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conf. dr. P. Clonea asist. drd. A. Mryescu asist. M.A. C.

Nicolae
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Editura Universitii din Piteyti
2004




Editura Universitii din Pitesti

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Editor: Lector univ. dr. Dumitru Chirlesan
Bun de tipar: 10.01 2004; tiraj 200









Descrierea CIP a Bibliotecii Naionale a Romniei
CLONEA, PROCOPIE
The advanced student's book of bilingual literary translation /
Procopie Clonea, Amalia Mrsescu, Cristina Nicolae. - Pitesti :
Editura Universitii din Pitesti, 2004
ISBN 973-690-180-7

I. Mrsescu, Amalia
II. Nicolae, Cristina

811.111

conf. dr. P. Clonea asist. drd. A. Mryescu asist. M.A. C. Nicolae
(Univ.din Pitesti) (Univ.din Pitesti) (Univ.din Pitesti)

















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Editura Universitii din Pitesti

Tehnoredactare computerizat: Amalia Mrsescu,
Cristina Nicolae
Copert: Viorel Mihart
Revizie final: conI. dr. Procopie P. Clonea
Refereni de specialitate:
ConI. dr. Ioan Popa
Lect. dr. Dan Sava
Bun de tipar: ianuarie 2004

The Advanced Students Book of Bilingual Literary Translation

5
CONTENTS

Foreword ...
9
The Theory of Translation in a Nutshell ... 11
PART ONE. English-Romanian TRANSLATION
MODELS .

32
Text 1: from Diane Guest, The Nightwalker ... 32
Text 2: from John Fowles, The Enigma .. 38
Text 3: from John Fowles, The Enigma... 42
Text 4: from Vivienne Vermes, The Spaces in Houses ... 48
Text 5: from George Mikes, The Generation Gap... 52
Text 6: from Jane Austen, The Watsons .. 54
Text 7: from Rose Tremain, The Stack 58
Text 8: from Dylan Thomas, The Fight .. 62
Text 9: from George Mikes, How to Die . 68
Text 10: from Samuel Butler, The Way of All Flesh ... 72
Text 11: from Joseph Conrad, Heart of Darkness ... 76
Text 12: William Butler Yeats, When You Are Old 78
Text 13: Robert Frost, Stopping by Woods on a Snowy
Evening

80
Text 14: Edgar Allan Poe, To Helen 82
Text 15: William Shakespeare, Sonnet XVIII . 84
Text 16: Robert Frost, Fire and Ice 86
PART TWO. Romanian-English TRANSLATION..
MODELS .

88
Text 1: from Ion Minulescu, Casa cu geamurile portocalii 88
Text 2: from Liviu Rebreanu, Dincolo ... 92
Text 3: from Marin Preda, Moromeii . 96
Text 4: from Marin Preda, Moromeii . 102
Text 5: from George Clinescu, Cartea nunii 106
Text 6: from Tudor Popescu, H.W. i caut umbra ... 110
Text 7: from Mihai Dragolea, De departe spre aproape. 114
Text 8: from Vasile Voiculescu, Zahei Orbul . 118
Text 9: from Nicolae Breban, Francisca . 122
Text 10: from Nicolae Breban, Francisca ... 124
Text 11: from Nicolae Breban, Francisca .. 128
Text 12: Nichita Stnescu, Evocare 132
P. Clonea A. Mrescu C. Nicolae


6

PART THREE. English-Romanian TRANSLATION...
WORK .

134
Text 1: from Daniel Defoe, Robinson Crusoe . 134
Text 2: from Jonathan Swift, Gullivers Travels . 135
Text 3: from Henry Fielding, Joseph Andrews ... 137
Text 4: from Jane Austen, Northanger Abbey . 138
Text 5: from Emily Bront, Wuthering Heights .. 140
Text 6: from William Makepeace Thackeray, Vanity Fair.. 141
Text 7: from Charles Dickens, Great Expectations 142
Text 8: from Charles Dickens, Great Expectations 144
Text 9: from Joseph Conrad, Heart of Darkness . 145
Text 10: from James Joyce, Dubliners 147
Text 11: from James Joyce, Dubliners 149
Text 12: from Virginia Woolf, Jacobs Room 150
Text 13: from Theodore Dreiser, An American Tragedy. 152
Text 14: from Ernest Hemingway, Big Two-Hearted River:
Part I

153
Text 15: from Kingsley Amis, Lucky Jim ... 155
Text 16: from William Golding, Lord of the Flies .. 156
Text 17: from William Golding, Lord of the Flies... 158
Text 18: from Graham Greene, Our Man in Havana... 160
Text 19: from Allan Sillitoe, The Widowers Son 162
Text 20: from Ian McEwan, Black Dogs.. 163
Text 21: from Jeffrey Archer, Something for Nothing. 164
Text 22: from Salman Rushdie, The Firebirds Nest... 165
Text 23: from Liz Jensen, The Friendship Centre... 167
Text 24: from Kathleen Kunz, Into the Woods in Good.
Housekeeping

168
Text 25: from Kathleen Kunz, Into the Woods in Good
Housekeeping

170
Text 26: from Barbara Hustedt Crook, Recapturing.
Summer Splendors in Good Housekeeping.

171
Text 27: from Barbara Hustedt Crook, Recapturing..
Summer Splendors in Good Housekeeping.

172
Text 28: from Barbara Hustedt Crook, Recapturing.
Summer Splendors in Good Housekeeping.

174
Text 29: from Geoffrey Cowley, After the Trauma in
The Advanced Students Book of Bilingual Literary Translation

7
Newsweek.. 176
Text 30: from Andrew Nagorski, Nightmare or Reality? in
Newsweek .

177
Text 31: from Oscar Wilde, Lady Windermeres Fan.. 179
Text 32: from Eugene ONeill, The Hairy Ape 181
Text 33: from Eugene ONeill, The Hairy Ape 183
Text 34: Robin Robertson, Waking Late.. 184
Text 35: Peter Porter, Orlandos Parrot.. 185
Text 36: Michael Donaghy, A Sicilian Defence... 186
PART FOUR. Romanian-English TRANSLATION.
WORK .

187
Text 1: from Mihai Eminescu, Ft-Frumos din lacrim.. 187
Text 2: from Mihai Eminescu, Srmanul Dionis. 188
Text 3: from Ioan Slavici, Popa Tanda 189
Text 4: from Duiliu Zamfirescu, Spre mare. 190
Text 5: from Mihail Sadoveanu, Hanul Boului 191
Text 6: from Mihail Sadoveanu, Hanul Boului 192
Text 7: from Ion Agrbiceanu, Morala public... 194
Text 8: from Liviu Rebreanu, Divorul 195
Text 9: from Liviu Rebreanu, Gura lupului. 196
Text 10: from Mihail Sadoveanu, i-aduci aminte,..
Teofile ..

197
Text 11: from Mircea Eliade, Isabel i apele diavolului.. 198
Text 12: from Camil Petrescu, Ultima noapte de dragoste,
ntia noapte de rzboi.

200
Text 13: from Garabet Ibrileanu, Adela.. 201
Text 14: from Garabet Ibrileanu, Adela.. 203
Text 15: from Garabet Ibrileanu, Adela.. 204
Text 16: from Tudor Arghezi, Cimitirul Buna-Vestire 206
Text 17: from Emil Cioran, Ispita de a exista.. 207
Text 18: from Eugne Ionesco, Jurnal n frme 208
Text 19: from Eugne Ionesco, Jurnal n frme 210
Text 20: from Constantin Noica, Introducere la locuinele
anului 2001...

211
Text 21: from Constantin Noica, Introducere la locuinele
anului 2001...

213
Text 22: from Gabriela Adameteanu, Var-primvar.. 214
Text 23: from Octavian Paler, ,,Et in Arcadia ego!. 216
P. Clonea A. Mrescu C. Nicolae


8
Text 24: from Octavian Paler, Butoiul lui Diogene.. 218
Text 25: from Octavian Paler, Artistul i arborele
universului

220
Text 26: from Vintil Mihilescu, New Mioria in Dilema.. 221
Text 27: from Iulia Gorzo, Fii brbai, c nou ne place!
in Dilema..

223
Text 28: from Cristian Ghinea, n sfrit, parial europeni
in Dilema..

225
Text 29: from Cristian Ghinea, n sfrit, parial europeni
in Dilema..

227
Text 30: from Cristian Ghinea, n sfrit, parial europeni
in Dilema .

228
Text 31: M. Marian, Paapoarte diplomatice pe via.
pentru parlamentari i neamurile lor in Adevrul

229
Text 32: from Romulus Cplescu, ,,Revoluia de catifea
din Georgia ntre jocul de interese al marilor puteri in
Adevrul


231
Text 33: from Marin Sorescu, Rceala 232
Text 34: from Marin Sorescu, Rceala 235
Text 35: from Marin Sorescu, Rceala 237
Text 36: from Emil Paraschivoiu, Cine m trece strada? 238
Text 37: from Emil Paraschivoiu, Exact sau Cine de.
vnzare..

240
Text 38: Nichita Danilov, Copil.. 242
Text 39: Simona Popescu, Aer n pumni.. 242
Text 40: Traian tef, El i amintete... 243
General Bibliography.. 245

7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ

9
)RUHZRUG

This book is mainly intended Ior the Romanian university
students oI English as a Iirst or second subject to serve them as a
guide and working material in their literary translation seminars.
A second, broader aim oI the book, however, is to oIIer to
anyone wanting to improve their translation skills a theoretical
approach applied by the authors in their own translations Irom more
than twenty-Iive English, American and Romanian literary works.
The book also contains excerpts Irom twenty-seven English and
American writers, as well as Irom twenty-three Romanian writers,
provided as translation material. In addition, more than 1700 English
and Romanian words and expressions have been indexed and listed in
order to Iacilitate team and individual work. As to the texts
themselves, special care has been taken in their selection so as to
cover a wide range oI human concerns depicted in varied literary
styles speciIic to several centuries and, in order to help the translator
concentrate on the semantics oI the vocabulary, the date oI the Iirst
publication has been mentioned in most cases.
The contribution made to the book is divided, by and large, as
Iollows:
Procopie Clonea, Ph.D., is responsible Ior: the general and
particular outline oI the book; the Iinal versions oI the translation
models; the translation oI the poetry pieces (with the exception oI the
two ending lines oI (YRFDWLRQ, translated by C. Nicolae); improving
hints concerning the introductory theory oI translation and the
selection oI the texts and vocabulary; the supervision oI the project as
a whole.
Amalia Mrsescu, Drd., and Cristina Nicolae, MA, are equally
responsible Ior: most oI the theoretical approach to translation; the
Iirst versions oI the translation models; the selection oI most oI the
texts and oI the indexed vocabulary; the computer processing.
Special thanks are due to Alina Miu, Drd., oI Pitesti University,
who spent much oI her valuable time and eIIort to come out with the
Iinal edited version oI the book. We also thank her Ior quite a Iew
pieces oI advice and real help along the way.

The Authors

P. Clonea A. Mrsescu C. Nicolae



10











7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ
11

THE THEORY OF TRANSLATION IN A NUTSHELL

Translation can be integrated in the larger scientiIical Iield
oI semiotics, the science that deals with sign systems, sign
processes and sign Iunctions. According to Roman Jakobson
(1973: 91-103), semiotics deals with the general principles which
are at the basis oI the structure oI signs (whatever the signs are)
and with the way they are used as messages, as well as with the
particular Ieatures oI the various messages they use. Semiotics
studies all the cultural processes seen as processes oI
communication and attempts to demonstrate that there are
systems under the cultural processes. The dialectics 'system
process Iavours the dialectics 'code message. Among all the
semiotic systems language is the most important, because it is the
basis oI all the other semiotic systems. At the same time,
language is superior to all the other sign systems because oI its
Iaculty oI symbolising, that is oI representing reality by means oI
a sign and oI understanding that sign as representing reality; that
is oI establishing a relation of representation between
something and something else.
According to Saussure, language is a system oI signs which
express ideas. Each language has its own principles oI
combination oI the signs. The sign system oI a language can be
'converted into the sign system oI another language by a
process called translation. This process oI conversion implies
two diIIerent types oI operations since a sign can be deIined as
both Iorm and content. Generally speaking, a sign is the bearer oI
a meaning / signiIicance. In point oI language, a text appears
under the Iorm oI graphic signs (iI it is written) or sound waves
(iI it is uttered). By translation, each sign in a text is transposed in
a graphical way into another sign, on condition that the
signiIicance be the same. The sign is generally a word, but
phonemes can sometimes be also considered signs, as in the case
oI the phoneme 's when it marks the plural oI English or French
nouns. Language enables us to Iorm an unlimited number oI
signs using a limited number oI Iigures, namely letters.
Sometimes, in a process oI translation the same letters are used
P. Clonea A. Mrsescu C. Nicolae

12
but the principles oI combination diIIer, as it happens when
translating a text written in the Latin alphabet into another
language which uses the same alphabet (English, French,
Romanian, Italian). There are still diIIerences between the
alphabet oI Latin languages: letters which are used only in a
language (the Romanian s, , ), accented letters, etc. In other
cases, both the letters and the principles oI combination diIIer, as
is the case oI a translation Irom English into Chinese. To
conclude with, through the process oI translation, the content oI
the text to be translated tends to remain the same, but the Iorm
changes.
Translation, however, is not only a conversion oI the
Iormal characteristics oI a text, by preserving as much oI the
content as possible, but it also implies the conversion oI a certain
socio-cultural reality. This idea is explained by Yuen Ren Chao
(1968: 148-159) who states the untruthIulness oI the assumption
that Ior any given text (both in the linguistic and graphic sense),
there is only one correct translation into another. The untruth oI
this assumption originates, according to Yuen Ren Chao, in 'the
common attitude oI treating language as something apart Irom
liIe (.) instead oI a part oI liIe. II something is said in response
to a situation, and it has to be translated into another language,
the translation should also be such as will be appropriate to the
situation. Thus, translation is not a simple two-term relation
between two languages or two texts but a three-term relation, in
which the situation oI use becomes one oI the terms.

:HEVWHUV (QF\FORSHGLF 8QDEULGJHG 'LFWLRQDU\ RI WKH
(QJOLVK/DQJXDJH gives the Iollowing deIinition to translation (in
the linguistic and literary sense): '1.The rendering oI something
into another language 2.A version in a diIIerent language: a
French Translation oI Hamlet. According to the same dictionary,
'7UDQVODWLRQ SDUDSKUDVH YHUVLRQ reIer to a rewording oI
something. But while a translation is a rendering oI the same
ideas in a diIIerent language Irom the original, e.g. a translation
Irom Greek into English, a paraphrase is a Iree rendering oI the
sense oI a passage in other words, usually in the same language,
7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ
13

e.g. a paraphrase oI a poem. &RQFLVH 2[IRUG 'LFWLRQDU\ is more
exact in giving the deIinition oI translation, underlining the idea
that the meaning should remain the same through a translation:
'The action or process oI translating.; to translate means 'to
express the sense oI (words or text) in another language. Leon
Levichi gives a slightly diIIerent deIinition oI translation which
plays with the meaning oI paraphrase`: 'To translate means to
paraphrase, to say in other words, Irom a source language into a
target language. (1993: 6).
Susan Bassnett (1988: 2) Iormulates a more technical
deIinition oI translation: 'What is generally understood as
translation involves the rendering oI a source language (SL) text
into the target language (TL) so as to ensure that the surIace
meaning oI the two will be preserved as closely as possible, but
not so closely that the TL structures will be seriously distorted.
In her opinion, thereIore, the key concepts oI translation are the
concept oI 'equivalence and that oI 'IaithIulness. The
equivalence is meant as a Iunctional equivalence, the similarity
acceptable only in the respective context. When translating, you
have to Iollow the original, but not too closely because you might
get to terrible Iormulations.
The best deIinition oI translation is, in Newmark`s opinion,
Nida`s. Nida considers translation to be the reproduction oI the
closest natural equivalent oI the source language message.
According to Newmark (1993: 34), 'this type oI translation is
distinguished by its elegance and concision, its attention to a
natural word order, to the deployment oI clauses and phrases
more Irequently used than their Iormal equivalents in the source
language, to the occasional unobtrusive distribution oI the
meaning oI important 'untranslatable words (.); a good
translation is deIt, neat, closely shadowing its original.
The main problem oI translation in general and oI literary
translation in particular is whether a Iull equivalence can exist or
not. Jakobson (1959) states that there is ordinarily no Iull
equivalence through translation. Even at the intralingual level
there is no perIect synonymy (e.g. perIect` and ideal` are not
completely equivalent). Since no complete equivalence can take
P. Clonea A. Mrsescu C. Nicolae

14
place, Jakobson comes to the conclusion that all poetic art is
technically untranslatable. He only takes into consideration the
possibility oI a 'creative transposition, which can be either
intralingual (Irom one poetic shape into another), or interlingual
(Irom one language to another), or intersemiotic (Irom one
system oI signs into another, e.g. Irom verbal art into music,
dance, cinema or painting).
The term oI equivalence in translation has been deIined in
terms oI function or intentionality. That is one can determine
the author`s initial intentions and the Iunction oI the original text
so that the TL text should be equivalent to the SL text and could
have the same Iunction. Equivalence in translation is oI various
types, depending on the various levels where it applies. Popovic
distinguishes Iour types oI translation equivalence (apud.
Bassnett, 1988: 25):
1. Linguistic equivalence, where there is homogeneity on the
linguistic level oI both SL and TL texts, i.e. word Ior word
translation;
2. Paradigmatic equivalence, where there is equivalence oI
'the elements oI a paradigmatic expressive axis, i.e.
elements oI grammar, which Popovic sees as being a higher
category than lexical equivalence;
3. Stylistic (translational) equivalence, where there is
'Iunctional equivalence oI elements in both the original and
translation, aiming at an expressive identity with an
invariant oI identical meaning;
4. Textual (syntagmatic) equivalence, where there is
equivalence oI the syntagmatic structuring oI a text, i.e.
equivalence oI Iorm and shape. In terms oI this
classiIication, literary translation involves a synthesis oI
stylistic and textual equivalence.

Eugene Nida (apud Bassnett, 1988: 26) distinguishes only
two types oI equivalence:
1. Formal equivalence, where attention is Iocused on the
message itselI, in both Iorm and content. In such a
translation one is concerned with correspondences such as
7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ
15

poetry to poetry, sentence to sentence, and concept to
concept;
2. Dynamic equivalence, based on the principle oI equivalent
eIIect, i.e. that the relationship between receiver and
message should aim at being the same as that between the
original receivers and the SL message.
Since no total equivalence can be accomplished through
translation, it results that a single work in SL may have as many
TL versions as translators. Yet, all these versions will have in
common the invariant core` (as Popovic calls it) oI the original
work. This invariant core consists oI 'stable, basic and constant
semantic elements in the text, whose existence can be proved by
experimental semantic condensation. TransIormations, or
variants, are those changes which do not modiIy the core oI
meaning but inIluence the expressive Iorm. In short, the invariant
core can be deIined as that which exists in common between all
translations oI a single work.` (Bassnett, 1988: 27) It has been
stated that the invariant element that must be preserved by any
translation is the inIormation, while the communicative and
associative elements should be transIerred only iI possible.
Newmark does not agree with this. According to him, the
invariant and variant elements will depend entirely on the
intention oI the text.
Peter Newmark also expresses his opinion on how closely
one should translate a text. According to him, iI the language oI a
text is very important, it should be translated as closely as
possible. II, on the contrary, the language oI the SL text or oI any
unity oI text at any rank are less important, then its translation
needn`t be so close to the original. Instead, the language oI the
SL text may be replaced by the 'appropriate normal social
language (see Newmark, 1993: 1-2) . Also, iI the nuances oI
meaning oI the SL text are oI less importance, while the message
has a higher importance, then the translator can reasonably resort
to undertranslation, thus simpliIying or clariIying the text Ior the
TL readership.
On the other hand, iI a unit oI the SL text is well written
and the details and nuances are clear, the translation should be
P. Clonea A. Mrsescu C. Nicolae

16
very close. In this case, the translator should also maintain the
purpose oI the text and the type oI readership. The details and
nuances should also be closely preserved, even though they can
also be paraphrased (see also Newmark, 1993: 1-2).
The question oI equivalence oI literary texts is explored by
the Russian Formalists and the Prague Linguists, being also
inIluenced by the new developments in discourse analysis.
Lotman argues that a text is explicit (it is expressed in deIinite
signs), limited (it begins and ends at a given point), and it has
structure as a result oI internal organization. Durisin argues that
the translator oI a literary text is not concerned with establishing
equivalence oI natural language but oI artistic procedures, which
cannot be considered in isolation, but must be located within the
speciIic cultural and temporal context in which they are utilized.
Mukarovsky claims that the literary text has both an autonomous
and a communicative character which should be taken into
account by the translator. (Bassnett, 1988: 28-29)

Another problem oI translation is that, iI sameness cannot
exist between two languages, the question oI loss and gain in the
translation process appears. There are terms or concepts in the SL
that do not exist in the TL (e.g. in Guaica, there is no
dichotomous classiIication oI good` and bad`; instead, there is a
trichotomy oI good`, bad` and violating taboo` Bassnett,
1988:30); at the same time, through translation, certain neutral`
words in SL acquire new connotations in TL. ThereIore, what is
lost` at a certain level in the transIer oI a text Irom SL to TL can
be compensated (gained`) by enriching the new version at
another level.

The problem oI untranslatability occurs on two diIIerent
levels, according to CatIord (apud Bassnett, 1988: 32). On the
linguistic level untranslatability occurs when there is no lexical or
syntactical substitute in the TL Ior a SL item. (e.g. passivals in
English have no grammatical equivalent in Romanian: 'This
book reads well. is usually translated by a 'reIlexiv or a
'supin, 'Cartea aceasta se citeste usor or 'Cartea aceasta este
7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ
17

usor de citit.) On the cultural level, untranslatability occurs
when certain realities do not exist in other cultures. (e.g. the
English 'esquire`; the Romanian 'clusari`.) But this problem
can be satisIactorily solved by the creative element in translation.
This element comes to play when all the other procedures Iail.
'In inIormative texts the creative element is limited to Iusing the
Iacts with an appropriately elegant and economical style. (.) In
persuasive texts, creativity oIten lies in converting source
language cultural components (Iorms oI address, evaluative
expressions, hypocorisms) neatly into their cultural equivalents.
(Newmark 1993: 7-8). But the need Ior creativity is Ielt deeply
especially in the expressive texts (poetry, stories), in the
Iollowing cases listed by Newmark (idem):
x cultural words that have certain connotations and are
speciIic to one community;
x transcultural words that have similar reIerents, but
diIIerent connotations;
x concept words that have diIIerent connotations;
x peculiar syntactic structures;
x cultural metaphors, idioms, proverbs, puns, neologisms;
x signiIicant phonaesthetic eIIects;
x quality words with no one-to-one equivalents (e.g.
GRZQULJKW).
However, everything can and has to be more or less
rendered Irom one language into another. So the types oI words
stated above can also be rendered by an overtranslation, a
synonym, a generic term or a paraphrase.

Newmark (apud. Havranek 1964) distinguishes three types
of translation texts: scientiIic-technological, institutional-
cultural and literary texts, each presenting its own diIIiculties Ior
the translator. The diIIiculties encountered by sci-tech`
translators lie in the SL neologisms, the lack oI certain
appropriate technical terms in the TL and the variety oI semi-
synonymous technical terms. When translating institutional-
cultural texts, the translator Iinds it diIIicult to relate the terms
P. Clonea A. Mrsescu C. Nicolae

18
which lack any linguistic and/or reIerential equivalents in the TL
culture to the readers and the setting oI the TL text. Literary
translation seems to have the most numerous diIIiculties because
both the SL itselI and the SL meaning matter. (see Newmark,
1993: 37). However, all kinds oI texts and translations are equally
important.
Newmark also reIers to the 'low` standard oI translation
(1993: 21), which he attributes to translationese in commercial
texts, literal translation in technical texts and inaccurate
translation in literary texts. In his opinion, 'translationese is bad
not because it misrepresents the Iacts it usually gets them right;
not because it exhibits incorrect` grammar on the contrary, its
grammar is oIten copybook (.); but because in its reproduction
oI source language idioms and syntax, translationese is either
absurd or heavy and thereIore Iails to transmit the tone and mood
and Ieeling oI the original its style diverts the reader Irom its
message. (1993: 21-22). Translationese also appears in technical
texts, mostly because the 'Ioreign translators do not have a good
command oI the target language and the 'native translators are
inexperienced and unaware that interIerence may go very Iar,
Irom words to phrases and clauses.
We have to make a distinction between translationese and
interference. In a wide deIinition, interIerence includes 'all
cases where the language oI the translation is maniIestedly
aIIected whether appropriately or not by the language oI the
original, while translationese is 'the area oI interIerence where a
literal translation oI a stretch oI the source language text (a)
plainly IalsiIies (or ambiguates) its meaning, or (b) violates usage
Ior no apparent reason. (Newmark 1993: 78). InterIerence
appears in any translation, while translationese is an error due to
ignorance and carelessness.
The appropriacy oI interIerence depends partly on the type
oI text to be translated. For example, the translation oI a literary
work is enriched by idiolectal and cultural interIerence.
InterIerence can be positive, Ior example when idioms that are
not speciIic to a culture, are translated in a literal way, and
become 'comments on universal human behaviour (Newmark
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1993: 79), or in the case oI the language oI international
organizations when it 'improves communication by standardising
terms Ior constitutions and procedures. (Newmark 1993: 80).
Lexical interIerence is considered by Newmark more
dangerous than grammatical interIerence because it may distort
the meaning oI a sentence. Its most characteristic Iorm is the Ialse
Iriend. 'Another type oI interIerence mistake is when a word is
translated by its usual meaning (.) instead oI by an appropriate
other meaning. (Newmark 1993: 83). InterIerence may also
appear in the case oI metaphors, word order, or cultural words
that are transIerred Irom the source language in the target
language. There is also third language interIerence, 'usually due
to the translator`s knowledge oI another language exceeding
his/her knowledge oI the source language, which is 'normally
translationese. (Newmark 1993: 86). Countries have beneIited
Irom interIerence (which has its virtues and its vices) and have
suIIered Irom translationese.

Last but not least, we cannot discuss the translation process
without mentioning the person that makes it possible, i.e. the
translator. 'Translators will always be needed. Without them,
there would be no summit talks, no JODVQRVW or SHUHVWURLND, no
Cannes Film Festival, no Nobel prizes, no advances in medicine,
science, or engineering, no international law, no Olympic Games,
no +DPOHW, no :DU DQG 3HDFH ., stated Alan DuII (1990: 7).
Newmark also reIers to the important role played by translators.
According to him, they 'must be seen as key Iigures in promoting
better understanding among peoples and nations. They must not
be regarded as anonymous. They are responsible Ior all
deIinitive, thereIore written, bilingual and interlingual
communications. They have the authority to mediate between
parties, and they have their own responsibility to moral as well as
Iactual truth. (1993: 41)
But in order to be able to do such things, the translators
need certain general and speciIic qualities and skills, also stated
by Newmark. The general qualities include 'uncommon ability in
writing their own language, shrewdness, perceptiveness (1993:
P. Clonea A. Mrsescu C. Nicolae

20
40), but also '(a) common sense, or the ability to detect and
expose nonsense; (b) discrimination in weighing one option
against another; (c) speed in working against a deadline; (d) the
ability to think oI several things at the same time; (e)
meticulousness, the attention to details (.); (I) lateral and
vertical thinking (the ability to let one`s mind play around a
problem). (1993: 49-50). The speciIic skills include 'Iirst,
sensitivity to language; secondly, the ability to write neatly,
plainly, nicely (.) in a variety oI registers in the target language
as well as having a good knowledge oI its cultural background;
thirdly, the ability to research oIten temporarily the topic oI the
texts being translated, and to master one specialism; lastly, a
good reading knowledge oI two or more Ioreign languages with
their cultural backgrounds. (1993: 49)


Translating Literature


Literature represents a language within language, both a
reduction and an expansion oI the linguistic pattern, thereIore the
translation oI literary texts raises some more types oI problems.
In translating a literary text, one should start by taking into
account that 'a literary text is made up oI a complex set oI
systems existing in a dialectical relationship with other sets
outside its boundaries. (Bassnett, 1988: 77) According to Nida`s
diagram describing the translation process, the translator is Iirst a
reader who decodes / analyses the message in the SL, and then a
writer who re-codes / restructures it in the TL. The reader oI a
text may have Iour essential positions regarding the text,
according to Lotman (apud Bassnett, 1988; 77-78):
1. the reader who Iocuses on the content as matter, i.e. picks
out the prose argument or poetic paraphrase;
2. the reader who grasps the complexity oI the structure oI a
work and the way in which the various levels interact;
3. the reader who deliberately extrapolates one level oI the
work Ior a speciIic purpose;
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4. the reader who discovers elements not basic to the genesis
oI the text and uses the text Ior his own purposes.
The ideal position as a reader Ior a translator is position 2.,
the reader who is able oI grasping the structure oI a text as well
as the various levels and their interactions. The levels oI a text
which are oI interest Ior a translator are the signiIicance (which
can be stratiIied in multiple layers), the Iorm (language), as well
as the cultural background.
The twentieth century sees the re-evaluation oI the reader
who becomes, according to Barthes, not so much a consumer oI
the literary work but a producer oI the text. The reader decodes
the text according to a diIIerent set oI systems, so the idea oI one
'correct reading is dissolved. Kristeva`s notion oI intertextuality
(all texts are linked to all other texts because no text can ever be
completely Iree oI those texts that precede and surround it) is also
signiIicant Ior a translator.
The Iirst task that a translator should accomplish is to
understand correctly and completely the text in the SL. Each text
can be considered, in a semiotic approach, a sign having an
expression (the linguistic Iorm) and a content (the meaning). The
expression and the content are set against a cultural background.
First oI all, a translator establishes the denotation, that is
the meaning oI the words, with the help oI dictionaries. The
problems that may occur at this point are polysemy, homonymy,
Ialse Iriends and synonymy. These problems can be solved with
the help oI specialized dictionaries (dictionaries oI synonyms,
antonyms, etc.) as well as thanks to a good mastery oI the
language. The meaning oI the words should be considered
according to the context in which they are Iound. A good
translator should be able to choose only one oI the possible
meanings oI a word by taking into account the very words that
surround that word. A context may give the translator a hint
about the grammatical category oI a word, thus limiting the series
oI meanings that he will look up in the dictionary.
Another problem that should be paid attention to by the
translator is accentuation which can be either grammatical or
P. Clonea A. Mrsescu C. Nicolae

22
phonological. The latter is very important when translating poetry
as it is deIinitory Ior poetical texts.
The translator should also pay attention to modality
involving the attitude oI the speaker towards his enunciation.
Modality has three levels: the intellective level (belieI,
conviction, doubt), the emotional level (admiration, love, desire,
hate) and the volitional level (order, necessity). Modality can be
expressed phonologically, lexically, grammatically and
stylistically.
Connotations are also oI great importance. The translator
will Iind it easier to grasp the objective connotations, that is the
hidden meaning oI a word which is known by a larger social
group. The subjective connotations, that is the hidden meaning oI
a word which is known by only one person, requires subtlety,
imagination and good knowledge oI the SL author`s bio
bibliography and cultural background Irom the part oI the
translator. Moreover, connotations cannot be Iound in
dictionaries.
The text to be translated should be then analysed in point oI
coherence, that is detecting the grammatical and logical links
among sentences. Coherence may be explicit, when it is
established between the topic sentence oI a paragraph and the
particularizing sentences, or implicit, when it is not obvious in
the structure oI the paragraphs. When a SL text is characterized
as incoherent, its TL version should pertain the same
characteristic.
To summarize, a very important characteristic oI a SL text
which should be rendered in the TL is style, deIined by Leon
Levichi as 'the speciIic way in which the author organized his
message in point oI coherence and expression, in his desire to
value it at the utmost in the conscience oI the potential reader.
(1993:98, our translation). This deIinition is a brieI summary oI
all the problems mentioned beIore, because it draws attention on
what the translator should take into account when translating a
text: the logical organisation (coherence), the expression with the
purpose oI valuing the message (denotation, connotation,
accentuation and modality) and the speciIic way oI organizing
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this message. The style oI every work is made speciIic by the
existence oI dominants (1993:99). There are dominants oI
denotation, vocabulary and grammar, as in *XOOLYHUV 7UDYHOV
where the dominant is the concrete, non-metaphorical
vocabulary. Then, there are dominants oI accentuation, such as
the vowel alternation in Poe`s 7KH %HOOV. There are also
dominants oI modality, such as the conIidence in man`s moral
potencies in Kipling`s poem ,I. There are dominants oI
connotation, such as a remote time and place in Poe`s $QQDEHO
/HH and /LJHLD. Finally, the dominants oI coherence can also be
Iound, such as the ostentatious coherence in SwiIt`s prose.


Translating Prose


Few works have been devoted to the speciIic problems oI
translating literary prose, probably because it is erroneously
considered that a novel is easier to translate than a poem. The
Iirst problem when translating a prose text is that you start
translating it without having read it. You begin at the beginning,
without considering how the opening section relates to the
structure oI the work as a whole.
Hilaire Belloc laid down six rules Ior the translator oI prose
texts:
1. The translator should consider the work as an integral unit
and translate in sections, asking himselI beIore each section
what is the whole sense he has to render;
2. The translator should render idiom by idiom and idioms
demand translation into another Iorm than that oI the
original;
3. The translator must render 'intention by intention,
intention being the weight a given expression may have in a
particular context in the source language, that would be
disproportionate iI translated literally into the target
language;
4. The translator should be careIul with Ialse Iriends;
P. Clonea A. Mrsescu C. Nicolae

24
5. The translator is advised to 'transmute boldly;
6. The translator should never embellish.
So Belloc stresses the need Ior the translator to consider the
prose text as a structured whole, while bearing in mind the
stylistic and syntactical exigencies oI the target language. He
accepts that there is a moral responsibility to the original, but
Ieels that the translator has the right to signiIicantly alter the text
in the translation process in order to provide the target language
reader with a text that conIorms to the target language stylistic
and idiomatic norms.
The central problem Ior the prose translator is to determine
the translation units. This should be done by considering the
Iunction oI the text and oI the devices within the text.


Translating Dramatic Texts


With theatre translation the problem is that the text is only
one element in the totality oI theatre discourse. Since the play
text is written Ior voices, it contains also a set oI paralinguistic
systems, where pitch, intonation, speed, accent are all signiIiers.
It also contains the gestural text, which determines the
movements that can or should be made by the actors. The
translator should take into account all these systems, not only the
literary aspect.
The translator should also be concerned with the Iunction
oI the text to be translated, i.e. the perIormance aspect oI the text
and its relationship with an audience because the Iull potential oI
a theatre text is realised only in perIormance. An artiIicially
created separation oI the text Irom the perIormance would lead to
the assumption that there is only one right way oI reading,
perIorming and translating a text.
The dialogue is characterised by rhythm, intonation
patterns, loudness, and the translator must sense these elements
and take into account the Iact that the theatre text is designed to
be spoken and listened to, and not (only) read.
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The target language version must be perIormable and here
the translator must take into account the changes that have taken
place in time (in acting style, playing space, the role oI the
audience) and the Iact that acting styles and concepts oI the
theatre also diIIer in diIIerent national contexts. An 18
th
century
translation oI Racine`s $QGURPDFKH (1674) by Ambrose Phillips
was restructured by him Ior the English audience. The translation
was a great success, but it contained substantial alterations oI the
play: the text was shortened in places, some speeches and even
whole scenes were added. Phillips`s principal criteria Ior
translation were probably: the playability oI the text, its
relationship to the established conventions oI the theatre oI his
day, and the clarity oI the interrelationship between the
characters.


Translating Poetry


The translation oI poetry is the most challenging Iorm oI
literary translation. From a strictly linguistic point oI view, poetry
appears as a superior Iorm oI synonymy at all levels: lexical,
grammatical, syntagmatic. (Bantas, 1998: 121). The Iirst step in
the translation process is a 'translation-oriented text analysis
(Bantas, 1988) which will present the poem as a number Q oI
elements disposed in one or more types oI series, chosen or
adopted by the poet. (Bantas, 1998: 126). A poem may have or
not a Iixed Iorm, it can be perIectly or imperIectly constant Irom
the point oI view oI rhyme and metre. Its vocabulary may be
either simple, belonging to everyday language, or sophisticated,
Iull oI connotations. The syntax oI a poem may be either normal
or distorted Ior the sake oI versiIication. Its general meaning may
be either explicit, clear, or esoteric, hidden. A complete analysis
oI a poem will thus disclose the existence oI a pattern which is at
the same time grammatical, stylistic and prosodical. In the case oI
Iree verse, the translator should make sure that, on the contrary,
there are no patterns to be detected within the poem.
P. Clonea A. Mrsescu C. Nicolae

26
The second stage in the translation process transIorms the
translator into a poet who is supposed to re-write the original
poem in TL. In translating it, he should resort to the same
structures and patterns which Iorm the original SL code: rhymed
verse or Iree verse or blank verse. The translator is not supposed
to break these patterns or to introduce rhymes when the poet
chose Iree verse. The same rule (no loss, no gain) should apply to
the level oI content: the translator is expected to reproduce the
poet`s metaphors, vocabulary, style and metrical code. The poetic
code oI a poem, whether clear or hermetic, should remain
unchanged in the translation.
To summarize, the translator willing to play the part oI a
poet in Iront oI the TL audience, has two major obligations`
(Bantas, 1998: 126):
1. to decipher the semantic code oI the original (denotation
and connotation) as well as its Iormal system (images,
Iigures oI speech, prosody);
2. to render the same elements on the same levels, avoiding
both semantic and expressive losses as well as semantic,
expressive and clarity gains.
Through complex analysis, the translator unveils the
author`s system, either in general or in particular. The
reproduction oI this system, that is oI the inner mechanism oI the
work, can be regarded as an application oI synonymy, at all
levels. ThereIore, the ideal translator possesses a superior
bilingual` linguistic competence. This linguistic competence
involves his being aware oI the semantic and stylistic values oI
the words, idioms, phrases, patterns oI current language in both
SL and TL. It enables him both to correctly decipher the SL code
and to render it into TL as identically as possible.
The linguistic bilingual` competence, doubled by talent is
not enough Ior a good literary translation. A literary analysis oI
the respective poem and oI its literary context, not only in the SL
literature, but also, comparatively, in the TL literature, is
necessary. ThereIore, a superior literary competence
characterizes the ideal translator. His knowledge oI the poet`s
entire work and also oI the work oI other SL and TL poets
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belonging to the same literary trend will make his work less
diIIicult and undoubtedly more successIul. The diIIiculty in
translating poetry is that the translator is supposed to render as
accurately as possible all the intellectual processes the poet
himselI has known, his emotional state, his mental disposition,
his experiences and searching while trying to Iind the most
eIIective (catchy`) word. In other words, a translator should
choose the same path, either straight or winding, that the poet
himselI has walked` on. (Bantas, 1998: 127).
AIter the thorough analysis oI the original, when the poem
becomes clear and entirely explicit Ior the translator, he runs the
risk oI making the poem, through his version oI it, more explicit,
even easier and more ostentatious than the original. That is why
the analysis and interpretation oI the poem are made Ior his own
use (Bantas, 1998: 127); then, while translating, the translator
should keep to the limits traced by the author as Iar as clarity is
concerned. Otherwise a certain gain` in clarity may distort the
author`s intention as well as the general view oI the reader on the
author and on his poem. Translation should neither increase nor
Iacillitate the diIIiculties in understanding a poem.
In point oI semantic clarity, it is easy to guess that the less
explicit a poem, the more diIIicult to be translated. At the same
time, the more connotations and sound eIIects, the more
diIIiculties in rendering them into another language. When a
translator, aIter having studied the critical work in point, still Iails
to decipher the meaning oI a stanza or oI an entire poem, he
should rely on his own ability oI decoding the meaning oI the
original. Sometimes, the choice between several possible
interpretations can be made Ior the purposes oI versiIication.
It is oIten claimed that hermetic poetry is untranslatable.
Actually, iI its particular code is not betrayed, a hermetic poem
can be successIully translated. Bantas (1998: 132) states that the
existence oI similarities on the denotative and connotative levels
between the SL and TL vocabulary represents a condition Ior
translating a hermetic poem. The diIIiculties which appear in this
case are divided into objective and subjective diIIiculties. Among
the objective diIIiculties, one can mention polysemy (which is
P. Clonea A. Mrsescu C. Nicolae

28
very rich in contemporary English, thus giving birth to
ambiguities that were not originally intended by the author),
implicit allusions which lead to strange or local` connotations. A
subjective diIIiculty in translating hermetic poetry appears when
the translator tends to betray the original code and system (by
making certain meanings less esoteric or, on the contrary, more
exoteric than originally intended.)
Andr LeIevere Iinds various methods oI translating a
poem which are deIicient in that they overemphasize one or more
elements oI the poem at the expense oI the whole. They will be
mentioned here in order to enumerate types oI mistakes that
should be avoided by a translator. (Bassnett, 1988: 81-82):
1. Phonemic translation, which attempts to reproduce the SL
sound in the TL while at the same time producing an
acceptable paraphrase oI the sense. This can be
successIully applied only to onomatopoeia.
2. Literal translation, where the emphasis on word-Ior-word
translation distorts the sense and the syntax oI the original
3. Metrical translation, where the dominant criterion is the
reproduction oI the SL metre.
4. Poetry into prose, which leads to distortion oI the sense,
communicative value and syntax oI the SL text, but not to
the same extent as in the case oI the literal or metrical types
oI translation
5. Rhymed translation, where the translator enters into a
double bondage` oI metre and rhyme.
6. Blank verse translation, where the translator changes the
Iorm oI the original, but obtains a greater accuracy.
7. Interpretation, where the terms oI version and imitation
are discussed. In LeIevere`s view, the version retains the
substance oI the SL text but changes its Iorm, and the
imitation is a poem produced by the translator himselI
which has only title and point oI departure, iI those, in
common with the source text`.

