosofía estética no tenía más valor
en los tiempos en que vivía que
el que podían tener los sutiles
y extraños léxicos de la halconería o la heráldica.
The grey block of Trinity
on his left, set heavily in the
city’s ignorance like a dull
55 s t o n e s e t i n a c u m b r o u s
ring, pulle d h i s m i n d
downward and while he was
striving this way and that
to free his feet from the
60
fetters of the reformed
conscience he came upon the
droll statue of the national
poet of Ireland.
La masa gris del edificio de
Trinity yacía a su izquierda, incrustada pesadamente en medio de la ignorancia de la ciudad como una piedra mate en
una sortija maciza. Aquella
masa le deprimía y, tratando de
huir de ella para libertar sus
pies de las cadenas de la conciencia reformada, fue a dar
con la estatua ridícula del poeta nacional de Irlanda.
10
15
24. pot with denaries: this translates the preceding Latin phrase.
25. Horace: a selection of the poems of Quintus Horatius
Flaccus (65-8 BC), the great Roman poet.
Horace (65 BC-8 BC) Roman poet celebrated for his
odes, satires and epistles.
20
25
John Duncan Inverarity ... William Malcolm Inverarity
Probably just previous names written in.
30
35
vervain Small plant with blue, white or purple flowers.
40
45
50
26. the grey block of Trinity on his left: Trinity College,
the only college of Dublin University, stands opposite
the Bank of Ireland on College Green. Trinity, an
Elizabethan foundation, was Protestant and
Anglo-Irish in its orientation. Catholics, who had for
long been denied entrance to it, were, from the
11870s, prohibited from entering it by the dictate of
the Irish Catholic hierarchy. At the turn of the century,
it was especially regarded as ‘foreign’ because it was
hostile to the various revival movements, political
and cultural, that had emerged.
like a dull stone set in a cumbrous ring A fine symbol to
reflect a weight of what Stephen considers to be dead
learning.
the droll statue of the national poet of Ireland ‘Droll’
because he is draped in a toga. The poet is Thomas
Moore (1779-1852) famous for Lalla Rookh and Irish
Melodies, the latter having some effect on the issue
of Catholic Emancipation.
droll 1 quaintly amusing. 2 strange; odd; surprising. divertido, gracioso / raro, curiosa, extraña
• the national poet of Ireland Thomas Moore (1779-1852)
X
Contrahit orator, variant in
carmine vates.
5
23. in tanto discrimine: ‘in such a great crisis’.
in tanto discrimine In so great a turning point.
• in tanto discrimine in so many disputes or separations.
in tanto discrimine: «in such a crisis»
implere ollam denariorum To fill a pot of pennies.
implere ollam denariorum: to fill the jar with denarii
(Roman silver coins)
desgualdramillado escrito por un
clérigo portugués.
X
65
He looked at it without
anger; for, though sloth of the
La contempló sin cólera.
Porque aquella estatua pare224
no en DRAE (¿desvencijado?)
Contrahit orator... vates: «The orator summarizes; the
poet [or prophet] amplifies [or transforms]»
Joyce’s Portrait
27. Firbolg in the borrowed cloak of a Milesian: Firbolgs
were held to be early and primitive inhabitants of
Ireland. The Milesians were later, more cultivated,
invaders. Thomas Moore, the object of Joyce’s scorn,
was then Ireland’s most popular poet. His Irish
Melodies (1808-34) were highly sentimental, although
Joyce liked to sing some of them. Stephen, trying to
free himself of the Protestant heritage of Trinity (‘the
fetters of the reformed conscience’) finds himself
confronted by the cultural heritage of contemporary
Gaelic Catholicism, a kind of ancestral kitsch. Moore
is an emblem of this aspect of Stephen’s Ireland.
Firbolg ... Milesian The first is a reference to the original
semimythical inhabitants of Ireland, a dwarf-race;
while the latter, in complete contrast, were tall and
attractive. They too were semimythical.
28. Davin: modelled on George Clancy (1879-i92i), a
contemporary of Joyce at University College. He
became Lord Mayor of Limerick and was murdered
by members of the Black and Tans, the notorious
British Army regiment, in 1921. Stephen thinks of
Davin at this point because Davin (or Clancy) was
an ardent supporter of the Gaelic Athletic Association,
and of the Gaelic League, one of the revival
movements that made a great deal of Ireland’s
legendary Celtic past. (Clancy even persuaded Joyce
briefly to attend Irish classes given by Padraic
Pearse, the leader of the 1916 Rising.) Davin is
unique in that he addresses Stephen by his first
name. His other Dublin friends address him more
formally as ‘Dedalus’.
29. Grantham Street: a street to the west of University
College in Stephen’s Green.
Has dado ciertamente en el clavo
30. Michael Cusack, the Gael: (1847-1907), the founder
of the Gaelic Athletic Association, the model for the.
Citizen in the Cyclops episode of Ulysses.
Michael Cusack, the Gael A founder member of the
Gaelic Athletic Association.
Gael: Irishman or Celt
31. curfew was still a nightly fear: curfew was one-of the
elements in many of the Coercion Acts passed at
Westminster for the administration of Ireland. One
hundred and five such acts were passed between
1800 and 1921.
the curfew was still a nightly fear The imposition of the
curfew would mean that no one would be allowed
out after dusk. (See section on Political and religious
background.)
body and of the soul crept
over it like unseen vermin,
over the shuffling feet and up
the folds of the cloak and
5
around the servile head, it
seemed humbly conscious of
its in d i g n i t y. I t w a s a
Firbolg in the borrowed
10 cloak of a Milesian; and he
thought of his friend
Davin,
the
peasant
student. It was a jesting
name between them, but
15 t h e y o u n g p e a s a n t b o r e
with it lightly:
cía descubrir humildemente
su indignidad a través de la
invisible carcoma de laxitud
que se deslizaba desde los
pies pesados, por los pliegues
del manto , h a s t a l a c a b e za servil. Era un Filborg
bajo el manto postizo de
un milesio. Se acordó de
su amigo Davin, «el estudiante cazurro». Era
el nombre que le solía
dar en broma y que el
otro
soportaba
jovialmente:
—Go on, Stevie, I
have a hard head, you
20
tell me. Call me what
you will.
—No importa, Stevie. Tú
mismo dices que tengo la cabeza
dura. Puedes llamarme lo que te
dé la gana.
The homely version of
Desde la primera vez que oyó
en labios de su amigo esta variante familiar de su nombre de pila,
Stephen gustó de ella, acostumbrado como estaba a que los
otros usaran con él en la conversación las mismas formas ceremoniosas que él empleaba para
con ellos. A menudo, sentado
en el cuarto de Davin en
Grantham Street, mientras contemplaba la fila [207] de las
botas sólidas de su amigo, alineadas junto a la pared, y mientras recitaba para las simples
orejas de éste versos y cadencias ajenos, tras los cuales
latían el propio an helar y la
melancolía propia, la ruda
mentalidad del descendiente
de la antigua ra z a d e F i l b o r g
le había atraído para repelerle en seguida; le atraía
por su innata y reposada
c o r t e s í a al escucharle o por
un giro raro de inglés arcaico, tal vez por su gusto de los
rudos ejercicios de destreza corporal (Davin había sido discípulo de Michael Cusack, el Celta); pero le repelía de pronto por
la rudeza de su inteligencia, por sus
sentimientos embotados, por aquella sombría mirada de terror que había en sus ojos, como el terror de
un famélico poblado de Irlanda donde el cubrefuego fuera aún uno de
los espantos de la noche.
25 h i s c h r i s t i a n n a m e o n t h e
lips of his friend had
touched
Stephen
pleasantly when first heard
for he was as formal in
30 s p e e c h w i t h o t h e r s a s t h e y
were with him. Often, as
h e s a t i n D a v i n ’s r o o m s i n
Grantham
Street,
w
o
n
d
e
r
i
n
g
a
t
h
i
s
f
r i e n d ’s
35
well-made boots that
flanked the wall pair by
pair and repeating for his
f r i e n d ’s s i m p l e e a r t h e
40 v e r s e s a n d c a d e n c e s o f
others which were the
veils of his own longing
and dejection, the rude
Firbolg mind of his
45
listener had drawn his mind
towards it and flung it back
again, drawing it by a quiet
inbred courtesy of attention
50 or by a quaint turn of old
English speech or by the
force of its delight in rude
bodily skill—for Davin had
sat at the feet of Michael
55 Cusack, the Gael—repelling
swiftly and suddenly by a
grossness of intelligence or
by a bluntness of feeling or
by a dull stare of terror in the
60
eyes, the terror of soul of a
starving Irish village in
which the curfew was still a X
nightly fear.
65
Side by side with his
memory of the deeds of
Junto con el recuerdo
de las proezas de su tío
225
sustantivos, y gordo, corpulento, craso [error], como adjetivos, pero gross
ha degradado su denotación a grosero, descortés, indecoroso, escandaloso, estúpido, ignorante; en 1os negocios se usa para bruto [ganancia], entradas, beneficios y, en la jerga juvenil, feo, asqueroso. La idea básica de
grueso, como adjetivo, es thick, big,
fat y, como sustantivo, thickness,
bulk, depth, main body.
curfew: toque de queda
Joyce’s Portrait
32. Mat Davin: Maurice Davin (1864-11927), athlete and
cofounder with Michael Cusack of the Gaelic Athletic
Association. During the 1870s he and his brothers,
Tom and Pat, held more than half the world’s records
for running, jumping, hurdling and weight-throwing.
(D. J. Hickey and J. E. Doherty, A Dictionary of Irisb
History 1800-1980 (Dublin, 1980).)
M a t D a v i n , el atleta, aquel
joven campesino cultivaba la
adoración de la dolorosa leyenda de Irlanda. Los otros compañeros, en su deseo de prestar relieve a cualquier incidente de la
monótona vida del colegio universitario, le consideraban en sus
charlas como un prototipo del
verdadero feniano. Su nodriza le
había enseñado el irlandés y había modelado su ruda imaginación a los dispersos resplandores de los mitos de Irlanda. Ante
aquellos mitos a los cuales jamás mente de individuo humano había añadido ni una sola línea de belleza, ante las informes
le y e n d a s q u e s e i b a n s u b dividiendo al avanzar de
los ciclos, guardaba él la misma actitud que ante la Iglesia
católica romana, la actitud de
un siervo leal y corto de alcances. Cualquier idea, cualquier
sentimiento que viniera de Inglaterra o a través de la cultura inglesa, chocaba contra
su alma, armada y atenta a su
consigna; y del mundo que
yacía más allá de Inglaterra,
no conocía más que la legión
extranjera de Francia, en la
cual pensaba inscribirse.
