Professional Documents
Culture Documents
JOHN
Mac Flecknoe (Angol)
az kvet, ki rm legtisztbban t!
a gg dagasztott az gi megbizstl;
Here stopt the good old sire; and wept for joy
s Herringman a grdakapitny.,
j ment lt a jv uralomra.
POPE,
ALEXANDER
The Rape of the Lock 1. (Angol)
A frtrabls 1. (Magyar)
An Heroi-Comical Poem
[Martialis]
[Martialis]
Part 1
Els nek
Ha l mg benned gyermek-kpzelem,
POPE,
ALEXANDER
The Rape of the Lock 2. (Angol)
A frtrabls 2. (Magyar)
Part 2
Msodik nek
s mindahny hatalmt-istent;
R rtok ms s ms ktelmeket:
GRAY,
THOMAS
Elegy Written in a Country Churchyard(Angol)
a fradt pr is hazaballagott,
el-elhenylt h dlrkon t,
The Epitaph
A srfelirat
mindmegannyian a Feltmadst).
Jkely Zoltn
WORDSWORTH,
WILLIAM
Lines composed a few miles above Tintern Abbey (Angol)
cserjesorokat; a psztortanykat:
egymaga l a remete.
E sok
S ha mindez
hi hit is, h, hnyszor volt (sttben
If this
a naplementk tndklse s
Nor perchance,
Thy voice, nor catch from thy wild eyes these gleams
Szab Lrinc
COLERIDGE, SAMUEL
TAYLOR
Kubla Khan (Angol)
Kubla kn (Magyar)
Kubla kn tndrpalott
pttetett Xanaduban,
hol roppant barlangokon t
rk jbe veti magt
az Alph, a szent folyam.
Mrfldnyi j fldet tizet
gyorsan torony s fal vezett:
s itt tmjnfa nyilt, illat volt a lomb
tndkl kertek s kanyar patak;
ott stt erdk, vnek, mint a domb,
leltek napos pzsitfoltokat.
KEATS,
JOHN
Ode To A Nightingale (Angol)
and persuades herself that it will remain that way. Juan meantime cannot understand why he is pensive and
inclined to seek solitude.
One June evening Julia and Juan happen to be in a bower together. One of Julia's hands happens to fall on one
of Juan's. When the sun sets and the moon rises, Juan's arm finds its way around Julia's waist. Julia strives with
herself a little, "And whispering 'I will ne'er consent'-consented" (St. 117).
As Julia lies in her bed one November night, there arises a tremendous clatter. Her maid Antonia warns her that
Don Alfonso is coming up the stairs with half the city at his back. The two women have barely enough time to
throw the bedclothes in a heap when Don Alfonso enters the room. Julia indignantly asks Alfonso if he suspects
her of wrongdoing and invites him to search the room. Alfonso and his followers do so and find nothing. While
the search is going on, Donna Julia protests her innocence with angry eloquence, giving numerous examples of
her virtue and pouring abuse upon her luckless husband. When no lover is found, Don Alfonso tries to excuse
his behavior but only succeeds in drawing sobs and hysterics from his wife. Alfonso, shamefaced, withdraws
with his followers and Julia and Antonia bolt the bedroom door.
No sooner has Alfonso gone than Juan emerges from beneath the pile of bedclothes where he has been hidden.
Knowing that Alfonso would soon be back, Julia and Antonia advise Juan to go into a closet. Hardly has Juan
entered his new hiding place when Alfonso returns. Alfonso makes various excuses for his conduct and begs
Julia's pardon, which she half gives and half withholds. The matter might have ended there had Alfonso not
stumbled over a pair of men's shoes. He promptly goes to get his sword. Julia immediately urges Juan to leave
the room and make his exit by the garden gate, the key to which she gives him. Unfortunately, on his way out
he meets Alfonso and knocks him down. In the scuffle Juan loses his only garment and flees naked into the
night.
Alfonso sues for divorce. Juan's mother decides that her son should leave Seville and travel to various
European countries for four years. Julia is put in a convent from which she sends Juan a letter confessing her
love for him and expressing no regrets.
The first episode of Don Juan ends at this point, but before concluding Canto I Byron adds twenty-two stanzas
in which he entertains himself by giving a mocking statement of his intentions in regard to Don Juan, taunts his
contemporaries Wordsworth, Coleridge, and Southey, defends the morality of his story, confesses that at thirty
his hair is gray and his heart has lost its freshness, comments on the evanescence of fame, and says goodbye to
his readers.
Analysis
In the first few stanzas, Byron establishes the half-playful and mocking and half-serious tone that is going to
pervade Don Juan. When that is done, he gives his readers as the chief characters in his first canto a pair of
married couples. They are both unhappily married. Don Jos and Donna Inez are mismatched. Donna Inez is a
cold and severe type of woman, although she has evidently not always been so. It was generally known that in
her younger days she had had an affair with Don Alfonso. Don Jos is a good-natured, easy-going kind of man
inclined to take his pleasures where he finds them. Byron's defense of him is that he had been badly brought up
and that he was amorous by nature. In the character of Donna Inez, Byron was satirizing, against the advice of
his friends, his estranged wife, Lady Byron. Donna Julia and Don Alfonso are mismatched by age as Donna
Inez and Don Jos are mismatched by incompatibility of character and personality. Don Alfonso has nothing to
offer Donna Julia except his name and station. Theirs was a marriage of convenience. Byron does not bother to
devote much characterization to Don Alfonso. He merely says he was neither very lovable nor very hateable.