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Conclusions

Almost every language area is a potential source oI
translation errors. DuII suggests several steps that we can take
and things that we can do in order to avoid them and obtain good
translations. First oI all, we should be aware oI the Iact that 'the
translation should reIlect accurately the meaning oI the original
text. Nothing should be arbitrarily added or removed, though
occasionally part oI the meaning can be transposed`. When
translating a text we should ask ourselves the Iollowing
questions:
x Is the meaning oI the text clear? Where do the uncertainties
lie?
x Do any oI the words have underlying implications?
x Is the dictionary meaning oI a word the most suitable one?
x Does anything in the translation sound unnatural or Iorced?
(1990:10).
Then, we should consciously stop using our mother tongue
as a system oI reIerence and use the rules oI the Ioreign language
independently oI the mother tongue. The ordering oI words and
ideas in the translation should match the original as closely as
possible, but taking into account that diIIerences in language
structure oIten require changes in the Iorm and order oI words.
The source language inIluence can be shaken oII iI we set the text
aside and translate a Iew sentences aloud, Irom memory. This
will suggest natural patterns oI thought in the target language,
which may not come to mind when the eye is Iixed on the source
language text (1990:11). Then, we should use proper dictionaries,
not be in a hurry and trust our knowledge too much. Last, but not
least, we should keep in mind and Iollow the stages oI the
translation process:
1. Iind as much inIormation as possible about the writer
whose text you have to translate;
2. read the text careIully, paying attention to its content,
purpose, modality, style, stressed words, connotations, etc.;
P. Clonea A. Mrsescu C. Nicolae

30
3. Iind synonyms in the target language Ior the words that
require special attention;
4. make the rough translation;
5. make the Iinal translation, in accordance to the norms oI
the target language. (Levichi 1975: 250-251)
In Newmark`s opinion, 'an important translation oI any
kind should be reviewed by a second translator whose language
oI habitual use is the target language. (.) In addition, it is
desirable that at an early stage a third translator whose language
oI habitual use is the source language should check that the text
has been understood and a subject-expert be brought in, iI
appropriate, to check Ior appropriate register. Finally, the text
should be revised bearing the stamp oI the translator`s idiolect.
(1993: 38). He also suggests that it is important to have a
parallel reading oI the translation and the original, 'not only to
ensure that no word sentence paragraph in the original has
been overlooked or Iorgotten (as usually happens) but to ensure
that every punctuation mark (.), Iigure or word in the original
has been accounted Ior (not necessarily translated) in the
translation. (1993: 106)
Only such translations can contribute to understanding and
peace between people(s), can transmit knowledge in plain,
accessible and appropriate language, and can explain and mediate
between cultures, respecting their strengths and implicitly
exposing their weaknesses, but on the basis oI a common
humanity.
'A hundred years ago, the majority oI translated texts were
religious, literary, scientiIic and philosophical. Apart Irom the
religious texts in Protestant-only areas, translations were mainly
read by an educated elite in each country. In this century,
translation has become a Iorce and an instrument oI democracy.
(.) The subject matter translated has extended to the whole
range oI human knowledge, with particular emphasis on the most
important technological innovations and on political and
commercial relations between nations as well as on creative
literature. Further, the range oI languages translated has increased
continuously as more countries become independent (.) and
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more languages achieve national status within each country.
(Newmark 1993: 16)
So translation plays an increasingly important role in the
contemporary world and 'there is no sign or likelihood that this
translating activity throughout the world will decrease.
(Newmark 1993: 17)
It seems unlikely that Esperanto will become an
international language known by everybody and that will reduce
the need Ior one to learn other languages. Machine translation, on
the other hand, might replace human translation, but only at
certain levels.
And since there will be a permanent need Ior good
translators in the Iuture, we, by necessity, are expected to attach
utmost importance to the Iurther development oI this science in
its own right.
P. Clonea A. Mrsescu C. Nicolae


32
PART ONE
(QJOLVK5RPDQLDQ75$16/$7,2102'(/6

Text 1:
Everything was dark.
And so cold.
The only thing Gillian heard was the Iaint sound oI rushing
water. And then her mother`s voice.
Footfalls echo in the memory aown the passage which we
aia not take.
Gillian stirred, painIully coming to consciousness. Her
sleep had been long and dreamless and yet she Ielt so tired. And
her eyes ached as iI she had been crying endless tears.
She opened them. And saw.
Nothing but blackness. As iI the shades in her room had
been drawn so tight that no light could penetrate.
She moved. And suddenly came wide awake. She was not
in her bed. Not in her room. But where?
She sat up, pushing against the thick darkness, smelling the
deep, damp smell oI dirt and stone and rotting wood. And as her
eyes adjusted, she was Iilled with a growing sense oI horror. She
knew she had been here beIore. In her worst nightmares, in her
most anguished memories.
Above the sound oI rushing water she heard a roaring in
her head. This cannot be,` she choked. This cannot be.` And yet
it was. She wasn`t dreaming. She was not in some kind oI drug-
induced trance. She was not hallucinating. She was Iully awake
ana she was in the grist mill. In the same loIt, high above the
threshing Iloor, where she had come awake that horriIying night
eighteen years ago.
Her mind slammed shut against the shattering memory,
keeping it out, knowing that denial was her last deIence against
madness.
She moved her hand, Ieeling the rough timber under her
open palm, and she began to crawl, inch by inch, towards the
ladder, knowing it was the only way down. Try not to remember
the rest. Dont remember, aont remember.
The Aavancea Stuaents Book of Bilingual Literary Translation

33
Text 1:
Totul era nvluit n bezn.
Si era asa de Irig.
Singurul lucru pe care-l auzea Gillian era zgomotul slab al
unui iures de ap. Si apoi vocea mamei ei.
In amintire rsun :gomotul pailor pe calea pe care nu
am urmat-o...
Gillian se trezi, chinuindu-se s devin constient. Avusese
un somn lung, Ir vise si totusi se simea att de obosit. Iar
ochii o dureau de parc ar Ii vrsat lacrimi la nesIrsit.
i deschise. Si zri...
Nimic, doar bezn. Ca si cum storurile din camera ei ar Ii
Iost att de bine trase nct nu putea ptrunde nici un strop de
lumin.
Se misc. Si brusc se trezi de-a binelea. Nu se aIla n patul
su. Si nici n camera sa. Dar unde?
Se ridic n capul oaselor ncercnd s strpung cu
privirea bezna groas, simind mirosul greu si jilav de noroi,
piatr si lemn n putreIacie. Si pe msur ce ochii i se obisnuiau
cu ntunericul, o cuprindea tot mai mult groaza. Stia c mai
Iusese acolo. n cele mai groaznice cosmaruri ale sale, n cele mai
chinuitoare amintiri.
Peste zgomotul produs de curgerea iute a apei, auzea un
vuiet n cap. ,Nu poate Ii adevrat, si spuse cu voce necat.
,Nu poate Ii adevrat. Si totusi era. Nu visa. Nu era ntr-o trans
provocat de vreun drog. Nu avea halucinaii. Era complet treaz
i se afla in moara ae grune. n acelasi pod, sus, deasupra
podelei pe care se mblteau snopii si unde se trezise din somn n
acea noapte ngrozitoare, cu optsprezece ani n urm.
Mintea i se nchise brusc n Iaa amintirii zguduitoare,
nelsnd-o s ptrund, realiznd c reIuzul realitii era singura
ei aprare mpotriva smintelii.
si misc mna, simind lemnul aspru sub palma deschis,
si ncepu s se trasc centimetru cu centimetru spre scar, stiind
c asta era singura cale de a cobor. Incearc s nu-i aminteti ce
a urmat. S nu-i aminteti, s nu-i aminteti.
P. Clonea A. Mrsescu C. Nicolae


34
But in spite oI her determination, Iragments oI memory,
brutal, blinding, Ilashed beIore her. The sound oI that scream.
Her mother`s voice. The deadly, sickening thud oI a body hitting
the Iloor below. And then the silence. The awIul, suIIocating,
bewildering silence.
Now, just as she had done that night all those years ago, she
lay Ilat on her stomach and in utter disbelieI looked out over the
edge, down into the void.
The same dim light was Iiltering in Irom somewhere
outside. A narrow silver oI moonlight. Faint, but enough Ior her
to see. And there it was. Just as she remembered it. The liIeless,
broken body. With the pool oI blood spreading, so dark, so dark
against the bleached Iloorboards.
Gillian Ielt the scream oI horror rising in her throat, but all
that came out was a sickening, rasping whisper. Mother.`
She pulled back and ground her Iace into the dirt, Iighting
Ior a last shred oI sanity. This cannot be. This cannot be. Oh Goa
if there is a Goa oh Goa help me.
Mother?` She heard herselI speak again, but this time her
voice sounded Iar away, as iI it had leIt her body and was Iloating
Iree, away Irom this hellish place.
Mother? Where are you?` Again, this time more Irantic.
And this time she knew it was not her own. It was a child`s voice,
reaching out, trying to pull her back Irom madness.
Gillian grabbed Ior it and held it tight. And through the
swirls oI mindless horror came the treasured images oI her
children. Daisy? Will?`
Mommy?` Louder now. Clearer. And real.
I`m here!` Gillian screamed, jerking upright, heart
pounding the way it does when you crash awake Irom the worst
nightmare. Her mind Ielt scraped raw, but she knew what she was
hearing was real. And recognizable. The voices belonged to her
children. Daisy. Will.
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Dar n poIida hotrrii ei, Iragmente de amintire, brutale,
orbitoare i trecur Iulgertor prin minte. Zgomotul acelui ipt.
Vocea mamei sale. BuInitura nIricostoare, mortal, a unui corp
izbind podeaua de dedesubt. Si apoi linistea aceea. ngrozitoarea,
suIocanta, tulburtoarea liniste.
Acum, exact cum Icuse n noaptea aceea cu muli ani n
urm, se ls pe burt si-si ainti privirea consternat peste
muchia podelei n golul de dedesubt.
Aceeasi lumin diIuz ptrundea de undeva de aIar. O
raz subire, argintie de lun. Slab, dar suIicient ca ea s poat
vedea. Si iat-l. Exact cum si-l amintea. Trupul acela nensuIleit,
zdrobit. Cu balta de snge care se lea, ntunecat, att de
ntunecat pe podeaua alb.
Gillian simi n gt apsarea unui ipt de groaz, dar tot ce
a putut scoate a Iost o soapt rgusit, bolnvicioas. ,Mam.
Se trase napoi si-si ngrop Iaa n mizeria de pe jos,
strduindu-se din toate puterile s-si pstreze o ultim Irm de
luciditate. Asta nu se poate. Asta nu se poate. O Doamne, aac
exist un Dumne:eu, o Doamne, afut-m.
- Mam? Se auzi ea strignd iar, dar de aceast dat vocea
i suna ndeprtat, ca si cum i-ar Ii prsit trupul si ar Ii plutit
liber, departe de acest loc blestemat.
- Mam? Unde esti? Din nou, de data asta mai disperat. Si
n acest moment si ddu seama c nu era vocea ei. Era o voce de
copil, care ajungea pn la ea, ncercnd s-o smulg din
nclestarea nebuniei.
Gillian se ag de ea si nu-i mai ddu drumul. Si printre
vrtejurile de groaz iraional ajunser la ea imaginile adorate
ale copiilor si. - Daisy? Will?
- Mami? Mai puternice acum. Mai clare. Si reale.
- Aici sunt! ip Gillian, smucindu-se de la pmnt, cu
inima zbtndu-i-se n piept ca atunci cnd te trezesti brusc din
cel mai nIricostor cosmar. Avea senzaia c mintea i-a Iost
rzuit si stears complet, dar stia c ce auzea era real. Si
recognoscibil. Vocile aparineau copiilor ei. Daisy. Will.
P. Clonea A. Mrsescu C. Nicolae


36
Mommy, where are you?`
Gillian crawled to the ladder and inched her way down, and
at the bottom she stood Ior a minute, Iace pressed against the
rungs, aIraid to turn round, aIraid oI what she might see. And in
the next instant a weepy-eyed Daisy came Ilying through the
door. And right behind her, Will. They threw themselves against
their mother, pulling her to her knees, and over the tops oI their
heads Gillian could see Dickon, standing in the doorway, his Iace
ashen, Iull oI disbelieI. You okay, Aunt Gillian?`
She nodded, halI crying, halI laughing, hugging her
children tight, her mind a jumble. What had happened to her?
Had she come here in her sleep? OI course she had. She had
walked here all by herselI. But what exactly haa she seen? Haa it
been real?
She Iorced herselI to look past them, past Dickon, to the
place where only moments ago she thought she had seen her
mother`s body. Her poor, broken mother. A nightmare within a
nightmare. But now, the only thing visible was the dark shadow
oI the old water-wheel.
This is the end Ior you, Gillian, she thought, clenching her
teeth. I know how you got here. And iI you stay at Clairemont it
will happen again. So this is the end. Father or not Iather, you
cannot stay here another day. Another night.
We`re going home,` she said IorceIully. She said it to her
children. To Dickon. But most oI all to herselI. Tomorrow
morning we are going home.`
(Diane Guest, The Nightwalker, 1993 -1994)

***
There was a young man of Bengal
Who went to a fancy-aress ball,
He went, fust for fun,
Dressea up as a bun,
Ana a aog ate him up in the hall.
*

* Limerick a kind oI humorous verse oI Iive lines, in which the
rhyme is aabba. The third and the Iourth lines are shorter, Iorming a
rhyming couplet.
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- Mami, unae esti?
Gillian se tr pn la scar si cobor anevoios de ncet, iar
cnd ajunse la baza scrii rmase n picioare, cu Iaa lipit de
traverse, Iiindu-i Iric s se ntoarc, Iric de ce ar putea vedea.
Si n clipa urmtoare o Daisy cu ochii plnsi ddu buzna pe us.
Si imediat dup ea, Will. Se npustir asupra mamei lor,
trgnd-o n jos, n genunchi, si peste crestetele lor Gillian l zri
n cadrul usii pe Dickon, cu Iaa alb ca varul, stupeIiat.
- Te simi bine, tanti Gillian?
Ea ncuviin din cap, pe jumtate plngnd, pe jumtate
rznd, mbrisndu-si strns copiii, cu mintea rvsit. Ce i se
ntmplase? Venise aici n somn? Cu siguran c asa Icuse.
Venise aici de una singur. Dar ce anume v:use? Fusese
aaevrat?
Se Ior s priveasc dincolo de ei, dincolo de Dickon, spre
locul unde cu doar cteva clipe nainte i s-a prut c vzuse trupul
mamei sale. Trupul zdrobit al srmanei sale mame. Un cosmar
ntr-un cosmar. Dar acum singurul lucru vizibil era umbra
ntunecat a btrnei roi de moar.
Aici pui punct, Gillian, se gndi ea, strngnd din dini.
Stiu cum ai ajuns aici. Si dac vei rmne la Clairemont i se va
ntmpla din nou. Asa c s-a terminat. Tat, ne-tat, nu mai poi
sta aici nici mcar o zi. Nici mcar o noapte.
- Plecm acas, zise ea cu voce apsat. O spuse copiilor ei.
Lui Dickon. Dar n primul si n primul rnd si-o spuse chiar ei.
- Mine diminea plecm acas.
(Diane Guest, Somnambula, 1993 -1994)


***
Un tanr arab ain oraul Muscat,
Oaat invitat la un bal mascat,
S-a aus, i plin ae umor,
S-a aus aeghi:at in carncior,
Si-un caine ain bal pe loc l-a mancat.
P. Clonea A. Mrsescu C. Nicolae


38
Text 2:
The commonest kind oI missing person is the adolescent
girl, closely Iollowed by the teenage boy. The majority in this
category come Irom working-class homes and almost invariably
Irom those where there is serious parental disturbance. There is
another minor peak in the third decade oI liIe, less markedly
working class, and constituted by husbands and wives trying to
run out on marriages or domestic situations they have got bored
with. The Iigures dwindle sharply aIter the age oI Iorty; older
cases oI genuine and lasting disappearance are extremely rare,
and again are conIined to the very poor and even there to those,
near vagabond, without close Iamily.
When John Marcus Fielding disappeared he thereIore
contravened all social and statistical probability. FiIty-seven
years old, rich, happily married, with a son and two daughters; on
the board oI several City companies (and very much not merely
to adorn the letter-headings); owner oI one oI the Iinest
Elizabethan manor-houses in East Anglia, with an active interest
in the running oI his adjoining 1,800-acre Iarm; a joint iI
somewhat honorary master oI Iox-hounds, a keen shot . he
was a man who, iI there were an -arium oI living human
stereotypes, would have done very well as a model oI his kind:
the successIul City man who is also a country land-owner and (in
all but name) village squire. It would have been very
understandable iI he had Ielt that one or the other side oI his liIe
had become too time-consuming.but the most proIoundly
anomalous aspect oI his case was that he was also a Conservative
Member oI Parliament.
At 2.30 on the aIternoon oI Friday, July 13
th
, 1973, his
elderly secretary, a Miss Parsons, watched him get into a taxi
outside his London Ilat in Knightsbridge.
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Text 2:
Cazul cel mai Irecvent de dispariie a unei persoane este cel
al adolescentei, urmat ndeaproape de cel al adolescentului.
Majoritatea celor din aceast categorie provin din Iamilii de
muncitori si aproape invariabil din cele n care exist nenelegeri
serioase ntre prini. Mai exist o alt crestere minor a
numrului de cazuri printre persoanele aIlate n al treilea deceniu
de via, cu origine nu neaprat muncitoreasc. Acestia sunt soi
si soii care ncearc s-si abandoneze mariajul sau s evadeze
din plictisul conjugal. CiIrele scad rapid dup vrsta de 40 de ani;
cazurile de dispariie real si de durat a unor persoane mai n
vrst sunt extrem de rare si, din nou, se limiteaz la cei Ioarte
sraci si chiar si atunci la cei aproape pe drumuri, Ir rude
apropiate.
De aceea, dispariia lui John Marcus Fielding contrazicea
toate statisticile si prognozele sociale. n vrst de 57 de ani,
bogat, avnd o csnicie Iericit, un Iiu si dou Iiice; membru n
consiliul de conducere al ctorva companii din City (si n mare
msur nu doar ca o Iigur ornamental pe antetele scrisorilor);
proprietar al unuia din cele mai Irumoase conace n stil elizabetan
din East Anglia, maniIestnd un interes activ n administrarea
Iermei de 1800 de acri de pe lng conacul su; unul din seIii
vntorii, chiar dac mai mult onoriIic, bun intas. era un om
care, dac ar Ii posibil ca ntr-un individ s se nsumeze toate
stereotipurile umane, ar Ii putut Ioarte bine s Iie un model tipic
pentru cei ca el: omul de succes din City, care e si proprietar de
pmnt undeva la ar, ct si (n toate, n aIar de titlu) nobilul
local. Dispariia sa ar Ii Iost de neles dac el ar Ii simit c
vreuna din cele dou ipostaze ale vieii sale i-ar Ii ocupat prea
mult timp. dar cel mai ciudat aspect al cazului su era c el era
si membru al Parlamentului din partea Partidului Conservator.
n dup-amiaza zilei de vineri, 13 iulie 1973, la ora 2.30,
secretara sa, domnisoara Parsons, o Iemeie ntre dou vrste, l-a
urmrit cu privirea pn ce s-a urcat ntr-un taxi n Iaa locuinei
sale din Londra, din cartierul Knightsbridge.
P. Clonea A. Mrsescu C. Nicolae


40
He had a board meeting in the City; Irom there he was going to
catch a train, the 5.22, to the market-town headquarters oI his
constituency. He would arrive soon aIter halI-past six, then give a
surgery` Ior two hours or so. His agent, who was invited to
supper, would then drive him the twelve miles or so home to
Tetbury Hall. A strong believer in the voting value oI the
personal contact, Fielding gave such surgeries twice a month.
The agenda oI that ominously appropriate day and date was
perIectly normal.
..........................
By now Mrs Fielding had started once more to suspect
some purely private scandal was looming over the tranquil
horizon oI her liIe. Just as she had earlier imagined an
unconscious body lying in the London Ilat, she now saw a dinner
Ior two in Paris. She could not seriously see the prim Miss
Parsons`s as the Iemale Iace in the candlelight; but she had that
summer spent less time in London than usual. At any moment
the telephone would ring and Marcus would be there, breaking
some long-harboured truth about their marriage . though it had
always seemed like the others one knew, indeed rather better than
most in their circle. One had to suppose something very
clandestine, right out oI their class and normal world some
Cockney dolly-bird, heaven knows who. Somewhere inside
herselI and the privacies oI her liIe, Mrs. Fielding decided that
she did not want any more inquiries made that night. Like all
good Conservatives, she distinguished very sharply between
private immorality and public scandal. What one did was never
quite so reprehensible as letting it be generally known.
(John Fowles, The Enigma in The Ebony Tower 1974)

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Avea o sedin de consiliu n City; de acolo urma s prind trenul
de 5.22 ctre orasul-trg unde se aIla sediul circumscripiei sale
electorale. Urma s soseasc puin dup ora sase si jumtate, apoi
avea o ntlnire de vreo dou ore cu alegtorii. Agentul su, care
era invitat la cin, avea s-l conduc la resedina sa de la Tetbury
Hall care se aIla la aproximativ 12 mile deprtare. Avnd mare
ncredere n capitalul electoral rezultat din contactul personal cu
alegtorii, Fielding avea asemenea ntlniri de dou ori pe lun.
Agenda acelei zile, care pica ntr-un mod att de Iatidic la data
potrivit, era deci una perIect normal.
..........................
De-acum, d-na Fielding ncepuse iarsi s aib bnuieli c
un scandal legat de viaa lor particular amenina s umbreasc
orizontul linistit al vieii sale. La Iel cum si nchipuise mai
devreme o persoan zcnd Ir cunostin n apartamentul din
Londra, acum avea imaginea unei cine n doi, undeva, la Paris.
Totusi, nicicum nu reusea s gseasc vreo asemnare ntre
chipul nepatei domnisoare Parsons si Iaa Ieminin din Ilacra
lumnrii; dar ea si petrecuse n vara aceea mai puin timp dect
de obicei n Londra. TeleIonul va suna dintr-un moment n altul
si Marcus va Ii la cellalt capt al Iirului, dezvluind un adevr
ndelung ascuns privind csnicia lor . desi aceasta pruse tot
timpul o csnicie ca toate celelalte, chiar mai reusit dect a
multora din cercul lor. Trebuie c era vorba de cineva n total
clandestinitate, n aIara clasei lor sociale si a lumii normale.Vreo
I din acelea vorbitoare de Cockney cu nIisare de ppus,
dumnezeu stie cine. Undeva n Iiina sa luntric si-n taina
intimitilor vieii sale, d-na Fielding hotr c nu mai dorea s se
Iac nici o investigaie n acea noapte. Ca toi bunii Conservatori,
ea Icea distincia Ioarte clar dintre imoralitatea personal si
scandalul public. Fapta n sine svrsit de cineva nu era nicicum
att de condamnabil ca atunci cnd era lsat s devin public.
(John Fowles, Enigma n Turnul ae filae, 1974)

P. Clonea A. Mrsescu C. Nicolae


42
Text 3:
The police now Ielt that the matter could not be kept secret
beyond the Sunday; and that it was better to release the Iacts
oIIicially in time Ior the Monday morning papers rather than have
accounts based on wild rumours. Some kind oI mental
breakdown did seem the best hypothesis, aIter all; and a
photograph vastly increased chances oI recognition. OI course,
they checked Iar more than Mrs Fielding realized; the help oI
Security and the Special Branch was invoked. But Fielding had
never held ministerial rank, there could be no question oI oIIicial
secrets, some espionage scandal. None oI the companies with
whom he was connected showed the least doubt as to his
trustworthiness . a City scandal was also soon ruled out oI
court. There remained the possibility oI something along the
Lambton Jellicoe lines: a man breaking under the threat oI a
blackmailing situation. But again there was nothing on him oI
that nature. His papers were thoroughly gone through; no
mysterious addresses, no sinister letters appeared. He was given
an equally clean bill by all those who had thought they knew him
well privately. His bank accounts were examined no
unexplained withdrawals, even in several preceding months, let
alone in the week beIore his disappearance. He had done a certain
amount oI share-dealing during the summer, but his stockbrokers
could show that everything that had been sold had been simply to
improve his portIolio. It had all been re-invested. Nor had he
made any recent new dispositions regarding his Iamily in his will;
cast-iron provisions had been eIIected many years beIore.
On the Monday, July 16
th
, he was Iront-page news in all the
dailies. There were summaries oI his career.
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Text 3:
n acel moment cei de la poliie si-au dat seama c
chestiunea nu mai putea Ii inut la secret de duminic ncolo; si
c era de preIerat ca ea s Iie Icut public la timp, pentru a
aprea luni, n ziarele de diminea, dect s Iie prezentat n
pres pe baza unor zvonuri neIondate. Pn la urm, cea mai
bun ipotez prea s Iie aceea a vreunei cderi nervoase, iar o
IotograIie sporea Ioarte mult sansele de a Ii recunoscut. Desigur,
ei veriIicau mult mai multe piste dect credea d-na Fielding; se
apelase la ajutorul Serviciului de Paz si Protecie si al Serviciilor
Secrete. Dar cum Fielding nu deinuse niciodat vreun rang
ministerial, nu putea Ii vorba de secrete de stat sau de vreun
scandal legat de spionaj. Nici una din companiile cu care avea
legturi nu-si maniIestau vreo umbr de ndoial privind
caracterul su integru . un scandal legat de vreo aIacere
Iinanciar din City a Iost de asemenea scos n curnd din discuie.
Mai rmnea posibilitatea unui scandal de genul Lambton
Jellicoe: un om care a cedat sub ameninarea unui santaj. Dar nu
exista nici un indiciu care s-l incrimineze de asa ceva. I-au Iost
cercetate n amnunt toate documentele personale; n-au iesit la
iveal nici adrese misterioase, nici scrisori de ru augur. Toi cei
care crezuser c-l cunosc bine n particular s-au exprimat la
unison Iavorabil despre el. I s-au controlat conturile bancare -
nici o retragere nejustiIicat de bani, nici mcar cu cteva luni
nainte, iesind din discuie sptmna de dinaintea dispariiei sale.
Fcuse anumite tranzacii cu aciuni n timpul verii, dar brokerii
si au conIirmat c tot ce vnduse avea ca scop cresterea
numrului su de hrtii de valoare. Toi banii Iuseser reinvestii.
Nu Icuse nici vreo nou dispoziie testamentar reIeritoare la
Iamilia sa; clauze de neclintit Iuseser stipulate cu muli ani n
urm.
n ziua de luni, 16 iulie, a inut prima pagin a tuturor
cotidianelor. I se prezenta pe scurt cariera.
P. Clonea A. Mrsescu C. Nicolae


44
The younger and only surviving son oI a High Court judge, he
had gone straight Irom a First in law at OxIord into the Army in
1939; had Iought the North AIrican campaign as an inIantry
oIIicer and gained the MC; contracted kalaazar and been
invalided home, Iinishing the war as a lieutenant-colonel at a
desk at the War OIIice, concerned mainly with the Provost-
Marshal department. There had Iollowed aIter the war his success
as a barrister specializing in company and taxation law, his
giving up the Bar in 1959 Ior politics; then his directorships, his
liIe in East Anglia, his position slightly right oI centre in the Tory
Party.
..........................
With City Iriends and Parliamentary colleagues or what
Iew had not departed Ior their holidays - Jennings did no better.
The City men respected Fielding`s acumen and legal knowledge.
The politicians gave the impression, rather like Miss Parsons, that
he was a better man than any oI them a top-class rural
constituency member, sound party man, always well-brieIed
when he spoke, very pleasant Iellow, very reliable . they were
uniIormly at sea over what had happened. Not one could recall
any prior hint oI a breakdown. The vital psychological clue
remained as elusive as ever.
Only one MP was a little more Iorthcoming a Labour
maverick, who had by chance co-sponsored a non-party bill with
Fielding a year previously. He had struck up some kind oI
working Iriendship, at least in the precincts oI the House. He
disclaimed all knowledge oI Fielding`s liIe outside, or oI his
reasons Ior doing a bunk`; but then he added that it Iigured, in a
way`.
The sergeant asked why.



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Fiul mai mic si singurul n via al unui judector de la nalta
Curte de Justiie, se nrolase n armat n 1939; luptase n
campania militar din nordul AIricii ca oIier de inIanterie si a
Iost decorat cu Crucea Militar; se mbolnvise de Iebra
Dumdum, o boal inIecioas adeseori Iatal si a Iost trimis acas
ca inapt pentru serviciul activ, terminnd rzboiul ca locotenent-
colonel la un birou de la Ministerul de Rzboi, ocupndu-se mai
ales de probleme ale departamentului poliiei militare. Dup
rzboi, urmase succesul su ca avocat pledant, specializndu-se
n legile privind companiile si sistemul de impozitare si
renunarea la barou n Iavoarea politicii n 1959. Apoi, Iunciile
sale de director, perioada de sedere n East Anglia, poziia usor
de centru-dreapta din Partidul Conservator.
..........................
Jennings nu s-a descurcat mai bine nici cu prietenii lui
Fielding din City, nici cu colegii lui din Parlament, adic cu
puinii care nu plecaser n vacan. Cei din City i respectau
discernmntul lui Fielding si cunostinele sale juridice.
Politicienii i ddeau impresia, ca si d-ra Parsons, c era mai bun
dect oricare dintre ei membru marcant al unei circumscripii
electorale rurale, membru de baz al partidului, ntotdeauna bine
documentat cnd lua cuvntul, un tip Ioarte plcut, pe care te
puteai baza . dispariia lui i lsase pe toi perplex. Nici unul
nu-si putuse aminti vreun semn de depresie nervoas la Fielding.
Vitalul indiciu psihologic rmnea la Iel de evaziv ca si pn
atunci.
Doar un singur parlamentar a acceptat s-i dezvluie unele
lucruri lui Jennings un laburist cu vederi politice personale care
ntmpltor naintase un proiect de lege independent mpreun cu
Fielding cu un an nainte. Cei doi legaser un Iel de prietenie de
lucru, cel puin n incinta Camerei Comunelor. Acesta neg c ar
sti ceva despre viaa particular a lui Fielding sau despre motivele
lui de 'a se evapora; dar apoi adug c, ntr-un Iel, totul se
leag`.
Sergentul ntreb de ce crede asta.

P. Clonea A. Mrsescu C. Nicolae


46
Strictly oII the record.`
OI course, sir.`
You know. Kept himselI on too tight a rein. Still waters
and all that. Something had to give.`
I`m not quite with you, sir.`
Oh come on, laddie. Your job must have taught you no
one`s perIect. Or not the way our Iriend tried to be.` He
expanded. Some Tories are prigs, some are selIish bastards. He
wanted to be both. A rich man on the grab and a pillar oI the
community. In this day and age. OI course it doesn`t wash. He
wasn`t all that much oI a Iool.` The MP drily quizzed the
sergeant. Ever wondered why he didn`t get on here?`
I didn`t realize he didn`t, sir.`
SaIe seat. Well run. Never in bad odour with his whips.
But that`s not what it`s all about, my son. He didn`t Iool em
where it matters. The Commons is like an animal. You either
learn to handle it. Or you don`t. Our Iriend hadn`t a clue. He
knew it. He admitted it to me once.`
(John Fowles, The Enigma in The Ebony Tower, 1974)





***


A young man while aining at Crewe
Founa quite a large mouse in his stew.
Saia the waiter, 'Dont shout
Ana wave it about,
Or the rest will be wanting one too.`




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47
-Rmne ntre noi.
-Desigur, domnule.
-Ca s zic asa, si-a inut propriul Iru prea strns. Apele
linistite cteodat sunt adnci, nelegi ce vreau s spun. Ceva
trebuia s cedeze.
-Nu prea v neleg, domnule.
-Ei, las, tinere. Ocupaia dumitale te va Ii nvat pn
acum c nimeni nu e perIect. Sau nu asa cum ncerca s Iie
prietenul nostru. Continu. Unii conservatori se dau mari
moralisti, alii sunt niste ticlosi egoisti. El vroia s Iie si una si
alta. Un ins bogat apuctor dar si un stlp al societii. Acum, n
aceste vremuri. Desigur c nu ine. Nu era el chiar asa de naiv.
Parlamentarul l ntreb sec pe sergent:
- Te-ai ntrebat vreodat de ce nu s-a descurcat pe postul de
parlamentar?
-Nu mi-am dat seama de asta, domnule.
-O circumscripie pe care se putea baza. Bine condus. N-
avusese niciodat vreo disput cu vreun lider de-al su din
Parlament. Dar nu despre asta e vorba, dragul meu. Nu i-a pclit
acolo unde conta. Camera Comunelor e ca un animal. Ori nvei
s-l stpnesti, ori nu. Prietenul nostru n-avea nici mcar idee
cum s-o Iac. Stia asta. Mi-a mrturisit odat acest lucru.
(John Fowles, Enigma n Turnul ae filae, 1974)


***


Un tanr, pe niel cana puse mufaei
Zri sub acesta aoi oricei.
Sopti osptarul, ,,J rog, nu ipai,
Si nici la veaere s nu-i etalai,
Cci toi cei ain sal vor cere i ei.`

P. Clonea A. Mrsescu C. Nicolae


48
Text 4:
You know there is a rat in the house because you have
heard it at night, somewhere between the rooI and the bedroom
ceiling. Its persistent burrowing makes you think it is trying to
bore its way through to your living quarters. He says it is a
mouse, or a bird. You know it is something bigger than a mouse,
and you know that birds do not burrow, they rustle. But, because
he says these things in his drowsy, light-hearted voice, you curl
up next to him and go back to sleep in the dawn. You are happy
enough because your skins his and yours are the same
temperature. As iI you have the same skin, indistinguishable.
Both pink and white and cool. (.)
It is eight o`clock. BBC Radio 4. Six beeps and the news.
You like these presenters. They are Iamiliar to you their grave
voices, their intelligence. In Kosovo, houses are burning and the
villagers are hiding in the woods, watching the smoke rise. They
must be cold now, these women (most oI them women, their
husbands shot) up in the woods, in late winter, with no houses.
You nestle down between the sheets and draw the duvet up
to your neck. You look out oI the skylight, a small square oI
window cut into the slope oI the wall where it rises up to the
raIters. The glass is spattered with raindrops. It always rains here,
in this village, in the middle oI England. It seems that you have
never woken up to anything but rain. You have thoughts as pitty-
pat as the drizzle . how good breakIast is, always, in this house,
with Iresh Iruit yoghurt and hot coIIee and brown bread taken
crispy and hot Irom the Aga. You will eat breakIast opposite him,
and you will think how lucky you are, Ior once in your liIe, to
have a man whose skin blends with yours, who has shoulders that
carry problems without complaint, who laughs at himselI and
goes to Iancy dress parties as a tree. You like all that. You like
the village, too, with its trout Iarm and white wrought-iron tables
spread under the plum trees, with its tea-rooms and Tudor
mansion and its two ghosts. You like all this, aIter the city. It had
been time to leave the capital. It had been good to you when you
arrived, years ago.
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Text 4:
Stii c se aIl un sobolan n cas pentru c l-ai auzit
noaptea, undeva, ntre acoperis si tavanul dormitorului. Rcitul
lui ncpnat te Iace s crezi c ncearc s sIredeleasc o gaur
ca s ajung n locuina ta. El zice c este un soarece sau o
pasre. Tu stii c e ceva mai mare dect un soarece, si mai stii c
psrile nu rcie, ele Iosnesc din aripi. Dar pentru c el spune
toate acestea cu vocea lui somnoroas si lipsit de griji, te
ncolcesti lng el si adormi din nou cnd se crap de ziu. Esti
ndeajuns de Iericit pentru c epidermele voastre - a ta si a lui
au aceeasi temperatur. De parc ai avea aceeasi piele, de
nedeslusit. Aceeasi piele roz si alb si rcoroas. (.)
Este ora opt. Radio BBC 4. Sase bipuri si apoi stirile. i
plac prezentatorii acestia. i sunt Iamiliari vocile lor grave,
inteligena lor. n Kosovo ard case si stenii stau ascunsi prin
pduri, privind cum se ridic Iumul. Trebuie c le-a cuprins Irigul
pe aceste Iemei (majoritatea Iemei, soii mpuscai) acolo sus, n
pdure, la sIrsitul iernii, Ir case.
Te cuibresti ntre cearsaIuri si tragi pilota pn la gt.
Privesti aIar prin luminator, un ochi de geam tiat n partea
oblic a peretului, acolo unde acesta atinge cpriorii. Geamul este
stropit de picurii de ploaie. Plou la nesIrsit aici, n acest sat din
inima Angliei. i se pare c nu te-ai trezit niciodat vznd
altceva dect ploaie. Gndurile i picur ncet precum burnia .
ce bun este ntotdeauna micul dejun n casa asta, cu iaurt de
Iructe proaspt si caIea Iierbinte si pine neagr cumprat asa,
crocant si Iierbinte, de la brutria Aga*. Vei servi micul dejun,
Ia n Ia cu el, si te vei gndi ce noroc ai tu, pentru prima dat
n viaa ta, s ai lng tine un brbat a crui piele devine una cu a
ta, care-si poart grijile pe umeri Ir s se plng, care se amuz
de propria-i persoan si se duce la cte-un bal mascat deghizat n
copac. i plac toate astea. i place si satul, cu cresctoria lui de
pstrvi si mesele albe de Iier Iorjat rspndite pe sub pruni, cu
ceainriile sale si conacul n stil Tudor cu cele dou staIii. i plac
toate astea, dup oras. Venise timpul s pleci din capital. i
plcuse cnd ai sosit n ea, cu ani n urm.
P. Clonea A. Mrsescu C. Nicolae


50
OI late, it had turned sour, the pavements all dog-shit and vomit,
the beggars everywhere (and you never knew who was Iake and
who was real) and three Iriends dying in quick succession, and
you holding each one`s hand in turn, with no words at all, as they
leIt you.
It had been time.
You get out oI bed and enjoy the space oI the room. A thick
clean carpet, the colour oI honey. The wood beams, the slanting
ceiling. The house is on the edge oI the village. On one side there
are Iields with the Iirst tiny lambs IluIIy with the cold. On the
other side, just down the road, but sheltered Irom view, is a
house, but you have never seen its inhabitants, only builders
coming and going, converting, as they are always doing in this
part oI the country. There is no one nearby who knows your
name, no neighbour. You like this privacy. You walk around the
room naked. You stop in Iront oI the Iull-length mirror, and pull a
Iace. Your body has undoubtedly got Iatter since you moved
here, but not displeasingly so. It still goes in and out at the right
places, it is just that the out` is Iurther out than beIore. Maybe,
you think, there are a Iew more lines on your Iace one,
especially, you don`t like: it goes down the side oI your Iace Irom
your nose to your mouth and beyond. It disappears when you
smile, so you smile. You keep smiling even when you hear, in the
pauses in the radio interview, the persistent sound coming Irom
the space between the ceiling and the rooI. You must speak to
him about it, although you don`t know what good it would do.
That place is inaccessible. You would have to knock out the
plaster or drill a hole in the rooI to get at it. And this is not his
house, or yours. It is rented Irom a stockbroker and his wiIe who
live in Hong Kong. So what is the point, you think, oI talking
about the rat, which may, aIter all, be a mouse or a bird.
(Vivienne Vermes, The Spaces in Houses, 2000)
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n ultimul timp, totul se stricase, trotuarele erau pline de
excremente de cine si vom, cersetorii erau peste tot (si
niciodat nu stiai care se preIcea si care nu) si trei prieteni care
i-au murit la scurt timp unul dup altul, si tu inndu-i de mn
pe rnd, Ir nici un cuvnt, pe cnd te prseau.
Venise timpul.
Te dai jos din pat si savurezi spaiul din camer. Un covor
gros si curat de culoarea mierii. Grinzile de lemn, tavanul
nclinat. Casa se aIl la marginea satului. Pe o latur sunt
cmpurile cu primii mielusei cu blana bogat ca s-i apere de
Irig. Pe cealalt latur, chiar n josul strzii, dar Ierit vederii, se
aIl o cas, dar tu nu i-ai vzut niciodat pe cei care locuiesc n
ea, ci doar pe niste constructori venind si plecnd, modiIicnd tot
timpul, asa cum se procedeaz de obicei n partea aceasta a rii.
Nu exist nimeni prin apropiere care s stie cum te cheam, nici
un vecin. i place intimitatea asta. Te plimbi goal prin camer.
Te opresti n Iaa oglinzii n care apari n ntregime si Iaci o
strmbtur. Fr ndoial, trupul tu s-a mai ngrsat de cnd te-
ai mutat aici, dar nu ntr-un mod care s-i displac. nc se
rotunjeste nuntru si naIar n locurile potrivite, numai c acel
'naIar este mai naIar dect nainte. Poate, te gndesti, sunt
cteva riduri n plus pe chipul tu unul, mai ales, care te
deranjeaz; coboar pe un obraz de la nas ctre gur si apoi mai
jos. Dispare cnd zmbesti, asa c zmbesti. Continui s zmbesti
chiar si cnd auzi, n pauzele interviului de la radio, zgomotul
acela struitor provenind din spaiul dintre plaIon si acoperis.
Trebuie s vorbesti cu el despre treaba asta, desi nu stii la ce ar
Iolosi. Locul acela e inaccesibil. Ar trebui s drmi tencuiala sau
s guresti acoperisul cu burghiul ca s ajungi acolo. Si asta nu e
nici casa lui, nici a ta. Este nchiriat de la un agent de burs si de
la soia lui care locuiesc n Hong Kong. Asa c ce rost are, te
gndesti, s vorbesti despre sobolanul acela, care se poate s Iie,
pn la urm, doar un soarece sau o pasre.
(Vivienne Vermes, Cotloanele ain case, 2000)

*Tip de cuptor, cu Ioc continuu.
P. Clonea A. Mrsescu C. Nicolae


52
Text 5:
'Great craItsmen? Their days are over,` said Mr S., that
genius oI a patisserie maker, one oI the great craItsmen leIt in this
country Ior whom money is nothing, quality and satisIaction oI
the customer is everything.
I am no sweet-eater. Old aunts hated me as a child because
I never touched the cakes they had made Ior me with so much
care and love. I still would not touch anybody else's chocolate
cakes with a barge-pole. But Mr S. is in a class oI his own.
Perhaps you are not Iond oI Harold Pinter or Tom Stoppard -
excellent playwrights though they are - but still raise your hat to
Shakespeare; you may not be impressed by Brasilia, yet you are
awe-struck by Venice; you may not be Iond oI pop music but you
are haunted by the Ninth Symphony. In other words, Mr S. is
the Shakespeare-cum-Beethoven oI the Chelsea Bun.
'When I retire or die,` he went on rueIully, 'that will be the
end oI my craIt. Nobody will produce this sort oI stuII; and iI
someone produced it people wouldn't appreciate it. They would
buy and enjoy Irozen muck at the supermarket. Young people
are no good. I have nobody, just nobody, to pass my business and
skill on to.`
'I thought you had a son,` I interjected.
Mr S. got angry.
'Yes, I do have a son. He's a good-Ior-nothing. A dead loss.`
I couldn't ask which prison he was in, so I put it more
tactIully: 'What is he doing?'
He sighed deeply: 'He's a proIessor oI mathematics at
London University.'
(George Mikes, The Generation Gap,1946)

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Text 5:
,,Marii meseriasi? Zilele lor au apus, declam dl. S., acel
geniu al patiseriei, unul dintre ultimii mari artisti ai meseriei
rmasi n ara asta, pentru care banii nu nseamn nimic, calitatea
si satisIacerea clientului Iiind totul pentru ei.
Nu, eu personal nu mnnc dulciuri. Btrnele mele mtusi
m urau pur si simplu pe vremea cnd eram copil din cauz c nu
m-atingeam niciodat de prjiturile pe care mi le Icuser ele cu
atta grij si dragoste. Nici acum nu m-as atinge ca de sarpe de
torturile de ciocolat ale altcuiva. Dar dl. S. aparine unei clase cu
totul aparte. Probabil c nu v place Harold Pinter sau Tom
Stoppard desi sunt dramaturgi exceleni dar nc v ridicai
plria n Iaa lui Shakespeare; e posibil s nu v impresioneze
Brasilia, capitala Braziliei, totusi suntei cuprinsi de veneraie n
Iaa Veneiei; e posibil s nu v plac muzica pop, dar v
obsedeaz SimIonia a Noua. Cu alte cuvinte, dl. S., este acel
Shakespeare-combinat-cu-Beethoven al ChiIlei Chelsea.
-Cnd am s m retrag la pensie sau o s mor, continu el
cu tristee, aceasta va nsemna sIrsitul meseriei mele. Nimeni nu
va mai produce sortimentul acesta; si dac totusi l-ar produce
cineva, oamenii nu l-ar aprecia. Ar cumpra si ar savura clis
congelat de la supermarket. Tinerii stia nu-s buni de nimic.
N-am pe nimeni, absolut pe nimeni, cruia s-i las aIacerea si s-i
transmit miestria.
-Parc aveai un biat, am aruncat eu o vorb.
Faa domnului S. se ncrncen.
-Da, am, ntr-adevr, un biat. E-un terchea-berchea. Un
om de nimic.
Nu m-am putut hotr s ntreb n ce puscrie se aIla acesta,
asa c am ntrebat ceva mai cu tact: ,,Cu ce se ocup?
A oItat din rrunchi. ,,E proIesor de matematic la
Universitatea din Londra.
(George Mikes, Prpastia aintre generaii, 1946)
P. Clonea A. Mrsescu C. Nicolae