Coupling this ambition with
Stephen had often called him
one of the tame geese and
there was even a point of
irritation in the name pointed
45
against that very reluctance of
speech and deed in his friend
which seemed so often to stand
between Stephen’s mind, eager
50 of speculation, and the hidden
ways of Irish life.
Stephen solía llamar a su
amigo «el pato casero», refiriéndose a la vez a este deseo de su
joven camarada y a su tardo espíritu. Y había en el apodo una
punta de ira contra aquella
[208] desgana para la palabra y
la acción que su amigo tenía, y
que era lo que separaba el espíritu de Stephen, ávido de especulación, de las latentes maneras de la vida irlandesa.
One night the young
peasant, his spirit stung by
55 t h e v i o l e n t o r l u x u r i o u s
language in which Stephen
escaped from the cold silence
of intellectual revolt, had
called up before Stephen’s
60
mind a strange vision. The two
were walking slowly towards
Davin’s rooms through the
dark narrow streets of the
65 poorer jews.
Una noche, aguijoneado por
el lenguaje violento y atrevido
en el que Stephen se refugiaba
para huir del frío silencio de su
estado de protesta intelectual,
su rústico compañero había
evocado ante su imaginación
una visión extraña. Iban los dos
andando lentamente hacia el
cuarto de Davin, a través de las
callejuelas sombrías del miserable barrio de los judíos.
—A thing happened to
—El otoño pasado, cuan-
5
10
33. a young fenian: a member of the Irish Republican
Brotherhood founded in 1858. The organization was
dedicated to the use of physical force to remove the
British from Ireland. They had a glamorous reputation.
• a young fenian a young man who rejects his nation’s
serf-like relationship to England, believing so
fervently in Irish independence that he is ready to
embrace terrorism. Often, bands of fenians hid out
in the hills.
fenian: rebel republican
15
20
34. the cycles: the great Irish epic tales belong to a
number of groupings or cycles - the Ulster Cycle,
the Fenian Cycle, the Cycle of the Kings, the
Mythological Cycle.
cycles: related groups of Irish myths and legends
25
30
foreign legion of France Body of foreign volunteers in
the French army used in their colonies. It has severe
discipline.
p ro w e s s o f h i s u n c l e M a t
Davin, the athlete, the young
peasant worshipped the
sorrowful legend of Ireland.
The gossip of his fellowstudents which strove to
render the flat life of the
college significant at any
cost loved to think of him as
a young fenian. His nurse
had taught him Irish and
shaped his rude imagination
by the broken lights of Irish
myth. He stood towards the
myth upon which no
individual mind had ever
drawn out a line of beauty
and to its unwieldy tales that
divided against themselves
as they moved down the
cycles in the same attitude as
towards the Roman catholic
religion, the attitude of a
dull-witted loyal serf.
Whatsoever of thought or of
feeling came to him from
England or by way of English
culture his mind stood armed
against in obedience to a
password; and of the world
that lay beyond England he
knew only the foreign legion
of France in which he spoke
of serving.
35
40 t h e y o u n g m a n ’s h u m o u r
35. tame geese: the ‘Wild Geese’ were the Irish Catholic
soldiers who fled to the Continent after the Treaty of
Limerick in 116gi. There they served in the French,
Spanish and Austrian armies. Davin has their
ambition to serve in foreign armies but is intellectually
domesticated.
tame geese: joke on «the wild geese,» term for Irish
who went into exile
36. streets o f the poorer jews: the small Jewish
community lived just north of Grantham Street.
226
prowess 1 destreza 2 valentía, valor
unwieldy cumbersome, clumsy, or hard to
manage, owing to size, shape, or
weight. inmanejable, incomoda, incontenible
Joyce’s Portrait
37. disremember: to remember with a degree of
uncertainty; not as blunt as to forget.
disremember Forget, but now out of use.
do estaba ya entrado el invierno, me ocurrió una cosa,
Stevie, que no se la he dicho
a perso na viviente, y tú eres
el primero a quien se la cuento. No me acuerdo si era por
octubre o por noviembre. Pero
era por octubre, porque fue
antes de que viniera aquí para
matricularme.
Stephen had turned his
smiling eyes towards his
15 friend’s face, flattered by his
confidence and won over to
sympathy by the speaker ’s
simple accent.
Stephen había vuelto sonriendo los ojos hacia el rostro de su amigo, halagado
por su confianza y movido a
simpatías por el sencillo
acento del narrador.
20
—I was away all that
day from my own place
o v e r i n B u t t e v a n t .—I
don’t know if you know where
that is—at a hurling match
b e t w e e n t h e C r o k e ’s O w n
Boys and the Fearless Thurles
and by God, Stevie, that was
the hard fight. My first
cousin, Fonsy Davin, was
stripped to his buff that day
minding cool for the
Limericks but he was up with
the forwards half the time and
shouting like mad. I never
will forget that day. One of the
Crokes made a woeful wipe
a t him one time with his
caman[n] and I declare to God
he was within an aim’s ace of
getting it at the side of his
temple. Oh, honest to God, if
the crook of it caught him that
time he was done for.
—Había estado todo
el día fuera de mi
pueblo para ver un
partido de hurley entre el equipo de los
m o z o s d e Croke y el de los
«Sin M i e d o » , d e T h u r l e s .
¡ D i o s , S t e v i e, qué partido más
duro que fue! A mi primo hermano Fonsy Davin, me le dejaron en cueros vivos defendiendo la meta de los de
Limerick, pero aún estuvo atacando con los delanteros la mit a d d e l t i e m p o y b e r r e a ndo
como loco. Nunca me olvidaré de
aquel día. Uno de los de Croke le
d i o u n g o l p a zo tremendo con
la garrota de juego, y en Dios
y en mi alma que estuvo a ras
de un pel o d e c o g e r l e p o r
medio de la sien. Dios de
Dios, que si le da de lleno, no necesita más.
—I am glad he escaped,
Stephen had said with a
50 laugh , but surely that’s not
the strange thing that
ha ppe ne d you?
—Me alegro de que librara con bien —interrumpió
riendo Stephen—, pero seguramente ésa no es la extraña aventura que te ocurrió.
— We l l , I s u p p o s e t h a t
—Bueno, ya sé que eso no
te importará. Pero es que se levantó tal alboroto después del
partido, que perdí el tren para
volver a casa y no encontré ni
un mal carro que me pudiera
[209] servir de ayuda, porque
por mi mala suerte, aquel día
había una función religiosa en
Castletownroche, y todos los
vehículos de la región estaban
en ella. Conque, me pongo a caminar, y yo sigue que te sigue
38. Buttevant: a town in County Cork.
Buttevant On the main line north on the way to Limerick.
39. hurling match: hurling, an old game revived by the Gaelic
Athletic Association, is played by two teams of fifteen players
each. The hurley is a bladed stick. The game is played at
great speed and, at its best, with grace and power.
hurling match Traditional Irish game, something like
hockey.
• a hurling match a game combining elements of field
hockey and rugby.
hurling match: Irish game, a sort of field hockey
40. stripped to his buff stripped naked to the waist.
stripped to his buff that day minding cool Naked to the
waist, keeping goal.
buff: skin
25
30
41. minding cool: keeping goal, from Irish cúl, a goal.
minding cool: defending as a full-back
minding cool: playing safety
buff 1 adj (color) beige 2 n fam aficionado,-a:
he’s a computer buff, es aficionado a los
ordenadores 3 verbo transitivo dar brillo a
35
woeful wipe: huge blow to the ball
42. camann: hurling stick. The text is confusing here. If
Fonsy Davin was keeping goal for ‘the Limericks’ and
one of the Crokes ‘made a woeful wipe at him’, then
Fonsy must be playing for the Fearless Thurles. But
Thurles is in Tipperary, not Limerick. Joyce evidently
associates Davin-Clancy with Limerick, and his
knowledge of Gaelic games is unreliable. (I am indebted
to Proinsias O Drisceoil for pointing this out.)
• camaun a piece of hurling equipment resembling a
field hockey stick.
caman stick.
camaun: curved stick used in hurling
within an aim’s ace Very near. Joyce is intent on
producing the proverbial idiom and dialect that Davin
would use.
aim’s ace: very small amount or distance
myself, Stevie, last autumn,
c o m i n g o n w i n t e r, a n d I
never told it to a living soul
and you are the first person
5
now I ever told it to. I
d i s re m e m b e r i f i t w a s
October or November. It was
October because it was
10 before I came up here to join
the matriculation class.
40
X
45
55 d o e s n ’ t i n t e r e s t y o u , b u t
43. any kind of a yoke: any kind of vehicle or any person
in charge of a vehicle.
a yoke Presumably a local word for ‘conveyance’.
yoke: any artifact
44. Castletownroche: a town in County Cork, five miles
from Buttevant. The ‘mass meeting’ is a political
gathering.
leastways there was such noise
after the match that I missed
the train home and I couldn’t
get any kind of a yoke to give
60
me a lift for, as luck would
have it, there was a mass
meeting that same day over in
Castletownroche and all the
65 cars in the country were there.
So there was nothing for it
only to stay the night or to foot
227
Joyce’s Portrait
45. Ballyboura hills . . . Kilmallock: a walk north of more
than fifteen miles into County Limerick.
5
10
• to redden my pipe to light it.
15
strech extenderse, prolongarse, expandirse, transcurir, alargarse, remontarse
20
25
30
35
40
45
46. Queenstown: the seaport town of Cork, now called
Cobh.
50
55
47. You’ve no call . . . no one in it: ‘You’ve no reason to
be frightened; there’s no one here’ (Hibemo-English
speech).
it out. Well, I started to walk
and on I went and it was
coming on night when I got
into the Ballyhoura h i l l s ,
that’s better than ten miles
from Kilmallock and there’s a
long lonely road after that. You
wouldn’t see the sign of a
christian house along the road
or hear a sound. It was pitch
dark almost. Once or twice I
stopped by the way under a
bush to redden my pipe and
only for the dew was thick I’d
have stretched out there and
slept. At last, after a bend of
the road, I spied [made out]
a li t t l e c o t t a g e w i t h a l i g h t
i n t h e w i n d o w. I w e n t u p
a n d k n o c k e d a t t h e d o o r.