He had a more or less negative personality, neither warm nor cold. Like any other husband, he did not care to
be cuckolded.
Byron is far more interested in the wives than in the husbands and characterizes them rather extensively.
Neither portrait is flattering. Donna Inez's is clearly malicious; in her Byron was attacking his estranged wife.
She is not a faithless wife, but she is an intolerant and rather frigid one. Donna Julia's portrait of woman as wife
is likewise unflattering; she deceives herself and her husband. However, Byron makes the reader feel
sympathetic toward her in spite of his using her to show up woman's wiles. Donna Julia and Don Jos, had they
been closer in age, might have made a compatible pair; Donna Julia finds in Don Jos's son the warmth that
was in the father. Donna Inez and Don Alfonso, who had been lovers at one time, might have gotten along well
in marriage. Human nature and society, Byron seems to say, work against a happy marriage.
Some of Byron's contemporaries found Byron's bedroom farce immoral. It can be said in his defense that his
mocking presentation neutralizes any remote occasion of sin that there might be present in his story of illicit
love. Nor does he supply any provocative details. Lastly, both Donna Julia and Don Juan are made to look
ridiculous, and both are punished for their guilt
The story in Canto I is told by an "I" persona who is said to be a friend of Don Juan's family. Byron may have
foreseen the difficulties involved in making this persona a witness who would be present with Don Juan in his
various adventures and so decided to discard him. At any rate the "I" narrator is discarded before the first canto
ends, and becomes Byron himself giving his opinions on various matters and communicating more or less
confidentially with the reader.
Canto I of Don Juan is without doubt the most interesting, entertaining, and amusing of all the cantos. For
anything of this kind comparable in quality and liveliness in English verse, the reader has to go all the way back
to Chaucer.
TENNYSON, ALFRED
LORD
The Lady of Shalott (Angol)
Folyparton, ds rteren,
To many-tower'd Camelot;
A soktorny Camelot.
pp selyemvitorlra bont,
S ha mg holdfnynl is frad,
Szttest sz rendletlenl,
rny-bbokat, ember-trkkt,
S mgttk mr Shalott.
Tkrzdik Camelot.
S mi bt a kristly tkrztt,
Szvtnekbe kltztt;
J ji nszra kt alak.
gy unom mr az rnyakat!
Nyllvs-tlnyi tvolon,
Sisakja-tolla egybe-lng.
Szakllas-csvs mg kzs
lmban l Shalott.
S eltte, m: Camelot.
Kristlytkrben, tellent,
A hs Sir Lancelot.
A kristlytkr meghasadt,
Folyba nz a hs lovag,
S j dz nap rt estele,
nnepelt pp Camelot.
BROWNING,
ROBERT
My Last Duchess (Angol)
Mr vr a trsasg. Ismtelem:
Szab Lrinc
Egy egrhez
szerz: Robert Burns, fordt: Lvay Jzsef
Informci errl a kiadsrl
Csak e miatt,
Szegny fldi testvredet,
Por-trsadat.
Tolvajka vagy, tudom, mivel
Tenked is csak lni kell:
Egy-kt kalsz a kvbl
Nem nagy hiny,
Elg marad nekem mg fl
Annak hin!
Kis hajlkod romban hever,
Sztdlt falt szl spri el.
S hogy jat pts, mr ahoz
Nincs zld fszl:
Fagyot Deczember napja hoz,
Viharja szll.
Lttad, hogy puszta a mez
S a tl is gyorsan rkez;
Itt remltl biztos helyet,
Hol megnyughass;
S recscs! sszezzta fszkedet
Az ekevas.
Gazbl kszlt kis rejteked
Sok rgcslsba van neked :
Most vge mr! dult fedelt
Im' elhagyd,
Hogy trd a tl havas szelt,
Rideg fagyt.
Nem csak magad vagy, jo egr!
Kinl eszly, gond mit sem r:
Ember s egr legszebb terve
Gyakran csal
S rm helyett bt, keservet
Nyjt a val.
SWIFT,
JONATHAN
Verses on the Death of Doctor Swift (details) (Angol)
s br alig felfoghat,
Elromlotta memrija,
j bartokat elfeled,
ugyanazon trtnetekkel
...
...
Bartnim, akiknek rz
bartja srbatteln?"
...
...
...
...
porainak tn megbocsttok.
Kalsz Mrton
THOMSON,
JAMES
Seasons (detail) (Angol)
Winter (detail)
Tl (rszlet)
Mg n a h s mocskosan, vadul
Stung with the thoughts of home; the thoughts Az otthon kpe li, szrny tz
of home
g vrben s felissza erejt
Rush on his nerves, and call their vigour forth
a hasztalan vgy. Hogy gytri a kn!
In many a vain effort. How sinks his soul!
Mily fekete iszony rzza szvt!
What black despair, what horror fills his heart!
mikor a homlyban a kpzelet
When for the dusky spot, that fancy feign'd
csalja, hzt ltva fut s a h
His tufted cottage rising thro the snow,
Nor friends, nor sacred home. On every nerve, rzke mind, a fagy szvig r.
The deadly winter seizes; shuts up sense;
Orbn Ott