54
Text 6:
The Iirst winter assembly in the town oI D. in Surrey was
to be held on Tuesday October the thirteenth, and it was generally
expected to be a very good one; a long list oI country Iamilies
was conIidently run over as sure oI attending, and sanguine hopes
were entertained that the Osbornes themselves would be there.
The Edwards` invitation to the Watsons Iollowed oI course.
The Edwards were people oI Iortune who lived in the town and
kept their coach; the Watsons inhabited a village about three
miles distant, were poor and had no close carriage; and ever since
there had been balls in the place, the Iormer were accustomed to
invite the latter to dress, dine and sleep at their house, on every
monthly return throughout the winter.
On the present occasion, as only two oI Mr Watson`s
children were at home, and one was always necessary as
companion to himselI, Ior he was sickly and had lost his wiIe,
one only could proIit by the kindness oI their Iriends; Miss
Emma Watson who was very recently returned to her Iamily Irom
the care oI an aunt who had brought her up, was to make her Iirst
public appearance in the neighbourhood; and her eldest sister,
whose delight in a ball was not lessened by ten years` enjoyment,
had some merit in cheerIully undertaking to drive her and all her
Iinery (...) to D. on the important morning.
As they splashed along the dirty lane Miss Watson thus
instructed and cautioned her inexperienced sister.
I dare say it will be a very good ball and among so many
oIIicers, you will hardly want partners. You will Iind Mrs
Edward`s maid very willing to help you, and I would advise you
to ask Mary Edward`s opinion iI you are at all at a loss, Ior she
has very good taste.
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Text 6:
Prima reuniune de iarn din orasul D., din comitatul Surrey,
urma s aib loc mari, 13 octombrie, si cam toat lumea se
astepta s Iie o reuniune reusit; se ddea ca sigur prezena unui
numr mare de Iamilii de la ar si se nutreau sperane nIocate c
va Ii prezent chiar si Iamilia Osborne.
A urmat, desigur, invitaia adresat de Iamilia Edwards
Iamiliei Watson. Cei din Iamilia Edwards erau oameni cu stare
care locuiau la oras si aveau propria lor caleasc; cei din Iamilia
Watson locuiau ntr-un sat aIlat cam la trei mile deprtare, erau
sraci si n-aveau nici trsur acoperit; si de cnd ncepuser s
se in baluri la oras, primii se obisnuiser s-i invite pe cei din
urm s se schimbe, s cineze si s doarm la ei la revenirile
lunare, pe tot parcursul iernii.
De aceast dat, cum numai doi dintre copiii domnului
Watson erau acas, iar unul dintre ei i era necesar ntotdeauna ca
nsoitor, cci domnul Watson era cam bolnvicios, iar soia lui
murise, doar unul se putea bucura de buntatea prietenilor lor;
domnisoara Emma Watson care se ntorsese de curnd n snul
Iamiliei de la o mtus care o crescuse, urma s-si Iac prima
apariie n societatea local; si sora ei mai mare, pentru care
plcerea nespus a balului rmsese aceeasi n toi acesti zece ani
de cnd mergea la baluri, spre lauda ei se angaj cu inim voioas
s o duc cu trsura, mpreun cu hainele si gtelile ei, n orasul
D., n dimineaa aceea deosebit.
n timp ce strbteau ulia nmoloas, mproscnd n lturi
noroiul ud cu roile, domnisoara Watson o sItui si o puse n
gard pe sora ei mai puin iesit n lume.
- Cred c va Ii un bal Ioarte reusit si cu atia oIieri n-o s
duci lips de parteneri. O s vezi c servitoarea doamnei Edwards
va Ii Ioarte dornic s te ajute, si te-as sItui s-i ceri prerea lui
Mary Edwards dac te simi vreun pic n ncurctur, pentru c
are Ioarte mult bun gust.
P. Clonea A. Mrsescu C. Nicolae


56
II Mr Edwards does not lose his money at cards, you will
stay as late as you can wish Ior; iI he does, he will hurry you
home perhaps but you are sure oI some comIortable soup. I
hope you will be in good looks - I should not be surprised iI you
were to be thought one oI the prettiest girls in the room, there is a
great deal in novelty. Perhaps Tom Musgrave may take notice oI
you but I would advise you by all means not to give him any
encouragement. He generally pays attention to every new girl,
but he is a great Ilirt and never means anything serious.`
I think I have heard you speak oI him beIore,` said Emma.
Who is he?`
A young man oI very good Iortune, quite independent, and
remarkably agreeable, a universal Iavourite wherever he goes.
Most oI the girls hereabouts are in love with him, or have been. I
believe I am the only one among them that have escaped with a
whole heart, and yet I was the Iirst he paid attention to, when he
came into this country, six years ago; and very great attention
indeed did he pay me. Some people say that he has never seemed
to like any girl so well since, though he is always behaving in a
particular way to one or another.`
(Jane Austen, The Watsons, 1871)


***

There was an ola man of Tarentum
Who gnashea his false teeth till he bentem,
When they askea him the cost,
Of what he haa lost,
He saia, 'They werent mine, I was lentem.`
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Dac domnul Edwards nu-si va pierde banii la cri, vei
putea sta pn la ce or vei voi; dac-i va pierde, probabil te va
aduce degrab acas, dar, oricum, poi Ii sigur c vei avea timp
s servesti supa n tihn. Am sperana c o s te bucuri de o
atenie Iavorabil. Nu m-as mira deloc dac-ai Ii considerat una
din cele mai drgue Iete din salon; noutatea are avantajele ei. S-
ar putea s te remarce Tom Musgrave, dar oricum te-as sItui s
nu-l ncurajezi de loc. De obicei acord atenie oricrei Iete noi,
dar i place Ioarte mult s Ilirteze doar si nu se gndeste deloc la
ceva serios.
- Cred c te-am mai auzit vorbind despre el, spuse Emma.
Cine este el de Iapt?
- Un tnr Ioarte bogat, Ioarte independent si deosebit de
agreabil, Iavoritul tuturor pe unde se duce. Cele mai multe dintre
Ietele de pe aici sunt sau au Iost ndrgostite de el. Cred c sunt
singura dintre ele care a scpat cu inima ntreag, si totusi am Iost
prima creia i-a dat atenie, cnd a venit n partea locului, acum
sase ani; si chiar mi-a dat Ioarte mult atenie. Unii oameni spun
c de atunci nu a mai dat semne c i-ar mai place vreo Iat att de
mult, desi e dispus oricnd s bage n seam pe una sau pe alta.
(Jane Austen, Familia Watson, 1871)



***

Cu ainii si fali btranu-a mancat
Jreme inaelung pan i-a tocat.
Intrebat el oaat ae nu-i pare ru,
Rspunse el astfel vecinului su.
,,Pe ei bani n-am aat, i-aveam ae cptat.`






P. Clonea A. Mrsescu C. Nicolae


58
Text 7:
McCreedy can`t eat the Iood. It`s a good steak. Large and
juicy. But he can`t get it down.
It`s partly the drink he`s had, but it`s something else as
well. It`s what his liIe looks like across this table. Hatred.
IndiIIerence. Love. All three staring him in the eye, waiting Ior
him to respond, to act, to assert himselI, to be. And he can`t. Not
any more. For a long time he could and did. He Iought them and
held them close. He wept and screamed and tried to think oI all
the appropriate words oI apology and aIIection. Right up to
yesterday. But that`s it, over now. They can`t see it yet, but he
knows it`s happened: they`ve used him up. McCreedy`s used up.
He sits in silence while they eat and talk. Katy stares at him
under her hat, stuIIing chips, one by one. Hilda and Michael
blather about Arsenal. Michael snatches Katy`s steak and gobbles
it down. Hilda sucks the lemon Irom her gin glass. All McCreedy
is doing is waiting Ior them to Iinish.
And when they have, he begins gathering up the plates.
Dinner plates, knives and Iorks, side plates, veg dishes. One by
one, he reaches across the table and piles them into a stack in
Iront oI him. It`s a neat stack, like Hilda makes at home, with his
own uneaten piece oI meat transIerred to the top plate, and then
he sits back and stares at it.
McCreedy,` says Hilda. This is a restaurant.`
I know it`s a restaurant,` he says. Michael is Ialling
around, giggling, scarlet. Dad,` he splutters, what the Iuck you
doing?`
What does it look like?`
Pass them round again, McCreedy,` snarls Hilda. You`ll
make us the laughing stock.`
No,` he says.
Katy,` says Hilda, give out the plates again.`


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Text 7:
McCreedy nu reuseste s mnnce ce are n Ia. E o
Iriptur reusit. Mare si suculent. Dar nu e n stare s-o nghit.
n parte e de vin butura servit pn acum, dar mai este si
altceva. Este Ielul n care arat viaa lui n partea opus a mesei.
Ur. IndiIeren. Dragoste. Toi trei l privesc struitor n ochi,
asteptnd ca el s dea un rspuns, s acioneze, s se aIirme, s
existe. Dar el nu poate. Nu mai poate s continue. Pentru mult
vreme a putut, si a si Icut-o. S-a rzboit cu ei, dar i-a si strns la
pieptul su. A plns si a ipat si a ncercat s se gndeasc la toate
cuvintele potrivite pentru scuze si pentru exprimarea aIeciunii.
Asta exact pn ieri. Dar asta e, acum s-a terminat. Ei nu-si dau
nc seama, dar el stie ce s-a ntmplat: s-au Iolosit de el pn
l-au epuizat. McCreedy este un ins epuizat.
St pe scaun Ir s spun nimic n timp ce ei mnnc si
discut. Katy l Iixeaz cu privirea pe sub plrie, ndopndu-se
cu cartoIi pai, unul cte unul. Hilda si Michael trncnesc pe
ndelete despre Iotbalul lui Arsenal. Michael i Iur Hildei
Iriptura din IarIurie si o nIulec. Hilda suge din lmia extras
din paharul de gin. Tot ceea ce Iace McCreedy este s astepte ca
s termine toi. Si dup ce au terminat, ncepe s adune IarIuriile.
FarIurii ntinse, cuite si Iurculie, IarIurioare pentru aperitive,
castronase de salat. Una cte una le adun de pe mas si le pune
teanc n Iaa lui. E un teanc aranjat meticulos, asa cum
procedeaz Hilda acas, cu propria lui bucat de carne
neconsumat transIerat pe IarIuria din vrI, apoi se las puin pe
spate si-l priveste ndelung.
-McCreedy, exclam Hilda. Acesta este un restaurant!
-Stiu c este un restaurant, rspunde el. Michael nu-si mai
poate controla rsul, chicotind, rosu la Ia. Tati, bolboroseste el,
ce naiba Iaci?
-Ce i se pare ie c Iac?
-Pune-le la loc, McCreedy, se rsteste Hilda. O s ne Iaci
de rsul lumii.
-Nu, spune el.
-Katy, o ndeamn Hilda, d Iiecruia IarIuriile napoi.
P. Clonea A. Mrsescu C. Nicolae


60
There`s nothing on them,` McCreedy says, except on
mine. Why d`you want them?`
Jesus Christ!` says Hilda. Give us back the plates beIore
that woman comes.`
No,` he says again. Then he picks up the Ilab oI steak in
his Iingers and lets it dangle above the stack. He takes a breath.
See this?` he says. This is John McCreedy, aged Iorty-six
today. See it? Chewed and leIt. Stranded. And this is all your
stuII, underneath. Cold and hard and messed up. And I`m telling
anyone who wants to listen that I want to get down Irom here, but
I don`t Ior the liIe oI me know how.`
They all three stare at him. They don`t know what on earth
to make oI it all, except it Irightens them, it`s so dramatic and
Irish and odd. Hilda opens her mouth to say it must be the
Guinness talking, but no words come out. She begins scrabbling
in her bag Ior a new pack oI cigarettes. Michael swears under his
breath and gets up and slouches oII to the toilet. Katy puts her
thumb in her mouth. She watches her Iather drop the meat and
she knows what`s going to happen next: McCreedy is going to
sweep the stack onto the Iloor, where it will break into a thousand
pieces.
(Rose Tremain, The Stack, 2000)




***

There was once a laay from Niger
Who smilea as she roae on a tiger.
One aay, they returnea from the riae,
With the laay insiae,
Ana the smile on the face of the tiger.


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-Nu mai e nimic pe ele, intervine McCreedy, exceptnd-o
pe a mea. De ce le vrei la loc?
-Doamne, Dumnezeule, exclam Hilda. D-ne IarIuriile
napoi pn nu apare Iemeia aia.
-Nu, spune el iar. Apoi ia bucata lui de Iriptur cu dou
degete si o ine suspendat deasupra teancului de IarIurii. Trage
aer n piept.
-Vedei ce-i aici? ntreab el. Aceasta l reprezint pe John
McCreedy, n vrst de 46 de ani mplinii azi. O vedei?
Mestecat si apoi lsat deoparte. Abandonat. Si ce-i aici, dedesubt,
v reprezint pe voi toi. Reci si duri si murdari. Si i spun oricui
vrea s m asculte c vreau s cobor de aici, dar habar n-am cum
naiba s Iac asta.
Toi trei l privesc ncremenii. N-au idee ce s neleag
din toate astea, cu excepia Iaptului c i sperie, totul e asa de
dramatic si de irlandez si de ciudat. Hilda deschide gura
pregtindu-se s aIirme c vorbeste berea Guinness din el, dar
cuvintele nu-i ies din gur. ncepe s cotrobie prin geant dup
un alt pachet de igri. Michael scoate o njurtur n soapt si se
ndreapt agale spre toalet. Katy si introduce degetul mare n
gur. Vede cum tatl su d drumul la carne si stie ce urmeaz s
se ntmple n momentul urmtor: McCreedy va mpinge violent
teancul de IarIurii de pe mas pe podea unde acesta se va sparge
n mii de bucele.
(Rose Tremain, Teancul ae farfurii, 2000)

***

Clare pe tigru plimbri ea fcea
C-un :ambet pe bu:e pe-oriunae trecea.
Oaat s-a intors ain plimbare,
In burt la tigru, nu clare,
Iar WLJUXO aesigur era cel ce :ambea.
P. Clonea A. Mrsescu C. Nicolae


62
Text 8:
I was standing at the end oI the lower playground and
annoying Mr Samuels, who lived in the house just below the high
railings. Mr Samuels complained once a week that boys Irom the
school threw apples and stones and balls through his bedroom
window. He sat in a deck chair in a small square oI trim garden
and tried to read the newspaper. I was only a Iew yards Irom him.
I was staring him out. He pretended not to notice me, but I knew
he knew I was standing there rudely and quietly. Every now and
then he peeped at me Irom behind his newspaper, saw me still
and serious and alone, with my eyes on his. As soon as he lost
his temper I was going to go home. Already I was late Ior
dinner. I had almost beaten him, the newspaper was trembling, he
was breathing heavily, when a strange boy, whom I had not heard
approach, pushed me down the bank.
I threw a stone at his Iace. He took oII his spectacles, put
them in his coat pocket, took oII his coat, hung it neatly on the
railings, and attacked. Turning round as we wrestled on the top oI
the bank, I saw that Mr Samuels had Iolded his newspaper on
the deck chair and was standing up to watch us. It was a mistake
to turn round. The strange boy rabbit-punched me twice. Mr
Samuels hopped with excitement as I Iell against the railings. I
was down in the dust, hot and scratched and biting, then up and
dancing, and I butted the boy in the belly and we tumbled in a
heap. I saw through a closing eye that his nose was bleeding. I hit
his nose. He tore at my collar and spun me round by the hair.
'Come on! come on!' I heard Mr Samuels cry.
We both turned towards him. He was shaking his Iists and
dodging about in the garden.
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Text 8:
Stteam propit la captul terenului de joc situat undeva
mai jos, sicanndu-l pe dl. Samuels, care locuia n casa situat
chiar dedesubtul gardului nalt de Iier. Dl. Samuels reclama o
dat pe sptmn c niste elevi de-ai scolii au aruncat mere,
pietre si mingi prin Iereastra dormitorului casei sale. Sttea asezat
ntr-un sezlong n micul ptrat al grdinii ngrijite si ncerca s-si
citeasc ziarul. M aIlam doar la civa metri de el. Aveam
privirea sIidtoare aintit asupra sa. El se preIcea c nu e
constient de existena mea, dar stiam c el stie c stau acolo,
inoportun si Ir s scot vreun sunet. Din cnd n cnd si iea
privirea la mine din spatele ziarului si m vedea asa nemiscat si
serios si singur singurel, Iixndu-l cu privirea. De ndat ce avea
s-si ias din Iire, aveam de gnd s plec acas. Deja ntrziasem
la mas. Aproape c-l nvinsesem. Ziaru-i tremura n mini,
rsuIla greu, cnd un biat necunoscut, pe care nu-l auzisem
apropiindu-se, m-a mbrncit n josul terasamentului.
L-am lovit c-o piatr drept n Ia. El si-a dat jos ochelarii,
i-a pus n buzunarul hainei, si-a dat haina jos, a atrnat-o cu grij
de gardul de Iier si s-a npustit asupra mea. ntorcndu-mi
privirea pe cnd ne luam la trnt n vrIul terasamentului, am
observat c dl. Samuels si pusese ziarul mpturit pe sezlong si
tocmai se ridica n picioare ca s se uite la noi. A Iost o greseal
s-mi ntorc capul. Biatul necunoscut mi-a aplicat dou lovituri
scurte de karate n ceaI. Dl. Samuels opia Irenetic n timp ce
am czut si m-am izbit de grilaj.
O clip am Iost pe jos n rn, nIierbntat si zgriat si
icnind de durere, apoi n clipa urmtoare din nou n picioare, viu
si nevtmat, si i-am tras biatului un cap n stomac de ne-am
rostogolit amndoi grmad la pmnt. Am zrit prin ochiul pe
care nu-l mai puteam deschide bine c-i sngera nasul. I-am tras
una n nas. El mi-a sIsiat gulerul de la cmas si m-a Icut s m
nvrt ca un titirez inndu-m de pr.
-Arde-l! arde-l! l-am auzit pe dl. Samuels strignd.
Ne-am ntors amndoi spre el. si agita pumnii si practica
eschive de box prin grdin.
P. Clonea A. Mrsescu C. Nicolae


64
He stopped then, and coughed, and set his panama straight, and
avoided our eyes, and turned his back and walked slowly to the
deck chair.
We both threw gravel at him.
'I'll give him "Come on!" the boy said, as we ran along
the playground away Irom the shouts oI Mr Samuels and down
the steps on to the hill.
We walked home together. I admired his bloody nose. He
said that my eye was like a poached egg, only black.
'I've never seen such a lot oI blood,' I said.
He said I had the best black eye in Wales, perhaps it was
the best black eye in Europe; he bet Tunney never had a black
eye like that.
'And there's blood all over your shirt.`
'Sometimes I bleed in dollops,' he said.
On Walter's Road we passed a group oI high school girls,
and I cocked my cap and hoped my eye was as big as a bluebag,
and he walked with his coat Ilung open to show the bloodstains.
I was a hooligan all during dinner, and a bully, and as bad
as a boy Irom the Sandbanks, and I should have more respect,
and I sat silently, like Tunney, over the sago pudding. That
aIternoon I went to school with an eye-shade on. II I had had a
black silk sling I would have been as gay and desperate as the
wounded captain in the book that my sister used to read, and that
I read under the bedclothes at night, secretly with a Ilash-lamp.
On the road, a boy Irom an inIerior school, where the
parents did not have to pay anything, called me 'One eye!' in a
harsh, adult voice.
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Apoi s-a oprit, a scos un tuset, si-a aranjat pe cap plria cu
boruri largi, a evitat s ne priveasc n ochi, s-a ntors cu spatele
si a psit ncet pn la sezlong.
Am aruncat amndoi civa pumni de pietricele n el.
,,I-art eu lui, arae-l! zise biatul pe cnd alergam pe
marginea terenului de joc departe de strigtele domnului Samuels
si apoi n jos pe scrile care duceau spre platoul nvecinat.
Am mers spre cas mpreun. Mi-am exprimat admiraia pentru
nasul lui plin de snge. El a zis c ochiul meu seamn cu un ou
prjit n tigaie, att c este vnt.
-N-am vzut n viaa mea atta snge, am continuat eu.
El a adugat c eram n posesia celui mai vnt ochi din
ara Galilor, probabil era cel mai reusit ochi vnt din toat
Europa; era gata s pun pariu c nici Tunney, vestitul campion
de box, n-avusese vreodat un asemenea ochi vnt.
-Si cmasa i-e toat plin de snge.
-Sunt momente n care chiar siroiesc de snge, mi inu el
isonul.
Pe strada Walter`s Road am trecut pe lng un grup de Iete
de liceu, si eu mi-am pus chipiul usor pe-o parte si am sperat ca
ochiul meu vnt s Iie chiar ct-o vnt de mare, iar el psea cu
haina larg descheiat ca s se vad petele de snge.
Acas, pe tot parcursul prnzului, m-am comportat ca un
huligan n tribun la Iotbal, ca un derbedeu din clasele mai mari
cu cei mici, ca un gscar de cartier din Sandbanks, era cazul
totusi s art mai mult respect, asa c am rmas tcut, precum
acel Tunney, ct s-a servit budinca cu miez de nuc de cocos.
Dup amiaz am mers la scoal cu ochii umbrii de un cozoroc de
plastic colorat. Dac as Ii avut ochiul acoperit c-un petic de
mtase neagr, as Ii Iost pe ct de binedispus pe-att de disperat
precum cpitanul acela din cartea pe care o citea sor-mea, si pe
care eu am citit-o sub ptur, noaptea, n tain, la lumina unei
lanterne.
Pe drum, un biat de la o scoal de stat, unde prinii nu
trebuiau s dea nici un ban, m-a strigat ,,chiorule! cu o voce
rgusit, de om mare.
P. Clonea A. Mrsescu C. Nicolae


66
I took no notice, but walked along whistling, my good eye on
the summer clouds sailing, beyond insult, above Terrace Road.
The mathematics master said: 'I see that Mr Thomas at the
back oI the class has been straining his eyesight. But it isn't over
his homework, is it, gentlemen ?'
Gilbert Rees, next to me, laughed loudest.
I`ll break your leg aIter school!' I said.
He'd hobble, howling, up to the head master's study. A
deep hush in the school. A message on a plate brought by the
porter. 'The head master's compliments, sir, and will you come
at once?' 'How did you happen to break this boy's leg?' 'Oh!
damn and bottom, the agony!' cried Gilbert Rees. 'Just a little
twist,' I would say. 'I don't know my own strength. I apologize.
But there's nothing to worry about. Let me set the leg, sir.' A
rapid manipulation, the click oI a bone. 'Dr Thomas, sir, at your
service.' Mrs Rees was on her knees. 'How can I thank you ?'
'It's nothing at all, dear lady. Wash his ears every morning.
(Dylan Thomas, The Fight in The Portrait of the Artist
as a Young Dog, 1940)










***

A new servant maia namea Maria
Haa trouble in lighting the fire.
The wooa being green
She usea gasoline,
Her position by now is much higher'
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Nu l-am bgat n seam, si am mers mai departe Iluiernd, cu
ochiul cel bun contemplnd norii de var plutind, mai presus de
orice jignire, pe deasupra strzii Terrace Road.
ProIesorul de matematic remarc: ,,Observ c dl. Thomas
din spatele clasei si-a Iorat excesiv vederea. Dar nu ca s-si Iac
tema de acas, nu-i asa, domnilor?
Gilbert Rees, de lng mine, a rs cel mai tare.
-Am s-i rup un picior dup ore! i-am promis eu.
O s mearg sontocit, urlnd, pn n biroul directorului.
Tcere mormntal n scoal. Mesaj pe un platou argintat purtat
de portarul scolii. ,,Cu complimente din partea domnului director,
domnule, si v rugm s avei bunvoina s venii de ndat.
,,Cum s-a ntmplat s-i rupei piciorul acestui biat? ,,Ooo! Pe
toi dracii si ngerii, ce durere cumplit! url Gilbert Rees.
,,Acolo, doar o mic entors, aveam s spun eu. ,,Nu-mi cunosc
propria-mi putere uneori. V prezint scuzele mele. Dar n-avei de
ce s v ngrijorai. Dai-mi voie s v pun piciorul la loc,
domnule. O miscare rapid, o pocnitur de os. ,,Sunt doctorul
Thomas, domnule, la dispoziia dumneavoastr. Doamna Rees,
n genunchi. ,,Oare cum o s v pot rsplti vreodat, domnule
doctor? ,,A Iost o nimica toat, scump doamn. Splai-l pe
urechi n Iiecare diminea ..
(Dylan Thomas, Incierarea n Portretul pictorului ae pe
cana era cel
*
, 1940)

* Joc de cuvinte pe seama titlului lui James Joyce The Portrait
of the Artist as a Young Man.


***

O slufnic nou, pe treab s-a pus
Si lemne ae foc in casa aaus.
J:ana ea c lemnul nu arae aeloc
A turnat hrnicu ben:in pe foc,
Si ain slufnic, iute, a urcat mult mai sus.

P. Clonea A. Mrsescu C. Nicolae


68
Text 9:
The English are the only race in the world who enjoy
dying. Most other peoples contemplate death with abject and
rather contemptible Iear; the English look Iorward to it with
gusto.
They speak oI death as iI it were something natural. It is,
oI course, more natural than birth. Hundreds oI millions oI
people are not born; but all who are born, die. During the
bombing raids oI the last war people on the Continent prayed:
'God, even iI I have to be hit and maimed, please spare my liIe.'
The English said: 'II I have to die, well, I couldn't care less.
But I don't want to be made an invalid and I don't want to
suIIer.' Foreign insurance agents speak oI 'certain possibilities'
and the 'eventuality' that 'something might happen to you'; the
English make careIul calculations and the thought that the
insurance company will have to pay up always sweetens their
last hours. Nowhere in the world do people make so many
cruel jokes about the aged and the weak as here. In
Continental Iamilies you simply do not reIer to the Iact that a
parent or a grandparent is not immortal. But not long ago my
two children burst into my room and asked me:
'Daddy, which oI us will get your camera when you die?'
I`ll let you know,' I replied. 'By the way, I am sorry to be
still alive. It's not my Iault. I can't help it.'
They were a little hurt.
'Don't be silly. We don't really mind at all. We only
wanted to know who'll get the camera.'
And when the moment comes, the English make no Iuss.
Dead or alive, they hate being conspicuous or saying anything
unconventional. They are not a great people Ior Iamous last
words.
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Text 9:
Englezii sunt singura ras de oameni de pe pmnt care
mor cu mare plcere. Multe alte popoare contempl ideea morii
c-un sentiment de Iric abject, demn de dispre; englezii
asteapt ntlnirea cu moartea cu mare savoare.
Ei povestesc despre moarte ca si cum aceasta ar Ii ceva
Iiresc. Desigur este mai Iireasc dect nasterea. Sute de
milioane de oameni nu se nasc; dar toi cei care se nasc, mor.
n timpul raidurilor de bombardament din timpul ultimului
rzboi mondial, oamenii de pe continent se rugau: ,,Doamne,
chiar dac va Ii nevoie s Iiu lovit si mutilat, te rog cru-mi
viaa. Englezii spuneau: ,,Dac va trebui s mor, ei bine,
nu-mi pas ctusi de puin. Dar nu vreau s Iiu transIormat
ntr-un invalid si nici nu vreau s suIr. Agenii de asigurri
strini vorbesc despre ,,oarecare riscuri si ,,eventualitatea
ca ,,ceva s i se ntmple cumva; englezii si Iac calcule
grijulii si gndul c societatea de asigurri va Ii nevoit s
plteasc pn la ultimul bnu ntotdeauna le ndulceste
ultimele clipe de via. Nicieri n lume nu se Iac attea
glume sinistre pe seama celor n vrst sau celor neputinciosi
ca aici n Anglia. n snul Iamiliilor de pe continent pur si
simplu evii s te reIeri la Iaptul c un printe sau un bunic
nu este nemuritor. n schimb, nu cu mult timp n urm, cei
doi copii ai mei au dat buzna n camera mea si m-au ntrebat:
-Tati, care din noi o s primeasc aparatul de
IotograIiat cnd vei muri tu?
-Am s v comunic, stai Ir grij, le-am replicat eu.
Apropo, mi pare ru c sunt nc n via. Nu e vina mea.
Nu depinde de mine.
S-au simit oarecum jenai.
-Nu vorbi prostii. Chiar nu ne deranjeaz deloc. Voiam
doar s stim cine se va alege cu aparatul de IotograIiat.
Iar cnd soseste clipa, englezii nu se agit n nici un
Iel. Mori sau vii, ei pur si simplu ursc Iaptul de-a iesi cu
ceva n eviden sau de-a spune ceva iesit din comun. Ei nu
sunt un popor mare pe seama unor ultime cuvinte
memorabile.
P. Clonea A. Mrsescu C. Nicolae


70
I shall never Iorget the poor gentleman who once
travelled with me on the Channel boat. Only the two oI us were
on deck as a violent storm was raging. A tremendous gale was
lashing mountainous seas. We huddled there Ior a while,
without saying anything. Suddenly a IearIul gust blew him
overboard. His head emerged just once Irom the water below me.
He looked at me calmly and remarked somewhat casually:
'Rather windy, isn't it?'
(George Mikes, How to Die,1946)









***



There was a young fellow of Ealing
Enaowea with such aelicate feeling.
When he reaa on the aoor,
'Dont spit on the floor,`
He fumpea ana spat on the ceiling.
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N-am s uit ct oi tri pe acel biet gentleman care acum
ctva timp cltorea mpreun cu mine pe vasul ce traversa
Canalul Mnecii. Eram doar noi doi pe punte n toiul unei
Iurtuni ngrozitoare. O vijelie teribil izbea apa nlnd
adevrai muni de ap. Am stat acolo pe punte o vreme,
nghesuii unul ntr-altul, Ir s scoatem o vorb. Pe
neasteptate, o raIal nIricostoare l-a zburat de pe punte n
ap. Capul su a iesit doar o singur dat din ap chiar
dedesubtul meu. Mi-a aruncat o privire calm si a remarcat,
asa, n treact:
,,Bate cam tare vntul sta, nu-i asa?
(George Mikes, Cum s murim, 1946)








***


Era biatu acesta tare n:arvan
Ce 7 ani acas nu trise-n van.
J:ana el c pe ua lor,
Scrie. ,,Nu scuipai pe covor,`
A srit ae pe scaun i-a scuipat pe tavan.
P. Clonea A. Mrsescu C. Nicolae


72
Text 10:
By and by a subtle, indeIinable malaise began to take
possession oI him. I once saw a very young Ioal trying to eat
some most objectionable reIuse, and unable to make up its mind
whether it was good or no. Clearly it wanted to be told. II its
mother had seen what it was doing she would have set it right in a
moment and as soon as ever it had been told that what it was
eating was Iilth, the Ioal would have recognised it and never have
wanted to be told again; but the Ioal could not settle the matter
Ior itselI, or make up its mind whether it liked what it was trying
to eat or no, without assistance Irom without. I suppose it would
have come to do so by and by, but it was wasting time and
trouble, which a single look Irom its mother would have saved,
just as wort will in time Ierment oI itselI, but will Ierment much
more quickly iI a little yeast be added to it. In the matter oI
knowing what gives us pleasure we are all like wort, and iI
unaided Irom without can only Ierment slowly and toilsomely.
My unhappy hero about this time was very much like the
Ioal, or rather he Ielt much what the Ioal would have Ielt iI its
mother and all the other grown-up horses in the Iield had vowed
that what it was eating was the most excellent and nutritious Iood
to be Iound anywhere. He was so anxious to do what was right,
and so ready to believe that every one knew him better than
himselI, that he never ventured to admit to himselI that he might
be all the while on a hopelessly wrong tack. It did not occur to
him that there might be a blunder anywhere, much less did it
occur to him to try and Iind out where the blunder was.
Nevertheless he became daily more Iull oI malaise, and daily,
only he knew it not, more ripe Ior an explosion should a spark
Iall upon him.

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Text 10:
ncetul cu ncetul, o indispoziie insidioas, greu de deIinit
ncepu s pun stpnire pe el. Am vzut odat un mnz Ioarte
tnr care ncerca s mnnce niste gunoaie de-a dreptul
scrboase si nu era n stare s se hotrasc dac erau bune sau nu.
n mod evident voia s i se spun asta. Dac mama lui ar Ii vzut
ce Icea ar Ii pus lucrurile la punct ntr-o clipit si de ndat ce i
s-ar Ii spus c ceea ce mnca era de Iapt gunoi, mnzul l-ar Ii
recunoscut ca atare si n-ar mai Ii avut nevoie s i se spun din
nou; dar mnzul nu putea s rezolve treaba asta singur, sau s se
hotrasc dac-i plcea ceea ce ncerca s mnnce sau nu, Ir
ajutorul altcuiva. Presupun c pn la urm ar Ii reusit s Iac
asta, dar irosea timp si energie, lucru de care o singur privire de
la mama sa l-ar Ii scutit, asa cum mustul de bere Iermenteaz
dup o vreme singur, dar Iermenteaz cu mult mai repede dac i
se adaug puin drojdie. Cnd vine vorba s recunoastem ceva
ce ne oIer plcere, suntem cu toii ca mustul, si dac nu suntem
ajutai de alii, Iermentm doar ncet si anevoie.
NeIericitul meu erou semna n acest moment Ioarte mult
cu mnzul acela, sau mai degrab simea ce ar Ii simit mnzul
dac mama sa si toi ceilali cai mai n vrst de pe cmp ar Ii
aIirmat c ceea ce mnca era cea mai bun si hrnitoare mncare
ce se putea gsi pe undeva. Era asa de nerbdtor s Iac ceea ce
se cuvenea si att de pregtit s cread c oricine l cunostea mai
bine dect se cunostea el pe sine, c niciodat nu se aventura s
recunoasc c s-ar putea s se aIle pe un drum iremediabil gresit.
Nu se gndea c poate Ii o greseal pe undeva, si cu att mai
puin se gndea s ncerce si s aIle unde era greseala. Cu toate
acestea el devenea pe zi ce trecea tot mai cuprins de acea
indispoziie si, pe zi ce trecea, doar c nu stia, tot mai pregtit
pentru o explozie, dac se ntmpla s cad vreo scnteie peste el.

P. Clonea A. Mrsescu C. Nicolae


74
One thing, however, did begin to loom out oI the general
vagueness, and to this he instinctively turned as trying to seize it
I mean, the Iact that he was saving very Iew souls, whereas
there were thousands being lost hourly all around him which a
little energy such as Mr Hawke`s might save. Day aIter day went
by, and what was he doing? Standing on proIessional etiquette,
and praying that his shares might go up and down as he wanted
them, so that they might give him money enough to enable him to
regenerate the universe. But in the meantime the people were
dying. How many souls would not be doomed to endless ages oI
the most IrightIul torments that the mind could think oI, beIore he
could bring his spiritual pathology engine to bear upon them?
Why might he not stand and preach as he saw the Dissenters
*

doing sometimes in Lincoln`s Inn Fields and other
thoroughIares? He could say all that Mr Hawke had said. Mr
Hawke was a very poor creature in Ernest`s eyes now, Ior he was
a Low Churchman, but we should not be above learning Irom
anyone, and surely he could aIIect his hearers as powerIully as
Mr Hawke had aIIected him iI he only had the courage to set to
work. The people whom he saw preaching in the squares
sometimes drew larger audiences. He could at any rate preach
better than they.
(Samuel Butler, The Way of All Flesh, 1903)

*Dissenter a member oI a non-established Church; a Non-
conIormist.

***

There was a young laay of Kent
Who saia that she knew what it meant
When men askea her to aine,
Gave her cocktails ana wine,
She knew what it meant but she went'
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Totusi un anume lucru ncepu s se contureze din conIuzia aceea
total, si el se ntoarse spre acesta instinctiv, ncercnd s-l
priceap vreau s spun Iaptul c salva Ioarte puine suIlete, n
timp ce mii si mii de alte suIlete din jurul su, care se pierdeau n
Iiecare or, puteau Ii salvate cu puin energie ca aceea
maniIestat de domnul Hawke. Treceau zilele una dup alta si ce
Icea el? Urma cu strictee morala proIesiei si se ruga s-i scad
sau s-i creasc aciunile, dup cum dorea el, astIel nct s i se
dea bani suIicieni care s-i permit s regenereze universul. Dar
ntre timp oamenii mureau. Oare cte suIlete n-ar Ii sortite s
ndure o vesnicie cele mai nspimnttoare chinuri pe care le-ar
putea imagina mintea omeneasc, nainte ca el s le poat impune
mecanismul gndirii sale de vindecare a patologiei spiritului? De
ce n-ar putea s stea si s predice asa cum i vzuse pe preoii
schismatici Icnd uneori n piaa Lincoln`s Inn Fields sau prin
alte rspntii? Putea s spun si el tot ce spusese n trecut domnul
Hawke. Domnul Hawke era acum o biat Iiin ordinar n ochii
lui Ernest, cci era un cleric din ptura de jos, desi n-ar trebui s
considerm c n-avem ce nva de la cei inIeriori nou, si el cu
siguran putea s-i inIlueneze pe asculttorii si la Iel de mult
cum l inIluenase si domnul Hawke pe el, numai de-ar avea
curajul s se pun pe treab. Oamenii pe care-i vedea predicnd
n piee cteodat atrgeau un public mai numeros. Putea oricum
s predice mai bine dect ei.
(Samuel Butler, Calea pe care merg toi muritorii, 1903)


***

Tanra Dolly mereu ne :icea
C tie prea bine ce insemna
La cin s-accepte tar:ii invitaii,
Si vin i gin s bea cu brbaii,
Stia ea prea bine ce insemna i tot se aucea'
P. Clonea A. Mrsescu C. Nicolae


76
Text 11:
We penetrated deeper and deeper into the heart oI darkness.
It was very quiet there. At night sometimes the roll oI drums
behind the curtain oI trees would run up the river and remained
sustained Iaintly, as iI hovering in the air high over our heads, till
the Iirst break oI day. Whether it meant war, peace, or prayer we
could not tell. The dawns were heralded by the descent oI a chill
stillness; the wood-cutters slept, their Iires burned low; the
snapping oI a twig would make you start. We were wanderers on
prehistoric earth, on an earth that wore the aspect oI an unknown
planet. We could have Iancied ourselves the Iirst oI men, taking
possession oI an accursed inheritance, to be subdued at the cost
oI proIound anguish and oI excessive toil. But suddenly, as we
struggled round a bend, there would be a glimpse oI rush walls,
oI peaked grass-rooIs, a burst oI yells, a whirl oI black limbs, a
mass oI hands clapping, oI Ieet stamping, oI bodies swaying, oI
eyes rolling, under the droop oI heavy and motionless Ioliage.
The steamer toiled along slowly, on the edge oI a black and
incomprehensible Irenzy. The prehistoric man was cursing us,
praying to us, welcoming us who could tell? We were cut oII
Irom the comprehension oI our surroundings; we glided past like
phantoms, wondering and secretly appalled, as sane men would
be beIore an enthusiastic outbreak in a madhouse. We could not
understand because we were too Iar and could not remember,
because we were travelling in the night oI Iirst ages, oI those ages
that are gone, leaving hardly a sign and no memories.
(J. Conrad, Heart of Darkness, 1902)



***

There was once an ola bear at the Zoo
Who coula always fina something to ao.
When it borea him to go,
In his cage to ana fro,
He reversea it, ana went fro ana to.
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Text 11:
Ptrundeam tot mai adnc n inima ntunericului. Acolo
domnea o liniste deplin. Cteodat, noaptea, rpitul tobelor din
spatele perdelei de copaci se deplasa iute n susul Iluviului,
meninndu-se n surdin, de parc ar Ii plutit suspendat n aer
sus deasupra capetelor noastre, pn la primele semne ale
dimineii. Dac era un semn de rzboi, pace, sau rug, de asta nu
ne puteam da seama. Zorii erau vestii de lsarea unei linisti
rcoroase; tietorii de lemne dormeau, iar Iocurile lor abia
mocneau; o simpl trosnitur a unei ramuri rupte te Icea s
tresari. Eram rtcitori pe pmntul preistoric, pe un pmnt care
avea nIisarea unei planete necunoscute. Ne-am Ii putut
nchipui c suntem acei primi oameni care, intrai n posesia unei
mosteniri blestemate, urmau s o stpneasc cu preul unui
imens chin si al unei trude Ir margini. Si pe neasteptate, n timp
ce ne strduiam din greu s ne meninem cursul pe o cotitur a
Iluviului, am zrit cu coada ochiului perei de papur, acoperisuri
ascuite de iarb, o izbucnire de ipete, o nvrtejire de picioare
negre, o mulime de brae btnd din palme, de picioare
Irmntnd pmntul, de corpuri legnndu-se, de ochi rotindu-se
n orbite, sub aplectura Irunzisului greu si nemiscat. Vaporul cu
aburi se tra ncet nainte, pe liziera unei Irenezii negre si
incomprehensibile. Omul preistoric ne blestema, ni se nchina, ne
ura bun venit cine putea spune? Ne era blocat capacitatea de a
percepe ce era n jurul nostru; treceam plutind ca niste Iantome,
mirai si n tain nIricosai, asa cum ar Ii niste oameni ntregi la
minte n Iaa unei izbucniri entuziaste dintr-o cas de nebuni. Nu
nelegeam deoarece eram la prea mare deprtare si nu ne puteam
aminti, ntruct cltoream n bezna timpurilor primordiale, acele
timpuri care au pierit, abia lsnd vreun semn si nici o amintire.
(J. Conrad, In inima intunericului, 1902)
***
La el in cuc, ursul Manolo
Gsete mereu ce s fac acolo.
Cana, plictisit, nu ii mai place,
S mearg incolo i-ncoace,
O schimb i merge incoace i-ncolo.
P. Clonea A. Mrsescu C. Nicolae


78
Text 12:




WHEN YOU ARE OLD



When you are ola ana gray ana full of sleep,
Ana noaaing by the fire, take aown this book,
Ana slowly reaa, ana aream of the soft look
Your eyes haa once, ana of their shaaows aeep,

How many lovea your moments of glaa grace,
Ana lovea your beauty with love false or true,
But one man lovea the pilgrim soul in you,
Ana lovea the sorrows of your changing face,

Ana benaing aown besiae the glowing bars,
Murmur, a little saaly, how Love flea
Ana pacea upon the mountains overheaa
Ana hia his face amia a crowa of stars.