A voice asked who was
there and I answered I
w a s o v e r a t t h e m atch in
Buttevant and was walking
back and that I’d be thankful
for a glass of water. After a
while a young woman opened
the door and brought me out
a big mug of milk. She was
half undressed as if she was
going to bed when I knocked
and she had her hair hanging
and I thought by her figure
and by something in the look
of her eyes that she must be
carrying a child. She kept me
in talk a long while at the door,
and I thought it strange because
her breast and her shoulders
were bare. She asked me was I
tired and would I like to stop
the night there. She said she was
all alone in the house and that her
husband had gone that morning
to Queenstown with his sister to
see her off. And all the time she
was talking, Stevie, she had her
eyes fixed on my face and she
stood so close to me I could hear
her breathing. When I handed
her back the mug at last she took
my hand to draw me in over the
threshold and said: ‘COME IN AND
adelante, y la noche que ya venía encima, cuando llego a las
colinas de Ballyhoura, a más de
diez millas de Kilmallock, que
desde allí hay una carretera larga y deshabitada. No veías allí,
a todo lo largo del camino, ni
huellas de una casa de cristianos, ni se oía un solo ruido. Estaba ya casi oscuro como boca
de lobo. Una o dos veces me detuve al resguardo de un arbusto para encender la pipa, y a no
ser porque el suelo estaba cubierto de rocío, me hubiera
tumbado allí mismo a dormir.
Por último, tras una revuelta del
camino, divisé una casa con una
ventana encendida. Me acerqué
y llamé a la puerta. Una voz
contestó preguntando quién
era, a lo que respondí que había estado en el partido en
Buttevant, que regresaba a pie
a casa y agradecería que me diesen un vaso de agua. Al cabo de
un rato, se abrió la puerta y apareció una mujer joven que me
traía un gran jarro de leche. Estaba a medio vestir, como si se
estuviera preparando para ir a
acostarse al tiempo de mi llamada; tenía el pelo suelto y por
su aspecto y un no sé qué en el
mirar de los ojos, deduje que
estaba preñada. Me retuvo un
rato charlando a la puerta, y se
me hizo extraño porque tenía el
pecho y los hombros desnudos.
Me preguntó si estaba cansado
y si no querría pasar la noche
allí. Y añadió que estaba sola,
pues su marido se había ido
aquella mañana a Queenstown
acompañando a una hermana
suya hasta dejarla en el tren.
Y mientras hablaba, Stevie,
tenía la mirada fija en mi rostro y tan cerca de mí que podía sentir su aliento. Cuando,
por último, le devolví el jarro,
me tomó de la mano tiran do
de mí hacia adentro, y dijo:
Entre y pase aquí la noche. No
tiene usted por qué tener miedo. No hay nadie más que nosotros dos... No entré, Stevie.
Le di las gracias y seguí caminando adelante, abrasado como
de calentura. Al primer recodo,
volví la vista atrás y la vi todavía de pie a la puerta.
STAY THE NIGHT HERE. YOU’VE NO
60
CALL
TO
BE
FRIGHTENED.
THERE’S NO ONE IN IT BUT
OURSELVES. ’ I d i d n ’t g o in,
Stevie. I thanked her and went
on my way again, all in a
65 fever. At the first bend of the
road I looked back and she
was standing at the door.
228
Joyce’s Portrait
The last words of
D a v i n ’s s t o r y s a n g i n h i s
memory and the figure of
the woman in the story
stood forth reflected in
other figures of the peasant
women whom he had seen
standing in the doorways at
Clane as the college cars
drove by, as a type of her
race and of his own, a batlike soul waking to the
consciousness of itself in
darkness and secrecy and
loneliness and, through the
eyes and voice and gesture
of a woman without guile,
calling the stranger to her
bed.
25 h i s
A hand was laid on
arm and a young
voice cried:
Sintió que una mano se posaba sobre su brazo mientras una
voz juvenil exclamaba:
—Ah, gentleman, your own
girl, sir! The first handsel today,
30 gentleman. Buy that lovely
bunch. Will you, gentleman?
—Ande, señorito, cómprele el primer ramo a su niña
para que se estrene. Mire qué
bonito es. Ande, señorito.
The blue flowers which
she
lifted towards him and her
35
young blue eyes seemed to
him at that instant images of
guilelessness, and he halted
till the image had vanished
40 and he saw only her ragged
dress and damp coarse hair
and hoydenish face.
Las flores azules que la muchacha le presentaba y el azul
de sus ojos le parecieron en
aquel instante un símbolo de
inocencia, hasta que la imagen
se hubo desvanecido y sólo vio
los harapos, el pelo húmedo
y áspero y la cara desvergonzada de la moza.
—Do, gentleman! Don’t
forget your own girl, sir!
—¡Ande, señorito! ¡No le
haga usted un feo a su chiquilla!
—I have no money, said
Stephen.
—No tengo dinero —dijo
Stephen.
—Buy them lovely ones,
will you, sir? Only a penny.
—¡Cómpreme éstas tan bonitas, ande! ¡Sólo un penique!
—Did you hear what I
asked Stephen,
b e n d i n g t o w a r d s h e r. I
t o l d y o u I h a d n o m o n e y.
I t e l l y o u a g a i n n o w.
—¿Ha oído usted lo que le he
dicho? —interrumpió Stephen inclinándose hacia ella—. Le he dicho que no tengo dinero. Y se lo
repito ahora otra vez.
—Well, sure, you will some
day, sir, please God, the girl
answered after an instant.
—Pues ya lo tendrá
usted, si Dios quiere,
algún día, señorito.
— P o s s i b l y,
Stephen, but I
t h i n k i t l i k e l y.
—Puede ser —contestó
Stephen—, pero no me parece
probable.
5
10
48. Clane: near Clongowes Wood College in County
Kildare.
15
20
49. frst handsel: the first crossing of the palm with silver,
traditionally a sign of good luck associated with the
New Year or with the beginning of a new phase or
enterprise in someone’s life.
handsel A gift on entering upon new circumstances.
handsel: good luck omen or gift; also money, as in
a tip
[210]
Las últimas palabras de la
narración de Davin se le quedaron cantando a Stephen en la memoria. La figura de aquella mujer se le destacaba, reflejada por
las de aquellas aldeanas que había visto a las puertas de sus casas en Clane al pasar en los coches del colegio. Aquella figura
se le representaba como un símbolo de la raza de ella, que era
también la de él; como un alma
de murciélago en la cual entre
silencio, tinieblas y soledad, la
conciencia se despertara de su
sopor para atraer a un extraño al
lecho propio por medio de los
ademanes y las palabras de una
mujer sin malicia.
45
50
55 s a i d ?
60
65
said
don’t
229
Joyce’s Portrait
— H e l e f t h e r q u i c k l y,
fearing that her intimacy
might turn to jibing and
wishing to be out of the way
before she offered her ware
to another, a tourist from
England or a student of
Trinity. Grafton Street, along
which he walked, prolonged
that moment of discouraged
poverty. In the roadway at
the head of the street a slab
was set to the memory of
Wo l f e
To n e
and
he
remembered having been
present with his father at its
laying. He remembered with
bitterness that scene of
tawdry tribute. There were
four French delegates in a
brake and one, a plump
smiling young man, held,
wedged on a stick, a card on
which were printed the
words: VIVE L’IRLANDE!
Se apartó bruscamente de ella,
temeroso de que de la familiaridad
pasase a las burlas y deseando desaparecer antes de verle
ofrecer su mercancía a otra
persona, a un turista inglés o
a un estudiante de Trinity. La
calle por donde caminaba,
Grafton Street, prolongaba
aquella sensación de desalentada pobreza. Al extremo de
la calle hab í a u n a p l a c a d e dicada [211] a la memoria
d e Wo l f e To n e . L e v i n o a l a
memoria el haber asistido
con su padre a la colocación de ella. Y evocaba con
a m a r g u r a e l o r o p e l c h i l lón
de la ceremonia. Había cuatro delegados franceses subidos
en una camioneta y uno de
ellos, un joven rollizo y sonriente, sostenía un palo, al extremo del cual había un cartel
con este letrero: Vive l’Irlande!
But
the
trees
in
St e p h e n ’s G r e e n w e r e
fragrant of rain and the
rain-sodden earth gave
f o r t h i t s m o r t a l o d o u r, a
faint incense rising upward
through the m o u l d f r o m
many hearts. The soul of
the gallant venal city
which his elders had told
him of had shrunk with time
to a faint mortal odour
rising from the earth and he
knew that in a moment when
he entered the sombre
college he would be
conscious of a corruption
other than that of Buck
Egan and Burnchapel
Whaley.
Los árboles del Stephen’s
Green estaban fragantes y cargados de lluvia y la tierra empapada exhalaba su olor mortal: como un incienso v a g o
que ascendiera a través del
mantillo de muchos corazones
humanos. Era el alma de la
ciudad galante y venal, de la
que sus mayores le habían hablado, reducida por el transcurso del tiempo a aquel vago olor
funeral que subía de la tierra.
Iba a entrar en el sombrío edificio del colegio, y entonces
comprendió que en cuanto entrara notaría la sensación de
otra podredumbre bien distinta
de la de Buck Egan y Burnchapel
Whaley.
It was too late to go
upstairs to the French class.
55 He crossed the hall and took
the corridor to the left which
led to the physics theatre. The
corridor was dark and silent
but not unwatchful. Why did
60
he feel that it was not
unwatchful? Was it because
he had heard that in Buck
Whaley’s time there was a
65 secret staircase there? Or was
the jesuit house extraterritorial and was he walking
Era demasiado tarde para subir a clase de francés. Cruzó el vestíbulo y tomó el corredor a mano
derecha que conducía al anfiteatro de física. El corredor estaba
oscuro y silencioso, pero una presencia invisible parecía espiar en
él. ¿Por qué sentía esta sensación?
¿Era porque sabía que en tiempos
de Buck Whaley había habido allí
una escalera secreta? ¿O era quizás porque la casa de los jesuitas
gozaba de extraterritorialidad y se
sentía uno como entre extraños al
5
50. tourist . .. student of Trinity: that is, someone who
could afford to buy the flowers.
10
51. slab ... its laying: a slab to the memory of Wolfe
Tone (1763-98), the leader of the United Irishmen,
was laid at the north-west corner of Stephen’s Green
on 15 August 1898, to commemorate the centenary
of the Rebellion of 1798. A sculpture of Tone was to
be set up at this spot but was never completed.
Wolfe Tone (1763-98) Irish patriot who formed the United
Irishmen, was captured by the English, condemned
to death but committed suicide in prison.
52. French delegates: France was represented since
Tone had sought aid from France, had found
inspiration in the French Revolution and claimed to
be a soldier of the French army when he was
arrested. The tribute to Tone was more impressive
than Stephen would indicate. Yeats and his Fenian
hero John O’Leary were among the speakers who
addressed a huge and enthusiastic crowd.