(William Butler Yeats - 1892)

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Text 12:




BTRN CND VEI FI



Btran cana vei fi, i nins, cu gene ostenite
Clipina ae somn la vatr, ia cartea-n man iar,
Si-ncet citete, visana privirea clar
Din ochii ti oaat i umbre tinuite,

Si cai n-au iubit oare galnica-i fptur,
Cu aragoste prea plin sau foc amgitor,
Dar singur eu iubit-am cel suflet cltor,
Si tot ce-ncet cu timpul faa ii negur.

Si-acolo aplecat, privina printre :brele,
S murmuri un pic trist, c :eul sfant Amor
De munii ae aeasupra a trecut in :bor
Si faa i-a ascuns-o ntr-un ciorchin ae stele.

(William Butler Yeats - 1892)



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Text 13:




STOPPING BY WOODS ON A SNOWY EVENING



Whose wooas these are I think I know,
His house is in the village though,
He will not see me stopping here
To watch his wooas fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the wooas ana fro:en lake
The aarkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sounas the sweep
Of easy wina ana aowny flake.

The wooas are lovely, aark ana aeep,
But I have promises to keep,
Ana miles to go before I sleep,
Ana miles to go before I sleep.

(Robert Frost - 1923)

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Text 13:




POPAS LNG-O PDURE NTR-O SEAR CU NINSOARE



Eu tiu paurea cine-o stpanete,
In sat el totui locuiete,
Si nu va ti c-am struit
S va aici cum fulguiete.

Cluul meu poate-i uimit
C-n loc pustiu noi ne-am oprit
Aici copaci, pe lac polei
In neagra noapte-a anului murit.

El sun scurt ain :urgli
S-ntrebe. nu-i greeal, mi?
Si-alt sunet nu-i, aoar fonet moale
De fulgi pufoi c:ana pe vi.

Paurea-i manar, aaanc-n vale
Dar treburi am i mult cale,
S tot strbat pan la culcare,
S tot strbat pan la culcare.

(Robert Frost - 1923)



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82
Text 14:



TO HELEN



Helen, thy beauty is to me
Like those Nicean
*
barks of yore,
That gently, oer a perfumea sea,
The weary, way-worn wanaerer bore
To his own native shore.

On aesperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiaa airs have brought me home
To the glory that was Greece
Ana the granaeur that was Rome.

Lo' in yon brilliant winaow-niche
How statue-like I see thee stana'
The agate lamp within thy hana,
Ah' Psyche
**
, from the regions which
Are Holy Lana'

(Edgar Allan Poe - 1845)


* Nicaea ancient city in NW Asia Minor; Nicene Creed,
Iormulated by the Nicene Council in A.D.325 stipulating the
chieI tenets oI Christian belieI.
** Psyche Class. Myth. a personiIication oI the soul, which in
the Iorm oI a beautiIul girl was loved by Eros.



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Text 14:



OD ELENEI



Elena, frumoas-mi pari neasemuit
Ca luntrile nicene ce vreoaat,
Pe marea nmerismat au croit
Drum lin ae ap i-au purtat
Spre rm natal, pribeagul nu-tiu-cana plecat.

Sla aveam eu singur pe marea tumultoas
Dar chipul tu cel clasic, un pr ae nestemat
Si vrafa-i ae naiaa m-au intors acas
Jisana ce mare Grecia va fi fost alaat
Si scene ae granaoare ain Roma glorioas.

Acolo, in arcul ferestrei luminate
Mi-apari ca o statuie, areapt, nemicat'
In man ai o lamp ae agat,
O, Psyche, ain locuri neintinate,
Din ara Binecuvantat'

(Edgar Allan Poe - 1845)




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84
Text 15:



SONNET XVIII




Shall I compare thee to a summers aay?
Thou art more lovely ana more temperate.
Rough winas ao shake the aarling buas of May,
Ana summers lease hath all too short a aate.
Sometime too hot the eye of heaven shines,
Ana often is his gola complexion aimma,
Ana every fair from fair sometime aeclines,
By chance or natures changing course untrimma,
But thy eternal summer shall not faae,
Nor lose possession of that fair thou owest,
Nor shall aeath brag thou wanaerest in his shaae
When in eternal lines to time thou growest,
So long as men can breathe, or eyes can see,
So long lives this ana this gives life to thee.

(W. Shakespeare, approx. 1589-1600)





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Text 15:



SONETUL XVIII



C-o :i ae var s te-asemui aar?
Mai aulce-ai firea, mai cumptat.
De vant in mai se scutur muguri iar,
Iar viaa verii-i mult scurtat.
Prea-ncins e ochiul cerului vreoaat,
Si-obra:ul i-l ascunae aup nor,
Si ce-i frumos a:i, maine-a scptat
Urmana al vremii mers neierttor,
Dar vara ta tri-va veac ae veac,
Iar frumuseea ta nu va pieri,
Chiar morii haae ai s-i vii ae hac,
Prin vers etern ce-n timp va ainui,
Cat auhul vieii-n om va aasta,
Prin versu-mi ie via ii voi aa.

(W. Shakespeare, aprox. 1589-1600)












P. Clonea A. Mrsescu C. Nicolae


86
Text 16:





FIRE AND ICE




Some say the worla will ena in fire,
Some say in ice.
From what Ive tastea of aesire
I hola with those who favor fire.
But if I haa to perish twice,
I think I know enough of hate
To say that for aestruction ice
Is also great
Ana woula suffice.

(Robert Frost - 1923)






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Text 16:






FOC SI GHEA




Muli spun c lumea va pieri prin foc,
Muli spun prin frig i ghea.
Din tot ce tiu, aorina fr ae noroc
Eu sunt cu cei ce spun prin foc.
De-ar fi ain nou s imi piera viaa,
Din tot ce tiu eu aespre ur
Ca s aistrugi nu-i greu i gheaa
Tot bun e, peste msur,
Si-ar fi ae-afuns s curme viaa.

(Robert Frost - 1923)





P. Clonea A. Mrsescu C. Nicolae


88

The Aavancea Stuaents Book of Bilingual Literary Translation

89


P. Clonea A. Mrsescu C. Nicolae

ss

PART TWO
5RPDQLDQ(QJOLVK75$16/$7,2102'(/6

Text 1:
Fiindc mostenitorii proprietarului nu se putuser nvoi,
vnduser casa unui strin, cruia, vecinii neputndu-i pronuna
numele, i ziceau engle:ul.
Zidit n stilul pe care arhitecii nostri ne-au obisnuit s-l
credem stil romnesc, - cu streasinile iesite aIar, cu cerdac de jur
mprejur, cu Ierestrele mici si puine si cu usa scund rezemat pe
trei trepte de piatr tocit pe margini casa si ascundea
btrneea n dosul unor castani presrai Ir nici o regul ntr-o
curte mare cu iarb mult si Ir poteci.
Noul proprietar ns adusese un arhitect si un grdinar
amndoi strini ca si dnsul si dup trei luni nimeni dintre
vecini nu mai recunostea drpntura din Iundul curei.
Un singur lucru nu puteau pricepe. Ce gust i venise oare
englezului s pun geamuri portocalii la Ierestre?
Privit din strad, n timpul verei, casa avea aspectul mai
mult al unui tablou n care un pictor impresionist nu pusese dect
verde, alb si portocaliu.
Vecinii cei mai muli oameni simpli, mahalagii inculi
Ir gusturi si simuri artistice -, neputndu-si nchipui Irumosul
dect asa cum era judecat n mahalaua lor, scorniser pe socoteala
englezului o legend, care, trecut din gur n gur, ajunsese s
Iie povestit ntr-un Iel la un cap al strzei si ntr-alt Iel la celalt.
Destul c legenda,- care n dou cuvinte se rezuma a Iace din
englez un nebun periculos dup ce Iusese nvat pe dinaIar
de cei de prin mprejurimi, trecuse hotarele mahalalei si n scurt
timp ajunsese pn la celalt capt al orasului.
Copiii de scoal, mai cu seam, n orele de recreaie n loc
s se joace de-a capra ori n sotron, se adunau tcui n grupuri,
grupuri si discutau chestia cu gravitatea unor politicieni n ajunul
cderei de la putere.
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89
Text 1:
As the owner`s inheritors had Iailed to reach an agreement,
they had sold the house to a Ioreigner whom the neighbours,
unable to utter his name, called the Englishman.
Built in the style that our architects have accustomed us to
regard as Romanian style with overhanging eaves and a
verandah all around it, with its Iew small windows and a low
door on top oI three stone steps worn out at the edges the house
concealed its old age behind several chestnut trees, randomly
scattered in a large yard with much grass and no alleys.
But the new owner had brought an architect and a gardener
both Ioreigners like himselI and aIter three months none oI
the neighbours could recognize any longer the ruinous old house
at the back oI the courtyard.
There was one thing that they Iailed to understand. What
particular matter oI taste had made him choose orange glass Ior
his windows?
Seen Irom the street in summer, the house looked rather
like a painting in which the impressionist artist had only used
green, white and orange.
The neighbours most oI them ordinary, suburb people,
uneducated and with no taste or sense oI art being unable to
represent to themselves beauty as diIIerent Irom what it was
conceived oI in their neighbourhood, had invented a legend about
the Englishman, a legend which, spread by word oI mouth, had
come to be related in one way at this end oI the town and in
another at the Iarther end. SuIIice it to say that the legend
which in short reduced itselI to making a dangerous lunatic out oI
the Englishman aIter it had been learnt by heart by the people
in the neighbourhood, had crossed the boundaries oI the suburb
and soon reached the other end oI the town.
The schoolchildren, especially, instead oI playing leap-Irog
or hop-scotch during breaks, gathered silently in separate groups
and talked about this matter with the gravity oI some politicians
on the eve oI their Iall Irom power.
P. Clonea A. Mrsescu C. Nicolae

o

ntr-o dup-amiaz, trei necunoscui prin partea locului, trei tineri
cu prul lung, cu cravatele IlIitoare si plriile cu borul lat,
veniser pn n dreptul casei, unde discutaser cu aprindere mai
bine de jumtate de ceas. Crciumarul din col, care trsese cu
urechea, descoperise c necunoscuii, elevi la scoala de bele-arte,
erau entuziasmai de gustul englezului si dup ei casa, asa cum
Iusese reparat, era cea mai Irumoas cldire din oras.
A doua zi, mahalaua toat era nIuriat n contra
necunoscuilor care avuseser ndrzneala s se mbrace si s aib
alte preri dect ei. Si indignarea pasnicilor mrginasi ai capitalei
merse pn acolo nct doi din Ilcii de a cror Iric tremura
ntreag mahalaua Icur solemnul jurmnt de a se pune la
pnd si de a-i lua la btaie dac cumva le-o mai veni gustul s
dea pe la ei.
Dar mai mult dect ndrzneala celor trei necunoscui, i
nelinistea Iaptul c noul proprietar, dup ce-si reparase casa,
dispruse si nimeni nu mai stia nimic de el. La SIntul Ilie se
mplineau 5 luni de cnd nu mai dduse pe acolo. Civa notabili
din mahala ncercaser s vorbeasc cu servitorul un btrn pe
care nu-l vedeau dect de dou ori pe zi, cnd venea s mnnce
la crciuma din col. Acesta ns, strin ca si stpnul su, ori nu
stia alte cuvinte romnesti dect acelea ale mncrurilor, ori nu
voia s le rspund. Destul c privirea ncruntat a btrnului le
tiase la toi poIta de a-l mai intervieva n timpul mesei.
(Ion Minulescu, Casa cu geamurile portocalii, 1908)

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91
One aIternoon, three strangers in the neighbourhood, three long-
haired young men, with Iluttering ties and wide-brimmed hats,
had stopped by the house, where they talked animatedly Ior more
than halI an hour. The publican on the corner, who had been
eavesdropping, Iound out that the strangers who were students
in Iine arts were enthusiastic about the Englishman`s taste and,
in their opinion, the house, the way it had been repaired, was the
most beautiIul building in the town.
On the Iollowing day, the whole neighbourhood were in a
rage against those strangers who had had the cheek to dress and
think diIIerently Irom them. And the indignation oI the capital`s
peaceIul suburb dwellers was so great that two oI the lads who
made the whole suburb shudder with Iear took a solemn oath to
lie in wait and give them a sound beating, iI they ever happened
to come there again.
But what worried them more than the insolence oI the three
strangers was the Iact that the new owner, aIter having had his
house repaired, had disappeared and nobody knew what had
become oI him. By St. Elijah`s it would be Iive months since he
had last been there. Several important people in the suburb had
tried to talk to his servant an old man whom they only saw
twice a day when he came to eat at the pub on the corner. But
the servant, a Ioreigner like his master, either knew no Romanian
words other than those reIerring to Iood, or just wouldn`t answer.
SuIIice it to say the old man`s Irowning look had discouraged
everybody Irom questioning him while eating.
(Ion Minulescu, The House of the Orange Winaows, 1908)

P. Clonea A. Mrsescu C. Nicolae



Text 2:
n miercurea aceea de iunie am Iost abtut, Ir nici un
motiv, toat ziua. M desteptasem de diminea cu o neliniste
vag n suIlet si cu un simmnt de apsare plumburie. Pe urm,
din cnd n cnd, aveam senzaia c o mn imaterial mi strnge
inima ca ntr-un cleste, rrindu-i si ncetinindu-i palpitaiile, pn
aproape s le opreasc. Atunci, apoi, m cuprinse o spaim mare
si mi se prea c o primejdie se pregtea undeva s se
npusteasc asupr-mi.
M sileam s nu iau seama, s uit si s m scutur de
ameninarea stranie ce m mpresura. ncercam s vorbesc mai
mult ca de obicei, s Iiu vesel si nepstor. n zadar. Acul
veninos mi se mplnta tot mai adnc n constiin.
Eram proIesor. Desi mplineam treizeci si cinci de ani, mi
pstrasem intact pasiunea pentru meseria ce-mi alesesem. M
socoteam, n sine-mi si n tain, un Iel de mic apostol al luminrii
neamului. (Au trecut numai cinci ani de-atunci, si-mi dau seama
ct de naiv eram si ct de ridicol). Intram cu emoie n clas. mi
iubeam elevii ntocmai ca pe copilasii mei proprii, unul de zece si
cellalt de opt ani.n miercurea aceea, poate ntia oar n
cariera mea, am Iost distrat la catedr, plictisit, nervos. Ascultnd
rspunsurile elevilor eram n epoca examinrilor Iinale
mintea mea cuta alte explicaii: de unde si ce rost s aib
tulburarea care m hruieste necontenit? Si Iiindc nu gseam
nimic, si Iiindc spaima necunoscut m tortura, m rcoream
bruItuluind pe bieii scolari, ngrozii si altIel de emoiile
examenului.
La prnz, acas, am gsit o scrisoare de la tata. O clip
mna dusman parc-mi sIrtic inima. n creieri simeam cum se
mbulzea s ncoleasc nchipuirea unei nenorociri, care totusi
nu mai avu rgaz s prind rdcin, cci n acelasi timp vzui
si-mi ddui seama ct ar Ii Iost de absurd.
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Text 2:
On that Wednesday in June, I was depressed without any
reason all day long. I had woken up that morning with a vague
Ieeling oI anxiety, and a heavy burden on my chest. Then, every
now and then, I had the Ieeling that an immaterial hand was
squeezing my heart in a vicelike grip, slowing down its beats to
an almost complete stop. Then I was seized with terror and Ielt as
iI some danger was lying in wait Ior me.
I was trying hard to ignore and shrug oII the strange Ieeling
oI threat which possessed me. I tried to be more talkative than
usually, to be cheerIul and indiIIerent. All to no avail. The
poisonous sting went deeper and deeper into my conscience.
I was a teacher. Although I was turning 35, I still kept
intact the passion Ior the proIession I had chosen. I secretly
considered myselI a kind oI lesser apostle oI my people`s
enlightenment. (It`s only Iive years since then and I Iully realise
how nave and ridiculous I used to be.) I would enter the
classroom Iull oI excitement. I loved my students as much as I
loved my own little children, one ten years old and the other
eight. On that particular Wednesday, maybe Ior the Iirst time
in my career, I sat at the desk, absent-minded, bored, irritated.
Listening to the students` answers it was the period oI Iinal
examinations my mind searched Ior other explanations: what
caused and what sense could be made oI that unIorgiving
anxiety? And because I couldn`t Iind an answer, and the
unknown Iear continued to torture me, I calmed myselI by
reprimanding the poor students, who were already terriIied by the
emotions oI the examination.
Home, at noon, I Iound a letter Irom my Iather. For a
moment, the hostile hand seemed to be tearing my heart to pieces.
I Ielt the vision oI an oncoming disaster IorceIully taking
possession oI my mind, which, however, did not have the time to
take roots because, at the same time, I saw and realised how
absurd it would have been.
P. Clonea A. Mrsescu C. Nicolae

+

Din moment ce scrisoarea era desIcut, nsemna c
nevast-mea a citit-o si c nu cuprindea nimic grav, altminteri nu
mi-ar Ii ntins-o att de simplu. Urmele spaimei ns izbucnir
ntr-o ntrebare rgusit:
- S-a ntmplat ceva?
..........................
Abia azi sunt capabil s preuiesc deplin virtuile unor
prini care au avut curajul s creasc sapte copii, dintre care
patru nc n via. Si totusi, pe vremea aceea btrnii erau tot att
de singuri, ca si cnd n-ar Ii crescut pe nimeni. Din doi biei,
nici unul n-a vrut s se Iac preot si urmasul tatii la Prislop. Eu
proIesor la Bucuresti, cellalt avocat la Dej. Din dou Iete nici
una n-a vrut s rmie acas, s se mrite cu un 'teolog si s
devie preoteas, s continuie pe mosioara printeasc. Pe cea mai
mare a luat-o un Iarmacist de la Zalu, pe cea mic, Florica, am
luat-o eu, la mine, la Bucuresti. Mai cu seam din pricina acesteia
s-au ntristat ru btrnii. Ar Ii dorit s-o aib cel puin pe ea mai
aproape. Putea s nvee si la Sighet, unde ncepuse si urmase
sase ani. Baremi pn va lua bacalaureatul . N-a Iost chip.
Fetia inea moris la capital, pentru c apucasem a-i promite c-o
iau. Voina ei s-a impus, Iireste.
(Liviu Rebreanu, Dincolo., 1935)

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Since the letter was ripped open, it meant that my wiIe had
read it and there was nothing serious in it, or else she wouldn`t
have handed it over to me so matter-oI-Iactly. My lingering Iear,
however, burst out as a hoarsely uttered question:
'Is anything the matter?
..........................
It`s only now that I can Iully praise the virtues oI such
parents who had the courage to bring up seven children, Iour oI
them still alive. However, my old people were then as lonely as iI
they had never brought up any children. OI the two boys, neither
would become a priest and Iollow Iather in Prislop. I a teacher in
Bucharest, the other a lawyer in Dej. OI the two girls, neither
would stay home, marry a theologian, become a priest`s wiIe and
live on on the Iamily`s little estate. The elder one was taken in
marriage by an apothecary Irom Zalu, and I took the younger,
Florica, to live with me at my place, in Bucuresti. And it was
because oI her, especially, that our old people grew really sad.
They would have liked her, at least, to live somewhere close to
them. She could very well go to school in Sighet, where she had
begun school and gone as Iar as the sixth grade. At least until she
had passed her baccalaureate. But all was in vain. The little girl
was set on going to the capital just because I had already
promised to take her. Naturally, she had her way.
(Liviu Rebreanu, The Beyona, 1935)
P. Clonea A. Mrsescu C. Nicolae

o

Text 3:
Moromete se pregti pentru al doilea drum si cnd se
ntoarse arta de nerecunoscut, att de mult i plcuse. De ast
dat drumul Iusese si mai aventuros si Moromete povesti totul
ntr-o sear, cu un glas neobisnuit si Iu ascultat cu uimire.
Descopereau toi, Cocosila, mama, Ietele pn si cei trei c
tatl lor avea ciudatul dar de a vedea lucruri care lor le scpau, pe
care ei nu le vedeau. Numai c spre sIrsit cei trei se dezmeticir,
sIsiar vraja care i ameise si czur pe gnduri.
Iat ce se petrecuse.
Moromete plecase cu Tudor Blosu pe acelasi drum ca si
ntia oar, iesiser din regiunea de ses unde nimeni nu avea
nevoie de porumb si, dup ce Icuser un popas la oborul din
Pitesti, o luaser spre soseaua care ducea spre creierul munilor,
cu inta Rchiele, un sat mare, cunoscut de Tudor Balosu ca Iiind
o pia bun de desIacere. Mergeau nencetat, era ger uscat,
roatele pocneau, aburul iesea din spinrile cailor.
La primul drum dduser dublul cu cincizeci de lei. Tudor
Blosu vroia de ast dat s-l dea cu saizeci si ntr-adevr, abia
intrar n Rchiele c Iur oprii de un nvtor care vroia s
cumpere amndou cruele. Blosu mirosi numaidect cum
stteau lucrurile, sri jos din cru si se si grbi, spre uimirea lui
Moromete s desIac sleaurile de la cai...
nvtorul, prevenitor, ntreb de pre. Tudor Blosu ddu
preul cu un glas care din nou l zpci pe Moromete: saptezeci
de lei si spuse asta ca si cnd ar Ii Iost cunoscut de cnd lumea c
asa se vinde porumbul.
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Text 3:
Moromete had Iinished preparations Ior a second travel and
when he returned he looked beyond recognition, so much had he
enjoyed it. This time the travel had been even more adventurous
and Moromete was giving a thorough account oI it one night, in
an unusual voice, and was being listened to in amazement. All oI
them, Cocosil, their mother, the girls even the three boys
realized that their Iather had the uncanny giIt oI seeing things
which they missed, they just could not see. But towards the end
oI the story the three oI them regained their senses, broke through
the spell that had bewildered them and became engaged in
thoughtIul consideration.
Here is what had happened.
Moromete had leIt with Tudor Blosu, Iollowing the same
route as the Iirst time: they had leIt behind the plain where
nobody needed any maize and, aIter making a halt at the cattle
Iair at Pitesti, made Ior the road going high up the mountains, as
Iar as Rchiele, a big village, known by Tudor Blosu to be a
good commodity market. They were travelling without stopping,
it was dry Irosty weather, the wheels were creaking, the steam
was coming out oI the horses` backs.
On the Iirst travel they had sold the bushel Ior IiIty lei. This
time Tudor Blosu intended to sell it Ior sixty and indeed, hardly
had they arrived at Rchiele when they were stopped by an
elementary school teacher who expressed his wish to buy both
waggon loads. Blosu smelled blood right away, jumped oII the
waggon and also hurried, to Moromete`s amazement, to untie the
traces oII the horses.
The teacher, cautious, asked about the price. Tudor Blosu
told him the price in a voice that again puzzled Moromete:
seventy lei, and he said it as though it had been known ever since
Adam that that was the price oI maize.
P. Clonea A. Mrsescu C. Nicolae

s

Posomort, nvtorul rspunse c saizeci de lei este
ultimul pre si c nu poate cumpra dect asa, la care Blosu leg
sleaurile grbit, Ir s mai discute, suprat chiar c Iusese oprit
din drum cnd toat lumea stia c saptezeci de lei este preul
obisnuit. Uluit, Moromete observ c nvtorul dduse exact
preul dorit de ei, dar Blosu ncepu s rd si rspunse c dac
el, Blosu, ar Ii cerut optzeci, atunci nvtorul ar Ii dat bucuros
saptezeci de lei. ,S mergem mai ncolo si s cerem optzeci si
dac nu dm noi porumbul cu saptezeci de lei, Moromete, s nu
mai vii niciodat cu mine la munte.
Merser mai ncolo si Blosu spuse preul su de optzeci,
dar n aIar de primarul comunei, care ddu un leu peste saizeci,
nimeni nu cumpr. ,Dac mergem trei sate mai spre vrI, ai s
vezi c l dm cu saptezeci, insist Blosu si Moromete conveni,
depsit mereu de Ielul de a judeca al vecinului su.
De Iapt, negustoria ca atare nu i-ar Ii plcut dac cstigul ar
Ii Iost lipsit de peripeii, nct insistena lui Blosu i se pru
Iireasc. Moromete nu prevzuse niciodat latura comercial a
produselor pe care i le ddea pmntul, iar existena banilor i
pricinuia o Iurie neputincioas (cnd trebuia s-i dea, i ddea cu
gesturi dispreuitoare de aruncare si blestema mrimea, culoarea
si mirosul lor.) Cnd iesise mpreun cu btrnul Moromete,
acum treizeci de ani, n 1907 si dduse Ioc conacului lui Guma
nu se gndise c pmntul mosierului i trebuie pentru comer si
pentru bani. Existau niste obiceiuri pe vremea aceea care lui i se
preau mai mari nenorociri dect munca si Ioamea. Se duceau la
conac si cnd ddeau ochii cu boierul, btrnul se Icea de
nerecunoscut, si lua cciula din cap si avea un glas care si acum,
cnd si amintea de el, Moromete se ntuneca si se Icea crunt la
Ia.
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Rather aggrieved, the teacher replied that sixty lei was his
last oIIer and he could not buy otherwise, to which Blosu tied
the traces in a hurry, making no other comment, even upset that
he had been stopped on his way when everybody knew seventy
lei was the usual price. Quite astonished, Moromete noticed that
the teacher had oIIered exactly the price they had wished Ior, but
Blosu burst out laughing and said that iI he, Blosu, had asked
Ior eighty then the teacher would have been glad to pay seventy
lei. 'Let`s go Iarther on and ask Ior eighty and iI we two don`t
sell the maize Ior seventy lei, Moromete, you may never come
with me up the mountains again.
They went a little Iarther, and Blosu said his price, eighty
lei, but except Ior the mayor oI the village, who oIIered sixty-one
lei, nobody bought anything. 'II we go beyond the next three
villages, close to the peak, you will see we`ll be selling it Ior
seventy, Blosu insisted and Moromete agreed, his neighbour`s
way oI judging things always above his comprehension.
In actual Iact, he would not have liked the trade as such iI
the gain had not implied unIorseen episodes, so Blosu`s
insistence seemed but natural to him. Moromete had never
Iathomed out the commercial side oI the products his land
yielded, and the existence oI money caused him a powerless Iury
(when he had to give it, he gave it as iI he were throwing it away
and cursed its size, colour and smell). When he joined the rising,
together with old Moromete, thirty years ago, in 1907, and set
Iire to Guma`s manor house, he had had no idea he would need
the landlord`s land Ior trade and Ior money. At that time there
were some customs which he considered to be worse than work
and hunger. They would go to the manor house and when they
met up with the boyar, his old Iather became unrecognizable,
took oII his high Iur cap and spoke in such a voice which even
now, when he remembered him, made Moromete grow hard and
unIorgiving in the Iace.
P. Clonea A. Mrsescu C. Nicolae

:oo

Cnd dup rzboi, Moromete deveni proprietar, el tri att
de deplin bucuria de a Ii scpat de mosier, nct nu bg de
seam, sau mai bine zis nu vroi s bage de seam n ce msur era
el liber Ia de loturile pe care le stpnea. Pmntul i dduse
ntr-adevr o anumit libertate. Asadar, s Iac comer cu cereale
si s cstige bani! Si cu banii ce s Iac? S plteasc impozite!
Ce ciudat, unde ajunseser! n sIrsit, Iie si comer, dar s Iim
nelesi c nu sta e scopul... nct Moromete vedea n priceperea
lui Blosu de a Iace combinaii mai mult ceea ce i plcea Iiului
su de zece ani, Niculaie, si mult mai puin ceea ce le plcea celor
trei Paraschiv, Nil si Achim.
Merser deci mai departe cu cruele si Moromete era
Ioarte curios si Ioarte vesel n acelasi timp s vad dac o
socoteal Icut din nimic, cum era presupunerea lui Blosu c
vor da porumbul cu saptezeci de lei, are s Iie dovedit pe viu.
(Marin Preda, Moromeii, 1955)


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When, aIter the war, Moromete became a land owner, he
experienced so much joy at having got rid oI the boyar that he did
not realize or, better said, would not realize to what extent he was
Iree in relation to the plots he owned. Indeed, the land had given
him certain Ireedom. Namely, Ireedom to trade his cereals and
earn money! And what was he to do with the money? Pay taxes!
How strange it was what they had got to! Anyway, trade may it
be, but let it be understood that this is not the purpose... So
Moromete saw in Blosu`s ability to make schemes more oI what
his ten-year-old son Niculaie liked and much less oI what the
three ones, Paraschiv, Nil and Achim, did.
They drove, thereIore, their waggons Iarther away and
Moromete was very curious and very cheerIul at the same time
to see whether a calculation based on nothing, as was Blosu`s
assumption that they would be selling the maize Ior seventy lei,
was going to prove right in practice.
(Marin Preda, The Morometes, 1955)
P. Clonea A. Mrsescu C. Nicolae

:o

Text 4:
n drum spre Moromei, Biric se lupt din rsputeri s
alunge suprarea pe care i-o pricinuise tatl su. Acesta i vorbise
ca si cnd el, Biric, ar Ii uitat vreo clip Ielul cum triesc ei. Ce-
a vrut s spun? C surorile lui... Era de neneles! Doar stia c
trebuie s se nsoare ct de curnd, s lase drum surorilor, stia
totul, ce rost avea s-i reaminteasc?!...
Avnd o stare turbure de nemulumire si ur mpotriva nu
se stie cui si de pornire necrutoare contra Polinei care l
zpcise cu dragostea ei, Biric ajunse pe ocolite n Iundul
grdinii Moromeilor nu vroia s Iie vzut de ai lui Blosu l
strig pe Nil printr-un suierat scurt si se asez s-l astepte. Era
hotrt s-o vad acolo pe Polina cu orice pre si dac s-o putea,
s-i ard cteva... Gndea c ea nu se purtase cinstit...
- Tu esti, Biric?
- Nil, hai c vreau s vorbesc ceva cu tine, spuse Biric n
soapt groas.
Nil se asez greoi si nu mai zise nimic. Se vedea dup Iaa
lui c bnuieste despre ce e vorba. Biric nu mai zise nici el
nimic.
Stteau sub un dud btrn si tceau. Nil se gndea si
Biric astepta. Deasupra lor cteva psrici se certau pe o crac si
opiau cu piciorusele lor subiri ca Iirul de iarb. Era cald si
liniste, n aer nu se simea nici o adiere. Pe o crac mrginas
cteva Irunze late ale dudului ncepur s plpie slab, dar
obosite se stinser n nemiscare. Peste sat zgomotele erau parc
nbusite chiar de la nceput, parc se dormea n aer.
Obosit si parc mhnit, Nil se uit int la prietenul su.


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103
Text 4:
On his way to the Morometes`, Biric tried his hardest to
drive away the sorrow that his Iather had caused him. The latter
had been talking to him as iI he, Biric, had Iorgotten even Ior a
moment how they lived. What had he meant to say? That his
sisters. It was beyond comprehension! He knew that well
enough he had to get married as soon as possible in order to Iree
the way Ior his sisters, he knew everything, why should his Iather
have reminded him oI that?
Animated by a Ieeling oI dissatisIaction with and hatred Ior
God knows whom and relentless grudge against Polina who had
been conIusing him with her love, Biric arrived, in a round-
about way, at the back oI the Morometes` yard he did not wish
to be seen by any oI the Blosus whistled shortly Ior Nil to
come and sat down to wait Ior him. He was determined to see
Polina there at any price and, iI possible, give her a good hiding...
He thought she hadn`t been quite honest with him.
'Is that you, Biric?
'Nil, come over here, I need to tell you something, Biric
said in a hoarse whisper.
Nil sat down heavily and said nothing else. One could see
it on his Iace that he had an inkling oI what it was all about.
Biric did not say anything else either.
They were sitting under an old mulberry tree and said
nothing. Nil was thinking and Biric was waiting. Above them,
several little birds were quarrelling on a branch and hopping on
their legs as thin as blades oI grass. It was warm and quiet, there
was not a single breath oI air stirring. On a marginal branch,
several large leaves oI the mulberry tree started quivering, but,
growing tired, Ilickered to a complete rest. Over the village the
noises seemed to be muIIled Irom the very beginning, as though
sleep ruled supreme in the air.
Tired and, seemingly, sad, Nil looked straight at his
Iriend.
P. Clonea A. Mrsescu C. Nicolae

:o+

-Vreai s vorbesti cu Polina?... S-i spun Titei s-o cheme?...
- Spune-i!
Nil se ridic ceva mai vioi si vru s se ndeprteze, dar
Biric l opri:
- Nil, sopti el mohort. Adu si o mciuc...
Nil se posomor, nu nelese dintr-o dat, apoi se mpotrivi
slab:
- Las, m, i-e Iric de Victor?
- Nu, dar s-o am aici! mai spuse Biric.
Nil se ntoarse cu Tita, care si ea nelese cnd l vzu pe
Biric lungit sub dud. Dar parc nu vroia s se duc.
- Vreai s vorbesti cu Polina? ntreb ea. Arta suprat.
S-i ia moartea cu neamul lor! Spuse ea asezndu-se. Nu stiu cum
o Ii Polina, dar Victor, m gndesc ce proast am Iost! Guica m
Icea de rs c as vrea eu s m mrit cu Victor! Si Victor sta
acilea si nu zicea nimic... Nu m duc eu la gardul lor! mai spuse
Tita Iurioas. O s cread c strig s m vad el.
- Las, Tito! Du-te! sopti Nil.
- Nu m duc. O s-o trimet pe Ilinca! rspunse Tita si vru s
se ridice, dar taman atunci Ilinca o strig din curte si apoi glasul
ei se apropie de grdin si o strig iar:
- Tito, unde esti? Hai c trec clusarii!
(Marin Preda, Moromeii, 1967)

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105
'Did you want to talk to Polina? . Shall I tell Tita to call
her?...
'Tell her!
Nil stood up a little more lively and made as iI to go away,
but Biric stopped him:
'Nil, he whispered, in an aggrieved tone oI voice. 'Fetch
a club, too...
Nil darkened, he had not got the message right away, then
objected Ieebly:
'Come oII it, what, are you aIraid oI Victor?
'No, but I want it here just the same! Biric added.
Nil returned with Tita, who also realized what it was all
about when she saw Biric stretched out under the mulberry tree.
But she seemed reluctant to go.
'Did you want to talk to Polina? she asked. She looked
upset. 'ConIound them and their entire next oI kin! she said,
sitting down. 'I don`t know what kind oI person Polina really is,
but as Ior Victor, how stupid I was! Guica made a laughing stock
oI me saying it was me who insisted to marry Victor! And Victor
just stood there saying nothing. I won`t go near their Ience! Tita
added angrily. 'They`ll believe I`m calling so that he can see
me.
'Just do me a Iavour, Tita! Go! Nil whispered.
'I`m not going. I`ll have Ilinca go! Tita said and was just
going to stand up when Ilinca called her Irom the yard, and then
her voice drew near the garden and called her again:
'Tita, where are you? Come and see the cluari`s
parade*!
(Marin Preda, The Morometes, 1967)

*group oI dancers perIorming a kind oI Romanian thematic Iolk
dance

P. Clonea A. Mrsescu C. Nicolae

:oo

Text 5:
Vera simea c ntlnirile ei cu Jim trebuiau s aib o
raiune, si astepta ca pe zi ce trecea s se ntmple acel eveniment
de spaim pe care l visa si-l credea normal n aceste mprejurri.
Jim ar Ii trebuit s-i spun o vorb care s-o tulbure si s decid de
soarta ei, s Iac un gest care s-o supere si s-o Iericeasc totodat.
n mintea ei cu totul inocent nu se aIla imaginea clar a ceea ce
avea s Iac Jim, dar bnuia c ceva nrudit cu gestul din tren
trebuia s se repete. Jim ns nu Icea si nu spunea nimic
neobisnuit ntre doi cunoscui si arta o tendin nesuIerit ctre
discuii de principii. n chipul acesta, Iaptul de a-i zice si de a i se
zice tu nu mai avea nici o semniIicaie si din sIial l ocolea
mereu. Tu i zicea si lui Bobby si mergea cu el la bra, dar de la
Jim astepta intimiti inedite si nemaingduite ei pn n acel
ceas. (...) Pe Bobby l socotea inIerior siesi si-l btea la nevoie,
dar de Jim i era team si voluptate ca de un stpn si-i plcea s
gndeasc suIerina pentru si din cauza lui. Rezerva lui Jim i
strnea deci mari mhniri si ncerc ntr-o zi s se smulg
incertitudinii, provocnd n acelasi timp si sinceritatea acestuia.
Cnd el i fix ora pentru a doua zi, ea zise cu glas murind:
- Nu pot mine... N-am s mai pot veni de acum nainte. M
ceart de acas... Si stiu si eu c nu e Irumos s merg asa cu...
tine.
- Fii serioas, cine i-a mai vrt n cap asemenea idei?
- Si de ce s ne mai vedem? zise Vera n toat sinceritatea,
mrind ochii uimii si scuturndu-si pletele, ce nevoie avem noi
s ne vorbim si ce nevoie ai ... tu... s-i pierzi vremea cu mine?
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107
Text 5:
Vera Ielt that her dates with Jim had to have a reason, and
as days passed she was waiting Ior that Irightening event to take
place, an event she was dreaming oI and considered but natural
under the circumstances. Jim would have to tell her something to
stir her and decide her Iate, to make a gesture which would upset
and make her happy at the same time. In her totally innocent
mind, there was no clear image oI what Jim was going to do, but
she suspected that something related to the gesture he had made
on the train had to be repeated. But Jim did not do or say
anything that was unusual between two people who knew each
other and showed an unbearable tendency towards discussions oI
principle. In this way, the Iact oI being on Iirst name terms with
him was oI no signiIicance now and out oI shyness she always
avoided the situation. She called Bobby by his Iirst name too, and
walked arm in arm with him, but Irom Jim she expected novel
intimacies, Iorbidden to her beIore then. (...) She considered
Bobby inIerior and she would beat him iI need be, but as Ior Jim,
she was voluptuously aIraid oI him as one would be oI one`s
master and she took pleasure in thinking that she suIIered Ior and
because oI him. Jim`s reserve, thereIore, Iilled her with great
sorrow and one day she tried to shed her doubts, causing him to
be sincere at the same time. When he set her the hour Ior the next
day, she said, her voice gradually dying away:
'Tomorrow I can`t... I won`t be able to come Irom now on.
They`ll be reproaching me back home... And I know it myselI
that it isn`t appropriate Ior me to be walking like this with...
you.
'Come on, who put such ideas into your head?
'And why should we keep seeing each other? said Vera in
all honesty, enlarging her bewildered eyes and shaking the locks
oI her hair, 'what`s the use oI us seeing each other and why do
you need ... to waste your time on me?
P. Clonea A. Mrsescu C. Nicolae

:os

Ochii i se udar de un email Iin de lacrimi si astepta cu
durere n gt ca Jim s-i spun: ,ntr-adevr, la ce s ne mai
ntlnim?
Dar acesta o prinse strns de bra, si cu aerul lui autoritar si
optimist, i zise:
- Nu Ii copil, Vera! Ne ntlnim Iiindc ne pare bine la
amndoi s stm de vorb, Iiindc e ceva care ne atrage unul
ctre altul! ie nu-i Iace plcere s te plimbi cu mine?
- Ba da, dar...
-Atunci, nici un dar. S Iaci bine s vii mine la orele sase
Ioarte precis, cci altIel te trag de urechi.
(G. Clinescu, Cartea nunii, 1965)
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Her eyes became wet with a Iine enamel oI tears and she
was waiting with a lump in her throat Ior Jim to tell her: 'Indeed,
why should we be seeing each other?
But he took her arm in a Iirm grasp and, with his
authoritarian and optimistic air, told her:
'Don`t be a child, Vera! We`re seeing each other because
we`re both glad to talk to each other, because there is something
that attracts us to each other! Don`t you like walking with me?
'Yes, I do, but...
'No buts, then. You`d better come at 6 o`clock on the dot
tomorrow, or I`ll give your ears a pinch.
(G. Clinescu, The Weaaing Book, 1965)



P. Clonea A. Mrsescu C. Nicolae

::o

Text 6:
Controlul vamei trecu Ir nici un incident si iat-l pe
tnrul reprezentant al ,Alcoolului n drum spre hotel, nsoit de
Wilman. Acesta reinuse o camer la hotelul Lido. O jumtate de
or mai trziu, cel sosit se rsIa n cada plin pn la reIuz. Se
prea c o baie bun era tot ce-si dorea, dup o cltorie lung si
obositoare, cu trenul si avionul. Un somn bun avea s-l reIac.
Dima ntorcndu-se de la aeroport, mpreun cu Mihai, gsi
timpul s glumeasc pe seama prietenului nc suprat, c n-a
gsit nimic n valizele lui Wilman.
- Cine te priveste ar putea s jure c pori o pereche de
pantoIi noi.
- Bag mna n Ioc c nu are nimic la el! rspunse Mihai,
preocupat de ale lui.
- Dac nu a adus, nseamn c va ncerca s ia de aici, ceea
ce este la Iel de important.
- Nici propria lui umbr n-o s se in de el cum am s m
in eu. Jur c n-o s scoat un capt de a!
- Ce bine ar Ii! Numai s nu ne trezim c a plecat cu un
ghem ntreg, continu Dima s-l necjeasc. n Iond ce te asteptai
s gsesti la el? l ntreb ntr-un trziu. Esti att de Iurios, nct
lasi impresia c te asteptai ca ,neaprat s aib ,ceva asupra
lui.
- Mcar un libret.
- Ha, ha. Dac Wilman ar Ii att de prost, ce usor ne-ar Ii
nou! Si dac ar Ii asa, gndeste-te c de luni de zile si bate
capul cum s-l ascund mai bine. Ca s te ntristez, i voi spune
c n clipa de Ia chiar bnuiesc un loc unde ar Ii putut s aib
ceva ascuns.
- Unde? sri Mihai.
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Text 6:
They cleared customs uneventIully and there was the young
representative oI the 'Alcohol Factory on his way to the hotel,
accompanied by Wilman. The latter had booked a room at the
Lido Hotel. HalI an hour later, the newcomer was pampering
himselI in the tub Iilled to the brim. It seemed that a good bath
was all that he wanted, aIter a long and tiring journey by train
and by plane. A good sleep would help him restore his strength.
Coming back Irom the airport together with Mihai, Dima
chose the wrong time to make Iun oI his Iriend, still upset, Ior not
having Iound anything in Wilman`s suitcases.
'Somebody looking at you could swear you`re wearing a
pair oI new shoes.
'I can bet my liIe he`s got nothing on him! answered
Mihai, beset with his own troubles.
'II he hasn`t brought anything, it means he`ll try to take
something Irom here, which is equally important.
'Not even his own shadow will be sticking to him as I will.
I swear he won`t even take a single piece oI thread out oI the
country!
'That`d be nice! But careIul, or we`ll Iind out that he`s leIt
with a whole ball, Dima went on teasing him. 'In Iact, what did
you expect to Iind in his luggage?, he asked eventually. 'Youre
so angry that you give one the impression you did expect him to
have something` on him by all means`.
'A chequebook, at least.
'Ha, ha! II Wilman were that stupid, how easy it`d be Ior
us! And iI it were so, consider that he`s been troubling his head
how to best hide it Ior months. Just to make you sad, I`ll tell you
that at this very moment I even have an idea oI a place where he
could`ve hidden something.
'Where? Mihai said, impatiently.
P. Clonea A. Mrsescu C. Nicolae

::