15
20
25
brake An open horse-drawn vehicle, with seats each
side.
tawdry [jewellery] de oropel, de relumbrón; [clothes] chabacano,
hortera; [decor] charro, hortera;
[place, town] chabacano; [affair,
business] sórdido
tawdry — adj. 1 showy but
worthless. 2 over-ornamented,
gaudy, vulgar. Escabroso,
— n. cheap or gaudy finery.
53. Vive l’Irlande!: ‘Long live Ireland!’
• Vive l’Irelande! Long live Ireland!
30
35
gallant adj. 1 brave, chivalrous. 2 a (of a
ship, horse, etc.) grand, fine, stately. b
archaic finely dressed. 3 a markedly 40
attentive to women. b concerned with sexual
love; amatory. — n. 1 a ladies’ man; a lover
or paramour. 2 archaic a man of fashion; a
fine gentleman. — v. 1 tr. flirt with. 2 tr.
escort; act as a cavalier to (a lady). 3 intr. a
play the gallant. b (foll. by with) flirt.
45
gallant 1 valiente, gallardo 2 cortés, galante.
54. Buck Egan and Burnchapel Whaley: John Egan (c.
1750-i8io) was a politician and duellist; Richard
Whaley, a priesthunter, nicknamed ‘Burnchapel’
because of his fondness for burning Catholic
churches in the Rebellion of 11798, had a son,
Thomas ‘Buck’ Whaley, who walked to Jerusalem
and played handball against its walls for a bet. Popular legend claimed that Egan and one or both of
the Whaleys celebrated black masses in the buildings
that had been incorporated into University College.
Buck Egan Fought a number of duels, and opposed the
Union of Ireland and England.
Burnchapel Whaley The hero of an Irish jingle, who
‘walked to Jerusalem for a bet’.
55. jesuit house . . . among aliens?: this could mean
that the Jesuit house was, by extension, a territory
of the Pope.
50
230
venal adj. 1 (of a person) able to be bribed
or corrupted. 2 (of conduct etc.)
characteristic of a venal person. Corruptible, bribable, mercenary; palmgreasing, corrupt, grafting, nepotistic.
venal 1. adj. Perteneciente o relativo a las
venas.
2. Del lat. venalis, de venum, venta. 1.
adj. Vendible o expuesto a la venta. 2.
fig. Que se deja sobornar con dádivas.
Venable, sobornable, mercenario, corruptible, infiel, deshonesto, inmoral.
Que se deja sobornar con dádivas.
Qui se vend, qui se laisse acheter au
mépris de la morale.
Joyce’s Portrait
56. Ireland of Tone and Parnell . . . in space: that is to
say, the Ireland that might have achieved
independence under these leaders has receded in
face of the aliens - the British imperium represented
by the anti-Catholic Anglo-Irish, Eganvand Whaley,
and the Roman imperium, represented by the Jesuits.
• the Ireland of Tone and Parnell the goal of these Irish
Nationalists was self-rule, along with civil and
religious toleration.
among aliens? The Ireland of
Tone and of Parnell seemed
to have receded in space.
andar por ella? La Irlanda de Tone
y de Parnell parecía haber retrocedido en el espacio.
He opened the door of
the theatre and halted in
the chilly grey light that
struggled through the
10 d u s t y w i n d o w s . A f i g u r e
was crouching before the
large grate and by its
leanness and greyness he
knew that it was the dean
15 of studies lighting the fire.
Stephen closed the door
quietly and approached the
fireplace.
Abrió la puerta del anfiteatro
y se detuvo a la luz friolenta y gris
que pugnaba por entrar a través
de las ventanas cubiertas de polvo. Una persona estaba en
cuclillas delante del hogar de la
gran chimenea y a causa de su
delgadez y de su color desvaído
comprendió que era el decano de
estudios que trataba de encender
la chimenea. Stephen cerró la
puerta silenciosamente y se
aproximó a él.
5
20
—Good morning, sir!
Can I help you?
—Buenos días, señor. ¿Le
puedo servir de ayuda?
The priest looked up
—One moment now, Mr
Dedalus, and you will see.
There is an art in lighting a
30 fire. We have the liberal arts
an d
we
have
the
u s e f u l a r t s . This is one
o f the useful arts.
El religioso levantó prestamente la vista y dijo:
[212]
—Un momento solo, señor
Dédalus, y ya verá usted. Hay
un arte de encender la lumbre.
Ten e m o s a r t e s l i b e r a l e s
y a r t e s útiles. Ésta
es una de las artes
útiles.
—I will try to learn it, said
Stephen.
—Procuraré aprenderla—dijo
Stephen.
—Not
too
much
said the dean,
working briskly at his
task, that is one of
the secrets.
—No hay que poner demasiado carbón —continuó el decano, mientras trabajaba briosamente en su tarea—, ése es
uno de los secretos.
He produced four candlebutts from the side-pockets of
his soutane and placed them
deftly among the coals and
50 twisted papers. Stephen watched
him in silence. Kneeling thus on
the flagstone to kindle the fire
and busied with the disposition
of his wisps of paper and
55 candle-butts he seemed more
than ever a humble server
making ready the place of
sacrifice in an empty temple, a
levite of the Lord. Like a
60
levite’s robe of plain linen
the faded worn soutane
draped t h e k n e e l i n g
figure of one whom the
65 c a n o n i c a l s o r t h e b e l l bordered ephod would irk
and trouble. His very body
Sacó cuatro cabos de vela
de los bolsillos de la sotana
y los colocó hábilmente entre
los carbones y los papeles
apelotonados. Stephen le observaba en silencio. Arrodillado así frente al hogar, atareado en encender aquellos
cabos de vela y trozos de papel, el religioso parecía más
que nunca un siervo humilde
que preparase el ara del sacrificio en un templo vacío, un
levita del Señor. L a s o t a n a
p a r d e a n t e y r a í d a env o l v í a c omo la túnica de hilo
de una levita su figura arrodillada, a
la que sin duda hubieran servido de
molestia y cansancio los suntuosos
trajes de ceremonia y el efod orlado de campanillas. Hasta su
25 quickly and said:
liberal 1 generoso, dadivoso, magnánimo 2 liberal 3 abundante 4
libre
liberal 1 a). Generoso, desprendido, desinteresado. Tolerante. 1 b) Que ejerce
una profesión liberal tradicionalmente
de las artes o profesiones que ante todo
requieren el ejercicio del entendimien- 35
to.
2. Favorable a las libertades intelectuales
y profesionables del individuo y a las políticas del Estado y a las Humanidades.
(Nota: parece estarse perdiendo el primer significado en favor del segundo.)
40 c o a l ,
45
57. levite . . . canonicals . . . ephod: a levite is a
subordinate priest under Mosaic law. Canonicals are
vestments prescribed for particular occasions. An
ephod is an elaborate garment associated in the Old
Testament with the High Priest. In Stephen’s eyes,
the dean of studies, in his faded soutane (long black
outer garment), seems junior and servile. As in the
case of Davin and others, servility stimulates
Stephen’s contempt.
levite: subordinate priest
canonicals: prescribed vestments
ephod Jewish priestly vestment.
ephod: Old Testament religious garment
irk : annoy, fastidiar, molestar
231
Joyce’s Portrait
mismo cuerpo había envejecido
en el servicio humilde del Señor
—atender al fuego del altar, ser
receptor de noticias secretas,
velar por los mundanos, sacudir
prestos zurriagazos, si tal era
la consigna—, y sin embargo,
h a b í a p e r m a n e c i d o ajeno a
toda huella de santidad, a todo
signo de belleza prelaticia. Más
aún, su misma alma había
envejecido en tal servicio
sin aproximarse hacia la luz
y la belleza, sin exhalar el más
mínimo hálito de santidad, con
voluntad doblegada, insensible
en su propia obediencia, del
mismo modo que su cuerpo
añoso, frugal y recio, c u b i e r t o
de una peluca gris, plateada
en las puntas, era también
insensible a todo ímpetu de
lucha o de amor.
The
dean
rested
back on his hunkers
and watched the sticks
30 c a t c h . S t e p h e n , t o f i l l
the silence, said:
El decano permanecía en
cuclillas contemplando cómo
el fuego tomaba incremento
en la madera. Stephen, para
romper el silencio, dijo:
—I am sure I could not
l
i
g
ht a fire.
35
—De fijo que yo no sabría encender fuego.
—You are an artist, are you
not, Mr Dedalus? said the
dean, glancing up and blinking
40 his pale eyes. The object of the
artist is the creation of the
beautiful. What the beautiful is
is another question.
—Usted es un artista, ¿no es
verdad?, señor Dédalus —dijo el
decano levantando la cara y gui
ñando los ojos descoloridos—.
[213] El fin del artista es la creación de lo bello. Qué sea lo bello,
eso es ya otra cuestión.
5
10
prelatic High ecclesiastically.
15
responsive receptivo, sensible 1 (often foll.
by to) responding readily (to some
influence).
2
sympathetic;
impressionable. 3 a answering. b by way
of answer. 4 (of a liturgy etc.) using
responses.
20
25
hunkers The hams.
«pale» es cognado y significa ‘claros’
cuando va con color como ‘pale
blue’; pero en los demás casos
como aquí es mejor ‘pálido’ o falto
de colo o descolorido
45
50
58. Pulchra sunt . . . placent: Aquinas, Summa
Tbeologica, Part I, q. 5, art. 4: Tulchra enim dicuntur
quae visa placent’ (‘We call that beautiful which
pleases the sight’).
pulcra runt gone ‘Those things are beautiful which are
pleasing to the sight.’
• Pulcra sent quae visa placent. That is beautiful which
pleases ones sight; or, said another way, whatever
pleases the observer is considered beautiful.
Pulchra sunt quae visa placent: «That is beautiful which
gives pleasure to the eye»
• visa any form of aesthetic apprehension of perception,
such as sight or hearing.
had waxed old in lowly
service of the Lord—in
tending the fire upon the
a l t a r, i n b e a r i n g t i d i n g s
s e c r e t l y, i n w a i t i n g u p o n
worldlings, in striking swiftly
wh e n b i d d e n — a n d y e t
had remained ungraced
by aught of saintly or
o f p r e l a t i c b e a u t y . N a y,
his very soul had waxed
old in that service without
growing towards light and
beauty
or
spreading
abroad a sweet odour of
her sanctity—a mortified
w i l l n o m o r e r e s ponsive to
the thrill of its o b e d i e n c e
than was to the thrill of
love or combat his ageing
b o d y, s p a r e a n d s i n e w y ,
greyed with a silverpointed down.
55
He rubbed his hands
slowly and drily over the
d i f f i c u l t y.
Ante esta dificultad, el decano se frotó fríamente, lentamente, las manos.
—Can you solve that
question now? he asked.