- (...) Ideea mi-a venit cnd Wilman probabil c se instalase
n camera de hotel. Dac mi-ar Ii picat Iisa cnd era la vam...
- Spune-mi unde?
- Las-m acum s veriIic. Vrei s m Iac de rs? Dac
m-am nselat?
- Mihai n-a mai insistat. Stia c nu poate scoate mai mult de
la el.
Dima aIl c Wilman va Ii primit de ctre directorul
,Alcoolului a doua zi, ctre ora prnzului. Pn la acea or,
desigur, crciumarul va cuta ,s Iac ceva.
- n aIar de Ielul cum va ncerca s intre n legtur cu
complicele, m intereseaz dac Wilman stie sau nu romneste.
Dac nelege ct de ct, nseamn c n timpul rzboiului a stat
pe la noi si are de atunci legturi cu anumii oameni. Te rog s
ncerci s aIli ct pricepe romneste, i ceru lui Mihai. N-o s Iie
usor, dar ncearc s aIli.
- Am s Iac tot posibilul.
- Fii atent dac ,ceva nu-i trezeste vreo amintire, n timpul
plimbrilor prin Bucuresti.
(Tudor Popescu, ,H. W.` ii caut umbra, 1970)
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'(...) The idea occurred to me when Wilman had probably
installed himselI in his hotel room. II only it had rung a bell when
he was at the custom house...
'Tell me where?
'Now, let me check it Iirst. Would you like me to make a
Iool oI myselI? What iI I were wrong?
Mihai did not insist any longer. He knew that he could not
make him say anything else.
Dima Iound out that Wilman was going to be seen by the
head manager oI the 'Alcohol Factory the next day, towards
noon. Until that hour, no doubt, the publican would certainly try
'to do something.
'Besides the way in which he`ll be trying to contact his
accomplice, I`m also interested to know whether Wilman can
speak Romanian or not. II he understands it just a little, it means
that during the war he spent some time in the country and he`s
been in contact with certain people ever since. Please try and Iind
out how well he understands Romanian, he asked Mihai. 'It
won`t be easy, but try and Iind out.
'I`ll do my best.
'Watch out Ior 'anything reIreshing his memory while he
is walking about Bucuresti.
(Tudor Popescu, 'H. W.` Is Looking for His Shaaow, 1970)
P. Clonea A. Mrsescu C. Nicolae

::+

Text 7:
si privea n oglind chipul nou, Ir musta, parc era o
rud ndeprtat a propriei persoane, semnnd oarecum. Se
hotrse greu, erau la mijloc nelesese contabiliceste
douzeci de ani de obisnuin. l convinsese Ema, la o caIea,
ntrebndu-l brusc, jumtate serios, jumtate ironic: 'Ce mare
lucru s-i atrne sub nas o musta? Rsese cu poIt de
spontaneitatea ntrebrii-ndemn, apoi, dup cteva zile, a neles
c, uite, l obsedeaz amrta asta de musta, tocmai cnd avea
attea pe cap, cnd gIia prin toate nclcelile pe care singur le
'organiza, se gndea mereu la 'podoaba Ieii lui; el care nu mai
avea nici o plcere s se priveasc, s se admire, s se studieze,
obligaia brbieritului ajunsese s-l irite de multe ori si, apoi, n
rarele momente cnd se privise n oglind mai cu atenie,
constatase un Iel de degradare general a chipului su, semnele
multludatei maturiti l nspimntaser, anunau btrneea, si
de asta se temea cel mai mult. 'Ei gata, nu mai e si pace, am Iost
si eu n stare o dat s decid si spunea pipind locul unde
'atrnase mustaa.
A iesit din baie si Iamilia l privea ciudat, avea senzaia c
nu conteaz ce spune, ochii soiei si copiilor erau pironii pe
chipul lui, nu-i interesau si nu nelegeau cuvintele lui, ei i
studiau noul chip, nu-l vzuser asa niciodat. A doua zi, la
serviciu, potop de exclamaii, unele de bine, altele de dezamgire.
Dar ele nu mai contau.
Dimineaa devreme o ntlnise pe Ema la barul unde,
uneori, mai beau cte o caIea si ea Iusese ncntat, adusese
argumente numeroase pentru noua lui nIisare.
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Text 7:
He was looking in the mirror at his new Iace, without a
moustache, as iI he were a Iar relative oI his own person, still
resembling it a little. It had been a hard decision Ior him to take,
it was a matter oI a - he had taken a bookkeeper`s account oI
them twenty years` habituation. Ema had persuaded him over a
cup oI coIIee, suddenly asking him, halI seriously, halI
ironically: What`s the big deal in having a moustache hanging
under your nose?` He had burst out laughing at the spontaneity oI
the urge-question, and, aIter a Iew days, he understood that, well,
he was obsessed by this wretched moustache, right now when he
had so many things on his mind, when he was gasping his way all
through the tangled web he himselI 'organized, he kept thinking
oI the ornament` on his Iace; he who took no more pleasure in
looking at himselI, in admiring and examining himselI, even the
obligation oI shaving had come to annoy him many times and
then, in the rare moments he had been examining himselI more
careIully in the mirror, he had noticed a kind oI general decay oI
his Iace, the signs oI the much cherished maturity had Irightened
him, they ushered in old age, and this was exactly what he Ieared
most. 'Well, that`s it, it`s gone and that`s all. For once in my liIe
I was able to decide, he said to himselI, Ieeling the place where
his moustache had been hanging`.
He came out oI the bathroom and the Iamily were casting
strange glances at him, he Ielt as iI it did not matter what he was
saying, his wiIe`s and children`s eyes were Iixed on his Iace, they
did not understand and were not interested in his words, they
were studying his new Iace, they had never seen him like this.
The next day, at the oIIice, a Ilood oI exclamations, some oI
approval, others oI disappointment. But they no longer mattered.
Early in the morning he had met Ema in the pub where they
sometimes had a cup oI coIIee and she had been delighted, had
brought up numerous arguments in Iavour oI his new look.
P. Clonea A. Mrsescu C. Nicolae

::o

Asta da, conta Ioarte mult, tria cu adevrat si intens numai n
jurul cuvintelor si Iiinei acestei Iemei pe care o socotea, tot mai
convins, miracolul vieii lui, un miracol sIsietor.
Ema l coplesise cu bucuria ei de a-l vedea asa, Ir
musta, restul lumii putea s-i spun orice. Pe coridoarele
instituiei, la ntlnirea cu colegii, la comentariile lor, gsise si o
Iormul care s-i dezorienteze, s-l lase n pace, le spunea c
orgoliul su bine dezvoltat nu l-a lsat n pace, de ce s-l rad
numai seIii de la Bucuresti, de ce s n-o Iac chiar el, asa
lucrurile se mai normalizeaz. A stat o vreme n biroul pe care-l
improvizase, a ncercat s lucreze ceva, adevrul simplu era c nu
avea nici un cheI, nu-l mai interesa dect s-si descurce
nclcelile si s Iac ordine n cteva probleme importante nu
numai pentru moment. A pretextat lipsa igrilor si a plecat
'pentru o jumtate de or. Nu dorea nici o companie, pur si
simplu voia s se plimbe singur, s respire normal printre
necunoscui. A luat-o spre complex, si-a luat igri si pres, a
continuat s mearg spre un restaurant, unde, n amiezele
norocoase, petrecea, o or-dou, cu Ema. Se delectau cu o sticl
cu vin, Iumau, povesteau, se priveau n tcere, si strngeau
minile n ascuns, ca o pereche de adolesceni.
(Mihai Dragolea, De aeparte spre aproape, 2001)

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Yes, this really mattered, and very much indeed, he lived a real
and intense liIe only around the words and person oI this woman
whom he considered, more and more convincingly, the miracle oI
his liIe, a heart-stopping miracle.
Ema had overwhelmed him with her joy to see him like
this, without a moustache, the other people could say just about
anything to him. On the corridors oI the oIIice-building, when he
came across his colleagues and heard their comments - he had
also invented a story to mislead them, to be leIt alone - he would
tell them that his hypertrophic pride had been pestering him, why
should he have only his bosses in Bucharest put him in close-
shave situations, why shouldn`t he do it to himselI, in this way
things became relatively normal. For a while he stayed in the
oIIice he had improvised, tried to do some work, the simple truth
was he did not Ieel like it at all, he was only interested in
untangling the web and setting some important problems straight
not just Ior the moment. He pretended he had no more cigarettes
and leIt Ior halI an hour`. He did not want any company, he just
wanted to walk by himselI and breathe normally among unknown
people. He made Ior the supermarket, bought himselI cigarettes
and newspapers, continued his way to a restaurant where, in the
lucky aIternoons, he would spend one or two hours with Ema.
They enjoyed themselves over a bottle oI wine, smoked, talked,
exchanged glances in silence, squeezed each other`s hand
surreptitiously, like a couple oI teenagers.
(Mihai Dragolea, From Afar Towaras Nearby, 2001)
P. Clonea A. Mrsescu C. Nicolae

::s

Text 8:
Pentru asta Zahei rmase oplosit n curtea popii, unde
umbla acum nestnjenit. Fcea cteva treburi grele, cra lemne,
scotea ap. si mesterise cu ajutorul slbnogului, o unealt cu
care si cerceta drumul. n vrIul toiagului cu care btuse pn-
atunci pmntul si vzduhul a legat o roti de Iier, pe care bul
aluneca nentrerupt, cobora n gropi, se proptea n piedici, se
ridica la povrnisuri si da astIel veste cu civa pasi mai nainte
despre ce-l ntmpin. La nevoie nla toiagul si cerceta cu el si
mai nainte, vzduhul, n Ia si pe de lturi.
Popa de pe prisp l privea cu smerenie. A Iost apoi bucurie
mare ntia noapte cnd orbul lu pe slbnog si-l purt pe brae
n cas. Fu de-ajuns s-si rezeme preotul mna pe tmpla lui, ca
Zahei s mearg Ir sovire de-a lungul slilor, prin usi, drept la
patul popii. Dar dup ce-si ls povara nu mai ndrzni s se
clinteasc. Nu stia ncotro s apuce. L-a scos preoteasa de mn.
De-atunci popa mereu se gndea la picioarele lui Zahei la care
adoga ochii si.
ntr-o zi orbul se csnea si nu nimerea s culeag niste
mere scuturate pe jos de vnt. Popa de pe prisp l urmrea cu
mil si se mhnea. Deodat l chem, l rndui s se ntoarc spre
el cu spatele si s se plece ncet. Cnd i veni bine, popa si
ncolci braele de grumazul lui Zahei, i se slt n crc si-i
porunci s porneasc napoi la treab.
Orbul astept o clip, sovi.
-Pune-mi mna-n cap, sopti el popii, c te in eu.
Si ncopciindu-si braele la spate, Icu din ele o ching sub
sezutul paraliticului, care si slobozi o mn si i-o lipi de crestet.

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Text 8:
Following this Zahei stayed on sheltered in the priest`s
courtyard, where he could now walk unimpeded. He did some
hard chores, carrying Iirewood, drawing water Irom the well.
With the help oI the skinny man, he had made himselI a tool to
probe his way around. On the pointed end oI the staII with which
he had been beating at the earth and at the air, he mounted a little
iron wheel. The staII kept sliding through this wheel, going down
in holes, propping against obstacles, rising on slopes, thus letting
him know a Iew steps in advance about what was in Iront oI him.
II need be, he would raise his staII and even sooner probe with it
the air, in Iront oI him or on both sides.
The priest gazed at him Irom the porch in reverential awe.
Then there was great joy on the Iirst night when the blindman
took the skinny man in his arms and carried him into the house.
The priest only needed to lay his hand on his temple and Zahei
was able to walk without hesitation along the halls, through the
doors right to the priest`s bed. But when he had let go oI his
burden, Zahei did not dare to move any Iarther. He did not know
which way to go. The priest`s wiIe guided him out by the hand.
From then on the priest kept thinking oI Zahei`s legs to which he
added his eyes.
One day the blindman was hopelessly trying to pick up
some apples shaken oII by the wind. The priest watched him
pitiIully and became increasingly sad. Suddenly he called him,
helped him to turn his back on him and bend slowly. When it was
all right Ior him, the priest put his arms round Zahei`s neck,
jumped on his back and bade him go back to work.
The blindman waited Ior a moment, wavered.
'Lay your hand on my head, he whispered to the priest,
'and I`ll hold you.
And clasping his Iingers, he made a saddle girth under the
bottom oI the paralytic, who Ireed one oI his hands and stuck it
on his head.
-Acuma mi vine abia ca un iz de lumin. Adaog si o
rugciune, printe.
P. Clonea A. Mrsescu C. Nicolae

:o

Preotul pslmi tare: 'si toate valurile Tale peste mine au
trecut. Toi m-au prsit si lumina ochilor, nici aceasta nu mai
este cu mine.Scoal Doamne.
-Acum dibuiesc ca printr-o sit deas.
-Poi s-i deslegi un bra, eu m in numai cu o mn, l
ndemn popa.
Si Zahei merse de culese merele cu popa n spate. Uimii ca
doi copii, nu se mai sturau de bucuria noutii. Orbul intr n
grajd, cu mna popii ca o lipitoare n crestet, aduse vacii ap,
rndui lemne, colind curtea.
-Hai, isprveste, c-ai ostenit, l certa popa, rob n spatele
zdrahonului.
(Vasile Voiculescu, Zahei Orbul, 1970)

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'It`s only now at last that I can see a semblance oI light.
Add a prayer, Iather!
The priest psalmodized loudly: 'and all Your waves have
passed over me. Everybody has deserted me, not even the light oI
my eyes is with me anymore. Oh, God, raise.!
'Now I can peer as iI through a thick sieve.
'You can untie one arm, I can hold myselI with one hand
only, the priest urged him.
And Zahei went to pick up the apples with the priest on his
back. Utterly surprised, like two little boys, they just could not
have enough oI the joy oI novelty. The blindman went into the
stable with the priest`s hand stuck like a leech on the crown oI his
head, brought water to the cow, chopped Iirewood, wandered
round the courtyard.
'Come on, stop it, you`ve got tired, the priest would scold
him, now that he was a slave on the giant`s back.
(Vasile Voiculescu, Zahei the Blinaman, 1970)
P. Clonea A. Mrsescu C. Nicolae

:

Text 9:
Se apropia de miezul nopii si, abia Icur cei doi civa
pasi pe strada cu caldarmul nc Iierbinte, c Iur ajunsi din
urm de btrnelul cu care sttuser la mas. Desi Iuseser alturi
si ntre ei avusese loc acel ciudat schimb de vorbe si apoi
discutaser ndelung mpreun cu oamenii aceia extrem de
obosii, soIerii ardeleni care vorbeau si se miscau cu greutate, asa
cum se misc scaIandrii apsai de marele bloc al oceanului, abia
acum btrnelul si spuse numele: l chema Rteanu si, cum
locuia pe aproape, i invit la o caIea, pentru o jumtate de ceas.
Chilian se simea obosit, reIuz, era trziu, mai avea ceva
de lucru acas, dar Francisca, dup ce se gndi o clip, n
momentul n care, la colul pe care l Icea bulevardul cu strada
Brezoianu, Rteanu se nclin ceremonios, voind s se despart
de cei doi, l lu de bra si declar rznd c va merge alturi de
domnul Rteanu pn la captul lumii, eventual chiar va sui pn
la etajul sase ca s bea o caIea ., iar Chilian e liber, dac nu vrea
s Iac la Iel, s se duc la casa lui, cu aceeasi mutr posomort
si ntunecat cu care are curajul s umble pe strad la ora asta
clar, sub cerul care Iosneste ca un voal mov etc., etc.
Chilian se opri nedumerit si amuzat, desi Iaa lui mare,
expresiv, nu lsa ca de obicei s se vad nimic. Francisca ns
continu s mearg, agat graios de braul lui Rteanu, care n
apropierea siluetei ei Iragile, nalte, ncerc s par mai degajat,
apsnd elastic pe asIalt cu piciorul, de glezna cruia Ilutura stoIa
uzat a pantalonului. Chilian i privi cum se deprtau nspre chei,
o pereche bizar, alctuit dintr-o siluet Ieminin slab si
dizgraios de nalt si un brbat mic si uscat, cu prul rar,
cenusiu-murdar la ceaI, mbrcat ntr-un costum decolorat, Ir
vrst.
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Text 9:
It was close to midnight and the two people had hardly
taken a Iew steps in the street with its still hot pavement when
they were overtaken by the elderly man they had had dinner with.
Although they had been sitting next to each other and there had
been that strange exchange oI words between them and then they
talked at length with those exhausted men, the drivers Irom
Ardeal who had diIIiculty in talking and moving, the way divers
move while pressed by the big block oI the ocean, it was only
now that the elderly man told them his name: his name was
Rteanu and, as he lived in the neighbourhood, invited them to
have a cup oI coIIee Ior halI an hour.
Chilian Ielt tired and reIused, it was late, he had some more
work to do at home, but Francisca, aIter thinking Ior a moment,
just when, at the corner made by the boulevard with Brezoianu
street, Rteanu bowed ceremoniously, intending to leave them,
took him by the arm and declared laughing that she would go
side by side with Mr Rteanu round the world, iI need be she
would even climb to the sixth Iloor to have a cup oI coIIee.,
and Chilian was Iree, iI he wouldn`t do the same, to go to his
place, with the same dark, gloomy Iace with which he had the
impudence to be walking in the street at this clear hour, under the
sky rustling like a mauve veil etc., etc.
Chilian stopped puzzled and amused, although his large
expressive Iace would never let anything show. But Francisca
kept walking, graciously clinging to Rteanu`s arm, who, next to
her Irail, tall Iigure, tried to look more casual, pressing elastically
the asphalt with his Ieet, on whose ankle Iluttered the worn-out
cloth oI his trousers. Chilian watched them moving oII towards
the quay, a bizarre couple, made up oI a Ieminine silhouette, thin
and disgraceIully tall, and a short lean man, with his hair thin and
dark-grey at the back oI his head and dressed in a Iaded, ageless
suit.
P. Clonea A. Mrsescu C. Nicolae

:+

Simi un imbold puternic s se ntoarc spre cas el locuia n
apropiere, pe Schitu Mgureanu - dar i se Icu deodat Iric, un
scurt, dar puternic Iulger de spaim i trecu prin corp si rmase
mai mult din uluire, ncercnd s-si explice cauza acestui lucru.
Apoi si ddu seama c perspectiva pierderii Francisci i dduse
acea spaim instinctiv si mirat, grozav de mirat, porni ncet n
urma perechii care traversa, n deprtare, strada.
(Nicolae Breban, Francisca, 1967)



Text 10:
Francisca zmbea sIidtor, cu capul sus, cu privirea dreapt
si provoctoare, ceea ce la ea era un semn c se aIla n
ncurctur. Chilian privea n podea, jucndu-se absent cu
minile. Rteanu aduse caIelele, pe care le servea ntr-un serviciu
Ioarte scump, si alturi, ntr-o bombonier de cristal nu prea
mare, niste bomboane.
-Dac vrei, spuse el zmbind si avea n aceeasi clip o Ia
deschis, atrgtoare, dac vrei s Iac niste sandvisuri cu
sunc. Poate preIerai un ou Iiert! Mie, cnd m ntorc trziu
seara acas, mi se Iace totdeauna Ioame. Nu chiar att Ioame, ct
un usor apetit, un Iel de memorie a Ioamei .
Chilian l privi cu atenie, mirat. De cnd se gseau la
Rteanu n cas, el observa cel puin dou lucruri surprinztoare:
n primul rnd Rteanu nu mai era de Iel att de btrn cum
pruse la prima vedere la masa de la restaurant: era un brbat care
depsise doar cu puin vrsta de cincizeci de ani. La el n cas,
corpul parc i devenise mai elastic si trsturile Ieei parc i
srir 'la loc, asa cum se schimb brusc Iaa unui tnr actor
care joac un rol de compoziie dup ce se demachiaz.
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125
He Ielt a strong urge to go back home he lived nearby, in Schitu
Mgureanu street - but suddenly became aIraid, a short but strong
Ilash oI Iear pierced his body, and he stayed on account oI his
consternation mostly, trying to explain to himselI its cause. Then
he realized that it was the perspective oI losing Francisca that had
caused him that instinctual Iear and surprised, extremely
surprised, he started walking slowly behind the couple who were
crossing the street Iar ahead.
(Nicolae Breban, Francisca, 1967)


Text 10:
Francisca was smiling deIiantly, her head up, her look
straight and provocative, which in her case was a sign that she
was not Ieeling at ease. Chilian was looking at the Iloor, playing
with his hands absent-mindedly. Rteanu brought the coIIee,
which he served in a very expensive coIIee set and, next to it, in a
biggish crystal bonbonniere, some bonbons.
'II you wish, he said smiling, and at the same time he had
an open, attractive Iace, 'iI you wish, I can make you some bacon
sandwiches . Maybe you`d like a boiled egg! When I come
back home late in the evening, I`m always Ieeling hunger. Not so
much hunger, but just a slight appetite, a kind oI memory oI
hunger.
Chilian gave him an intent, amazed look. Since they had
been in Rteanu`s house, he had noticed at least two surprising
things: Iirst, Rteanu was not so old as he had seemed at Iirst
sight at the restaurant table: he was a man just a little over IiIty.
In his house, it seemed as iI his body had become more elastic
and the lines oI his Iace had sprung back into place`, just like the
Iace oI a young actor playing a composition role suddenly
changes aIter he removes the make-up.
P. Clonea A. Mrsescu C. Nicolae

:o

n al doilea rnd, Rteanu, care la restaurant le pruse celor doi
un mic intelectual iesit la pensie, Iuncionar, proIesor, burlac, si
care si consum retribuia lunar srccioas pentru
anestezierea unui vag sentiment de neputin si ratare, deodat,
acum, printre mobilele sale vechi, desperecheate, dar unele de o
excelent Iactur avea pe unul din perei chiar un Iel de
tapierie Ilamand n culori sterse, reprezentnd o vntoare
regal -, Rteanu devenise pe nesimite, dar Ioarte rapid, unul din
acei 'intelectuali Iini, nIrni, miopi, care si poart slbiciunea
ca pe o glorie. Acesti oameni duc n centrul Iiinei lor o tain de
nimeni cunoscut, o durere nu prea mare, ns vesnic vie, vesnic
ascuns si la care nimeni, cu oricte strduine, nu poate ajunge si
pentru acest lucru acesti oameni au Ioarte multe cunostine, ns
nici un prieten.
Indispus de 'interiorul omului care o izbise la restaurant
cu nelegerea lui, e drept, de o clip, dar Ioarte nalt, Francisca
sIid cum Icea de obicei prima impresie si, n loc de a se
arta contrariat si grbit de plecare, ea i ddu lui Rteanu
semne evidente aproape chiar prea evidente de simpatie,
privindu-l din cnd n cnd provoctor pe Chilian. El, care
ncepuse s o cunoasc, desi n cunoasterea caracterului ei nainta
cu o deosebit pruden, Ierindu-se mai ales s trag concluzii
pripite, impunndu-si aproape s 'uite o vreme tot ce stia n
materie de cunoastere a oamenilor, vzndu-i acum privirile
sIidtoare pe care i le arunca precum si exageratele semne de
simpatie ce i le ddea lui Rteanu, zmbi n sinesi, neputnd ns
alunga o usoar senzaie de spaim, ntr-att de voluntar si de
imprevizibil era cteodat Iirea ei.
(Nicolae Breban, Francisca, 1967)




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127
Second, Rteanu, who in the restaurant had seemed to the two
people a small retired intellectual, a clerk, a teacher, a bachelor,
who spent his monthly meagre salary on anesthetizing a vague
Ieeling oI helplessness and Iailure, now, quite unexpectedly, had,
among his odd pieces oI old Iurniture, some oI excellent quality
on one oI the walls, some real piece oI Flemish tapestry in Iaded
colours, representing a royal hunt Rteanu had turned,
imperceptibly, but very Iast, into one oI those Iine intellectuals`,
deIeated, short-sighted, who bear their weakness as iI glory.
These people bear within their selI a mystery known to nobody, a
pain not too great but eternally active, Iorever hidden, which
nobody, no matter how hard they would try, can reach and this is
why these people have many acquaintances but not a single
Iriend.
Upset by the inner selI` oI the man who had struck her at
the restaurant with his understanding, it was true, only
momentary, but very high, Francisca deIied as she would her
Iirst impression and, instead oI trying to look disconcerted and
hurried to leave, she showed Rteanu obvious signs almost too
obvious oI Iondness, casting occasional provocative glances at
Chilian. He, who was beginning to know her, although he made
but little cautious progress in knowing her character, especially
avoiding to rush to conclusions, imposing it on himselI almost to
Iorget` Ior a while all that he knew in the Iield oI knowing
people, seeing now the deIiant glances she was casting him as
well as the overplayed signs oI Iondness she was showing to
Rteanu, smiled to himselI, unable to drive away a slight
sensation oI Iear, so wilIul and unpredictable was her nature
sometimes.
(Nicolae Breban, Francisca, 1967)
P. Clonea A. Mrsescu C. Nicolae

:s

Text 11:
-Pentru cine arde candela aceea? ntreb Francisca plictisit
pn n cele din urm de discuia brbailor despre vinuri, artnd
cu o miscare a capului o candel din marmor, ntr-un col mai
ascuns al camerei, sub o icoan veche, ntunecat, aproape
neagr. E vreun col Iunerar?
-Nu! rspunse Rteanu si, sculndu-se, Icu civa pasi spre
candel.
Era o candel obisnuit, cu untdelemn, dnd o Ilacr
subire, nalt, arznd ntr-un pahar de sticl, gros, rosu,
transparent, ceea ce Icea ca aerul din jurul ei s ard ntr-o aur
ntunecat, purpurie, ca un nimb sIeric.
-Dumneata crezi n Dumnezeu? l ntreb Francisca pe
Rteanu, care se aIla nc n picioare, cu umrul ntors spre ei,
Iumnd, privind n jos n strad, prin geamul acela mare, cu
cercevele de-un alb vechi, murdar.
-Da, rspunse el ncet, nbusit, apoi se ntoarse cu o
miscare vioaie si, privind-o, spuse rspicat, repede: Da,
bineneles! Eu cred!
-Cum se poate? ntreb Francisca, aproape rznd, si n
aceeasi clip se ridic, cu o singur miscare de pe Iotoliu, crezi n
Dumnezeu, n SInta Treime, n miracolul transIormrii pinii si
al vinului, n martiri si asa mai departe?
-Da, rspunse Rteanu cu un zmbet pe jumtate, dar
vorbind cu seriozitate, cred n Dumnezeu, cred n sInta
cuminectur, adic cred n calvarul si n nvierea lui Iisus
Christos, cred n SInta Treime.
-Cum continu Francisca, tot mai uimit, att de uimit
nct nu se putu mpiedica s nu zmbeasc cu o nuan aproape
jignitoare, lucru pe care Rteanu l observ si care l Icu s se
ncrunte usor crezi n crearea primului om de ctre o Ior
divin si n alungarea lui din paradis, crezi n pcatul originar?

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129
Text 11:
'Who`s this vigil light burning Ior? Francisca asked, at
long last bored by the two men`s talk about wines, showing with
a turning oI her head a marble vigil lamp, in a somewhat hidden
corner oI the room, under an old dark, almost black, icon. 'Is that
a Iuneral corner?
'No, it isn`t! Rteanu answered and, standing up, took a
Iew steps towards the vigil lamp.
It was an ordinary oil lamp, giving oII a thin, tall Ilame
burning inside a red, thick, transparent glass, which made the air
around it burn in a dark, purple aura, like a spherical halo.
'Do you believe in God? Francisca asked Rteanu, who
was still standing, his shoulder turned towards them, smoking,
looking down into the street through that large window, with its
Irames oI an old, dirty whiteness.
'Yes, I do, he answered in a muIIled undertone, then
turned back with a quick motion and, looking at her, said bluntly,
hurriedly: 'Yes, oI course, I do!
'How`s that possible? Francisca said almost laughingly
and simultaneously standing up Irom the armchair with one
move, 'do you believe in God, in the Holy Trinity, in the miracle
oI the transubstantiation oI the bread and wine, in martyrs and all
that?
'I do, Rteanu answered Iorcing a smile, but still talking
seriously, 'I believe in God, I believe in the holy Eucharist, that
is I believe in the Passion and the Ressurection, I believe in the
Trinity.
'How come? Francisca went on, more and more amazed,
so amazed that she could not help smiling with an almost
oIIending hint, which Rteanu noticed and which made him
Irown slightly; 'you believe in the creation oI the Iirst man by a
divine power and in his banishment Irom Paradise, you believe in
the original sin, don`t you?
P. Clonea A. Mrsescu C. Nicolae

:o

-Da, spuse cu gravitate Rteanu, cred n creaiunea divin!
-Bine, dar dumneata esti un om sensibil, inteligent, cult .
spuse Francisca si se opri descumpnit, nestiind ce s mai
rspund, privind tot mai uimit spre Chilian si asteptnd ca
acesta s intervin.
Chilian tcea ns, ca de obicei, si se uita cu atenie spre
Rteanu.
-Acestea nu exclud credina! As putea spune chiar c o
ntresc! Dumneata esti nc Ioarte tnr, domnisoar, te rog s
m ieri! Eu sunt un om cu o mare experien si asta m-a ajutat
Ioarte mult! n secolul n care trim numai cei cu o mare si
proIund experien pot ajunge s cread cu adevrat, numai
aceia, destui de puini, pot ajunge proIund religiosi!
(Nicolae Breban, Francisca, 1967)
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131
'Yes, I do, Rteanu said gravely. 'I believe in the divine
Creation.
'All right, but you`re an intelligent, sensitive, educated
man . said Francisca and stopped disconcerted, not knowing
what else to answer, looking more and more amazedly at Chilian
and waiting Ior him to break in.
But Chilian kept silent, as usual, and looked intently at
Rteanu.
'These things don`t exclude Iaith! I could even say they
strengthened it! You`re still very young, miss, iI I may say so!
I`m a man oI great experience and this has helped me a lot! In the
century we`re living in, it`s only those people with a great,
proIound experience that can come to truly believe, only those,
rather Iew, can become proIoundly religious!
(Nicolae Breban, Francisca, 1967)


P. Clonea A. Mrsescu C. Nicolae

:

Text 12:




EVOCARE




Ea era frumoas ca umbra unei iaei, -
a piele ae copil mirosea spinarea ei,
a piatr proaspt spart
a strigt aintr-o limb moart.

Ea nu avea greutate, ca respirarea.
Ra:ana i plangana cu lacrimi mari
era srat ca sarea
slvit la ospee ae barbari.

Ea era frumoas ca umbra unui gana.
Intre ape numai ea era pmant.

(Nichita Stnescu - 1979)
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133
Text 12




EVOCATION




So beautiful was she as an iaeas shaae unscathea,
Ana smellea her nape of babies newly bathea,
of stone which has been newly broken,
of shouting in a language long since spoken.

No weight haa she like gentle respiration
Now sheaaing tears, now smiling bright
Ana tastea salty like salt in sublimation
Which on his table was the barbarians kings aelight.

So beautiful was she as an iaeas souna.
Between the seas she was the only grouna.

(Nichita Stnescu - 1979)

P. Clonea A. Mrsescu C. Nicolae



134
PART THREE
(QJOLVK5RPDQLDQ75$16/$7,21:25.

Text 1:
My thoughts were now wholly employed
1
about securing
2

myselI against either savages
3
, iI any should appear, or wild
beasts
4
, iI any were in the island; and I had many thoughts oI the
method how to do this, and what kind oI dwelling
5
to make,
whether I should make me a cave
6
in the earth, or a tent upon the
earth; and, in short, I resolved
7
upon both, the manner and
description oI which it may not be improper to give an account
8

oI.
I soon Iound the place I was in was not Ior my settlement
9
,
particularly because it was upon a low moorish
10
ground near the
sea, and I believed would not be wholesome
11
; and more
particularly because there was no Iresh water
12
near it. So I
resolved to Iind a more healthy and more convenient spot oI
ground.
I consulted several things in my situation, which I Iound
would be proper Ior me. First, health and Iresh water, I just now
mentioned. Secondly, shelter Irom the heat oI the sun. Thirdly,
security Irom ravenous
13
creatures, whether men or beasts.
Fourthly, a view to the sea, that iI God sent any ship in sight I
might not lose any advantage Ior my deliverance
14
, oI which I
was not willing to banish
15
all my expectation yet.
In search oI a place proper Ior this, I Iound a little plain on
the side oI a rising
16
hill, whose Iront towards this little plain was
steep
17
as a houseside
18
, so that nothing could come down upon
me Irom the top; on the side oI this rock there was a hollow
19

place, worn a little way in, like the entrance or door oI a cave; but
there was not really any cave, or way into the rock at all.
On the Ilat
20
oI the green
21
, just beIore this hollow place, I
resolved to pitch my tent
22
. This plain was not above a hundred
yards
23
broad, and about twice as long, and lay like a green
The Aavancea Stuaents Book of Bilingual Literary Translation

135


beIore my door, and at the end oI it descended irregularly every
way down into the low grounds by the seaside.
(Daniel DeIoe, Robinson Crusoe, 1719)

Words and phrases for study















Text 2:
The other >project@ was a scheme
1
Ior entirely abolishing
2

all words whatsoever
3
: and this was urged
4
as a great advantage
in point oI health as well as brevity
5
. For, it is plain
6
, that every
word we speak is in some degree a diminution
7
oI our lungs by
corrosion
8
; and consequently contributes to the shortening oI our
lives. An expedient
9
was thereIore oIIered, that since words are
only names Ior things, it would be more convenient Ior all men to
carry about them, such things as were necessary to express the
particular business
10
they are to discourse on
11
. And this
invention would certainly have taken place, to the great ease
12
as
well as health oI the subject
13
, iI the women in conjunction with
14

the vulgar
15
and illiterate had not threatened to raise a rebellion,
unless they might be allowed the liberty to speak with their
tongues, aIter the manner oI their IoreIathers: such constant
irreconcilable enemies to science are the common people.
x account
8

x banish (to)
15

x beast
4

x cave
6

x aeliverance
14

x awelling
5

x employ (to)
1

x flat
20

x fresh water
12

x green
21

x hollow
19

x housesiae
18


x moor
10

x pitch (ones tent) (to)
22

x ravenous
13

x resolve (to)
7

x rise (to)
16

x savage
3

x secure (to)
2

x settlement
9

x steep
17

x wholesome
11

x yara
23


P. Clonea A. Mrsescu C. Nicolae



136
However, many oI the most learned and wise adhere
16
to the new
scheme oI expressing themselves by things which hath
17
only this
inconvenience attending it; that iI a man`s business be very great,
and oI various kinds, he must be obliged in proportion to carry a
greater bundle
18
oI things upon his back, unless he can aIIord one
or two strong servants to attend him. I have oIten beheld
19
two oI
those sages
20
almost sinking under the weight oI their packs, like
pedlars
21
among us; who, when they met in the streets, would lay
down their loads, open their sacks, and hold conversation Ior an
hour together; then put up their implements
22
, help each other to
resume
23
their burthens
24
, and take their leave
25
.
But, Ior short conversations, a man may carry implements
in his pockets and under his arms, enough to supply him, and in
his house he cannot be at a loss
26
; thereIore the room where
company meet who practise this art, is Iull oI all things ready at
hand, requisite
27
to Iurnish
28
matter
29
Ior this kind oI artiIicial
converse
30
.
(Jonathan SwiIt, Gullivers Travels, 1726)

Words and phrases for study















x abolish (to)
2

x aahere (to)
16

x be at a loss (to)
26

x behola (to)
19

x brevity
5

x bunale
18

x burthen
24

x business
10

x in confunction with
14

x converse
30

x corrosion
8

x aiminution
7


x furnish (to)
28

x hath
17

x implement
22

x matter
29

x pealar
21

x plain
6

x requisite
27

x resume (to)
23

x sage
20

x scheme
1

x subfect
13

x take ones leave (to)
25


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137







Text 3:
As soon as their breakIast was ended, Adams began in the
Iollowing manner: 'I think, sir, it is high time to inIorm you oI
the business oI my embassy
1
. I am a traveller and am passing this
way in company with two young people, a lad
2
and a damsel
3
, my
parishioners
4
, towards my own cure
5
; we stopped at a house oI
hospitality in the parish, where they directed me to you as having
the cure. 'Though I am but a curate
6
, says Trulliber, 'I
believe I am as warm
7
as the vicar
8
himselI, or perhaps the rector
9

oI the next parish
10
, too; I believe I could buy them both.
'Sir, cries Adams, 'I rejoice
11
thereat
12
. Now, sir, my business
is, that we are by various accidents stripped
13
oI our money, and
are not able to pay our reckoning
14
, being seven shillings
15
. I
thereIore request you to assist
16
me with the loan oI those seven
shillings, and also seven shillings more, which, peradventure
17
, I
shall return to you; but iI not, I am convinced you will joyIully
embrace such an opportunity oI laying up
18
a treasure in a better
place than any this world aIIords.
Suppose a stranger, who entered the chamber
19
oI a lawyer,
being imagined a client, when the lawyer was preparing his palm
Ior the Iee
20
, should pull out a writ
21
against him. Suppose an
apothecary
22
, at the door oI a chariot
23
containing some great
doctor oI eminent skill, should, instead oI directions
24
to a
patient, present him with a potion
25
Ior himselI. Suppose a
minister
26
should, instead oI a good round sum, treat my lord - ,
or Sir - , or esq.
27
with a good broomstick
28
. Suppose a civil
companion, or a lead captain
29
, should, instead oI virtue, and
honour, and beauty, and parts
30
, and admiration, thunder
31
vice,
and inIamy
32
, and ugliness, and Iolly
33
, and contempt, in his
patron`s ears. Suppose, when a tradesman Iirst carries in his
bill
34
, the man oI Iashion should pay it; or suppose, iI he did so,
x aiscourse (on) (to)
11

x ease
12

x expeaient
9

x urge (to)
4

x vulgar
15

x whatsoever
3

P. Clonea A. Mrsescu C. Nicolae



138
the tradesman should abate
35
what he had overcharged
36
, on the
supposition oI waiting. In short, suppose what you will, you
never can or will suppose anything equal to the astonishment
which seized on
37
Trulliber, as soon as Adams had ended his
speech.
(H. Fielding, Joseph Anarews, 1742)

Words and phrases for study





















Text 4:
Catherine`s heart beat quick, but her courage did not Iail
1

her. With a cheek Ilushed
2
by hope, and an eye straining
3
with
curiosity, her Iingers grasped
4
the handle
5
oI a drawer and drew it
Iorth. It was entirely empty. With less alarm and greater
eagerness
6
she seized a second, a third, a Iourth; each was equally
x abate (to)
35

x apothecary
22

x assist (to)
16

x bill
34

x broomstick
28

x chamber
19

x chariot
23

x curate
6

x cure
5

x aamsel
3

x airect (to)
24

x embassy
1

x esq.
27

x fee
20

x folly
33

x infamy
32

x laa
2

x lay up (to)
18

x leaa captain
29


x minister
26

x overcharge (to)
36

x parish
10

x parishioner
4

x parts
30

x peraaventure
17

x potion
25

x reckoning
14

x rector
9

x refoice (to)
11

x sei:e on sb. (to)
37

x shilling
15

x strip (to)
13

x thereat
12

x thunaer (to)
31

x vicar
8

x warm
7

x writ
21


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139


empty. Not one was leIt unsearched, and in not one was any thing
Iound. Well read in the art oI concealing a treasure, the
possibility oI Ialse linings
7
to the drawers did not escape her, and
she Ielt round each with anxious acuteness
8
in vain. The place in
the middle alone remained now unexplored; and though she had
never Irom the Iirst had the smallest idea oI Iinding any thing in
any part oI the cabinet
9
, and was not in the least
10
disappointed at
her ill success
11
thus Iar, it would be Ioolish not to examine it
thoroughly
12
while she was about it.` It was some time however
beIore she could unIasten
13
the door, the same diIIiculty
occurring
14
in the management oI this inner lock as oI the outer;
but at length
15
it did open; and not vain, as hitherto
16
, was her
search; her quick eyes directly Iell on a roll oI paper pushed back
into the Iurther part oI the cavity, apparently Ior concealment,
and her Ieelings at that moment were indescribable. Her heart
Iluttered
17
, her knees trembled, and her cheeks grew pale. She
seized, with an unsteady
18
hand, the precious manuscript, Ior halI
a glance
19
suIIiced
20
to ascertain
21
written characters; and while
she acknowledged
22
with awIul sensations this striking
exempliIication oI what Henry had Ioretold
23
, resolved instantly
to peruse
24
every line beIore she attempted to rest.
(Jane Austen, Northanger Abbey, 1818)

Words and phrases for study











x acknowleage WR
22

x acuteness
8

x ascertain WR
21

x cabinet
9

x eagerness
6

x foretell (to)
23

x fail sb. (to)
1

x flush (to)
2

x flutter (to)
17

x glance
19

x grasp (to)
4

x hanale
5


x hitherto
16

x ill success
11

x least (not in the)
10

x length (at)
15

x lining
7

x occur (to)
14

x peruse (to)
24

x strain (to)
3

x suffice (to)
20

x thoroughly
12

x unfasten (to)
13

x unsteaay
18


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140
Text 5:
Edgar Linton had his head laid on the pillow, and his eyes
shut. His young and Iair
1
Ieatures were almost as deathlike
2
as
those oI the Iorm beside him, and almost as Iixed but his was
the hush
3
oI exhausted anguish
4
, and hers oI perIect peace. Her
brow
5
smooth
6
, her lids closed, her lips wearing the expression oI
a smile no angel in heaven could be more beautiIul than she
appeared. And I partook
7
oI the inIinite calm in which she lay;
my mind was never in a holier
8
Irame
9
than while I gazed
10
on
that untroubled image oI Divine rest. I instinctively
11
echoed the
words she had uttered a Iew hours beIore: Incomparably beyond
and above us all! Whether still on earth or now in heaven, her
spirit is at home with God!`
I don`t know iI it be a peculiarity
12
in me, but I am seldom
otherwise than happy while watching in the chamber oI death,
should no Irenzied
13
or despairing mourner
14
share the duty with
me. I see a repose
15
that neither earth nor hell can break, and I
Ieel an assurance oI the endless and shadowless hereaIter
16
the
Eternity they have entered where liIe is boundless in its
duration, and love in its sympathy, and joy in its Iulness. I
noticed on that occasion how much selIishness there is even in a
love like Mr. Linton`s, when he so regretted Catherine`s blessed
release
17
!
To be sure, one might have doubted, aIter the wayward
18

and impatient existence she had led, whether she merited a
haven
19
oI peace at last. One might doubt in seasons oI cold
reIlection; but not then, in the presence oI her corpse
20
. It
asserted
21
its own tranquility
22
, which seemed a pledge
23
oI equal
quiet to its Iormer inhabitant.
Do you believe such people are happy in the other world,
sir? I`d give a great deal to know.
I declined
24
answering Mrs. Dean`s question, which struck
me as something heterodox
25
. She proceeded
26
:
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141


Retracing
27
the course oI Catherine Linton, I Iear we have
no right to think she is; but we`ll leave her with her Maker
28
.
(Emily Bronte, Wuthering Heights, 1847)