—¿Qué? ¿Me puede usted resolver esta cuestión?
—Aquinas,
answered
Stephen, says PULCRA SUNT QUAE
—Aquino
—contestó
Stephen— dice Pulcra sunt quae
visa placent.
VISA PLACENT.
—This fire before us, said
the dean, will be pleasing to the
e y e . Wi l l i t t h e r e f o r e b e
60
beautiful?
—Este fuego que tenemos delante —objetó el decano— agrada a los ojos.
¿S e r á s e g ú n e s o b e l l o ?
—In so far as it is
apprehended by the sight,
65 which I suppose means here
esthetic intellection, it will be
beautiful. But A q u i n a s a l s o
—En tanto que es percibido con la vista, la cual
supongo significa aquí intelección estética, será bello. Pero Aquino dice tam232
Joyce’s Portrait
59. Bonum est . . . appetitus: ‘The good is that which all
things desire.’ Stephen is again quoting, but
strategically, from the same passage in Aquinas.
Bonum est is good ‘The good is comprehended in that
which is wanted.’
• Bonum est in quod tendit appetites. The good is that
toward which the appetite tends.
Bonum est in quod tendit appetitus: «That is good toward
which the appetite is moved» [or which is desired
says
In so far
as it satisfies the animal
craving for warmth fire is
5
a good. In hell, however, it
is an evil.
bién Bonum est in quo
tendit appetitus. El fuego
es bueno en cuanto satisface la necesidad animal de
c a l o r. E n e l i n f i e r n o e s , s i n
embargo, un mal.
—Quite so, said the dean,
you
have certainly hit the
10
nail on the head.
—Exactamente —dijo el decano—. Ha puesto usted el
dedo en la llaga.
He rose nimbly and went
towards the door, set it ajar and said:
Se levantó ágilmente,
abrió la puerta y continuó:
—A draught is said to be
a help in these matters.
—Una corriente de aire dicen
que ayuda mucho en estos casos.
As he came back to the
hearth, limping slightly but
with a brisk step, Stephen
saw the silent soul of a
jesuit l o ok out at him from
the pale loveless eyes . L i k e
I g n a t i u s h e was lame b u t
in his eyes burned no spark
o f I g n a t i u s ’s e n t h u s i a s m .
Even the legendary craft of
the company, a craft subtler
and more secret than its
fabled books of secret subtle
wisdom, had not fired his
s o u l w i t h t h e e n e rg y o f
apostleship. It seemed as if
he used the shifts and lore
and cunning of the world, as
bidden to do, for the greater
glory of God, without joy in
their handling or hatred of
that in them which was evil
but turning them, with a
firm gesture of obedience
b a c k u pon themselves and
for all this silent service it
seemed as if he loved not at
all the master and little, if at
all, the ends he served.
Mientras volvía a la chimenea,
cojeando ligeramente, pero con
paso vivo, Stephen pudo ver cómo
el alma callada del jesuita le contemplaba desde el fondo de sus
ojos pálidos y desamorados. Era
cojo como Ignacio, pero en sus
ojos no había ni una centella del
entusiasmo ignaciano. Ni aun siquiera había encendido su alma
con la llama de la energía apostólica aquella astucia legendaria
de la Compañía, más sutil y más
recatada que los libros de la ciencia sutil y misteriosa. Parecía
como si usase los ardides, el saber y las astucias del mundo a la
mayor gloria de Dios, pero forzado a hacerlo, sin la alegría de poseerlos, sin aborrecer tampoco
aquello de malo que había en
ellos, sino simplemente replegándolos sobre ellos mismos con un
gesto firme y servil, y sin que, a
pesar de toda esta servidumbre
silenciosa, pareciera tener la más
mínima cantidad de amor a su amo
y sintiendo a lo más una cantidad
muy pequeña [214] de cariño a los
fines que servía. Similiter atque
senis baculus: era lo que su fundador había querido que fuese,
un bastón en manos de un anciano, un bastón que sirve para apoyarse en él en el camino, a la
caída de la noche o en medio del
temporal, o para yacer junto al
ramillete de flores de una dama
sobre un banco del jardín, o para
ser esgrimido en amenaza.
BONUM EST IN QUOD
TENDIT APPETITUS.
15
20
60. Like Ignatius be was lame: Ignatius of Loyola was
lamed by a wound received in battle. It was during
convalescence from this wound that he turned his
thoughts towards religious matters.
25
30
35
40
45
50
61. Similiter atque senis baculus: ‘Similar to an old man’s
walking stick’. This is an Ignatian simile for the soldier
of Christ in relation to his Jesuit superiors, from the
Constitution of the Society of Jesus with Explication
(1635).
Similiter atque senis The translation follows in the next
line ‘like a staff in an old man’s hand’.
Similiter atque senis baculus: «Like an old man’s walking
stick»
SIMILITER
AT Q U E
SENIS
he was, as the
founder would have had
him, like a staff in an
55 o l d m a n ’ s h a n d , t o b e
leaned on in the road at
nightfall or in stress of
w e a t h e r, t o l i e w i t h a
nosegay n. a bunch of flowers, esp. a 60 l a d y ’ s n o s e g a y o n a
garden seat, to be raised
sweet-scented posy; bpouquet; an
arrangement of flowers that is usually
in menace.
given as a present
posy ramillete, bouquet, corsage, nosegay
an arrangement of flowers that is usually
given as a present
BACULUS ,
The dean returned to the
El decano regresó a la chimenea y comenzó a golpearse la barbilla.
65 hearth and began to stroke his
chin.
233
‘Has dado ciertamente en el clavo’
Joyce’s Portrait
—When may we expect to
have something from you on
the esthetic question? he asked.
—¿Cuándo vamos a tener algo de usted sobre
los problemas estéticos?
—From
me!
said
Stephen in astonishment.
I stumble on an idea once
a f o r t n i g h t i f I a m l u c k y.
—¿Algo mío? —contestó
Stephen asombrado—. Tropiezo
con una idea una vez cada quince
días y eso si estoy de buenas.
—These questions are
very
profound,
Mr
Dedalus, said the dean. It is
like looking down from the
15 c l i f f s o f M o h e r i n t o t h e
depths. Many go down into
the depths and never come up.
Only the trained diver can go
down into those depths and
20
explore them and come to the
surface again.
—Esas cuestiones son muy
profundas, míster Dédalus —
dijo el decano—. Es como mirar hacia el abismo desde la
escarp a de Moher. Algunos
penetran en lo profundo para
no volver a salir. Sólo buzos
bien adiestrados pueden sumergirse en esas profundidades, explorarlas y volver a salir a la superficie de nuevo.
5
10
62. cliffs o f Moher: dramatic cliffs in County Clare.
Moher The cliffs in County Clare.
—If
you
mean
s i r,
said
Stephen, I also am sure that
there is no such thing as free
thinking inasmuch as all
thinking must be bound by
30 its own laws.
—Si es a la especulación a lo
que se refiere usted, señor —dijo
Stephen—, yo estoy también seguro de que no hay tal pensamiento libre puesto que todo pensamiento está limitado por sus
propias leyes.
25 s p e c u l a t i o n ,
—Ha!
—¡Ah!
—For my purpose I
can work on at present
by the light of one or
two ideas of Aristotle
and Aquinas.
—Para lo que me propongo,
puedo seguir trabajando al presente a la luz de una o dos ideas
de Aristóteles y de Santo Tomás
de Aquino.
—I see. I quite see
your point.
—¡Ya! Comprendo perfectamente su idea.
—I need them only for my
own use and guidance until I
have done something for
myself by their light. If the
lamp smokes or smells I shall
50 try to trim it. If it does not give
light enough I shall sell it and
buy another.
—Me hacen falta para mi
propio uso y guía sólo hasta
que haya logrado algo por
mí mismo a la luz de ellas.
Si la lámpara humea o da
tufo, procuraré despabilarla. Si no da bastante luz, la
venderé y compraré otra.
—Epictetus also had a
—Epicteto tenía también una
lámpara —dijo el decano—, que
fue vendida por un precio exorbitante después de su [215] muerte. Era la lámpara a cuya luz había escrito sus disertaciones filosóficas. ¿Conoce usted a
Epicteto?
35
40
45
55 l a m p , s a i d t h e d e a n , w h i c h
63. Epictetus ... price after his death: Epictetus, the Greek
Stoic philosopher, considered freedom and
contentment the highest good. His earthenware lamp
is said to have been bought after his death by an
admirer who thought that possession of it might make
him a philosopher.
Epictetus The stoic philosopher of the 1st century whose
teachings are imbued with those of Christ.
64. An old gentleman . . . bucketful o f water: in his
Discourses, Epictetus likens the soul to a bowl of
water.
was sold for a fancy price
after his death. It was the
lamp
he
wrote
his
p h i l o s o p h i c a l
60
d i s s e r t a t i o n s b y . Yo u
know Epictetus?
—An old gentleman, said
—Un señor antiguo —contestó rudamente Stephen— que dijo
que el alma era muy parecida a
un cubo de agua.
65 Stephen coarsely, who said
that the soul is very like a
bucketful of water.
234
Joyce’s Portrait
65. a thief . . . iron lamp: the story is told in the Discourses.
—He tells us in his
h o m e l y w a y, t h e d e a n w e n t
on, that he put an iron
5
lamp before a statue of
one of the gods and that a
thief stole the lamp. What
did the philosopher do? He
10 reflected that it was in the
character of a thief to steal
and determined to buy an
earthen lamp next day instead
of the iron lamp.
—Epicteto nos cuenta, con
aquella lisa manera suya —continuó
el decano—, que una vez había
puesto—una lámpara de hierro delante de uno de los dioses y que un
ladrón robó la lámpara. ¿Qué
hizo el filósofo? Reflexionó
que era connatural en un ladrón el robar y decidió comprar al día siguiente una lámpara de arcilla en lugar de la
lámpara de hierro.
15
20
25
30
35
A smell of molten tallow
c a m e u p f r o m t h e d e a n ’s
candle butts and fused itself in
Stephen’s consciousness with
the jingle of the words, bucket
and lamp and lamp and
bucket. The priest’s voice,
too, had a hard jingling tone.
S t e p h e n ’s m i n d h a l t e d b y
instinct, checked by the
strange tone and the imagery
and by the priest’s face which
seemed like an unlit lamp or a
reflector hung in a false focus.
What lay behind it or within
it? A dull torpor of the soul or
the
dullness
of
the
thundercloud, charged with
intellection and capable of the
gloom of God?
Un olor a sebo fundido subía en aquel momento de los
cabos de vela del decano, y se
le fundía en la mente a Stephen
con el sonido de las palabras:
cubo y lámpara, lámpara y
cubo. La mente de Stephen se
detuvo
instintivamente,
inmovilizada por el extraño
tono, por el juego de metáforas y por la cara del sacerdote, que parecía una lámpara
apagada o un reflector
desenfocado. ¿Qué era lo que
había oculto detrás de ella?
¿Un sombrío letargo espiritual
o la negrura de la nube tempestuosa, cargada de intelección y
capaz de las profundidades
sombrías de Dios?
—I meant a different kind
—Quiero decir otra clase de
lámpara, señor.
40 of lamp, sir, said Stephen.
—Undoubtedly, said the
dean.
—Indudablemente —contestó
el decano.
— O n e d i ff i c u l t y, s a i d
Stephen, in esthetic discussion
is to know whether words are
being used according to the
50 literary tradition or according
to the tradition of the
marketplace. I remember a
s e n t e n c e o f N e w m a n ’s i n
which he says of the Blessed
55 Virgin that she was detained in
the full company of the saints.
The use of the word in the
marketplace is quite different.
YOU.
—Una dificultad en las discusiones estéticas —dijo
Stephen—, es el saber si las palabras que estamos usando lo
están siendo con arreglo a la
tradición literaria o según el
uso común de la vida . Me
acuerdo de un pasaje de
Newman, en el cual dice que la
Santísima Virgen estaba entretenida en compañía de todos los
santos. Pero la palabra en el uso
diario tiene también otro sentido distinto. Espero que no le
estaré entreteniendo a usted.
—Not in the least, said the
dean politely.
—De ningún modo —dijo el
decano cortésmente.
—No, no, said Stephen,
smiling, I mean—
—No, no —dijo sonriendo
Stephen—, si quiero decir...
45
66. a sentence o f Newman’s . . . saints: the phrase is
from Newman’s translation of Ecclesiasticus in ‘The
Glories of Mary for the Sake of her Son’, in
Discourses to Mixed Congregations. (G)
detained in the full company of the saints Again a
reference to Newman’s The Glories of Mary.
60
I H O P E I A M N O T D E TA I N I N G
65
235
Joyce’s Portrait
—Yes, yes; I see, said the
dean quickly, I quite catch the
point: DETAIN.
He thrust forward his under
jaw and uttered a dry short
cough.
—Sí, sí —dijo el decano con
presteza—; comprendo perfectamente: entretener.
[216]
Avanzó la mandíbula inferior y dejó escapar una tos seca
y breve.
—To return to the lamp, he
said, the feeding of it is also a
n i c e p r o b l e m . Yo u m u s t
choose the pure oil and you
15 must be careful when you pour
it in not to overflow it, not to
pour in more than the funnel
can hold.
—Para volver a la lámpara
—dijo—, el alimentarla es también un lindo problema. Tiene
usted que escoger aceite limpio
y tener cuidado de no llenarla
demasiado, de no verter en el
embudo más de lo que pueda
contener.
5
10
20
—What funnel? asked
Stephen.
—¿Qué embudo? —preguntó
Stephen.
—The funnel through which
—El embudo por el cual vierte usted el aceite en la lámpara.
25 you pour the oil into your lamp.
67. tundish: this is in fact an English (Elizabethan) word,
not an Irish word.
tundish A kind of funnel used in brewing.
—That? said Stephen. Is
that called a funnel? Is it not
a tundish?
—¿Sí? ¿Se llama eso un
embudo? ¿No se llama
envás?
30
—What is a tundish?
—¿Qué es un envás?
—That. Thefunnel.
—Eso. El... embudo.
35
—Is that called a
tundish in Ireland? asked
the dean. I never heard the
word in my life.
—¿Pero se llama envás en Irlanda? —preguntó el decano—.
No he oído en mi vida semejante
palabra.
—It is called a tundish in
Lower Drumcondra, said
Stephen, laughing, where they
speak the best English.
—Pues lo llaman así en
el Bajo Drumcondra, donde
hablan el inglés más puro
—contestó Stephen.
—A tundish, said the dean
reflectively. That is a most
interesting word. I must look
50 that word up. Upon my word I
must.
—¡Envás! —dijo el decano pensativo—. Es muy
interesante. He de buscar
e s a p a l a b r a . Va y a s i l a
h e d e b u s c a r.
His courtesy of manner
rang a little false and Stephen
55 l o o k e d a t t h e E n g l i s h
convert with the same eyes as
t h e e l d e r b ro t h e r i n t h e
parable may have turned on
the prodigal. A humble
60
follower in the wake of
clamorous conversions , a
poor Englishman in Ireland,
he seemed to have entered on
65 the stage of jesuit history
when that strange play of
intrigue and suffering and
Las palabras corteses del decano sonaban un poquito a falso, y Stephen contemplaba al
converso inglés con los mismos
ojos con los que el hermano mayor de la parábola habría contemplado al pródigo. ¡Pobre inglés en Irlanda, pobre seguidor
de una oleada de clamorosas
conversiones! Parecía haber entrado en el escenario de la historia jesuítica, cuando estaba
casi acabando la extraordinaria
farsa de intrigas, y sufrimien-
40
68. Lower Drumcondra: a northern suburb of Dublin to
which the Dedalus family had removed.
45
69. English convert . . . the prodigal: the priest, modelled
on a Father Darlington, is a convert to Catholicism
and an Englishman in Ireland (just like Cardinal
Newman, whom Stephen is so fond of quoting).
Stephen regards him, as the dutiful son in the parable
regards the younger brother, as the prodigal who
has wasted his substance and yet is welcomed by
the father (Luke 15:11-32).
as the elder may have turned on the prodigal See Luke
15, 11-32; the parable of the prodigal son.
40. clamorous conversions . . . a tardy spirit: after
Newman’s conversion to Roman Catholicism in
1845, many other members of the Oxford Movement
which he had led came over to Rome with him. But
the dean of studies has converted long after those
tempestuous years.
236
Joyce’s Portrait
to, y envidia e indignidad. Era un
allegado de última hora, un espíritu tardío. ¿De dónde había partido? Tal vez había nacido y sido
educado entre rígidos disidentes, que esperaban la salvación tan sólo de Jesús, y aborrecían las vanas pompas de
la iglesia constituida. ¿Había
sentido la necesidad de una
fe independiente del juicio
individual, viéndose entre el
caos de las sectas y la jerga cismática de los fieles de
los seis principios, de los
independientes, de los
baptistas de la semilla y la
serpiente, y de lis dogmátic os supralapsarios ? ¿Ha bía
en c o n t r a d o l a v e r d a d e ra iglesia después
de
haber
seguido
hasta [217] su término un hilo sutil de
raciocinio sobre la
i n s u f l a ci ó n o l a i m p o s i ción de manos, o la procesión
del Espíritu Santo? ¿O le había tocado Nuestro Señor y
mandado que le siguiera,
como a aquel discípulo que
estaba se ntado junto al banco
de los tributos, al estar él sentado cerca de la puerta de algun a capilla techada de z i n c ,
bostezando y contando
s u s denarios ?
The dean repeated the
word yet again.
El decano repitió otra vez la
palabra.
—Tundish! Well now, that
is interesting!
—¡Envás! ¡Caramba si es interesante!
—The question you asked
me
a moment ago seems to me
50
more interesting. What is that
beauty which the artist
struggles to express from
lumps of earth, said Stephen
55 coldly.
—La pregunta que me hacía
usted hace un momento me parece interesante. ¿Qué es esa belleza que el artista se esfuerza
por expresar, sacándola de la
materia de arcilla? —dijo fríamente Stephen.
—The
little
word
seemed to have turned a
rapier
point
of
his
60
sensitiveness against this
courteous and vigilant foe.
He felt with a smart of
dejection that the man to
65 whom he was speaking was
a countryman of Ben
Jonson. He thought:
La palabreja en la que diferían parecía habérsele convertido en la punta aguda de un florete de sensibilidad, esgrimido contra aquel su cortés y vigilante
adversario. Y sintió como una
punzada de desánimo al descubrir que aquel hombre con el que
estaba hablando, era un compatriota de Ben Jonson. Pensaba:
5
10
welter 1 to roll about, writhe, or wallow
2 (esp. of the sea) to surge, heave, or toss
3 to lie drenched in a liquid, esp. blood
4 a rolling motion, as of the sea
5 a confused mass; jumble
71 six principle men . . . supralapsarian dogmatists?: these
are all Baptist sects. Six-Principle Baptists, founded in
London in 1690, relied on six principles found in
Hebrews 6a-2; ‘peculiar people’, founded in the late
eighteenth century in North Carolina, relied on God to
cure all disease and refused all medicine;
Seed-and-Snake Baptists, founded in nineteenthcentury
Tennessee, believed that some were of the seed of
Eve and were saved, while others (most people) were
of the seed of the snake and were damned;
‘supralapsarian dogmatists’ believed that salvation depended entirely on God. Man could do nothing in this
regard. Therefore they refused all institutionalizing of
religion as a waste of time and effort.
15
20
seed and snake baptists Derogatory reference to
nonconformist minorities.
supralapsarian The doctrine that God’s decrees preceded the Fall and were therefore not due to it.
72 insufflation .. . imposition of hands . .. procession of
the Holy Ghost?: insufflation is the blowing or
breathing of spiritual life into a person; the imposition
of hands, as at baptism, signifies the beginning of a
new life and the expulsion of evil; the procession of
the Holy Ghost is part of the doctrine of the Trinity
that claims the Holy Ghost proceeds from the Father
and the Son.
insufflation Breathing on a person as a rite of exorcism.
insufflation: breathing on someone or something to
symbolize the coming of the Holy Ghost and the
banishing of evil spirits
73. sat at the receipt o f custom: the phrase is from
Matthew (the disciple in question) 9:9.
25
30
35
74. zinc-roofed chápel: chapel of some dissenting sect.
40
45
75. Ben Jonson: Stephen, like Joyce, favoured the
Elizabethan lyricists.
envy and struggle and
indignity had been all but
given through—a late-comer,
a tardy s p i r i t . F r o m w h a t
had he set out? Perhaps he
had been born and bred
among serious dissenters,
seeing salvation in Jesus
only and abhorring the
vain
pomps
of
the
establishment. Had he felt
the need of an implicit
faith amid the welter of
sectarianism and the
jargon of its turbulent
schisms, six principle
men, peculiar [odd]
people, seed and snake
baptists, supralapsarian
dogmatists? Had he found
the true church all of a
sudden in winding up to
the end like a reel of
cotton some fine-spun line
of
reasoning
upon
insufflation
on
the
imposition of hands or the
procession of the Holy
Ghost? Or had Lord
Christ touched him and
b i d d e n h i m f o l l o w, l i k e
that disciple who had sat
at the receipt of custom,
as he sat by the door of
s o m e z i n c - ro o f e d c h a p e l,
y a w n i n g a n d t e l l i n g o ver
his church pence?