Words and phrases for study

















Text 6:
On entering the dining-room, by the orders oI the
individual in gaiters
1
, Rebecca Iound that apartment not more
cheerIul than such rooms
2
usually are, when genteel
3
Iamilies are
out oI town. The IaithIul chambers seem, as it were, to mourn the
absence oI their masters. The turkey carpet
4
has rolled itselI up,
and retired sulkily
5
under the sideboard
6
: the pictures have hidden
their Iaces behind old sheets oI brown paper: the ceiling lamp
7
is
muIIled up
8
in a dismal
9
sack oI brown holland
10
: the window-
curtains have disappeared under all sorts oI shabby
11
envelopes
12
:
the marble bust oI Sir Walpole Crawley is looking Irom its black
corner at the bare boards
13
and the oiled
14
Iire-irons
15
, and the
empty card-racks
16
over the mantelpiece
17
: the cellaret
18
has
lurked away
19
behind the carpet: the chairs are turned up heads
x anguish
4

x assert (to)
21

x brow
5

x corpse
20

x aeathlike
2

x aecline WR
24

x fair
1

x frame (of mina)
9

x fren:y
13

x ga:e WR
10

x haven
19

x hereafter
16

x heteroaox
25

x holy
8


x hush
3

x instinctive
11

x Maker
28

x mourner
14

x partake WR
7

x peculiarity
12

x pleage
23

x proceea WR
26

x release
17

x repose
15

x retrace WR
27

x smooth
6

x tranquility
22

x waywara
18

P. Clonea A. Mrsescu C. Nicolae



142
and tails along the walls: and in the dark corner opposite the
statue, is an old-Iashioned crabbed
20
kniIe-box, locked and sitting
on a dumb waiter
21
.
Two kitchen chairs, and a round table, and an attenuated
22

old poker
23
and tongs
24
were, however, gathered round the
Iireplace
25
, as was a saucepan
26
over a Ieeble sputtering
27
Iire.
There was a bit oI cheese and bread, and a tin
28
candlestick
29
on
the table, and a little black porter
30
in a tin-pot
31
.
(W. M. Thackeray, Janity Fair, 1848)

Words and phrases for study


















Text 7:
I was three-and-twenty years oI age. Not another word had
I heard to enlighten
1
me on the subject oI my expectations, and
my twenty-third birthday was a week gone. We had leIt
Barnard`s Inn more than a year, and lived in the Temple*. Our
chambers were in Garden-court**, down by the river.
x attenuate (to)
22

x boara
13

x canalestick
29

x cara-rack
16

x ceiling lamp
7

x cellaret
18

x crab (to)
20

x aismal
9

x envelope
12

x fire-iron
15

x fireplace
25

x gaiters
1

x genteel
3

x hollana
10

x lurk (away) (to)
19

x mantelpiece
17


x muffle up (to)
8

x oil (to)
14

x poker
23

x porter
30

x room
2

x saucepan
26

x siaeboara
6

x shabby
11

x sputter (to)
27

x sulky
5

x tin
28

x tin-pot
31

x tongs
24

x turkey carpet
4

x waiter
21

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143


Mr Pocket and I had Ior some time parted
2
company as to
our original relations, though we continued on the best terms.
Notwithstanding
3
my inability to settle to
4
anything which I
hope arose out oI the restless and incomplete tenure
5
on which I
held my means
6
I had a taste Ior
7
reading, and read regularly so
many hours a day. That matter oI Herbert`s was still progressing,
and everything with me was as I have brought it down to
8
the
close oI the last preceding chapter.
Business had taken Herbert on a journey to Marseilles. I
was alone, and had a dull
9
sense oI being alone. Dispirited
10
and
anxious
11
, long hoping that to-morrow or next week would clear
my way, and long disappointed, I sadly missed the cheerIul Iace
and ready response
12
oI my Iriend.
It was wretched
13
weather; stormy and wet, stormy and wet;
and mud, mud, mud, deep in all the streets. Day aIter day, a vast
heavy veil
14
had been driving over London Irom the East, and it
drove still, as iI in the East there were an Eternity oI cloud and
wind. So Iurious had been the gusts
15
, that high buildings in town
had had the lead
16
stripped oII
17
their rooIs; and in the country,
trees had been torn up
18
, and sails
19
oI windmills
20
carried away;
and gloomy
21
accounts
22
had come in Irom the coast, oI
shipwreck
23
and death. Violent blasts
24
oI rain had accompanied
these rages
25
oI wind, and the day just closed as I sat down to
read had been the worst oI all.
(Charles Dickens, Great Expectations, 1861)

Words and phrases for study









x account
22

x anxious
11

x blast (of)
24

x bring sth. aown to
(to)
8

x aispiritea
10

x aull
9


x enlighten (to)
1

x gloomy
21

x gust
15

x have a taste (for) (to)
7

x leaa (n.)
16

x means
6


x notwithstanaing
3

x part (to)
2

x rage (of)
25

x response
12

x sail
19

x settle to (to)
4

x shipwreck
23


x strip off (to)
17

x tear up (to)
18

x tenure
5

x veil
14

x winamill
20

x wretchea
13


P. Clonea A. Mrsescu C. Nicolae



144




Notes
*The Temple - either oI the two groups oI buildings (Inner
Temple and Middle Temple) on the site oI the Templars` Iormer
establishment in London occupied by two oI the Inns oI the
Court
Templar - a member oI a religious military order Iounded by
Crusades in Jerusalem about 1118 and suppressed in 1312.
**Garaen-court - court oI law in Dickens`s London

Text 8:
Alterations have been made in that part oI the Temple since
that time, and it has not now so lonely a character as it had then,
nor is it so exposed to the river. We lived at the top oI the last
house, and the wind rushing up the river shook the house that
night, like discharges
1
oI cannon
2
, or breakings
3
oI a sea. When
the rain came with it and dashed
4
against the windows, I thought,
raising my eyes to them as they rocked
5
, that I might have Iancied
myselI in a storm-beaten
6
light-house
7
. Occasionally, the smoke
came rolling down the chimney
8
as though it could not bear to go
out into such a night; and when I set the doors open and looked
down the staircase
9
, the staircase lamps were blown out
10
; and
when I shaded
11
my Iace with my hands and looked through the
black windows (opening them ever so little, was out oI the
question in the teeth oI such wind and rain
12
) I saw that the lamps
in the court were blown out, and that the lamps on the bridges
and the shore were shuddering
13
, and that the coal Iires in
barges
14
on the river were being carried away beIore the wind
like red-hot
15
splashes
16
in the rain.
I read with my watch upon the table, purposing
17
to close
my book at eleven o`clock. As I shut it, Saint Paul`s, and all the
many church-clocks in the City* some leading, some
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145


accompanying, some Iollowing struck that hour. The sound was
curiously Ilawed
18
by the wind; and I was listening, and thinking
how the wind assailed
19
and tore it, when I heard a Iootstep on
the stair.
(Charles Dickens, Great Expectations, 1861)

Words and phrases for study













Note
*The City - the area oI London which is Britain`s Iinancial centre,
and the important institutions there

Text 9:
Imagine the Ieelings oI a commander
1
oI a Iine - what d'ye
2

call 'em? - trireme
3
in the Mediterranean, ordered suddenly to the
north; run overland
4
across the Gauls* in a hurry; put in charge oI
one oI these craIt
5
the legionaries
6
- a wonderIul lot oI handy
7

men they must have been, too - used to build, apparently by the
hundred, in a month or two, iI we may believe what we read.
Imagine him here - the very end oI the world, a sea the colour oI
lead, a sky the colour oI smoke, a kind oI ship about as rigid
8
as a
concertina
9
- and going up this river with stores
10
, or orders, or
what you like. Sand-banks, marshes
11
, Iorests, savages, - precious
little
12
to eat Iit Ior a civilized man, nothing but Thames water to
x assail (to)
19

x barge
14

x blow out (to)
10

x breaking (of sea)
3

x cannon
2

x chimney
8

x aash (to)
4

x aischarge (of)
1

x flaw (to)
18

x light-house
7


x purpose (to)
17

x rea-hot
15

x rock (to)
5

x shaae (to)
11

x shuaaer (to)
13

x splash
16

x staircase
9

x storm-beaten
6

x (in the) teeth of wina
ana rain
12


P. Clonea A. Mrsescu C. Nicolae



146
drink. No Falernian wine** here, no going ashore. Here and there
a military camp lost in a wilderness
13
, like a needle in a bundle oI
hay
14
- cold, Iog, tempests, disease, exile and death - death
skulking
15
in the air, in the water, in the bush. They must have
been dying like Ilies here. Oh, yes - he did it. Did it very well,
too, no doubt, and without thinking much about it either, except
aIterwards to brag
16
oI what he had done through his time,
perhaps. They were men enough to Iace the darkness. And
perhaps he was cheered by
17
keeping his eye on a chance oI
promotion to the Ileet
18
at Ravenna by-and-by
19
, iI he had good
Iriends in Rome and survived the awIul climate. Or think oI a
decent young citizen in a toga
20
- perhaps too much dice
21
, you
know - coming out here in the train oI
22
some preIect
23
, or tax-
gatherer, or trader even, to mend his Iortunes
24
. Land
25
in a
swamp
26
, march
27
through the woods, and in some inland post
28

Ieel the savagery, the utter
29
savagery, had closed round him, - all
that mysterious liIe oI the wilderness that stirs
30
in the Iorest, in
the jungles, in the hearts oI wild men. There`s no initiation either
into such mysteries. He has to live in the midst oI
31
the
incomprehensible
32
, which is also detestable. And it has a
Iascination, too, that goes to work upon him. The Iascination oI
the abomination
33
- you know, imagine the growing regrets, the
longing
34
to escape, the powerless disgust, the surrender
35
, the
hate.
(J. Conrad, Heart of Darkness, 1902)

Words and phrases for study








x commanaer
1

x concertina
9

x craft (sg. ana pl.)
5

x aye
2

x aice
21

x fleet
18

x hanay
7

x incomprehensible
32

x inlana post
28

x lana (to)
25

x prefect
23

x overlana
4

x rigia
8

x skulk (to)
15

x stir (to)
30

x stores
10

x surrenaer
35

x swamp
26

x toga
20

x (in the) train of
22

x abomination
33

x be cheerea by (to)
17

x brag (to)
16

x by-ana-by
19


x marsh
11

x mena ones fortunes (to)
24

x (in the) miast of
31

x precious little
12

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147















Notes
*The Gauls - an ancient people living in a region in W Europe
which included the modern areas oI N Italy, France, Belgium and
the S Netherlands
**Falernian wine - wine celebrated by Horace, the Roman poet
and artist (65 - 8 B.C.), made in a district oI Campania, Italy.

Text 10:
Mrs Mooney was a butcher's daughter. She was a woman
who was quite able to keep things to herselI: a determined
woman. She had married her Iather's Ioreman
1
and opened a
butcher's shop near Spring Gardens. But as soon as his Iather-in-
law was dead Mr Mooney began to go to the devil
2
. He drank,
plundered
3
the till
4
, ran headlong into debt
5
. It was no use making
him take the pledge
6
: he was sure to break out
7
again a Iew days
aIter. By Iighting his wiIe in the presence oI customers and by
buying bad meat he ruined his business. One night he went Ior
8

his wiIe with the cleaver
9
and she had to sleep in a neighbour's
house.
AIter that they lived apart. She went to the priest and got a
separation Irom him with care
10
oI the children. She would give
him neither money nor Iood nor house-room; and so he was
obliged to enlist
11
himselI as a sheriII's man
12
. He was a shabby
13

P. Clonea A. Mrsescu C. Nicolae



148
stooped
14
little drunkard with a white Iace and a white moustache
and white eyebrows, pencilled
15
above his little eyes, which were
pink-veined
16
and raw
17
; and all day long he sat in the bailiII's
18

room, waiting to be put on a job
19
. Mrs Mooney, who had taken
what remained oI her money out oI the butcher business and set
up
20
a boarding house
21
in Hardwicke Street, was a big imposing
woman. Her house had a Iloating
22
population made up oI
tourists Irom Liverpool and the Isle oI Man* and, occasionally,
artistes
23
Irom the music halls
24
. Its resident population was made
up oI clerks Irom the city. She governed her house cunningly
25

and Iirmly
26
, knew when to give credit, when to be stern
27
and
when to let things pass. All the resident young men spoke oI her
as The Maaam
28
.
(James Joyce, Dubliners, 1914)

Words and phrases for study













Note
*Isle of Man - an island oI the British Isles, in the Irish Sea.

Text 11:
Mrs Mooney's young men paid IiIteen shillings a week Ior
board and lodgings
1
(beer or stout
2
at dinner excluded). They
x artiste
23

x bailiff
18

x be put on a fob (to)
19

x boaraing house
21

x break out (to)
7

x care
10

x cleaver
9

x cunning
25

x enlist (to)
11

x firm
26

x floating
22

x foreman
1

x go for sb. (to)
8

x go to the aevil (to)
2

x maaam
28

x music hall
24

x pencil (to)
15

x pink-veinea
16

x plunaer (to)
3

x raw
17

x run (heaalong) into
aebt (to)
5

x set up (to)
20

x shabby
13

x sheriffs man
12

x stern
27

x stoop (to)
14

x take the pleage (to)
6

x till
4


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149


shared in common tastes and occupations
3
and Ior this reason
they were very chummy
4
with one another. >.@ Jack Mooney, the
Madam's son, who was clerk to a commission agent
5
in Fleet
Street*, had the reputation oI being a hard case. He was Iond oI
using soldiers' obscenities: usually he came home in the small
hours. When he met his Iriends he had always a good one to tell
6

them and he was always sure to be on to a good thing
7
- that is to
say, a likely horse or a likely artiste. He was also handy with the
mits** and sang comic songs. On Sunday nights there would
oIten be a reunion
8
in Mrs Mooney's Iront drawing-room
9
. The
music-hall artistes would oblige
10
; and Sheridan played waltzes
11

and polkas
12
and vamped
13
accompaniments. Polly Mooney, the
Madam's daughter would also sing. She sang:
Im a ... naughty
14
girl.
You neeant sham
15
.
You know I am.
Polly was a slim
16
girl oI nineteen; she had light soIt hair
and a small Iull mouth. Her eyes, which were grey with a shade
oI green through them, had a habit oI glancing
17
upwards when
she spoke with anyone, which made her look like a little perverse
madonna. Mrs Mooney had Iirst sent her daughter to be typist in
a corn-Iactor`s oIIice
18
but, as a disreputable
19
sheriII`s man used
to come every other day to his oIIice, asking to be allowed to say
a word to his daughter, she had taken her daughter home again
and set her to do housework. As Polly was very lively the
intention was to give her the run
20
oI the young men. Besides,
young men like to Ieel that there is a young woman not very Iar
away. Polly, oI course, Ilirted with the young men but Mrs
Mooney, who was a shrewd
21
judge, knew that the young men
were only passing the time away: none oI them meant business.
Things went on so Ior a long time and Mrs Mooney began to
think oI sending Polly back to typewriting when she noticed that
something was going on between Polly and one oI the young
men. She watched the pair and kept her own counsel
22
.
(James Joyce, Dubliners, 1914)

P. Clonea A. Mrsescu C. Nicolae



150
Words and phrases for study














Notes
`Fleet Street - a street in central London, location oI many
newspaper oIIices; oIten used Iiguratively to mean the entire
British newspaper world.
**mitt (mit) - (slang) a hand at card in a conIident-game or in any
other card game where the cards have been re-arranged; card-
sharper.

Text 12:
The rooks
1
settled; the rooks rose. The trees which they
touched so capriciously
2
seemed insuIIicient to lodge
3
their
numbers. The tree-tops sang with the breeze in them; the
branches creaked
4
audibly
5
and dropped now and then, though
the season was midsummer
6
, husks
7
or twigs
8
. Up went the rooks
and down again, rising in lesser numbers each time as the sager
9

birds made ready to settle, Ior the evening was already spent
enough to make the air inside the wood almost dark. The moss
10

was soIt; the tree-trunks
11
spectral
12
. Beyond them lay a silvery
meadow
13
. The pampas
14
grass raised its Ieathery
15
spears
16
Irom
mounds
17
oI green at the end oI the meadow. A breadth
18
oI water
x be on to a gooa thing (to)
7

x boara ana loagings
1

x chummy
4

x commission agent
5

x corn-factors office
18

x aisreputable
19

x arawing-room
9

x glance (to)
17

x have a gooa one to tell (to)
6

x keep ones own counsel (to)
22

x naughty
14


x oblige (to)
10

x occupation
3

x polka
12

x reunion
8

x run (n.)
20

x sham (to)
15

x shrewa
21

x slim
16

x stout
2

x vamp (to)
13

x walt:
11


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151


gleamed
19
. Already the convolvulus moth
20
was spinning
21
over
the Ilowers. Orange and purple, nasturtium
22
and cherry pie
23
,
were washed into the twilight
24
, but the tobacco plant
25
and the
passion Ilower
26
, over which the great moth
27
spun, were white as
china
28
. The rooks creaked their wings together on the tree-tops,
and were settling down Ior
29
sleep when, Iar oII, a Iamiliar sound
shook and trembled increased Iairly
30
dinned
31
in their ears
scared sleepy wings into the air again the dinner bell at the
house.
(Virginia WoolI, Jacobs Room, 1922)

Words and phrases for study
















Text 13:
At this the young girl began to interpret the melody upon
the organ
1
, emitting a thin though correct strain
2
, at the same time
joining her rather high soprano
3
with that oI her mother, together
with the rather dubious
4
baritone
5
oI the Iather. The other
children piped
6
weakly along, the boy and girl having taken
hymn books Irom the small pile stacked
7
upon the organ. As they
sang, this nondescript
8
and indiIIerent street audience gazed, held
x auaible
5

x breaath
18

x capricious
2

x china
28

x convolvulus moth
20

x cherry pie
23

x creak (to)
4

x ain (to)
31

x fairly
30

x feathery
15

x gleam (to)
19

x husk
7

x loage (to)
3

x meaaow
13

x miasummer
6

x moss
10


x moth
27

x mouna
17

x nasturtium
22

x pampas
14

x passion flower
26

x rook
1

x sage (aaf.)
9

x settle aown for (to)
29

x spear
16

x spectral
12

x spin (to)
21

x tobacco plant
25

x trunk
11

x twig
8

x twilight
24


P. Clonea A. Mrsescu C. Nicolae



152
by the peculiarity oI such an unimportant-looking Iamily publicly
raising its collective voice against the vast skepticism and apathy
oI liIe. Some were interested or moved sympathetically
9
by the
rather tame
10
and inadequate
11
Iigure
12
oI the girl by the organ,
others by the impractical and materially ineIIicient texture
13
oI
the Iather, whose weak blue eyes and rather Ilabby
14
but poorly-
clothed Iigure bespoke
15
more oI Iailure
16
than anything else. OI
the group the mother alone stood out as having that Iorce and
determination which, however blind or erroneous
17
, makes Ior
selI-preservation, iI not success in liIe. She, more than any oI the
others, stood up with an ignorant, yet somehow respectable air oI
conviction
18
. II you had watched her, her hymn
19
book dropped to
her side, her glance directed straight beIore her into space, you
would have said: 'Well, here is one who, whatever her deIects,
probably does what she believes as nearly as possible. A kind oI
hard, Iighting Iaith in the wisdom and mercy
20
oI that deIinite
overruling
21
and watchIul power which she proclaimed, was
written in her every Ieature and gesture.
The love of Jesus saves me whole,
The love of Goa my steps control,
she sang resonantly
22
, iI slightly nasally, between the towering
23

walls oI the adjacent
24
buildings.
(Theodore Dreiser, An American Trageay, 1925)

The Aavancea Stuaents Book of Bilingual Literary Translation

153


Words and phrases for study














Text 14:
Nick woke stiII
1
and cramped
2
. The sun was nearly down.
His pack
3
was heavy and the straps
4
painIul as he liIted it on. He
leaned over with the pack on and picked up the leather rod-case
5

and started out Irom the pine trees across the sweet Iern
6
swale
7
,
toward the river. He knew it could not be more than a mile.
He came down a hillside covered with stumps
8
into a
meadow. At the edge oI the meadow Ilowed the river. Nick was
glad to get to the river. He walked upstream
9
through the
meadow. His trousers were soaked
10
with the dew
11
as he walked.
AIter the hot day, the dew had come quickly and heavily. The
river made no sound. It was too Iast and smooth. At the edge oI
the meadow, beIore he mounted
12
to a piece oI high ground to
make camp
13
, Nick looked down the river at the trout
14
rising.
They were rising to insects come Irom the swamp on the other
side oI the stream when the sun went down. The trout jumped out
oI water to take them. While Nick walked through the little
stretch
15
oI meadow alongside
16
the stream, trout had jumped
high out oI water. Now as he looked down the river, the insects
must be settling on the surIace, Ior the trout were Ieeding steadily
all down the stream. As Iar down the long stretch as he could see,
x aafacent
24

x baritone
5

x bespeak (to)
15

x conviction
18

x aubious
4

x erroneous
17

x failure
16

x figure
12

x flabby
14

x hymn
19

x inaaequate
11

x mercy
20


x nonaescript
8

x organ
1

x overruling
21

x pipe (to)
6

x resonant
22

x soprano
3

x stack (to)
7

x strain
2

x sympathetical
9

x tame
10

x texture
13

x towering
23


P. Clonea A. Mrsescu C. Nicolae



154
the trout were rising, making circles all down the surIace oI the
water, as though it were starting to rain.
The ground rose, wooded and sandy, to overlook
17
the
meadow, the stretch
18
oI river and the swamp. Nick dropped his
pack and rod-case and looked Ior a level piece oI ground. He was
very hungry and he wanted to make his camp beIore he cooked.
Between two jack-pines
19
, the ground was quite level
20
. He took
the axe
21
out oI the pack and chopped out
22
two projecting
23

roots. That levelled a piece oI ground large enough to sleep on.
He smoothed out
24
the sandy soil with his hand and pulled all the
sweet Iern
25
bushes by their roots. His hands smelled good Irom
the sweet Iern. He smoothed the uprooted
26
earth. He did not
want anything making lumps
27
under the blankets. When he had
the ground smooth, he spread his three blankets. One he Iolded
double, next to the ground. The other two he spread on top.
(E. Hemingway, Big Two-Heartea River. Part I, 1939)

Words and phrases for study
















Text 15:
x alongsiae
16

x axe
21

x chop out (to)
22

x cramp (to)
2

x aew
11

x fern
6

x fack-pine
19

x level (grouna)
20

x lump
27

x make camp (to)
13

x mount (to)
12

x overlook (to)
17

x pack
3


x profect (to)
23

x roa-case
5

x smooth out (to)
24

x soak (to)
10

x stiff
1

x strap
4

x stretch (of meaaow/river)
15/18

x stump
8

x swale
7

x sweet fern
25

x trout
14

x uprootea
26

x upstream
9


The Aavancea Stuaents Book of Bilingual Literary Translation

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He got out oI bed and went into the bathroom. AIter a
minute or two he returned, eating toothpaste and carrying a
saIety-razor blade
1
. He started careIully cutting round the edges
oI the burnt areas oI the bedclothes with the blade. He didn`t
know why he did this, but the operation did seem to improve the
look oI things: the cause oI the disaster wasn`t so immediately
apparent
2
. When all the edges were smooth and regular, he knelt
down slowly, as iI he`d all at once become a very old man, and
shaved the appropriate part oI the rug
3
. The debris
4
Irom these
modiIications
5
he stuIIed
6
into his jacket pocket, thinking that
he`d have a bath and then go downstairs and phone Bill Atkinson
and ask him to come through
7
with his message about the senior
Dixons a good deal earlier than had been arranged. He sat on the
bed Ior a moment to recover Irom his vertiginous
8
exertions
9
with
the rug, then, beIore he could rise, somebody, soon identiIiable as
male, came into the bathroom next door. He heard the clinking
10

oI a plug-chain
11
, then the swishing
12
oI tap-water
13
. Welch, or
his son, or Johns was about to take a bath. Which one it was was
soon settled by the upsurge
14
oI a deep, untrained
15
voice into
song. The piece was recognizable to Dixon as some skein
16
oI
untiring Iacetiousness
17
by Iilthy
18
Mozart. Bertrand was surely
unlikely to sing anything at all, and Johns made no secret oI his
indiIIerence to anything earlier than Richard Strauss. Very
slowly, like a Iorest giant under the axe, Dixon heeled over
19

sideways
20
and came to rest with his hot Iace on the pillow.
(Kingsley Amis, Lucky Jim, 1954)

Words and phrases for study








x apparent
2

x clink (to)
10

x come through (to)
7

x aebris
4

x exertion
9

x facetiousness
17

x filthy
18

x rug
3

x safety-ra:or blaae
1

x siaeways
20

x skein
16

x stuff (to)
6

x swish (to)
12

x tap-water
13


x heel over (to)
19

x moaification
5

x plug-chain
11


x untrainea
15

x upsurge
14

x vertiginous
8


P. Clonea A. Mrsescu C. Nicolae



156

Text 16:
(a) The Iire was dead. They saw that straight away; saw
what they had really known down on the beach when the smoke
oI home had beckoned
1
. The Iire was right out
2
, smokeless
3
and
dead; the watchers
4
were gone. A pile
5
oI unused Iuel
6
lay ready.
Ralph turned to the sea. The horizon stretched
7
, impersonal
once more, barren
8
oI all but the Iaintest
9
trace oI smoke. Ralph
ran stumbling
10
along the rocks, saved himselI on the edge oI the
pink cliII, and screamed at the ship.
"Come back! Come back!"
He ran backwards and Iorwards along the cliII, his Iace
always to the sea, and his voice rose insanely
11
.
"Come back! Come back!"
Simon and Maurice arrived. Ralph looked at them with
unwinking
12
eyes. Simon turned away, smearing
13
the water Irom
his cheeks. Ralph reached inside himselI Ior the worst word he
knew.
"They let the bloody Iire out."
He looked down the unIriendly side oI the mountain. Piggy
arrived, out oI breath and whimpering
14
like a littlun
15
. Ralph
clenched his Iist
16
and went very red. The intentness
17
oI his
gaze
18
, the bitterness oI his voice pointed Ior him.
"There they are."
..........................
(b) A procession
19
had appeared, Iar down among the pink
screes
20
that lay near the water's edge. Some oI the boys wore
black caps but otherwise they were almost naked. They liIted
sticks in the air together, whenever they came to an easy patch
21
.
They were chanting
22
, something to do with the bundle
23
that the
errant
24
twins carried so careIully. Ralph picked out
25
Jack easily,
even at that distance, tall, red-haired, and inevitably leading the
procession.
Simon looked now, Irom Ralph to Jack, as he had looked
Irom Ralph to the horizon, and what he saw seemed to make him
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157


aIraid. Ralph said nothing more, but waited while the procession
came nearer. The chant
26
was audible but at that distance still
wordless. Behind Jack walked the twins, carrying a great stake
27

on their shoulders.
The gutted
28
carcass
29
oI a pig swung Irom the stake,
swinging heavily as the twins toiled
30
over the uneven
31
ground.
The pig's head hung down with gaping
32
neck and seemed to
search Ior something on the ground. At last the words oI the
chant Iloated up to them, across the bowl
33
oI blackened wood
and ashes
34
.
"Kill the pig. Cut her throat. Spill her blooa."
Yet as the words became audible, the procession reached
the steepest part oI the mountain, and in a minute or two the
chant had died away. Piggy snivelled
35
and Simon shushed
36
him
quickly as though he had spoken too loudly in church.
Jack, his Iace smeared with clays, reached the top Iirst and
hailed
37
Ralph excitedly, with liIted spear.
"Look! We've killed a pig - we stole up on them - we got in
a circle --"
Voices broke in Irom the hunters.
"We got in a circle -- "
"We crept up -- "
"The pig squealed
38
-- "
The twins stood with the pig swinging between them,
dropping black gouts
39
on the rock. They seemed to share one
wide, ecstatic
40
grin
41
. Jack had too many things to tell Ralph at
once. Instead, he danced a step or two, then remembered his
dignity and stood still, grinning. He noticed blood on his hands
and grimaced
42
distasteIully, looked Ior something on which to
clean them, then wiped them on his shorts and laughed.
(William Golding, Lora of the Flies, 1954)
Words and phrases for study




x ash
34

x barren
8

x be out (to)
2

x beckon (to)
1

x bowl
33

x bunale
23

x carcass
29

x chant (n.)
26

x chant (to)
22

x insane
11

x intentness
17

x littlun
15

x patch
21

x pick out (to)
25

x pile
5

x procession
19

x scree
20

x shush (to)
36

P. Clonea A. Mrsescu C. Nicolae



158




















Text 17:
The tide
1
was coming in and there was only a narrow strip
2

oI Iirm beach
3
between the water and the white, stumbling stuII
4

near the palm terrace
5
. Ralph chose the Iirm strip as a path
because he needed to think; and only here could he allow his Ieet
to move without having to watch them. Suddenly, pacing
6
by the
water, he was overcome
7
with astonishment. He Iound himselI
understanding the wearisomeness
8
oI this liIe, where every path
was an improvisation and a considerable part oI one's waking liIe
was spent watching one's Ieet. He stopped, Iacing the strip; and
remembering that Iirst enthusiastic exploration as though it were
part oI a brighter childhood, he smiled jeeringly
9
. He turned then
and walked back towards the platIorm with the sun in his Iace.
The time had come Ior the assembly
10
and as he walked into the
concealing
11
splendours oI the sunlight he went careIully over the
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159


points oI his speech. There must be no mistake about this
assembly, no chasing imaginary ...
He lost himselI in a maze
12
oI thoughts that were rendered
vague by his lack oI words to express them. Frowning
13
, he tried
again.
This meeting must not be Iun, but business.
At that he walked Iaster, aware all at once oI urgency
14
and
the declining
15
sun and a little wind created by his speed that
breathed about his Iace. This wind pressed his grey shirt against
his chest so that he noticed - in this new mood oI comprehension
- how the Iolds
16
were stiII
17
like cardboard
18
, and unpleasant;
noticed too how the Irayed
19
edges oI his shorts were making an
uncomIortable, pink area on the Iront oI his thighs
20
. With a
convulsion
21
oI the mind, Ralph discovered dirt and decay;
understood how much he disliked perpetually Ilicking
22
the
tangled
23
hair out oI his eyes, and at last, when the sun was gone,
rolling noisily to rest among dry leaves. At that, he began to
trot
24
.
(William Golding, Lora of the Flies, 1954)

Words and phrases for study
x assembly
10

x caraboara
18

x conceal (to)
11

x convulsion
21

x aecline (to)
15

x firm beach
3

x flick (to)
22

x fola
16

x fray (to)
19

x frown (to)
13


x feer (to)
9

x ma:e
12

x overcome (to)
7

x pace (to)
6

x palm terrace
5

x stiff
17

x strip
2

x stuff
4

x tangle (to)
23

x thigh
20

P. Clonea A. Mrsescu C. Nicolae



160


Text 18:
(a) That nigger
1
going down the street,` said Dr
Hasselbacher standing in the Wonder Bar, he reminds me oI
you, Mr Wormold.` It was typical oI Dr Hasselbacher that aIter
IiIteen years oI Iriendship he still used the preIix
2
Mr - Iriendship
proceeded with the slowness and assurance
3
oI a careIul
diagnosis
4
. On Wormold's death-bed, when Dr Hasselbacher
came to Ieel his Iailing
5
pulse, he would perhaps become Jim.
The Negro was blind in one eye and one leg was shorter
than the other; he wore an ancient Ielt
6
hat and his ribs
7
showed
through his torn shirt like a ship's under demolition. He walked at
the edge oI the pavement, beyond the yellow and the pink pillars
8

oI a colonnade
9
, in the hot January sun, and he counted every step
as he went. As he passed the Wonder Bar, going up Virdudes, he
had reached 1,369`. He had to move slowly to give time Ior so
long a numeral. One thousand three hundred and seventy`. He
was a Iamiliar Iigure near the National Square, where he would
sometimes linger
10
and stop his counting long enough to sell a
packet oI pornographic photographs to a tourist. Then he would
take up
11
his count where he had leIt it. At the end oI the day, like
an energetic
12
passenger on a trans-Atlantic liner
13
, he must have
known to a yard
14
how Iar he had walked.
..........................
(b) The economic report
15
proved to be a tedious
16
chore
17
,
Ior Wormold had never learnt to type with more than two Iingers
or to use the tabulator
18
on his machine. It was necessary to
alter
19
the oIIicial statistics
20
in case someone in the head oIIice
21

thought to compare the two reports, and sometimes Wormold
Iorgot he had altered a Iigure
22
. Addition
23
and subtraction
24
were
never his strong points
25
. A decimal point
26
got shiIted and had to
be chased
27
up and down a dozen
28
columns. (...)
AIter a week he began to worry about the absence oI
replies. Had Hawthorne smelt a rat
29
? But he was temporarily
x tiae
1

x trot (to)
24

x urgency
14

x wearisomeness
8


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161


encouraged by a summons
30
to the Consulate, where the sour
31

clerk handed him a sealed envelope addressed Ior no reason he
could understand to Mr Luke Penny`. Inside the outer envelope
was another envelope marked Henry Leadbetter. Civilian
Research Services`; a third envelope was inscribed 59200/5 and
contained three months` wages
32
and expenses in Cuban notes
33
.
He took them to the bank in Obispo.
OIIice account
34
, Mr Wormold?`
No. Personal.` But he had a sense oI guilt as the teller
counted; he Ielt as though he had embezzled
35
the company's
money.
(G. Greene, Our Man in Havana, 1958)

Words and phrases for study

x aaaition
23

x alter (to)
19

x assurance
3

x chase (to)
27

x chore
17

x colonnaae
9

x aecimal point
26

x aiagnosis
4

x ao:en
28

x embe::le (to)
35

x energetic
12

x failing
5

x felt
6

x figure
22

x heaa office
21

x know to a yara
14

x liner (to)
13

x linger (to)
10


x nigger
1

x note
33

x office account
34

x pillars
8

x prefix
2

x report
15

x rib
7

x smell a rat (to)
29

x sour
31

x statistics
20

x strong point
25

x subtraction
24

x summons
30

x tabulator
18

x take up (to)
11

x teaious
16

x wage
32

P. Clonea A. Mrsescu C. Nicolae



162
Text 19:
When the gas began to die he made a rapid survey
1
oI the
room, splitting it into north and east co-ordinates so as to know
the right way to steer
2
when it turned pitch black
3
. The compass
4

he`d been trained to carry in his Iorehead gave an accurate
bearing
5
on which to tread
6
to the stairIoot door
7
.
He threw his Iag
8
into the Iireplace and stood up, Iacing the
last spark
9
oI the Iire. He took oII his boots, and set them under
the table to keep each other company while he was away.
Calculating Iorty degrees, and the Iive paces necessary to get him
to the stairIoot door, he walked slowly, holding his arms Iull out
as a vanguard
10
.
His two hands steadied
11
and soItened
12
the latch
13
, and the
door opened towards him, so that he had to draw back a pace.
The smell oI sleeping bodies and stale
14
air was like going oII
guard
15
and back into the crowded tent near to dawn
16
on
gunnery
17
practice.
He took the Iirst two wooden stairs without a sound, but the
higher he got the more they creaked, and he slowed so much that
he counted Iive beIore each step and willed himselI into
18

weighing only halI oI what he did. He suspended the beating oI
his heart, but the ball
19
oI it thumped
20
in his stomach instead. He
closed his eyes, as iI even the act oI trying to see in the dark put
on a Iew more stone. Then he placed his Ieet as close to the wall
as possible, which improved things. He was pleasantly surprised
at how quickly one learned in an emergency. The training
manuals were right, he smiled, though not too wide in case that
weighed something as well.
(Allan Sillitoe, The Wiaowers Son, 1976)

Words and phrases for study
x ball
19

x bearing
5

x compass
4

x spark
9

x stairfoot aoor
7

x stale
14


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163










Text 20:
a suIIit!`*
It did not hear. It did not blink
1
. On her right its companion
eased
2
Iorwards on its belly
3
. II they had barked she would have
Ielt better. The silences that interrupted the growls
4
suggested
calculation. The animals had a plan. From the jaws
5
oI the larger
dog a drop oI saliva Iell on to the path. Several Ilies were on it in
an instant.
June whispered, Please go away. Please. Oh God!` The
expletive
6
brought her to the conventional thought oI her last and
best chance. She tried to Iind the space within her Ior the
presence oI God and thought she discerned
7
the Iaintest oI
outlines
8
, a signiIicant emptiness she had never noticed beIore, at
the back oI her skull. It seemed to liIt and Ilow upwards and
outwards, streaming
9
suddenly into an oval penumbra
10
many Ieet
high, an envelope oI rippling
11
energy, or, as she tried to explain
it later, oI coloured invisible light` that surrounded her and
contained her. II this was God, it was also, incontestably
12
,
herselI. Could it help her? Would this Presence be moved by a
sudden, selI-interested conversion
13
? An appeal, a whimpering
prayer to something that was so clearly, so luminously
14
, an
extension oI her own being, seemed irrelevant. Even in this
moment oI extremity
15
she knew she had discovered something
extraordinary, and she was determined to survive and investigate
it.
(Ian McEwan, Black Dogs, 1992)

x aawn (to)
16

x fag
8

x go off guara (to)
15

x gun(nery)
17

x latch
13

x pitch black
3

x soften (to)
12

x steaay (to)
11

x steer (to)
2

x survey
1

x thump (to)
20

x treaa (to)
6

x vanguara
10

x will oneself into aoing sth. (to)
18


P. Clonea A. Mrsescu C. Nicolae



164
Words and phrases for study











Note
*a suffit' - (French) that`s enough!