237
welter 1 1 roll, wallow; be washed about. 2 (foll. by in)
lie prostrate or be soaked or steeped in blood etc.
hincharse las olas
1 a state of general confusion. Oleaje, conmoción. 2
(foll. by of) a disorderly mixture or contrast of beliefs,
policies, etc. Tumultuoso,
welter 2 n. 1 a heavy rider or boxer. 2 colloq. a heavy
blow. 3 colloq. a big person or thing.
Joyce’s Portrait
—The language in which
we are speaking is his
before it is mine. How
5
different are the words
H O M E , C H R I S T, A L E , M A S T E R ,
on his lips and on mine! I
cannot speak or write these
10 w o r d s w i t h o u t u n r e s t o f
spirit. His language, so
familiar and so foreign,
will always be for me an
acquired speech. I have not
15 m a d e o r a c c e p t e d i t s
words. My voice holds
them at bay . M y s o u l f r e t s
in the shadow of his
language.
—El lenguaje en que estamos hablando ha sido suyo antes que mío. ¡Qué diferentes resultan las palabras hogar, Cristo, cerveza, maestro, en mis labios y en los suyos! Yo no puedo pronunciar o escribir esas palabras sin sentir una sensación
de desasosiego. Su idioma, tan
familiar y tan extraño, será
siempre para mí un lenguaje adquirido. Yo no he creado esas
palabras, ni las he puesto en uso.
Mi voz se revuelve para defenderse de ellas. Mi alma se angustia entre las tinieblas del idioma
de este hombre.
—And to distinguish
between the beautiful and the
sublime, the dean added, to
25 distinguish between moral
beauty and material beauty.
And to inquire what kind of
beauty is proper to each of the
various arts. These are some
30 interesting points we might
take up.
»Y el distinguir —añadió el
decano— entre lo bello y lo sublime, y el distinguir entre la
belleza material y la belleza
moral. Y el investigar qué especie de belleza es la que está
más cercana de cada una de las
diversas artes. He aquí algunos
temas interesantes que habría
que tratar.
Stephen, disheartened
suddenly
by the dean’s firm,
35
dry tone, was silent; and
through the silence a distant
noise of many boots and
confused voices came up the
40 staircase.
Descorazonado súbitamente
por el tono seco y firme del decano, Stephen permaneció sin decir
nada. Y a través de [218] este silencio subió procedente de la escalera un ruido distante de botas
y de voces.
—In pursuing these
speculations, said the dean
c o n c l u s i v e l y, t h e r e i s ,
45
however, the danger of
perishing of inanition. First
you must take your degree.
Set that before you as your
50 f i r s t a i m . T h e n , l i t t l e b y
little, you will see your
way. I mean in every sense,
your way in life and in
thinking. It may be uphill
55 p e d a l l i n g a t f i r s t . Ta k e M r
Moonan. He was a long
time before he got to the
top. But he got there.
—Al seguir estas especulaciones —añadió el decano como para
terminar— hay el peligro de perecer de inanición. Lo primero
que debe usted hacer es tomar el
grado. Propóngase usted esto antes que nada. Luego, poco a poco,
ya irá usted encontrando su camino. Quiero decir su camino en
todos aspectos, lo mismo en la
vida que en las ideas. Tal vez se
le haga cuesta arriba al principio.
Tome usted el ejemplo de Mr.
Moonan. Le ha costado mucho
tiempo el llegar a la cima. Pero
la ha alcanzado por fin.
20
60
65
—I may not have his
talent, said Stephen
q u i e t l y.
—Puede ser que yo no posea
su talento —dijo reposadamente
Stephen.
—You never know, said the
dean brightly. We never can
say what is in us. I most
—Eso nadie lo sabe —repuso vivamente el decano—. Nunca podemos decir lo que hay den238
Joyce’s Portrait
76. Per aspera ad astra: through hardship to the stars.
Per aspera ad astra Through hardship to the stars.
Probably a play on words, reference to per ardua ad
astra: through endeavour to the stars. (Ancient motto
of the Mulvaney family.)
• Per aspera ad astra Through adversity to the stars.
After experiencing hardships, anything is possible;
or, said another way, the skis the limit!)
Per aspera ad astra: «By rough ways to the stars» (a
clich )
certainly should not be
despondent. PER ASPERA AD
ASTRA.
tro de nosotros. Yo, desde luego,
no me d e s a n i m a r í a . P e r
aspera ad astra.
He left the hearth quickly
and went towards the landing
to oversee the arrival of the
first arts’ class.
Abandonó raudo la chimenea
y salió al rellano de la escalera
para vigilar la entrada de la primera clase de artes.
Leaning against the
fireplace Stephen heard him
greet briskly and impartially
every Student of the class and
could almost see the frank
smiles of the coarser students.
A desolating pity began to fall
like dew upon his easily
embittered heart for this
faithful serving-man of the
knightly Loyola, for this halfbrother of the clergy, more
venal than they in speech,
more steadfast of soul than
they, one whom he would never
call his ghostly father; and he
thought how this man and his
companions had earned the
name of worldlings at the
hands not of the unworldly
only but of the worldly also for
having pleaded, during all their
history, at the bar of God’s
justice for the souls of the lax
and the lukewarm and the
prudent.
Recostado en la chimenea,
Stephen le oyó cómo iba saludando
rápidamente y sin hacer diferencias
a cada uno de los de la clase y pudo
notar las desenmascaradas sonrisas
de algunos estudiantes menos corteses. Una desoladora piedad comenzó a caer como un rocío sobre
su corazón propicio a la amargura,
piedad por aquel escrupuloso criado del caballeresco Loyola, por
aquel hermanastro de la clerecía, más
venal que los otros en sus palabras,
pero más recio de alma que ellos, por
aquel hombre al cual él nunca podría llamar su padre espiritual. Y
pensó en la fama de mundanos
que él y sus compañeros de religión habían adquirido, no sólo
entre los apartados del mundo,
sino entre los mundanos mis mos, por haber defendido
al flojo, al tibio y al
prudente, ante los tribun a l e s d e D i o s , a t r a v é s de
toda su historia.
The
entry
of
the
professor was signalled by
a f e w r o u n d s of K e n t i s h
f i re f r o m t h e h e a v y b o o t s
of those student s who
45
s a t o n t h e h i g h e s t tier of
the gloomy theatre under the grey
cobwebbed windows. The calling
of the roll began and the responses
50 to the names were given out in all
tones until the name of Peter
Byrne was reached.
La entrada del profesor fue saludada por una algarada de ruido de pies
procedente de las recias botas de los
estudiantes sentados bajo las ventanas
grisáceas y llenas de telarañas, [219]
allá arriba, en las últimas filas del
sombrío anfiteatro. Comenzó la lista y a cada nombre
fueron siguiendo las respuestas dadas en todos los
tonos, hasta que llegó el
nombre de Peter Byrne.
5
despondent in low spirits, dejected.
Abatido, alicaído, desalentador, desabrido, [letter] de tono triste; pesimista, desanimado, descorazonado,
melancólico
despondency abatimiento, dejection =
low spirits, desaliento, desesperación
10
15
20
77. knightly Loyola: St Ignatius Loyola was of an
aristocratic family.
78. halfbrother o f the clergy: possibly a reference to the
fact that the dean is a Jesuit, not one of the regular
secular clergy; or to the fact that he is a convert and
therefore not wholly of them.
25
79. ghostly father: Stephen would never address him in
the conventional way as ‘Father’. (He addresses him
as ‘sir’ all through the conversation.) ‘Ghostly’ means
both ‘substitute’ and ‘involving the Holy Ghost’, who
is both Father and Son and yet proceeds from them.
• his ghostly father the priest to whom he confesses.
30
35
80. the souls o f the lax . . . the prudent: the Jesuits
were often accused of being worldly and of catering
to the more comfortable classes.
40
81. Kentisb fire: a prolonged bout of applause with hands
or feet. It is said to have originated in Kent at
meetings held in opposition to Catholic Emancipation
(x829), an Act that freed Irish Catholics from some
of the penalties under which they had suffered.
Kentish fire Prolonged volley of applause, or display of
dissent.
• Kentish fire a mighty show of applause, often stamping
the feet, as well.
Kentish fire: prolonged stamping or clapping to show
impatience or disapproval
tier n. 1 a row or rank or unit of a structure, as
one of several placed one above another (tiers
of seats). 2 Naut. a a circle of coiled cable. b a place
for a coiled cable.
tier grada, fila, piso, nivel
—Here!
—¡Presente!
55
60
A deep bass note in response
came from the upper tier,
followed by coughs of protest
along the other benches.
De la parte alta de la gradería llegó una nota profunda, seguida de toses de protesta de los otros bancos.
The professor paused in his
reading and called the next
name:
El profesor hizo una pausa en
la lectura y luego pronunció el
nombre siguiente:
65
—Cranly!
—¡Cranly!
239
venal adj. 1 (of a person) able to be bribed
or corrupted. 2 (of conduct etc.)
characteristic of a venal person. Corruptible, bribable, mercenary; palmgreasing, corrupt, grafting, nepotistic.
Venable, sobornable, mercenario, corruptible, infiel, deshonesto, inmoral. Que
se deja sobornar con dádivas.
Qui se vend, qui se laisse acheter au
mépris de la morale.“
Joyce’s Portrait
5
82. Leopardstown: a racecourse in south Dublin.
Leopardstown The famous racecourse, not far from
Dublin.
rustling: crackling, susurrante, rumoroso, making a sound as dry leaves
blown in the wind, susurrar, crujir
No answer.
No hubo respuesta.
—Mr Cranly!
—¡El señor Cranly!
A smile flew across
Stephen’s face as he thought of
his friend’s studies.
Una sonrisa cruzó por el rostro de Stephen al pensar en los estudios de su camarada.
—Try
Leopardstown!
Said a voice fr o m
the bench behind.
Stephen glanced up quickly
b u t M o y n i h a n ’s s n o u t i s h
15 face, outlined on the grey
light, was impassive. A
formula was given out.
Amid the rustling of the
notebooks Stephen turned
20
back again and said:
—¡Que le busquen en
Leopardstown! —dijo una voz
desde el banco de detrás.
Stephen levantó rápidamente la vista, pero sólo vio, recortada sobre la luz gris, la cara
hocicuda e impasible de
Moynihan. El profesor expuso
una fórmula. Entre el susurro
de los cuadernos, Stephen volvió la cabeza otra vez y dijo:
—Give me some paper
f o r G o d ’s s a k e .