Text 21:
Jake almost ran down Oak Street, glancing
1
back over his
shoulder several times to see iI anyone was Iollowing him.
Checking again, he spotted
2
a yellow cab driving towards him
and quickly hailed it. The East Side, he said, jumping into the
cab.
As the driver eased back into the traIIic, Jack slid the
envelope out
3
Irom between the mass oI papers and transIerred it
to an inside pocket
4
. He could hear his heart beating. For the next
IiIteen minutes he could barely take his eyes Irom the back
window.
Seeing a subway
5
coming up on the right, he ordered the
driver to pull into
6
the kerb
7
. Jake handed over ten dollars,
jumped out oI the taxi and dashed
8
into the subway, emerging
9
a
Iew moments later on the Iar side oI the road. He then hailed
another taxi going in the opposite direction. This time he gave the
driver his home address, pleased with his little subterIuge
10
,
which he`d seen carried out by
11
Michael Douglas in Movie oI
the Week.
x belly
3

x blink (to)
1

x conversion
13

x aiscern (to)
7

x ease (to)
2

x expletive
6

x extremity
15

x growl
4


x incontestable
12

x faw
5

x luminous
14

x outline
8

x penumbra
10

x ripple (to)
11

x stream (to)
9

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165


Nervously Jake touched his inside pocket to be sure the
envelope was still in place. He no longer bothered to look out oI
the rear
12
window, conIident that no one could now be Iollowing
him. He was tempted to look inside the envelope, but the voice
on the phone had warned against anyone observing
13
its contents.
There would be time enough to do that, once he was back in the
saIety oI his apartment. He checked his watch, 8.21. Ellen and the
children wouldn`t be back Irom the movies yet.
(JeIIrey Archer, Something for Nothing, 1999)

Words and phrases for study









Text 22:
(a) It is no quarry
1
. It is a reservoir
2
. Farmers, driven Irom
their land by drought
3
, have been employed by Mr Maharaj to dig
this water-hole
4
against the day when the rains return. In this way
he can give them some employment, he tells his bride, and more
than employment: hope. She shakes her head, seeing that this
great hollow
5
is already Iull; oI bitter irony. Briny
6
, brackish
7
, no
use to man or cow.
The women in the reservoir oI irony are dressed in the
colours oI Iire. Only the Ioolish, blinded by language`s
conventions, think oI Iire as red, or gold. Fire is blue at its
melancholy rim
8
, green in its envious
9
heart. It may burn white,
or even, in its greatest rages
10
, black.
Yesterday, the men with pickaxes
11
tell Mr Maharaj, a
woman in a red and gold sari
12
, a Iool, ignited
13
in the
amphitheatre
14
oI the dry water-hole. The men stood along the
x carry out (to)
11

x aash (to)
8

x emerge (to)
9

x glance (to)
1

x insiae pocket
4

x kerb
7

x observe (to)
13


x pull into (to)
6

x rear
12

x sliae out (to)
3

x spot (to)
2

x subterfuge
10

x subway
5



P. Clonea A. Mrsescu C. Nicolae



166
high rim oI the reservoir, watching her burn, shouldering arms
15

in a kind oI salute
16
; recognising, in the wisdom oI their
manhood
17
, the inevitability
18
oI women`s Iate. The women, their
women, screamed.
When the woman Iinished burning there was nothing there.
Not a scrap
19
oI Ilesh, not a bone. She burned as paper burns,
Ilying up to the sky and being blown into nothing by the wind.
.......................................................................................................
(b) America`. Once upon a time in America`, they had
shared an Indian lunch three hundred Ieet above street-level, at a
table with a view oI the vernal
20
lushness
21
oI the park, Ieasting
their eyes upon
22
an opulence
23
oI vegetation which now, as she
remembers it in this desiccated
24
landscape, Ieels obscene
25
. My
country is just like yours, he`d said, Ilirting. Big, turbulent
26
and
Iull oI gods. We speak our kind oI bad English
27
and you speak
yours. And beIore you became Romans, when you were just
colonials
28
, our masters were the same. You deIeated them beIore
we did. So now you have more money than we do. Otherwise,
we`re the same. On your street corners the same bustle
29
oI
diIIerences, the same litter
30
, the same everything-at-onceness
31
.
She guessed immediately what he was telling her: that he came
Irom a place unlike anything she had ever experienced, whose
languages she would struggle to master
32
, whose codes
33
she
might never break
34
, and whose immensity and mystery would
provoke and IulIil
35
her greatest passion and her deepest need.
(Salman Rushdie, The Firebiras Nest, 1999)

Words and phrases for study

x amphitheatre
14

x baa English
27

x brack(ish)
7

x break (a coae) (to)
34

x briny
6

x bustle
29


x coae
33

x colonial
28

x aesiccate
24

x arought
3

x envious
9

x everything-at-onceness
31

The Aavancea Stuaents Book of Bilingual Literary Translation

167
















Text 23:
It`s normal to Ieel anger, Gordon says. He`s my therapist
1
.
He says that everyone has a baa chila
2
inside them. What
happened, the day aIter the WelIare OIIicer`s
3
visit, was that I let
the baa chila out to play at an inappropriate
4
time. Instead oI
turning all the baa chilas anger against myselI, as I should have
done, and as most women in my situation do, because that way
they get to be part oI the fabric of society
5
, some Ireakish
6
wave
oI baa chilaness had spilled over
7
, and caused me to bite the very
hand that Ied me. He drew a sort oI diagram Ior me on the
blackboard, illustrating this. It looked like a spaceship with lots
oI ancillary
8
modules
9
.
It`s normal, too, to Ieel this level oI shame aIterwards,
Gordon says.
I was still Ieeling Ieverish, but I knew that I had to make it
over
10
to the Friendship Centre
11
. Just to get back to normal. Just
to clear my name
12
, Ior Christ`s sake, and get myselI oII
13
that
blacklist
14
.
I`d always been a model customer, I reckoned
15
.
I remembered that phrase Irom that letter they`d sent me
when I joined the Friendship Scheme: To one of our most
valuea
16
clients.
x feast (ones eyes) upon (to)
22

x fulfil (to)
35

x hollow
5

x ignite (to)
13

x inevitability
18

x litter
30

x lushness
21

x manhooa
17

x master (to)
32

x obscene
25

x opulence
23

x pickaxe
11


x quarry
1

x rage
10

x reservoir
2

x rim
8

x salute
16

x sari
12

x scrap
19

x shoulaer arms (to)
15

x turbulent
26

x vernal
20

x water-hole
4


P. Clonea A. Mrsescu C. Nicolae



168
They owed
17
me that second chance.
(Liz Jensen, The Frienaship Centre, 1999)

Words and phrases for study













Text 24:
I was a city kid. Until I married, the only night I spent away
Irom my own city was to visit relatives in an even bigger city. I
liked being a city kid and I like being a city grown-up. So why
have I willingly
1
spent vacations as Iar Irom civilization as my
husband and I could transport six kids? Quite simply, our Iamily`s
hooked on
2
camping.
Why camping, when we can have all the comIorts oI home
and oIten more on vacation? Oddly
3
enough, because we do
have all the amenities
4
at home along with lots oI distractions
5
.
A dose
6
oI isolation is curative
7
. Camping oIIers time to be alone,
or to talk one-on-one with a parent, both scarce
8
in Iamilies today.
Camping bestows
9
other intangibles
10
that last longer than a
souvenir mug
11
or an improved backhand
12
. The best is a Iamily
solidarity developed through pulling together to overcome the
elements or, as is more oIten the case, our own mistakes. And iI
I`ve learnt one thing in all my years in the rough
13
it`s that kids
x ancillary
8

x baa chila
2

x blacklist
14

x clear (ones name) (to)
12

x fabric (of society)
5

x freak(ish)
6

x Frienaship Centre
11

x get oneself off (the
blacklist) (to)
13


x inappropriate
4

x make it over (to)
10

x moaule
9

x owe (to)
17

x reckon (to)
15

x spill over (to)
7

x therapist
1

x valuea
16

x Welfare Officer
3


The Aavancea Stuaents Book of Bilingual Literary Translation

169


remember the spectacular boners
14
with more Iondness that they
do most nature lessons.
We know the ropes
15
now, but all oI us learned the hard
way. On our Iirst outing
16
, Ior instance, when we were based
17
in
England, we had just Iinished setting up the tent on the shore oI a
lovely Scottish loch
18
. An extremely polite Englishwoman
apologized proIusely
19
Ior intruding, but she thought we`d want to
know that our campsite would be under water about midnight,
when the tide came in. Lochs have tides? Thanks ever so, we told
her, as each child began prying out
20
a Ireshly hammered
21
tent
peg
22
. But later on high ground, our lantern
23
shone on six pairs oI
rapt
24
eyes peering
25
out oI sleeping bags as my husband began
reading aloud the Iirst chapter oI Black Beauty. I lay there
wondering why it had taken us so long to Iind paradise.
(Kathleen Kunz, Into the Wooas in 'Good Housekeeping,
June 1991)

Words and phrases for study














x amenity
4

x backhana
12

x be basea (to)
17

x bestow (to)
9

x boner
14

x curative
7

x aistraction
5

x aose
6

x hammer (to)
21

x be hookea on (to)
2

x intangible
10

x know the ropes (to)
15

x lantern
23


x loch
18

x mug
11

x oaa
3

x outing
16

x peer (to)
25

x peg
22

x profuse
19

x pry out (to)
20

x rapt
24

x (in the) rough
13

x scarce
8

x willingly
1


P. Clonea A. Mrsescu C. Nicolae



170
Text 25:
During one classic spring camping trip, we missed the
weather report in the Blue Ridge and Iound our campsite
1
patchy
2

with snow. Undaunted
3
, the boys held a snowball Iight and the
girls built a Ioot-high
4
snowman beIore the snow melted. Having
also neglected to read the national park brochure
5
regarding
animals and edibles
6
, my husband, Don, had the kids bring all the
Iood inside while I heated up some stew
7
. Suddenly, Don ordered
everyone to the car immediately! As we Iiled
8
outside, we saw
two bears just a Iew Ieet away, trying to decide between the
garbage can`s
9
menu and 'today`s special, the aroma oI which
waIted
10
throughout our campsite.
Our kids have brought home many tales. Some make us
blush with pride and some just make us blush (selI-esteem
11
and
humility being two more intangibles we get Irom camping).
We`ve scaled
12
mountains, crossed streams via
13
Iallen logs
14
,
explored abandoned miner`s cabins
15
, and cleaned litter oII miles
oI hiking
16
trails
17
together. We`ve watched bears catch Iish,
bald eagles
18
build nests, and marmots
19
at play. We`ve
daydreamed
20
alone. Some oI us have also Iallen into the hand-
dug latrine
21
, listened to something in the night rip open
22
a
backpack
23
Ior the granola
24
we shouldn`t have leIt there, and
thrown Mom`s only pair oI sneakers
25
almost across the
Arkansas
26
River.
Still, ask my kids what was the best time they`ve had and
they will tell you: not a Christmas morning or even our European
tour, but the day they lay in a Colorado meadow and looked Irom
leIt to right as, simultaneously, the sun shone on the rocks, the
rain tapped
27
on their tent, and the snow and Mom Iell into a
mountain stream.
(Kathleen Kunz, Into the Wooas in 'Good Housekeeping,
June 1991)

The Aavancea Stuaents Book of Bilingual Literary Translation

171


Words and phrases for study

















Text 26:
Time was when summer was the season oI lazing
1
in a
hammock
2
, endless days oI baseball, berrypicking
3
, and lemonade.
Maybe Mom and the kids would head Ior the mountains or the
beach, and Dad would join them Ior a long weekend when he
could get away.
No more. With halI oI American women working outside
the home, and the rest prone
4
to overextend
5
, the classic lament
6

'What should we do with the kids this summer? has taken on
an ominous
7
urgency
8
. Indeed, would-be supermoms need the
strategic skills oI Napoleon to plot
9
the complex mix oI sitters
10

and summer camps that make up the typical June-to-September
survival plan
11
. But where, in all this admirable organization oI
troops, are the simple, unstructured joys that made childhood
summers oI the past such rewarding seasons oI discovery and
delight?
'AIter a hectic
12
year oI school, kids need time to recharge
their batteries, comments Maria Mancusi, Ph.D., a clinical
x Arkansas
26

x backpack
23

x bala eagle
18

x brochure
5

x cabin
15

x campsite
1

x aayaream (to)
20

x eaibles
6

x file (to)
8

x foot-high
4

x garbage can
9

x granola
24

x hike (to)
16

x latrine
21

x log
14

x marmot
19

x patchy
2

x rip open (to)
22

x scale (to)
12

x self-esteem
11

x sneakers
25

x stew
7

x tap (to)
27

x trail
17

x unaauntea
3

x via
13

x waft (to)
10


P. Clonea A. Mrsescu C. Nicolae



172
psychologist
13
in Alexandria, Virginia, who specializes in
14
the
treatment oI children and adolescents. 'They need the Ireedom to
explore an ant hill
15
on the patio
16
, or play hide-and-seek, or just
lie on the Iloor and daydream, she adds. They`re not the only
ones who could use some psychic R&R
17
. Overstressed parents
beneIit as well. 'True quality Iamily time results Irom being
relaxed enough to enjoy your activities together, says Dr.
Mancusi.
So what`s a busy parent to do? Well, you don`t have to
quit
18
your job, Iire the babysitter, and cancel Maggie`s karate
19

camp
20
. But it may be time to rethink your priorities.
(Barbara Hustedt Crook, Recapturing Summer Splenaors in
'Good Housekeeping, June 1991)

Words and phrases for study














Text 27:
Exploring new surroundings oIten helps Iamilies relate in
rich new ways, but even iI escape isn`t an option, summer still
provides a wonderIul opportunity to break Iree oI exhausting
routines. II your evening hours are normally Iilled with a mad
dash
1
to serve dinner and get on to the evening`s chores
2
, summer
x ant hill
15

x berrypicking
3

x camp
20

x hammock
2

x hectic
12

x June-to September
survival plan
11

x karate
19

x lament
6

x la:e (to)
1

x ominous
7


x overextena
5

x patio
16

x plot (to)
9

x prone
4

x psychologist
13

x quit (to)
18

x R&R
17

x sitter
10

x speciali:e in (to)
14

x urgency
8


The Aavancea Stuaents Book of Bilingual Literary Translation

173


oIIers a happy respite
3
. Forget the kitchen and eat out. Or let the
kids create a special salad. Or call out Ior pizza beIore going
bicycling, planting a garden, counting IireIlies
4
.
One woman I know always hated board games
5
until she
inaugurated a 'game night on Thursdays. 'When Jess suggested
Monopoly, I thought, Oh, please, anything but that.` But you
know, it wasn`t at all boring and cut-and-dried
6
the way I
remembered it. When you play the right way and we did,
because Ior the Iirst time I actually sat down and read the rules
Monopoly is an incredible Ireewheeling
7
, thrills-and-chills
8
, take-
the-money-and-run
9
experience. Jess loved it too. She even told
me she was starting to understand some oI the Irustrations oI
being an adult. And it was great Ior her math
10
, my Iriend notes
with obvious satisIaction.
The lesson oI mutual
11
enjoyment, explains Dr. Mancusi,
can be applied to a wide range oI summer activities. 'Summer is
the perIect time to let children Iocus on interests they can`t play
out
12
during the school year, but you must also ask yourselI,
What`s exciting here to me?` Only then can you convey
13
real
excitement to your child, she observes. Even though you can`t
muster
14
enthusiasm Ior your 11-year-old`s Iavorite 'Sweet Valley
High series, that`s not to say you won`t enjoy an expedition to a
bookstore where you can both stock up on
15
poolside reading
16
.
Nor need you restrict yourselI to Iollowing your children`s
lead
17
. II you`ve been longing to study French, build a birdhouse,
sign up Ior
18
an art class yourselI, why not include an older child?
(I took a night course with my mother the summer I was 12; it`s
hard to say which has been the bigger bonus, touch typing
19
or the
camaraderie
20
that developed as we cheered each other on to 40
wpm
21
.) II you work in an oIIice, Ior that matter, why not give the
kids a taste oI the workplace by having them meet you there Ior
lunch? Remember, too, that not every moment has to be
earmarked
22
Ior Iamily bonding. Kids need the Ireedom oI
spending some time without an adult hovering
23
. You don`t have
to orchestrate
24
nonstop events; a quiet conversation during a
P. Clonea A. Mrsescu C. Nicolae



174
lengthy
25
car trip can be a summer highlight
26
iI you`re relaxed
enough to seize the moment
27
.
(Barbara Hustedt Crook, Recapturing Summer Splenaors in
'Good Housekeeping, June 1991)

Words and phrases for study

















Text 28:
Certainly it helps to pencil in
1
some extra
2
downtime
3
, but
Iailing that, you may just have to resolve to savor the hours that
are available. II that`s hard on you, start by thinking oI it as
'something you owe your children, advises Dr. Mancusi. 'You
don`t want them to grow up believing adult liIe is all push and no
play
4
, all stress and no growth
5
.
Once you Iocus on your own needs, in Iact, everything else
may Iall into place
6
. A Iriend who is a graphic designer was
suIIering Irom both proIessional and parental burnout
7
. 'I was just
starting to make it in my career and had taken on more work than I
could handle. By the time I got home to Christopher, who was
x boara game
5

x camaraaerie
20

x chore
2

x convey (to)
13

x cut-ana-ary (to)
6

x aash
1

x earmark (to)
22

x firefly
4

x freewheeling
7

x highlight
26

x leaa (n.)
17

x lengthy
25

x hover (to)
23

x muster (to)
14


x math
10

x mutual
11

x orchestrate (to)
24

x play out (to)
12

x poolsiae reaaing
16

x respite
3

x sei:e the moment (to)
27

x sign up for (to)
18

x stock up on (to)
15

x take-the-money-ana-run
9

x thrills-ana-chills
8

x touch typing
19

x wpm.
21


The Aavancea Stuaents Book of Bilingual Literary Translation

175


then Iive, I`d be absolutely wiped out
8
. But a part oI me was
always missing him and conscious that I was missing out on those
years. Taking a trip away was not in the cards
9
just then, and since
he wanted to learn to swim, I decided to take two weeks oII during
a period when lessons were being given at a nearby beach. It was
great because it got us out oI the house early, beIore the
possibility oI TV or the computer crept in. He swam every
morning Ior three 45-minute sessions with a tiny break in
between, during which my only duty was to put sunscreen
10
on
him. I wouldn`t have believed I could sit in one place Ior so long
without a plan or a list, my Iriend says with some amazement,
'but I never Ielt so happy and relaxed. Later my husband joined us
at the beach, and he made a pastel
11
oI the sand and the people and
the sparkles
12
on the water. The picture really represented that
summer, which I think oI as the one when I took a vacation
without ever packing a bag, she says with a smile. A Iew special
memories can Iill a lot oI gaps.
That`s not true just Ior the kids. I still cherish
13
a mental
Ireeze-Irame
14
oI my daughter telling me silly
15
riddles
16
under the
kind oI preternaturally
17
bright September sky that makes every
leaI and stalk
18
oI goldenrod
19
stand out in bold
20
relieI
21
. It was
the last day oI summer vacation, and as I lay back in the grass, the
sound oI Kate`s laughter in my ears, I was achingly
22
aware that in
the morning the world would start spinning again and that she
would resume
23
the long, inescapable process oI growing up and
away. For that moment, though, we were here, in the park, sharing
a joke and a picnic lunch. And even when many more summers
were over, and my laughing seven-year-old girl was grown, I
would always have that aIternoon.
(Barbara Hustedt Crook, Recapturing Summer Splenaors in
'Good Housekeeping, June 1991)

P. Clonea A. Mrsescu C. Nicolae



176
Words and phrases for study















Text 29:
PTSD (post-traumatic stress disorder
1
) is at least as old as
war, but it didn`t become an oIIicial medical diagnosis until
1980. Its causes are still murky
2
and its course
3
is unpredictable,
but the key symptoms are unmistakable
4
. A month or more aIter
the original trauma
5
, people with PTSD remain hyperalert
6
and
easily startled
7
. They suIIer recurring
8
nightmares and an inability
to recall the experience without physically reliving it. Any
passing reminder
9
a sound, a smell, a song can trigger
10

intense distress
11
. Dr. Arthur Rousseau, a psychiatrist
12
in
Oklahoma City, recalls the case oI an armored-car guard
13
who
was standing in an elevator when gunmen
14
sprayed
15
it with
bullets, hitting him three times and killing the two people
Ilanking
16
him. The bullet wounds healed, but the guard
developed an uncontrollable Iear oI elevators. He knew they
weren`t dangerous, yet he couldn`t ride one without panicking
17
.
These reactions are normal in the aItermath
18
oI a disaster,
but when they persist, they can cause a cascade
19
oI other
problems. To escape a terriIying memory, people with PTSD
x aching
22

x all push ana no play
4

x all stress ana no growth
5

x bola
20

x burnout
7

x caras (to be in the)
9

x cherish (to)
13

x aowntime
3

x extra
2

x fall into place (to)
6

x free:e frame
14

x golaenroa
19


x pastel
11

x pencil in (to)
1

x preternatural
17

x relief
21

x resume (to)
23

x riaale
16

x silly
15

x sunscreen
10

x sparkle
12

x stalk
18

x wipe out (to)
8


The Aavancea Stuaents Book of Bilingual Literary Translation

177


typically avoid activities that trigger it, and that response
20
can
turn them into prisoners. One oI Rousseau`s patients a rescue
worker
21
who pulled a dead baby Irom the wreckage
22
oI the
1995 Oklahoma City bombing withdrew Irom his Iamily during
the months aIterward. He was contemplating
23
divorce when
Rousseau met him. During therapy it emerged that the sight oI his
young daughter triggered memories oI the corpse. By recognizing
the pattern he had Iallen into
24
, the man was able to work
consciously on breaking it
25
.
(GeoIIrey Cowley, After the Trauma, in 'Newsweek,
October, 1, 2001)

Words and phrases for study
















Text 30:
Much oI post-communist Europe appears to be suIIering
Irom an acute case oI selective amnesia
1
. Preoccupied with new
problems and new traumas, many people remember only the
alleged
2
'stability oI the old system, the guarantees
3
oI Iull
employment
4
and social-welIare beneIits
5
, no matter how
meager
6
. The wholesale
7
shortages
8
oI Iood and consumer goods
9

x aftermath
18

x armorea-car guara
13

x cascaae
19

x contemplate (to)
23

x course
3

x aistress
11

x flank (to)
16

x gunman
14

x hyperalert
6

x murky
2

x panick (to)
17

x pattern (to fall into a
~, to break a ~)
24/25


x post-traumatic stress aisoraer
1

x psychiatrist
12

x recur (to)
8

x reminaer
9

x rescue worker
21

x response
20

x spray (to)
15

x startle (to)
7

x trauma
5

x trigger (to)
10

x unmistakable
4

x wreckage
22


P. Clonea A. Mrsescu C. Nicolae



178
are conveniently
10
Iorgotten. So is the atmosphere oI political
oppression, the paralyzing Iear that the mere
11
glance oI a secret
or ordinary policeman could trigger. But Herta Mller
remembers, and her novel 'The Appointment (214 pages.
Metropolitan Books.) deItly
12
recaptures
13
the gloomy,
claustrophobic
14
Ieel oI Nicolae Ceausescu`s Romania oI the
1980s, the daily humiliations, tribulations
15
and desperate
struggles Ior some semblance
16
oI a normal liIe. It`s a slim
17
,
masterIully
18
written tale.
A Iormer teacher who now lives in Berlin, Mller knows
her subject: she had her own run-ins
19
with the secret police
beIore managing to emigrate Irom Romania in 1987. Her
protagonist and narrator, a nameless young woman who has been
Iired Irom her job at a clothing Iactory, is summoned Ior an
interrogation
20
. She makes her way to her dreaded
21
rendezvous
22

by tram, and her entire story unIolds
23
during that one, long ride.
She anticipates the revolting kiss on the hand by Major Albu, her
interrogator, who 'liIts my hand by the Iingertips, squeezing
24

my nails
25
so hard I could scream. And she recalls how she Ielt
during her Iirst interrogation 'the way the rooI oI your mouth
26

rises up and glues itselI onto
27
your brain. That`s how it Ieels the
second time as well, and every time aIter that...
(Andrew Nagorski, Nightmare or Reality? in 'Newsweek,
October, 1, 2001)

Words and phrases for study
x allegea
2

x amnesia
1

x claustrophobic
14

x consumer gooas
9

x convenient
10

x full employment
4

x aeft
12

x areaa (to)
21

x guarantee
3

x glue onto (to)
27

x interrogation
20

x masterful
18

x meager (meagre)
6

x mere
11


The Aavancea Stuaents Book of Bilingual Literary Translation

179











Text 31:
LADY WINDERMERE: To stay in this house any longer is
impossible. Tonight a man who loves me oIIered me his whole
liIe. I reIused it. It was Ioolish oI me. I will oIIer him mine now. I
will give him mine. I will go to him! (Puts on cloak
1
ana goes to
the aoor, then turns back. Sits aown at table ana writes a letter,
puts it into an envelope, ana leaves it on table.) Arthur has never
understood me. When he reads this, he will. He may do as he
chooses now with his liIe. I have done with mine as I think best,
as I think right. It is he who has broken the bond
2
oI marriage
not I! I only break its bondage
3
.
(Exit.
4
)
(PARKER enters L. ana crosses towaras the ball-room
5
R.
Enter MRS ERLYNNE.)
MRS ERLYNNE: Is Lady Windermere in the ball-room?
PARKER: Her ladyship
6
has just gone out.
MRS ERLYNNE: Gone out? She`s not on the terrace
7
?
PARKER: No, madam. Her ladyship has just gone out oI the
house.
MRS ERLYNNE (starts, ana looks at the servant with a pu::lea
8

expression on her face): Out oI the house?
PARKER: Yes, madam her ladyship told me she had leIt a
letter Ior his lordship
9
on the table.
MRS ERLYNNE: A letter Ior Lord Windermere?
PARKER: Yes, madam!
MRS ERLYNNE: Thank you.
x nail
25

x recapture (to)
13

x renae:vous
22

x the roof of ones
mouth
26

x run-in
19

x semblance
16

x shortage
8


x slim
17

x social-welfare benefit
5

x squee:e (to)
24

x tribulation
15

x unfola (to)
23

x wholesale
7


P. Clonea A. Mrsescu C. Nicolae



180
(Exit PARKER. The music in the ball-room stops.) Gone out oI
her house! A letter addressed to her husband! (Goes over to
bureau
10
ana looks at letter. Takes it up ana lays it aown
again with a shuaaer
11
of fear.) No, no! It would be
impossible! LiIe doesn`t repeat its tragedies like that! Oh, why
does this horrible Iancy
12
come across
13
me? Why do I
remember now the one moment oI my liIe I most wish to
Iorget? Does liIe repeat its tragedies? (Tears letter open
14
ana
reaas it, then sinks aown into a chair with a gesture of
anguish.
15
) Oh, how terrible! The same words that twenty
years ago I wrote to her Iather! and how bitterly I have been
punished Ior it! No; my punishment, my real punishment is
tonight, is now! (Still seatea R.)
(Enter LORD WINDERMERE L.U.E.)
LORD WINDERMERE: Have you said good night to my wiIe?
(Comes C.)
MRS ERLYNNE (crushing
16
letter in hana): Yes.
LORD WINDERMERE: Where is she?
MRS ERLYNNE: She is very tired. She has gone to bed. She
said she had a headache.
LORD WINDERMERE: I must go to her. You`ll excuse me?
MRS ERLYNNE (rising hurriealy): Oh, no! It`s nothing serious.
She`s only very tired, that is all. Besides, there are people still in
the supper-room
17
. She wants you to make her apologies to them.
She said she didn`t wish to be disturbed. (Drops letter.) She
asked me to tell you!
LORD WINDERMERE (picks up letter): You have dropped
something.
MRS ERLYNNE: Oh, yes, thank you, that is mine. (Puts out her
hana to take it.)
LORD WINDERMERE (still looking at letter): But it`s my
wiIe`s handwriting, isn`t it?
MRS ERLYNNE (takes the letter quickly): Yes, it`s an address.
Will you ask them to call my carriage, please?
The Aavancea Stuaents Book of Bilingual Literary Translation

181


LORD WINDERMERE: Certainly.
(Oscar Wilde, Laay Winaermeres Fan, 1892)

Words and phrases for study












Text 32:
AUNT (unimpressea - superciliously
1
): You seem to be going in
Ior
2
sincerity today. It isn`t becoming to
3
you, really except as
an obvious pose
4
. Be as artiIicial as you are, I advise. There`s a
sort oI sincerity in that, you know. And, aIter all, you must
conIess you like that better.
MILDRED: (again affectea ana borea): Yes, I suppose I do.
Pardon me Ior my outburst
5
. When a leopard complains oI its
spots, it must sound rather grotesque
6
. (In a mocking tone) Purr
7
,
little leopard. Purr, scratch
8
, tear, kill, gorge yourselI
9
and be
happy only stay in the jungle where your spots are
camouIlage
10
. In a cage they make you conspicuous
11
.
AUNT: I don`t know what you are talking about.
MILDRED: It would be rude to talk about anything to you. Let`s
just talk. (She looks at her wristwatch
12
) Well, thank goodness,
it`s about time Ior them to come Ior me. That ought to give me a
new thrill
13
, Aunt.
AUNT (affectealy troublea): You don`t mean to say you are
really going? The dirt the heat must be IrightIul -
x anguish
15

x ball-room
5

x bona
2

x bonaage
3

x bureau
10

x cloak
1

x come across (to)
13

x crush (to)
16

x exit
4


x fancy
12

x laayship
6

x loraship
9

x pu::lea
8

x shuaaer
11

x supper-room
17

x tear open (to)
14

x terrace
7


P. Clonea A. Mrsescu C. Nicolae



182
MILDRED: GrandIather started as a puddler
14
. I should have
inherited an immunity to heat that would make a salamander
15

shiver
16
. It will be Iun to put it to the test.
AUNT: But don`t you have to have the captain`s or someone`s
permission to visit the stokehole
17
?
MILDRED (with a triumphant smile): I have it both his and the
chieI engineer`s
18
. Oh, they didn`t want to at Iirst, in spite oI my
social service credentials
19
. They didn`t seem a bit anxious that I
should investigate how the other halI lives and works on a ship.
So I had to tell them that my Iather, the president oI Nazareth
Steel, chairman
20
oI the board oI directors oI this line, had told
me it would be all right.
AUNT: He didn`t.
MILDRED: How nave age makes one! But I said he did, Aunt. I
even said he had given me a letter to them which I had lost.
And they were aIraid to take the chance that I might be lying.
(Excitealy
21
). So it`s ho
22
! For the stokehole. The second engineer
is to escort me. (Looking at her watch again) It`s time. And here
he comes, I think.
(E. O`Neill, The Hairy Ape, 1922)

Words and phrases for study













x become to sb. (to)
3

x camouflage
10

x chairman
20

x chief engineer
18

x conspicuous
11

x creaentials
19

x excitea
21

x go in for (to)
2

x gorge oneself (to)
9

x grotesque
6

x its ho
22


x outburst
5

x pose
4

x puaaler
14

x purr (to)
7

x salamanaer
15

x scratch (to)
8

x shiver (to)
16

x stokehole
17

x supercilious
1

x thrill
13

x wristwatch
12


The Aavancea Stuaents Book of Bilingual Literary Translation

183


Text 33:
SECOND ENGINEER : A Iine day we`re having.
MILDRED: Is it?
SECOND ENGINEER: A nice warm breeze -
MILDRED: It Ieels cold to me.
SECOND ENGINEER: But it`s hot enough in the sun
MILDRED: Not hot enough Ior me. I don`t like nature. I was
never athletic
1
.
SECOND ENGINEER (forcing a smile): Well, you`ll Iind it hot
enough where you are going.
MILDRED: Do you mean hell?
SECOND ENGINEER (flabbergastea
2
, aeciaes to laugh): Ho-
ho! No, I mean the stokehole.
MILDRED: My grandIather was a puddler. He played with
boiling steel
3
.
SECOND ENGINEER (all at sea
4
- uneasily
5
): Is that so? Hum
6
,
you`ll excuse me, ma`am, but are you intending to wear that
dress?
MILDRED: Why not?
SECOND ENGINEER: You`ll likely rub against
7
oil and dirt. It
can`t be helped.
MILDRED: It doesn`t matter. I have lots oI white dresses.
SECOND ENGINEER: I have an old coat you might throw over -
MILDRED: I have IiIty dresses like this. I will throw this one
into the sea when I come back. That ought to wash it clean, don`t
you think?
SECOND ENGINEER (aoggealy
8
): There`s ladders
9
to climb
down that are none too clean
10
and dark alleyways
11
-
MILDRED: I will wear this very dress and none other.
SECOND ENGINEER: No oIIense meant. It`s none oI my
business. I was only warning
12
you -
MILDRED: Warning? That sounds thrilling
13
.
(E. O`Neill, The Hairy Ape, 1922)

Words and phrases for study

x all at sea
4

x alleyway
11

x athletic
1

x aoggea
8

x flabbergastea
2

x hum
6

x none too clean
10

x rub against (to)
7

x steel
3

x thrilling
13

x uneasy
5

x to warn
12

P. Clonea A. Mrsescu C. Nicolae



184









Text 34:

WAKING LATE

I am usea to the smell by now,
the stiffness
1
, suaaen shifts
2

in waist
3
measurement,
the baa skin
4
. But my hair
is lustrous
5
, the cheekbones
6

well-aefinea, ana my nails,
it seems, still growing.
(Robin Robertson in New Writing 9, 2000)

Words and phrases for study






x baa skin
4

x cheekbone
6

x lustrous
5


x shift
2

x stiffness
1

x waist
3


The Aavancea Stuaents Book of Bilingual Literary Translation

185


Text 35:

ORLANDO`S PARROT

Orlanaos lighter-than-air saa parrot
1

Loiters
2
out of breath, its heaa scarce hela
Above the carpet, its ga:e still heavenwara
3
.
The goas come aown to this when their bright thrust
4

To weightlessness subsiaes
5
ana our attention
Is restorea to our aspiring
6
selves.
Yet, looking at its painea
7
aeflation
8
, what
May human apprehension
9
bring to mina
But pity at the subaivision of
Existence into rules ana miracles,
The one subauing
10
goaheaa
11
to the floor,
The other arifting high aefiantly
12
.
Return O Helium
13
Goa, aefy all leaks
14
,
Float the impossible beyona Natures reach
15
.
(Peter Porter in New Writing 9, 2000)

Words and phrases for study















x apprehension
9

x aspire (to)
6

x beyona Natures reach
15

x aefiant
12

x aeflation
8

x goaheaa
11

x heavenwara
3

x helium
13


x leak
14

x loiter (to)
2

x painea
7

x parrot
1

x subaue (to)
10

x subsiae (to)
5

x thrust
4


P. Clonea A. Mrsescu C. Nicolae



186
Text 36:
A SICILIAN DEFENCE

It is another story altogether
by lanternlight
1
, beneath two birches
2

ana the souna of a shallow
3
river
where two men are playing chess
for as long as either will remember,
opening Kings pawn
4
on e4 .
Its not a question of either/or

One might be my father, or me at sixty.
The other might as well be me
thinking. his rights my left, my left
his right. I see it now in a aifferent light.
I know it now by another name.

Is it any wonaer then this game
runs on through
5
this ana every night
forever, lit by lanternlight, two birches
ana the souna of a river?
(Michael Donaghy in New Writing 9, 2000)

Words and phrases for study



x birch
2

x Kings pawn
4

x lanternlight
1

x run on through (to)
5

x shallow
3

7KH$GYDQFHG6WXGHQWV%RRNRI%LOLQJXDO/LWHUDU\7UDQVODWLRQ

187
PART FOUR
5RPDQLDQ(QJOLVK75$16/$7,21:25.

Text 1:
n vremea veche, pe cnd oamenii, cum sunt ei azi, nu erau
dect n germenii viitorului
1
, pe cnd Dumnezeu clca nc cu
picioarele sale sIinte pietroasele
2
pustii ale pmntului, - n
vremea veche tria un mprat ntunecat
3
si gnditor
4
ca miaz-
noaptea
5
si avea o mprteas tnr si zmbitoare ca miezul
6

luminos al zilei.
Cincizeci de ani de cnd mpratul purta rzboi
7
cu-n vecin
al lui. Murise vecinul si lsase de mostenire
8
Iiilor si nepoilor ura
si vrajba de snge
9
. Cincizeci de ani, si numai mpratul tria
singur, ca un leu mbtrnit
10
, slbit de lupte si suIerine -
mprat, ce-n viaa lui nu rsese niciodat, care nu zmbea nici la
cntecul nevinovat al copilului, nici la sursul plin de amor al
soiei lui tinere, nici la povestile btrne si glumee ale ostasilor
nlbii n btlie si nevoi. Se simea slab, se simea murind si
n-avea cui s lese mostenirea urei lui. Trist se scula din patul
mprtesc, de lng mprteasa tnr - pat aurit
11
, ns pustiu
si nebinecuvntat, - trist mergea la rzboi cu inima
nemblnzit
12
, - si mprteasa sa, rmas singur, plngea cu
lacrimi de vduvie
13
singurtatea ei. Prul ei cel galben ca aurul
cel mai Irumos cdea pe snii
14
ei albi si rotunzi, - si din ochii ei
albastri si mari curgeau
15
siroaie
16
de mrgritare
17
apoase
18
pe o
Ia mai alb ca argintul crinului
19
. Lungi cearcne
20
vinete
21
se
trgeau
22
mprejurul ochilor, si vine
23
albastre se trgeau pe Iaa
ei alb ca o marmur vie
24
.
(M. Eminescu, Ft-Frumos ain lacrim, 1870)

Words and phrases for study
x apos
18

aurit
11
cearcn
20
crin
19
x curge (a) (a. lacrimi)
15

x ganaitor
4


germenii viitorului
1
imbtrani (a)
10

intunecat
3
lsa motenire (a)
8
mrgritar
17
marmur vie
24
P. Clonea A. Mrsescu C. Nicolae


188







Text 2:
Vduvita sa mum l crescu pe el cum putu din lucrul
minilor ei mini delicate de doamn Iaa ei palid ca ceara
1
,
ochii ei de-o ntunecat blnde
2
aveau numai pentru el grij si
nelegere pentru el si pentru portret. De copil nc el admira
ochii cei Irumosi ai portretului ce luceau
3
ca vii n orbitele
4
lor.
Ce Irumos a Iost papa! zicea el surznd si mum-sa, auzindu-l,
si stergea ntr-ascuns
5
lacrimele
6
ei.
- Ochii? nu-i asa Dionis ochii!
- Da, mam!
- Acesti ochi!. O dac i-ai Ii vzut tu acesti ochi vrodat
n viaa ta i s-ar Ii prut c-i revezi n Iiecare vnt stea a
dimineei, n Iiecare und
7
albastr, prin Iiecare gean de nori
8
.
Ct era de Irumos acest copil si ce tnr a murit! Frumosi au
nmrmurit
9
ochii lui n negurile gndirii
10
mele, precum ar
rmnea prin nouri, pe bolta
11
ntunecoas, dou, numai dou
stele vinete. S-apoi l lua n braele ei, l dezmierda
12
, l sruta.
AIar de ochii negri, care erau ai ei, era el ntreg
13
, el, copilul din
portret. Ea l crescu ru
14
dar cum se putea altIel - l iubea asa
de mult! Singura ei bucurie ntr-o via Ir speran, Ir viitor,
Ir mulumire, ea nu mai avea dureri, nici bucurii dect acele ale
copilului ei. SuIletul ei ntreg era o reIlectare
15
umbroas
16
si
trist a suIletului su de copil. Ce gndea copilul cu mintea lui
naiv, o vorb, un vis, o preocupa zile ntregi zile ntregi putea
medita asupra unui cuvnt iesit din nebunatica
17
sa gur. Dar,
consumat
18
de lipse, ea se stinse ntr-o zi. In delirul
19
ei, ea trase
mna copilului s-o ascunse n sn, lng inim, s-o nclzeasc
un simbol al vieii ei ntregi!
(M. Eminescu, Srmanul Dionis, 1873)

mia:-noapte
5
x mie:ul :ilei
6

neimblan:it
12
pietros
2
purta r:boi (a)
7
san
14

iroi
16
trage (a se)
22
vauvie
13
vant
21
ven
23
vrafb ae sange
9
The Aavancea Stuaents Book of Bilingual Literary Translation

189
Words and phrases for study












Text 3:
Ca ndeobste
1
oamenii, printele TrandaIir niciodat nu si-a
dat seam despre cele ce Icea. Era preot si era bucuros. i plcea
s cnte, s citeasc evanghelia
2
, s nvee crestinii, s mngie
3
,
si s dea ajutor suIletesc
4
celor rtcii
5
. Mai departe nu se
gndea. De s-ar Ii ntrebat, cndva, dac cuprinde
6
el si nalta
sIinenie
7
, tainicul neles al chemrii
8
sale, ar Ii rs poate n
tcere de toate acele pe care omul numai n momentele grele le
pricepe. Este n Iirea omului c dup ce mintea pricepe un sir de
lucruri mai ascunse, ea pune aceeasi msur
9
pe lumea ntreag si
nu mai crede ceea ce nu poate nelege. Nu totdeauna ns omul
gndeste. Sunt ntmplri n Iaa crora mintea st locului
10
: n
primejdie, cnd suIletul nu mai aIl ajutor, n bucurie, cnd el nu
aIl izvorul din care i curge norocul
11
, si n nsirarea
12
gndirilor
sale, cnd el nu le mai aIl legtura. Atunci cnd omul n orice
chip a ajuns la locul unde putina ncepe s se ating cu
neputinele sale
13
, nceat a mai gndi, gndind n locul su Iirea
omeneasc.
Printele TrandaIir intr n biseric. De cte ori a intrat el n
ast biseric! Dar totdeauna precum intr Iurarul
14
n Iurrie
15
.
Acuma ns l prinse o Iric neneleas, merse civa pasi nainte,
se opri, si ascunse Iaa n amndou minile si ncepu s plng
greu
16
si cu suspin nbusit si Iioros
17
. De ce plngea el? naintea
cui plngea? Din gura lui numai trei cuvinte au iesit: Puternice
x blanaee
2

x bolt
11

x cear
1

x consumat
18

x crete ru (a)
14

x aelir
19

x ae:mieraa (a)
12

x era el intreg
13

x gean ae nori
8

x inmrmuri (a)
9


x intr-ascuns
5

x luci (a)
3

x nebunatic
17

x negurile ganairii
10

x orbit
4

x reflectare
15

x terge lacrimile (a)
6

x umbroas
16

x una
7


P. Clonea A. Mrsescu C. Nicolae


190
Doamne!
18
Ajut-m!.` Si oare credea el c acest gnd, cuprins
cu atta nIocare
19
n desperarea lui, i va putea da ajutor? El nu
credea nimic, nu gndea nimic: era purtat
20
.
(I. Slavici, Popa Tanaa, 1875)

Words and phrases for study














Text 4:
De Ielul meu
1
sunt de la ar. Pe tata nu l-am apucat
2
,
Iiindc a murit cnd nu mi se ntiprea nimic n minte
3
, cci altIel
nu l-as Ii uitat niciodat. Mama a trit pn mai acum cinci ani si
a murit cu durerea n suIlet
4
de-a m vedea rmnnd un om de
rnd
5
. Stiu eu bine. O cunosteam ca pe mine nsumi. Era o Iemeie
harnic si desteapt care voia s munceasc, s m nlesneasc s
nv. ns simeam c avea o nedumerire
6
mare n privina
carierei mele. Ar Ii dorit s nv dreptul
7
, ca s ajung sus
8
de tot,
Iiindc mi zicea c am cap
9
. Mam, nu e?. Pe de alt parte ns
avea un Iel de simpatie
10
ascuns pentru tot ce era istorisire
Iantastic, vers rsuntor
11
sau dram atingtoare
12
. Firea ei cea
adevrat o punea n rndul oamenilor alesi
13
. Stiu cum, ori de
cte ori venea la Bucuresti, intra prin toate librriile
14
si cumpra
tot ce se tiprea
15
n romneste. Atta limb stia srmana
16
. Pe Gr.
Alexandrescu, pe Bolintineanu, Costache Negruzzi si mai pe
urm pe Alecsandri i cunostea aproape pe de rost
17
. Eu, cnd
x afutor sufletesc
4

x chemare
8

x cuprinae (a)
6

x evanghelie
2

x furar
14

x furrie
15

x i:vorul ain care ii curge
norocul
11

x inaeobte
1

x infocare
19

x inirare
12


x msur
9

x mangaia (a)
3

x mintea st locului
10

x plange greu (a)
16

x purtat
20

x puternice Doamne'
18

x putina incepe s se
ating cu neputinele
13

x (cei) rtcii
5

x sfinenie
7

x suspin inbuit i fioros
17


The Aavancea Stuaents Book of Bilingual Literary Translation

191
mergeam vara acas si vream s-mi aduc aminte de cte ceva, m
duceam la dnsa rznd:
- Mam, ia deschide-i almanahul
18
si spune-mi cum ncepe
bunoar Iabula
19
Toporul
20
i paurea. Iar ea numaidect:
- Minuni n vremea noastr nu vd a se mai Iace, dar c
vorbeau odat lemne si dobitoace
21
, nu rmne-ndoial. etc.
AstIel c patima mea pentru citit cred c mi-a rmas de la
mama.
(Duiliu ZamIirescu, Spre mare, 1888)

Words and phrases for study














Text 5:
Noaptea cucerise
1
hanul
2
singuratic. Am vrut s cercetez
3

ograda
4
, dar mi-am nchipuit c zadarnic mi va Ii munca, de
vreme ce, de atta timp, nimenea nu mi-a rspuns, nici nu mi-a
iesit nainte
5
.
Eram Ilmnd si nsetat si tulburarea m adusese ntr-o
ciudat stare. Cutam s-mi lmuresc pricina pentru care hanul
era pustiu. M asezasem n odia mbrcat
6
din Iund
7
; m
gndeam n tcerea adnc; mi Iceam sute de nchipuiri
8
care de
care mai stranii
9
, m tulburasem de-a binelea si n-ajungeam la
nici un capt. Tcerea si pcla
10
ntunericului mreau jalea
11

cldirii mute
12
.
x afunge sus (a)
8

x ales (om)
13

x almanah
18

x apuca (a)
2

x avea cap (a)
9

x aobitoc
21

x aram atingtoare
12

x cu aurere in suflet
4

x fabul
19

x ae felul meu
1

x intipri in minte (a se)
3


x librrie
14

x neaumerire
6

x om ae rana
5

x pe ae rost
17

x srman
16

x simpatie
10

x stuaia areptul (a)
7

x tipri (a)
15

x topor
20

x vers rsuntor
11


P. Clonea A. Mrsescu C. Nicolae


192
Dup un rstimp, mi s-a prut c negura
13
nopii de toamn
se lumineaz puin. Aceeasi tainic lumin ca si ziua, ns Ioarte
slab, umplea singurtatea
14
si noaptea de-aIar, intra pe geam si
punea o pat slab
15
, ca o prere
16
, pe dusamelele
17
nnegrite
18
ale
odii.
Eram aat
19
si,- spun drept,- mi era Iric s m culc, cu
toate c eram zdrobit de oboseal
20
. mi pusesem pusca alturi,
stam pe pat n capul oaselor
21
, ascultam, si, n tcere, urechile mi
iuiau
22
(.).
ntr-un trziu, mi s-a prut c aud un horcit
23
greu care
venea de departe parc. L-am ascultat un rstimp cu zvcniri
24

tari de inim; apoi a contenit. Totusi, din cnd n cnd, slabe
rmsii
25
, ca niste oItri lungi, ajungeau pn la mine si m
nIiorau
26
.
(M. Sadoveanu, Hanul Boului, 1904)