—¡Dame un pedazo de papel,
por amor de Dios!
Are you as bad as
that? asked Moynihan with a
broad grin.
—¿En ésas estamos? —preguntó Moynihan haciendo una
mueca.
He tore a sheet from his
scribbler and passed it down,
whispering:
Arrancó una hoja de su
cuaderno y se la pasó murmurando:
—In case of necessity
any layman or woman can
do it.
—En caso de necesidad,
cualquier seglar o mujer puede hacerlo.
The formula which he
o f p a p e r, t h e c o i l i n g a n d
uncoiling calculations of the
professor, the spectre-like
symbols of force and velocity
45
fascinated
and
jaded
Stephen’s mind. He had heard
some say that the old
professor was an atheist
50 freemason. O the grey dull
day! It seemed a limbo of
painless
patient
consciousness through which
souls of mathematicians
55 might wander, projecting long
slender fabrics from plane to
plane of ever r a r e r a n d p a l e r
twilight, radiating swift
e d d i e s t o t h e l a s t v e rg e s o f
60
a universe ever vaster, farther
and more impalpable.
La fórmula que había escrito
dócilmente sobre la hoja de papel,
el arrollarse y desarrollarse de los
cálculos del profesor y los símbolos espectrales de la fuerza y la velocidad eran otras tantas cosas que
fascinaban y fatigaban el alma de
Stephen. Había oído decir a algunos que aquel anciano profesor era masón y ateo. ¡Qué día
tan gris, tan triste! Parecía un
limbo de una lucidez insensible
y reposada a través del cual
erraban las almas de los matemáticos, elevando esbeltas
[220] construcciones entre los
planos de una luz cada vez más
extraña y pálida y haciendo
irradiar rápidos remolinos hacia los últimos confines de un
universo cada vez más vasto,
más lejano, más impalpable.
—So we must distinguish
elliptical
and
ellipsoidal. Perhaps some of
you gentlemen may be familiar
—Debemos distinguir, por
tanto, entre elíptico y
elipsoidal. Tal vez algunos de
ustedes, señores, conozcan las
10
25
83. Are you as bad as that?: Moynihan is asking Stephen
has he been caught short so badly that he needs
(toilet) paper.
X
30
84. In case of necessity . . . can do it: Moynihan is still
trading on his joke, referring to the catechism’s
answer on emergency baptism.
35
40 wrote obediently on the sheet
jaded adj. tired or worn out; surfeited [hastiado].
jaded 1 dulled by surfeit; «the amoral,
jaded, bored upper classes» 2
wearied exhausted; «my father’s
words had left me jaded and
depressed»- William Styron; 3 jaded
hastiado, sin entusiasmo, exánime,
ajado
exánime 1 sin señal de vida
2 sumamente debilitado; sin
aliento, desmayado
65 b e t w e e n
240
smile.
Joyce’s Portrait
85. W. S. Gilbert . . . balls: William S. Gilbert (1836-r911i),
who wrote the words for The Mikado (1885), music
by Arthur S. Sullivan (i842-igoo). The song is from
the final act.
W. S. Gilbert (1836-1911) The writer of a number of popular operas, among them The Mikado and The
Gondoliers. They were set to music by Sir Arthur
Sullivan. The quotation is from a song in The Mikado.
with the works of Mr W. S.
Gilbert. In one of his songs he
speaks of the billiard sharp
who is condemned to play:
obras de Mr. W S. Gilber. En
una de sus canciones habla de
un jugador fullero de billar,
condenado a jugar:
On a cloth untrue
With a twisted cue
And elliptical billiard balls.
Sobre una mesa desnivelada;
el taco, tuerto;
bolas elípticas.
5
On a cloth untrue: from a song in The Mikado, an opera
by W. S. Gilbert (1836-1911) and Sir Arthur Sullivan
(18421900). Among imaginary torments is that of
having to play billiards under these conditions
10
—He means a ball
having the form of the
ellipsoid of the principal
axes of which I spoke a
15 moment ago.
—Lo que quiere decir es con
una bola que tuviera la forma de
un elipsoide como éste, de cuyos principales ejes les acabo de
hablar.
Moynihan leaned down
towards Stephen’s ear and
murmured:
Moynihan se inclinó hacia la oreja de Stephen y
murmuró:
—What price ellipsoidal
balls! chase me, ladies, I’m in
the cavalry!
—¿A cuánto van las bolas
elipsoidales? ¡Que me echen señoras! ¡Que soy de caballería!
His fellow student’s rude
humour ran like a gust
through the cloister of
St e p h e n ’s m i n d , s h a k i n g
30 into gay life limp priestly
vestments that hung upon
the walls, setting them to
sway and caper in a sabbath
35 of misrule. The forms of the
community emerged from
the gust-blown vestments,
the dean of studies, the
portly [corpulent] florid
40 bursar with his cap of grey
hair, the president, the little
priest with feathery hair
who wrote devout verses,
the squat peasant form of
45
the professor of economics,
the tall form of the young
professor of mental science
discussing on the landing a
50 case of conscience with his
class like a giraffe
cropping high leafage
among a herd of antelopes,
the grave troubled prefect
55 of the sodality, the plump
round-headed professor of
I t a l i a n w i t h h i s r o g u e ’s
eyes. They came ambling
and stumbling, tumbling
60
and capering , kilting their
gowns for leap frog,
holding one another back,
shaken with deep false
65 l a u g h t e r , s m a c k i n g o n e
another
behind
and
laughing at their rude
La burda broma de su compañero atravesó como una ráfaga el
claustro del espíritu de Stephen,
agitando los fláccidos vestidos
sacerdotales que colgaban de sus
paredes, dándoles vida, obligándolos a ondear y a hacer cabriolas
como en un sábado salido de quicio. De los vestidos agitados por
la ráfaga iban saliendo las formas
de los individuos de la comunidad:
el decano de estudios; el tesorero con
su tocado de pelo gris, majestuoso
y encendido; el presidente, aquel
sacerdote diminuto, de un pelo tenue cual plumón, que escribía versos piadosos; el tipo rechoncho y
lugareño del profesor de economía; la figura altísima del joven
profesor de ciencia mental discutiendo con sus discípulos un caso
de conciencia, en el rellano de una
escalera, como una jirafa que estuviera desmochando las ramas
altas de los árboles en medio de
una manada de antílopes; el
grave e inquieto prefecto de la
congregació n ; e l r o l l i z o
profesor de italiano, con
sus ojos picarescos. Y venían en un trotecillo, a
t rompicones, [221] dando volteretas
y cabriolas, remangándose los
hábitos para saltar a «la una andaba la mula», agarrándose los
unos a los otros, contorsionados
por una risa recóndita y falta,
dándose sonoros lapos en las
costillas y celebrando la broma
20
25
gust : asudden brief rush of wind
the cloister of Stephen’s mind... These connected images
reflect the puritanical element in Stephen.
like a giraffe Fine image to indicate the ‘jungle’ of learning
in which Stephen finds himself - but it is not the kind
of learning on which he can feed.
241
Joyce’s Portrait
remoque. 1. m. Moquete o puñada. 2. fig.
Dicho agudo y satírico. 3. Apodo que
se da a uno. 4. fam. Cortejo o galanteo.
dar remoquete. fig. y fam. dar en los
ojos; hacer deliberadamente una persona en presencia de otra algo que le
pesada, l l a m á n d o s e c o n
remoquetes familiares,
en t r e s ú b i t a s p r o t e s t a s d e
dignidad ante tal broma excesiva, en cuchicheos, por
parejas, la boca oculta tras
la mano.
The professor had gone
to the glass cases on the
si de wa l l , from a shelf of
which he took down a set of
coils, blew away the dust
15 f r o m m a n y p o i n t s a n d ,
bearing it carefully to the
table, held a finger on it
while he proceeded with
his lecture. He explained
20
that the wires in modern
coils were of a compound
called platinoid lately
d i s c o v e r e d b y F. W.
25 Martino.
El profesor se había dirigido
a las vitrinas que estaban en la
pared lateral, de uno de cuyos estantes extrajo un juego de bobinas, que transportó cuidadosamente hasta la mesa, después de
bien sopladas por todos lados
para quitarles el polvo. Y con un
dedo sobre el aparato, continuó
su explicación. Hablaba de que
los hilos en las bobinas modernas estaban hechos de un comX puesto llamado platinoide, descubierto recientemente por F. W.
Martino.
He spoke clearly the initials
and surname of the discoverer.
Moynihan whispered from
30 behind:
Pronunció con toda claridad
las iniciales y el apellido del descubridor. Moynihan susurró desde atrás:
—Good old Fresh Water
Martin!
—¡Vaya por el Famoso
Water-closet Martino!
—Ask him, Stephen
whispered back with weary
humour, if he wants a subject
for electrocution. He can
40 have me.
—Pregúntale —murmuró Stephen con desgana—
si necesita un sujeto para
s e r e l e c t r o c u t a d o . Yo m e
ofrezco.
Moynihan, seeing the
professor bend over the
coils, rose in his bench and,
45
clacking noiselessly the
fingers of his right hand,
began to call with the voice
of a slobbering urchin.
Moynihan, viendo que el
profesor estaba inclinado sobre
los carretes, se puso en pie, y haciendo como que chascaba los
dedos de la mano derecha, comenzó a gritar con una voz de
pilluelo acongojado:
10
platinoid An alloy of copper, zinc, platinum and tungsten.
86. F. W. Martino: F. W. Martin, an American chemist.
malice, calling to one another
by familiar n i c k n a m e s ,
protesting with sudden
dignity at some rough
5
usage, whispering two
and two behind their
hands.
35
clack chascar 1 to make or cause to make a sound
like that of two pieces of wood hitting each other
2 to jabber 3 a less common word for cluck
clack 1 : CHATTER, PRATTLE 2 : to make an abrupt
striking sound or series of sounds 3 of fowl :
CACKLE, CLUCK 1 : to cause to make a clatter 2 : to
produce with a chattering sound; specifically :
BLAB chismorrear, charlar, traquetear, tabletear
drool ooze, drivel, slobber, babear, babosear, caersele
la baba o show much pleasure or infatuation,
perder la baba
drooler 1 baboso : a person who dribbles; «that baby is
a dribbler; he needs a bib» 2. Someone that asks
stupid simple questions on a forum that everyone
and their dog has already asked because they are
too fucking lazy to search or open their damn eyes.
3. Someone that drools.
drooler n. A handicapped person, may or may not be
mentally handicapped.

Joyce, James ``A Portrait of an Artist``-Sn-En-Sp-Xx.p65

Transcripción

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