Words and phrases for study

















Text 6:
Orice-ai spune, eu nu cred s Iie om pe lume care s nu-si
simt inima btnd grbit, cnd se aIl noaptea n singurtate si
x aaat
19

x care ae care mai
stranii
9

x cerceta (a)
3

x cuceri (a)
1

x auamele (u)
17

x face inchipuiri (a-i)
8

x (ain) funa
7

x infiora (a)
26

x han
2

x horci (a)
23

x iei inaintea cuiva (a)
5

x innegrit
18

x fale
11


x mut
12

x negur
13

x oaia imbrcat
6

x ograa
4

x pacl
10

x pune o pat slab (a)
15

x ca o prere
16

x singurtate
14

x slabe rmii
25

x sta in capul oaselor (a)
21

x iui urechile (a-i)
22

x :arobit ae oboseal
20

x :vacni (a)
24


The Aavancea Stuaents Book of Bilingual Literary Translation

193
mai cu sam ntr-o cldire pustie
1
. Vedei c impresii de treizeci
de ani m tulbur nc.
Lumina tainic da un colorit cumplit
2
odii; n marea de
negur luminoas de aIar, Iorme Iantastice treceau, Iiguri
sinistre, trupuri nalte si mldioase
3
, si toate ntr-o tcere si ntr-o
singurtate struitoare.
Deodat, dou lumini IosIorice
4
, ca dou stele gemene,
izvorr
5
ntr-un col, din ntuneric. ndat mintea a njghebat
6
n
jurul lor o Iigur care rnjea la mine. M-am ntors pe pat, mi-am
nIundat capu-n perne
7
; mi simeam inima zvcnind
8
si urechile
mi vjiau
9
.
N-o s v spun multe si n-o s cerc s v Iac s credei, mi
biei, c hanul era Iermecat
10
; nici s nu credei c cerc s v
nspimnt: e prea diminea si mintea ne e limpede, macar c am
but mai multe pahare dect trebuia
11
. Voi, acum, o s nelegei
usor c horcitul putea Ioarte bine s Iie sIoritul
12
unui om
adormit undeva; c lumina dulce a negurilor si plcul
13
de copaci
(.) njghebau Iiguri Iantastice; c cele dou stele de IosIor
puteau s Iie doi ochi de motan; - dar eu atunci, aat, pregtit de
ciudenia mprejurrilor, nu puteam s cred dect anumite
lucruri.
Dar lucrurile acestea n-au nici o nsemntate adic n-ar
avea nici o nsemntate, dac ar rmnea asa, Ir sIrsit; ele
triesc nc n mintea mea, dup atta vreme, numai din pricin
c s-au sIrsit ntr-un anumit chip. Si s nu v nchipuii, dragii
mei, nici o tragedie, nici un pumnal, nici o izbucnire de snge
14
;
povestirea mea nu se sIrseste tragic cum se sIrsesc de obicei
povestirile nuvelistilor
15
nostri.
(M. Sadoveanu, Hanul Boului, 1904)

Words and phrases for study






x bea mai mult aecat
trebuie (a)
11

x colorit cumplit
2

x fermecat
10

x i:bucnire ae sange
14

x i:vori (a)
5

x infunaa capul in
perne (a-i)
7

x infgheba (a)
6

x lumini fosforice
4

x mlaios
3

x nuvelist
15

P. Clonea A. Mrsescu C. Nicolae


194




Text 7:
Ion Marcu hoinrise, ntr-adevr, trei ani prin Ardeal si
prin ara Romneasc, dar nu silit de mprejurri
1
, ci de Iirea sa.
n patru ani de slujb si pusese ceva parale deoparte
2
si si putuse
ndeplini o veche dorin, care nu-i ddea pace
3
de pe cnd era
student n gimnaziu
4
. Dac ar Ii voit, ar Ii putut rmne
prim-contabil
5
, pn la moarte, la cea dinti banc unde servise;
si, dup ce-si dduse demisia, ar Ii putut ajunge ndat prim-
contabil la alte dou bnci din vecintate. Dar acum, dup trei
ani, cnd i se urse
6
de hoinrit
7
, nu de alta, ci pentru c nu mai
avea o lecaie
8
, mare-i Iu mirarea cnd vzu cu ce bnuieli e
primit n toate prile. Unele preri ale membrilor din consiliile
de administraie
9
ctre care si naintase cererile
10
de a Ii primit n
slujb se strecuraser pn la urechile lui
11
.
- Desigur, l-au dat pe us, altIel si-ar Ii aIlat pn acum
vrun post!
- A deIraudat
12
, cu siguran! Nu bagi de sam ce priviri
rtcite
13
are? Se vede de la o post
14
c nu i-i constiina
linistit
15
!
- Trei ani s-i prpdesti asa! Cine preuieste att de prost
timpul, cum va sti s preuiasc banul?
- l alegi, si, la o lun, te trezesti c-o mare lips n cas
16
!
Si petiiile
17
lui erau rezolvate negativ
18
.
De dou luni cutreiera
19
orasele prin care erau bnci cu
vreo slujb liber, - cci acum nu mai punea mare pre
20
pe
situaia de prim-contabil -, pn ce, n urm, l-a adus Dumnezeu
n orasul acesta mare si bogat.
(Ion Agrbiceanu, Morala public, 1914)

x palc
13

x pustiu
1

x sforit
12

x vafai (a)
9

x :vacni (a)
8


The Aavancea Stuaents Book of Bilingual Literary Translation

195
Words and phrases for study













Text 8:
'Vasile m nseal! si zicea Laura Sorobetea,
Irngndu-si minile
1
si silindu-se s-si opreasc lacrimile.
Nu plngea niciodat n Iaa lui. Mai bine s moar dect s
o simt el c e nenorocit
2
. l ura vzndu-l c nici nu se
sinchiseste
3
de Irmntrile
4
ei. Parc nu s-ar Ii ntmplat sau nu
s-ar ntmpla nimic, att se arta el de linistit. Nu putea nelege
cum poate Ii cineva asa de ipocrit
5
?
Uneori ns i prea ru chiar de iubirea ei din trecut. Dac
ar Ii bnuit ea c, sub nIisarea lui cinstit si dreapt
6
, se
ascunde o Iire
7
att de cinic
8
! ndrgise ntr-nsul tocmai
mndria brbteasc
9
ce nu se ploconea
10
nici n Iaa
11
Iemeii
iubite. L-a luat cu toate c era biat de ran, cam stngaci
12
, cam
neobisnuit cu sleIuirile lumesti
13
. Adevrat c nici ea n-a avut
zestre
14
, dar a Iost Iat de proIesor, cu educaie aleas, cu pian, cu
puin Iranuzeasc, n sIrsit domnisoar, care putea visa, si
chiar a visat, oIieri, doctori, avocai
15
, ingineri, iar nu un
contabil
16
la banca Mercur`, ca Sorobetea. Prietenele ei s-au si
mirat cnd s-a mritat cu dnsul . Pe urm toat lumea l-a iubit.
S-a vzut c e brbat bun, cumptat
17
, muncitor . Laura n-a avut
nici un motiv s Iie nemulumit. Vasile o iubea Ir multe
Iraze
18
, ce-i drept, dar din toat inima
19
. si lsase o
x avea contiina linitit (a)
15

x avea o lecaie (a nu mai)
8

x consiliu ae aaministraie
9

x cutreiera (a)
19

x aa pace (a nu-i)
3

x aefrauaa (a)
12

x hoinrit
7

x inainta o cerere (a)
10

x lips in cas
16

x petiie
17


x prim-contabil
5

x priviri rtcite
13

x pune mare pre (a)
20

x pune parale aeoparte (a)
2

x re:olva negativ (a)
18

x silit ae imprefurri
1

x se strecuraser pan la
urechile lui
11

x stuaent in gimna:iu
4

x uri (a i se)
6

x a se veaea ae la o pot
14


P. Clonea A. Mrsescu C. Nicolae


196
mustcioar
20
englezeasc cochet
21
, care-i plcea ei Ioarte mult.
(.)
Avea o singur meteahn
22
Vasile. Deoarece seara luau
masa totdeauna devreme, nainte de culcare pleca la club si juca o
partid
23
de biliard
24
.
(L. Rebreanu, Divorul, 1919)

Words and phrases for study
















Text 9:
Orice durere are leac
1
. Greutatea este doar s-l dibuiesti
2
.
Dac n-ar Ii uitarea si sperana, viaa ar Ii att de chinuitoare
3
, c
n-ai putea-o ndura nici mcar o zi.
S-apoi omul e animalul cel mai rbdtor de sub soare.
Oriunde l-ai arunca, trieste. Oricum l-ai tortura, se obisnuieste.
Primejdia
4
cea mai crncen
5
, dac-l urmreste mai struitor
6
si
mai ndelung, nu-l mai spimnt
7
, ba chiar l oeleste
8
.
Altdat
9
, de mi-ar Ii spus cineva c voi tri luni ntregi, un
an de zile sub vesnica ameninare a unui necunoscut plin de
suIerine, n-as Ii crezut. Si iat, triesc. Si ndjduiesc mereu, si
chiar pot rde uneori. O singur int am: s m strecor
10
.
Trebuie s rabd
11
, s tac, s cred. Pe urm, cnd se va prbusi
12

x avocat
15

x brbteasc
9

x biliara
24

x cinic
8

x cochet
21

x contabil
16

x cumptat
17

x in faa cuiva
11

x fr multe fra:e
18

x fire
7

x frmantri
4

x frange mainile (a-i)
1

x ain toat inima
19

x ipocrit
5

x
x infiare cinstit i
areapt
6

x lsa musta (a-i)
20

x meteahn
22

x nenorocit
2

x neobinuit cu lefuirile
lumeti
13

x partia
23

x ploconi (a se)
10

x sinchisi (a se)
3

x stangaci
12

x :estre
14


The Aavancea Stuaents Book of Bilingual Literary Translation

197
zidul, se va Iace lumin, si-n lumina aceea se va lmuri
13

nIisarea
14
Iiecruia.
Fireste, astea sunt mngierile disperrii
15
. Dar atunci nici
nu-mi ddeam bine seama. Atunci disperarea-mi era att de mare,
nct mi se prea c-i cea mai trandaIirie
16
speran. (.)
O, de-abia astzi vd ct am Iost de copilros! De-abia azi
s-a Icut lumin deplin n inima mea, ca s pot privi lumea asa
cum este. De aceea am si luat hotrrea cea trist. singura
care-mi poate aduce mngierea curat. n curnd! n curnd!.
Mai sunt cteva ceasuri. La o parte
17
sovirile
18
!.
(L. Rebreanu, Gura lupului, 1919)

Words and phrases for study












Text 10:
i-aduci aminte, TeoIile, de ziua aceea din copilria
noastr, de care i-am vorbit eu odat? Au trecut de-atunci ani si
ani. Era o zi de lucru si de lecii. Domnu TrandaIir, proIesorul
nostru, ne vorbise cu deosebit
1
cldur
2
ceva despre strmosi
3
si
despre timpii de mrire`
4
dup care, la ora trei, amndoi ca niste
zburdatici clui
5
, o luarm la trap
6
spre zvoiul
7
de la Siret.
Atunci, n ziua aceea neuitat, s-au ntmplat mai multe
lucruri.
nti, s-a ntmplat, pentru prima oar n viaa noastr, s
bgm de sam c au nIlorit livezile
8
. Erau albi pomii de o parte
si de alta a drumului; erau acoperite de o spum
9
de argint
x altaat
9

x chinuitor
3

x crancen
5

x aibui (a)
2

x infiare
14

x lmuri (a se)
13

x leac
1

x mangaierile aisperrii
15

x oeli (a)
8


x la o parte
17

x prbui (a se)
12

x primefaie
4

x rbaa (a)
11

x spimanta (a)
7

x struitor
6

x strecura (a se)
10

x ovire
18

x tranaafiriu
16



P. Clonea A. Mrsescu C. Nicolae


198
grdinile. Si umblnd pe sub stresini cu umbr blnd
10
, prin care
se Iiltra
11
soarele, eram strbtut pn n adncul suIletului
12
de o
simire de srbtoare
13
. S-o mireasm Iin
14
, cldu parc si
dulce, si astzi se trezeste n mine, dup ani si ani, odat cu
viziunea aceea din copilrie necat ntr-o alb liniste. Csuele
curate si vruite
15
proaspt
16
n primvar sticleau
17
tainic din
geamuri; preau singuratice si Iericite Ir nimeni. Un cuc
18
cnta
ntruna, sonor, n nucul
19
cel urias de la Sandu Avrmoaia; era
harnic si zornic
20
: parc i se poruncise, si-si mplinea o datorie,
c-o plcere nespus. Totul era proaspt si curat sub cer albastru.
S-al doilea, n ziua aceea minunat a anilor de demult, s-a
ntmplat, tot pentru ntia oar, s bgm de sam c cerul cel
umed
21
se rsIrnge
22
n ochii duduii Ionia
23
, cu Ilorile argintii
24

si cu lumina inIinit.
(M. Sadoveanu, i-aauci aminte, Teofile., 1920)

Words and phrases for study
















Text 11:
N-as putea lmuri mprejurrile
1
n care am ajuns soul
Isabelei. n tot acel rstimp
2
, gndurile mele nu se opreau si nu
reineau
3
obiectele sau Iaptele din jur. Totusi, mi amintesc c
x aaancul sufletului
12

x argintiu
24

x clui :buraatici
5

x cuc
18

x aeosebit
1

x auauia Ionia
23

x filtra (a se)
11

x livaa
8

x lua la trap (a)
6

x mireasm fin
14

x nuc
19

x proaspt (vruit)
16

x rsfrange (a se)
22


x simire ae srbtoare
13

x spum
9

x sticli (a)
17

x strmoi
3

x streini cu umbr
blana
10

x timpi ae mrire
4

x umea
21

x vrui (a)
15

x vorbi cu claur (a)
2

x :voi
7

:ornic
20

The Aavancea Stuaents Book of Bilingual Literary Translation

199
logodna noastr a Iost scurt, si nu am proaspt n minte
4
dect o
sear de picnic
5
, unde mpcarea a Iost senin
6
si obosit (acea
oboseal a convalescenelor prelungite
7
) si unde am ncercat nc
o dat senzaia
8
crud a schimbrilor de via. Apoi am meditat
9
,
zile si nopi, asupra soartei mele, asupra existenii care se
prelungeste numai schimbndu-se prodigios
10
si neasteptat. Toi
credeau c voi ajunge soul Isabelei, numai eu nu. Nu credeam
nici n anul cercetrii la Inaian Museum, nici dup angajarea mea
la Bristol Theatre. N-am putut iubi niciodat, si Iemeia a Iost
pentru mine orice alt aIar de amant sau soie. Dac am ajuns
soul Isabelei, a Iost datorit unui ceas de cereasc iertare
11
si de
stpnire strein n suIlet
12
. Celalt a cerut logodna, si eu am ajuns
soul.
Sunt multe de spus, si cu ct spun mai mult, cu att mi dau
seama c pot Ii crezut suIerind de slbiciuni mentale
13
sau
epuizare nervoas
14
. Povestea mea pare neverosimil
15
sau
bolnav. Si nu e astIel. Bolnavi sunt oamenii de toate zilele, cari
s-au deprins
16
s nu se mai uimeasc, durnd o existen
17
Ir
nedumeriri si Ir minuni. Bolnavi sunt oamenii bntuii
18
de
viziuni
19
, de duhuri
20
, de sexualitate. Eu sunt calm si pur;
niciodat nu mi-am simit gndirea mai elastic
21
; niciodat n-am
trit mai higienic
22
. Tot ce scriu aici par turburi
23
si
dezarticulate
24
datorit nepriceperii
25
mele de a le povesti cum
trebuie. Hrtia m nspimnt; nu hrtia alb, ci jumtate scris.
GraIicul
26
m zpceste, pentru c eu stiu c tot ce se scrie sunt,
n parte, neadevruri. Sunt un om ce gndesc prin Iorme, asadar,
un om ntreg
27
. Cei cari scriu suIer Ielurite si multilaterale
28

mutilri
29
. Eu gndesc prin Iorme, prin echilibruri si
dezechilibruri
30
; prin sunete, prin piatr, prin culori. Scrisul a
slbit cumplit puterea gndului, deprtnd mintea de la cuvant si
deprtnd-o, Iiresc, de la idee. Acestea le spun ca s se neleag
de ce povestirea mea pare bolnav. Orice se scrie, Iatal
31
, e
deprtare de realitate
32
. Ca s capete o urm de realitate n scris,
anumii oameni au nchipuit o alt realitate, pe care cred c o
exprim prin Iraze simple, cu noiuni precise, cu raporturi
gramaticale
33
clare. Sunt unul dintre puinii crora le repugn
34


P. Clonea A. Mrsescu C. Nicolae


200
claritatea
35
graIic.
(Mircea Eliade, Isabel i apele aiavolului, 1930)

Words and phrases for study






















Text 12:
Cltoria
1
n trenul sanitar
2
care ne ducea pe toi aproape
dou sute de rnii mi s-a prut ca un Iel de cltorie n
strintate, cnd dup restaurantul grii judeci si despre orasul
corespunztor, cnd cantonul
3
se desprinde din seria lui (cmp,
singurtate, ploaie, srcie) si devine element din seria rapid
(vagon-restaurant
4
, peisaj, doamna elegant, domnul voiajor
5
).
Veneam ntr-o lume, care pentru mine nu mai era cea dinainte,
asa cum unui bolnav, care iese ntia oar din cas dup luni de
zile, orasul i se pare altul (.). Gara Brasovului mpodobit
6
, cu
Irunze si steaguri naionale, (.) mi-a dat, despre orasul pe care
x avea proaspt in minte
(a)
4

x bantuit
18

x cereasc iertare
11

x claritate
35

x convalescen prelungit
7

x aeprtare ae realitate
32

x aeprinae (a se)
16

x ae:articulat
24

x ae:echilibru
30

x auh
20

x aura o existen (a)
17

x epui:are nervoas
14

x fatal
31

x ganaire elastic
21

x grafic
26

x higienic
22

x impcare senin
6

x imprefurare
1


x incerca o sen:aie (a)
8

x meaita (a)
9

x multilateral
28

x mutilare
29

x nepricepere
25

x neverosimil
15

x om intreg
27

x proaigios
10

x raport grammatical
33

x rstimp
2

x repugna (a-i)
34

x reine (a)
3

x sear ae picnic
5

x slbiciuni mentale
13

x stpanire strin in
suflet
12

x turbure
23

x vi:iune
19


The Aavancea Stuaents Book of Bilingual Literary Translation

201
nu-l cunosteam, o idee de carte postal (.). La Sinaia au nvlit
7

pe nserate
8
n vagoanele noastre cucoane
9
Irumoase, cu mini tot
att de albe si Iine ca olanda
10
halaturilor
11
lor. Ochii, urechile,
pipitul, mai vii, erau ntr-un Iel de hiperIunciune
12
. n schimb
toi cei pe care-i vd au parc un aer Iantomatic
13
, pn si n voce
si n privire, n ceea ce e dincolo de ei, parc un soi de siest
14

dup zbuciumul
15
zilelor de lupt. Intre Predeal si Busteni
vzusem transeele
16
copilresti, Icute acolo lng sosea, cnd
munii si pdurile erau libere, cu naivitatea cu care, ca s evite o
inundaie
17
catastroIal
18
, care amenin ntreg inutul, o primrie
neserioas
19
ar Iace snulee de scurgere
20
de-a lungul drumului.
Cnd puhoiul vine ns, trste nu numai ce-i pe sosea, dar si
casele nalte, si chiar primria cu domnul primar.
Eram n vagoane speciale, n trgi
21
lungi pentru dormit.
(Camil Petrescu, Ultima noapte ae aragoste, intaia noapte
ae r:boi, 1930)

Words and phrases for study














Text 13:
Azi se mplinesc treizeci si sase de ani de la moartea
mamei. Timpul vine din viitor, trece n urm, se darm
1
peste
ea, o acopere, o Iace tot mai inexistent
2
, cci morii mor si ei,
x aer fantomatic
13

x canton
3

x catastrofal
18

x cltorie
1

x cucoan
9

x aomnul voiafor
5

x halat
11

x hiperfunciune
12

x inunaaie
17

x impoaobi (a)
6

x pe inserate
8


x nvli (a)
7

x olana
10

x primrie neserioas
19

x siest
14

x an ae scurgere
20

x targ
21

x tranee
16

x tren sanitar
2

x vagon-restaurant
4

x :bucium
15


P. Clonea A. Mrsescu C. Nicolae


202
mereu. Cnd voi disprea si eu, va Ii murit si ea complect din
univers.
Prea mic, cnd a murit, ca s-o in minte, imaginea ei mi-am
creat-o mai trziu, n copilrie, dup o IotograIie rea si stears
3
,
pe care am nviat-o
4
si am colorat-o cu tot ce am auzit de la alii
si cu propria mea Iantazie: o Iat tcut, nalt, cu prul castaniu
5
,
cu ochii cprui. Amintire a unei imagini arbitrare
6
de altdat,
aceasta si atta este mama.
n cursul vieii, imaginea rmnnd aceeasi, a variat, totusi,
o dat cu punctul de privire n care m mutau anii. n copilrie,
Iata cu prul castaniu mi era mam. La douzeci de ani, sor.
Astzi, o simt Iiic. Dar aceste sentimente sui-generis
7
, aceste
ipoteze aIective, Ir substratul
8
vreunei realiti experimentate n
viaa de Iamilie, au Iost nostalgii
9
de amor
10
pentru o Iat
Irumoas, moart demult.
Ca si Iurtunile, care rscolesc
11
numai Iaa oceanului
12
,
pasiunile tinereii au venit si au trecut, dar n adncurile cele din
urm ale suIletului dragostea pentru imaginea Ietei moarte a
rmas intact, neamestecat
13
, de o esen
14
unic - si n nopile
senine
15
, n prima tinere
16
si uneori si astzi, cnd m simt
singur, nedreptit
17
, neIericit, mi se pare c m priveste cu grij
si duiosie
18
, aplecat peste o balustrad
19
ideal din spaiile
interplanetare
20
.
(G. Ibrileanu, Aaela, 1933)

Words and phrases for study









x amor
10

x arbitrar
6

x balustraa
19

x arama (a se)
1

x auioie
18

x esen
14

x faa oceanului
12

x fotografie rea i
tears
3

x inexistent
2

x interplanetar
20


x invia (a)
4

x neamestecat
13

x neareptit
17

x nostalgie
9

x pr castaniu
5

x prima tineree
16

x rscoli (a)
11

x senin
15

x sentimente sui-generis
7

x substrat
8


The Aavancea Stuaents Book of Bilingual Literary Translation

203
Text 14:
Ce scrisori lungi i-am scris din strintate! Uneori nu
aveam ce s-i scriu si totusi nu puteam s nu-i scriu. Scrisoarea,
indiIerent de sentimentele de moment pentru ea, devenise o
obisnuin, creia nu-i puteam rezista.
Dar aIaceri si preocupri excepionale m-au mpiedicat
cteva sptmni s-i scriu, ca de obicei, mult, si prin urmare nu
i-am scris de loc. Pe urm Iaptul c nu i-am scris, complicat cu
ideea c acum trebuie s-i scriu lung si circumstaniat
1
, m-a
mpiedicat s mai pot relua Iirul
2
.
nti, dup ce am isprvit aIacerile, mi-am ngduit
3
o
amnare
4
pn la momentul cel mai potrivit pentru redactarea
5

unei misive
6
att de complicate: explicaii, scuze etc. Momentul
l-am amnat, mai exact: s-a amnat mereu.
De Iapt, era neputina
7
de a trece de la o stare
8
la alta. Dup
cum nainte nu puteam s nu-i scriu mereu, Iiindc mi Icusem
obisnuina, acum nu-i puteam scrie, Iiindc mi Icusem
obisnuina de a nu-i scrie. Starea asta de suIlet o cunosteam din
toat experiena vieii. Ori cetesc zi si noapte, ori nu cetesc nimic.
Ori vizitez pe cineva mereu pn la saietatea
9
lui si a mea, ori
nu-l vizitez de loc, compromind
10
si chiar rupnd legturi
11

vechi. Explicaia psihologic nu-mi ajuta ns de loc. Explicaiile
nu modiIic niciodat realitile. Dar starea de suIlet era
agravat
12
si de constiina
13
vinei. Iar toate acestea mpreun
constituiau un bloc
14
greu, care apsa
15
voina, amorind-o
16
. De
la o vreme se adug si convingerea (inteligena este un avocat si
nu un consilier al Iirii
17
individului!) c prin scris e imposibil s
explici o stare de suIlet att de anormal. Peste un an, chiar dac
vraja s-ar Ii rupt (si nu se rupsese: abulia
18
, hrnit mereu din ea
nssi, se instalase
19
deIinitiv, tiranic
20
) mi-ar Ii Iost n adevr cu
neputin s-i explic n scris tcerea mea, asa ca s o neleag si
s m absolve
21
.
Dup cteva scrisori Ir rspuns, nu mi-a mai scris nici ea.
Scrisorile ei nu conineau reprosuri. Dar deveneau tot mai scurte
si mai reci. n ultima mi spunea: Dac nu-mi scrii, nu-i pot
scrie nici eu. Am impresia curioas c vorbesc singur.` Nu i-am
putut rspunde nici la acest ultimatum
22
. Acum scrisoarea trebuia
P. Clonea A. Mrsescu C. Nicolae


204
s Iie si mai complicat, iar starea anormal, cu trecerea timpului
vinovat, ajunsese la perIecia ei psihologic.
(G. Ibrileanu, Aaela, 1933)

Words and phrases for study














Text 15:
Dar. Dar dac te-ar iubi`, ar putea s se poarte altIel
dect acum? O Iemeie ireprosabil
1
ar putea Iace mai muli pasi
spre un brbat care nu vrea s-i spun c o iubeste, nu vrea s-o
iubeasc - si ea si d seama de toate acestea? Dac n-ai avea
constiina vrstei, ai sta un singur moment la ndoial
2
n privina
sentimentelor ei? Cci ea i d la maximum ceea ce poate da o
Iemeie n astIel de mprejurri. (Purtarea ei nu e oare dovada`
necontenit, pe care i-a anunat-o de la nceput?)
Dar, amicul meu, dac n-ar Ii diIerena de vrst, si-ar
permite ea libertatea pe care si-o ia
3
cu tine? Cu un tnr
indiIerent dac l-ar iubi sau nu, si mai cu seam dac l-ar iubi
si-ar ngdui
4
ea purtarea asta? Cochetarea
5
ei, concesiile
6
ei nu
sunt mai degrab un semn c te consider scos din circulaie
7
? i
d prea mult, pentru ca ceea ce-i d s Iie adevrat. (. Iar dac
i-ar da mai puin ai Ii si mai sigur c nu te iubeste!)
x absolvi (a)
21

x abulie
18

x agrava (a)
12

x amanare
4

x amori (a)
16

x apsa (a)
15

x bloc
14

x circumstaniat
1

x compromite (a)
10

x contiin
13

x fire
17


x instala (a se)
19

x ingaui (a-i)
3

x misiv
6

x neputin
7

x reaactare
5

x relua firul (a)
2

x rupe o legtur (a)
11

x saietate
9

x stare
8

x tiranic
20

x ultimatum
22


The Aavancea Stuaents Book of Bilingual Literary Translation

205
O mic, o inIim corectur
8
n nebuloasa
9
primitiv
10
, din
care ar Ii rezultat mai mult contemporaneitate
11
ntre tine si ea,
ar Ii remediat
12
totul.
. Ipotez
13
van
14
si asta! Cci acea corectur ar Ii
determinat altIel sistemul solar
15
si ntreaga realitate a planetei, si
contemporaneitatea singur ar Ii Iost zadarnic. Iubirea Adelei
pentru tine nu se poate concepe nici ntr-o ipotez!
Imposibilitatea ei a Iost decretat
16
de la nceputul universului.
. Sunt numai zece ani, de cnd eram la culmea
17
cea mai
nalt a vieii. Nu sunt un inIatuat
18
, dar. Dac cel de altdat ar
Ii ntlnit-o pe ea, cea de acum! Dar poate c nici atunci.
Ipoteza c nu m-ar Ii iubit nici atunci ar trebui s m consoleze
19
.
Si totusi m nvenineaz
20
. Simt bine c dac ea mi-ar spune
acum c nu m-ar Ii iubit nici atunci, durerea ar Ii si mai mare.
Nu mi-ar mai rmnea nici gndul consolator c nu eu sunt ceea
ce nu are priz
21
asupra Iemeii din ea, ci numai o Iorm
ntmpltoare a mea, cea actual
22
, condiionat de timp, si nu de
esena Iiinei mele.
(G. Ibrileanu, Aaela, 1933)

Words and phrases for study
















x actual
22

x avea pri: (a)
21

x cochetare
5

x concesie
6

x consola (a)
19

x contemporaneitate
11

x corectur
8

x culme
17

x aecreta (a)
16

x infatuat
18

x ipote:
13


x ireproabil
1

x ingaui (a-i)
4

x invenina (a)
20

x lua o libertate (a-i)
3

x nebuloas
9

x primitiv
10

x remeaia (a)
12

x scoate ain circulaie (a)
7

x sistem solar
15

x sta la inaoial (a)
2

van
14

P. Clonea A. Mrsescu C. Nicolae


206
Text 16:
V aducei aminte. Acum treizeci de ani, n rzmeri
1
, au
Iost ucisi, pe drept
2
si pe nedrept, o grmad de stpni. Unii
oameni au Iost descoperii, alii nu. Dar si din oameni au Iost
muli mpuscai Ir vin. Boierul
3
Alexandru stpnise
4
judeul
5

Oltului. Dup ce rscoalele
6
se potolir
7
, el arta poterelor
8

oamenii de care voia s se scape, pentru v-o brazd de pmnt
9
,
pentru v-o Iemeie, si ei erau dusi pe jos, ncolo, peste dealuri. n
muchia dealului
10
se ridicau pustile, ca din greseal si ca si cum
oamenii ar Ii voit s Iug. Si potera se ntorcea ntr-alt comun
11
,
Ir oamenii pe care i lepdase
12
.
Stii c toate cercetrile Icute pentru dovedirea
13

omortorilor proprietarului
14
Znog n-au dat nimic. Vreau s spui
c l-am omort noi, tot satul, si nu v-as Ii spus nici azi, dac nu
l-am Ii ntlnit n carne si oase
15
pe proprietarul Znog, ucisul de
noi.
Prerea noastr de ru
16
e Ioarte mare dup uciderea lui,
pentru c l-am omort n prip
17
, numai asa, ca s omorm si noi,
cum omorser ntr-alte pri si alii, care treceau prin sate si
spuneau c a venit revoluia si c ei se duc la revoluie.
Boierul Znog Iusese un om tare cumsecade, nu ca alii, dar
nu gseam pe cine s ucidem si l-am ucis pe el. S nu credei,
domnule preIect
18
, c am dat cu topoarele, cu Iurcile
19
, cu
reteveile
20
cumva. Nu. L-am omort cu minile, cu opincile
21
si
cu picioarele goale. L-am chemat n sosea si i-am spus: Vrem s
te omorm.` El ne-a ntrebat: De ce? c nu v-am Icut dect
bine`. Noi am rspuns: Trebuie s te omorm, Iiindc a venit
revoluia`. Si l-am omort trgndu-l
22
, rupndu-l
23
, turtindu-l
24
,
cocolosindu-l
25
si clcndu-l pn s-a Icut noroi
26
rosu si n-a mai
rmas din el, n praIul soselei
27
, nimic, nici oasele. Boierul Znog
intrase n pulbere ca o pat de cerneal ntr-o sugtoare
28
de la
primrie. Rmnea din el numai o murdrie neagr ntins pe
sosea.
(T. Arghezi, Cimitirul Buna-Jestire, 1936)

The Aavancea Stuaents Book of Bilingual Literary Translation

207
Words and phrases for study


















Text 17:
Dac soarele si luna ar ncepe s se ndoiasc, s-ar stinge
1

pe dat.` (Blake) Europa se ndoieste de mult . si dac pe noi
eclipsa
2
ei ne tulbur, americanii si rusii o contempl
3
Iie cu
senintate
4
, Iie jubilnd
5
.
America se ridic n Iaa lumii ca un neant nvalnic
6
, ca o
Iatalitate Ir substan
7
. Nimic n-o pregtea pentru hegemonie
8
,
spre care tinde
9
totusi, nu Ir unele ezitri. Contrar altor naiuni,
care au trebuit s treac printr-un sir lung de umiline si
nIrngeri, ea nu a cunoscut pn acum dect sterilitatea unei
sanse nentrerupte. Dac si pe viitor totul va continua s-i
reuseasc, apariia ei va Ii Iost un accident lipsit de urmri. Cei
care-i vegheaz destinul
10
, cei crora le pas de interesele ei, ar
trebui s-i pregteasc niste zile negre
11
; ca s nu mai Iie un
monstru inconsistent
12
, i este necesar o ncercare de
anvergur
13
. Poate c nici nu e departe de ea. Dup ce, pn
acum, a trit n aIara inIernului
14
, se pregteste si ea s-i treac
x boier
3

x bra:a ae pmant
9

x in carne i oase
15

x cocoloi (a)
25

x comun
11

x aoveaire
13

pe arept
2
x furc
19

x fuae
5

x lepaa (a)
12

x muchia aealului
10

x noroi
26

x opinc
21

x prere ae ru
16


x poter
8

x potoli (a se)
7

x praful oselei
27

x prefect
18

x in prip
17

x proprietar
14

x rscoal
6

x r:meri
1

x retevei
20

x rupe (a)
23

x stpani (a)
4

x sugtoare
28

x trage (a)
22

x turti (a)
24


P. Clonea A. Mrsescu C. Nicolae


208
pragul
15
. Dac America si caut un destin, si-l va gsi doar pe
ruina a tot ce a Iost raiunea ei de-a Ii
16
.
n ce priveste Rusia, nu-i putem examina trecutul Ir s ne
ncerce un Iior
17
, o groaz superioar. Trecut nbusit
18
, mereu n
asteptare si plin de spaime subterane, trecut de crtie iluminate
19
.
Nboiul
20
rusilor va Iace naiunile s tremure; de pe acum au
introdus n politic absolutul. E provocarea aruncat unei omeniri
roase de ndoieli
21
si creia nu vor sovi s-i dea lovitura de
graie
22
. Dac noi nu mai avem suIlet, ei, n schimb
23
, au de dat si
la alii
24
.
(Emil Cioran, Ispita ae a exista, 1956)

Words and phrases for study















Text 18:
(a) Eram student si aveam douzeci de ani. Eram mai muli
n jurul unei mese, la un pahar
1
. Printre ei, un prieten, Stphane
M. Un student btrn, avea douzeci si sapte de ani, si nu se
grbea
2
deIel
3
s-si termine studiile. Ce dac ajung proIesor,
spunea el, la douzeci si sapte de ani n loc de douzeci si cinci
sau la treizeci sau chiar patruzeci de ani? n loc s Iiu proIesor
timp de patruzeci de ani, o s Iiu proIesor timp de treizeci de ani.
Treizeci de ani sau patruzeci de ani e totuna. Mcar s proIit
4
si
x avea ae aat i la alii (a)
24

x carti iluminat
19

x contempla (a)
3

x aa lovitura ae graie (a)
22

x eclips
2

x fatalitate fr substan
7

x fior
17

x hegemonie
8

x inconsistent
12

x infern
14

x inbuit
18

x incercare ae anvergur
13


x fubila (a)
5

x nboi (puhoi)
20

x neant nvalnic
6

x raiunea ae a fi
16

x ros ae inaoial
21

x in schimb
23

x cu senintate
4

x stinge (a se)
1

x tinae (a)
9

x trece pragul (a)
15

x veghea aestinul cuiva (a)
10

x :ile negre
11


The Aavancea Stuaents Book of Bilingual Literary Translation

209
s m bucur de via
5
ct vreme m simt deajuns de tnr. S-a
apucat s cnte un cntec de petrecere
6
n care era vorba despre
tinereea mpodobit de haine mndre
7
si noi si de btrneea cu
haine vechi si grele
8
. Ne-am desprit n toiul nopii
9
. M-am
culcat si am visat c eram btrn, c eram grbovit
10
, c timpul
m mpovra
11
, c aveam saizeci de ani. M trezesc nspimntat.
Era primvar, ce cer Irumos, ce soare Irumos. Ah, n-am dect
douzeci de ani, mi-am zis rsuIlnd usurat
12
.
Acum, dup cincizeci de ani, visul s-a mplinit
13
sau
pe-aproape. Cum pot s accept situaia asta, cum se poate accepta
s triesti, iar timpul s te-mpovreze cu atta greutate
14
, ca
samarul
15
pe mgar? Inadmisibil
16
. Ar trebui s ne revoltm. Sunt
ca un scolar, n ultimele zile de vacan.
..........................
(b) ncrncenarea
17
asta de a m cunoaste si de a cunoaste
ar Ii trebuit s-o am mai demult. Dac as Ii luat-o din vreme
18
,
poate as Ii ajuns la ceva. n loc s Iac literatur
19
. Ct timp
pierdut, ce risip
20
, credeam c am tot timpul. Acum e grab, sunt
ultimele momente, iar zorul
21
sta nu e prielnic
22
cutrii: ba
tocmai din cauza literaturii am ajuns s nu mai neleg nimic. E
ca si cum, Icnd literatur, am tocit toate simbolurile
23
Ir s le
Ii ptruns. Ele nu-mi mai vorbesc ntr-un chip viu. Cuvintele au
ucis imaginile sau le mascheaz
24
. O civilizaie de cuvinte, o
civilizaie rtcit
25
. Cuvintele creeaz conIuzii. Cuvintele nu
sunt cuvntul.
Cuvintele astea ns erau ca niste msti, sau mai degrab
sunt ca niste Irunze uscate czute pe jos. Pomul vieii si al
morii
26
e aici, golas
27
si negru. De-acum nainte, nimic nu mai
poate masca cea mai adnc, mai incurabil
28
disperare. Stau Ia
n Ia
29
cu adevrul.
(Eugene Ionesco, Jurnal in frame, 1967)

P. Clonea A. Mrsescu C. Nicolae


210
Words and phrases for study


















Text 19:
Nu se poate spune c arta e lipsit de orice valoare
spiritual
1
. Artistul e totusi superior omului de rnd
2
,
tehnicianului
3
, politicianului, adic persoanelor cu totul
inconstiente
4
. Cu toate astea, nici mare lucru nu e de capul lui
5
.
Arta nu aduce cu sine
6
nici o iluminare
7
. Degeaba a scris Arthur
Rimbaud Iluminrile, degeaba se spune c era vizionar
8
, eu unul
nu cred nici n vizionarismul lui nici n alte vizionarisme literare,
nici o secund nu cred n iluminrile lui. Arta aduce o mic,
Ioarte mic licrire, o mic licrire
9
cenusie, un mic-mititel
nceput de iluminare, necat
10
n trncneal
11
.
Cuvintele, se stie, nu spun nimic, dac pot s m exprim
astIel: n cel mai bun caz, un gest neasteptat, o imagine, o
ntmplare, un cuvnt ivit
12
nu se stie de unde te pot mpinge
13

spre experiena indicibil
14
. Faptul c m exprim cu rigoare
15
sau
Ir, c metaIora e potrivit sau inadecvat, (.) toate astea n-au
nici o importan; oricum spiritul din adnc se pierde
16
n
explicaii. Experiena proIund n-are cuvinte. Cu ct m explic
x btranee cu haine
vechi i grele
8

bucura ae via (a se)
5


cantec ae petrecere
6


civili:aie rtcit
25


aefel
3


face literatur (a)
19


x garbovit
10

x gola
27

x grbi (a se)
2

greutate
14


inaamisibil
16


incurabil
28
implini (a se)
13


x impovra (a)
11

incrancenare
17



x lua ain vreme (a)
18

x masca (a)
24

x la un pahar
1

pomul vieii i al morii
26


x prielnic
22

x profita (a)
4

rsufla uurat (a)
12


x risip
20

x samar
15

sta fa in fa (a)
29


tineree impoaobit ae
haine manare
7


toci (un simbol) (a)
23


toiul nopii
9


x :or
21


The Aavancea Stuaents Book of Bilingual Literary Translation

211
mai mult, cu att m neleg mai puin. Desigur, nu totul e
incomunicabil
17
prin cuvinte, adevrul viu ns este. Cuvintele nu
spun exact dect ceea ce se poate spune, toate astea sunt nc de
mult si bine cunoscute. Admise. Nu numai admise, ci si
contestate
18
, considerate inadmisibile
19
. Iar dac toate astea sunt
de mult cunoscute si ntruna repetate, iar noi tot cu nimic n-am
progresat
20
, nseamn c am dreptate.
(Eugene Ionesco, Jurnal in frame, 1967)

Words and phrases for study














Text 20:
Exist ceva care ar trebui s pun pe gnduri
1
pe arhiteci si
urbanisti
2
: dup credinele populare, n rai nu sunt deIel locuine
3
,
n timp ce iadul este plin de cuptoare
4
, perei si lcasuri
5
.
Intre aceste dou condiii se situeaz cea uman, cu nevoia,
dar si cu libertatea omului de a-si Iace o locuin. n anul 2001
vom Ii sau ceva mai aproape de inIern, sau ceva mai aproape de
condiii paradiziace
6
.
Dar de ce nu sunt locuine n rai, dup Iolclor
7
? Poate c
aceasta ne va Iace s ne amintim mai bine de rostul
8
locuinelor la
om si de rspunderea
9
celor ce le construiesc.
n rai spune o legend din Iolclorul romnesc nu va
mai Ii nici grij, nici suspin
10
, nici gnduri, si nici moarte, nici
x aauce cu sine (a)
6

x contestat
18

x fi mare lucru ae capul
cuiva (a)
5

x iluminare
7

x inaamisibil
19

x incomunicabil
17

x incontient
4

x inaicibil
14

x ivi (a se)
12

x impinge (a)
13


x inecat
10

x licrire
9

x lipsit ae orice valoare
spiritual
1

x om ae rana
2

x pierae (a se)
16

x progesa (a)
20

x rigoare
15

x tehnician
3

x trncneal
11

x vi:ionar
8


P. Clonea A. Mrsescu C. Nicolae


212
schimbarea anilor si nici ceasuri . ci va Ii tot o zi`. Iat astIel o
Ioarte exact enumerare a raiunilor pentru care omul are cas, de
vreme ce lucrurile stau altIel pe pmnt: somnul, Irica, Ioamea,
erosul
11
, logosul
12
.
nti somnul. Pe pmnt nu este totul o zi. Omul se las
cuprins de noapte si somn, dar n acelasi timp si aduce noaptea
lui si somnul lui. si aduce lenea
13
lui. Cnd a Icut omul, natura
a nceput s moie
14
. Dar lenea e capricioas
15
si raIinat
16
. Se
poate dormi oriunde, n deIinitiv, dar nu se poate aormita
17

oriunde. Lumea exterioar este prea strident
18
, natura prea
neastmprat
19
, cu Iurnicile, psrile si Iosnetele
20
ei. i trebuie
o cas pentru lenea ta.
Dar i trebuie o cas pentru frica ta. Nu e numai nevoia
elementar
21
de adpost, Irica de ceva determinat; este Irica de
nimic determinat, cum spunea Heidegger. Sunt nenumrai
monstri pe lume, prietenii chiar, n unele ceasuri. Casa este si
locul n care poi Ii gsit, adresa ta, dar si locul n care nu poi Ii
gsit, cetatea ta.
(Constantin Noica, Introaucere la locuinele anului 2001,
1977)

Words and phrases for study

x capricios
15

x conaiii paraai:iace
6

x cuptor
4

x aormita (a)
17

x elementar
21

x eros
11

x folclor
7

x fonet
20

x lca
5

x lene
13

x locuin
3


x logos
12

x moi (a)
14

x neastamprat
19

x pune pe ganauri (a)
1

x rafinat
16

x rspunaere
9

x rost
8

x striaent
18

x suspin
10

x urbanist
2

The Aavancea Stuaents Book of Bilingual Literary Translation

213
Text 21:
Si mai este foamea. Ct ordine, ct pruden
1
si asezare
2

nu aduce, uneori chiar si la animale, Ioamea, atunci cnd nu duce
la agresiune mpotriva naturii si oamenilor. S-ar putea spune nu
c nelepciunea este Irica de zei`, dar ntr-un sens c este Irica
de Ioame. Numai c Ioamea aceasta, ca si somnul omului, este
mai mult dect cea dat de Iire
3
; este si cea pe care omul si-o
trezeste
4
singur. El are nevoie de cas, de rost si cmar
5
, la
propriu si la Iigurat
6
, spre a-si satisIace Ioamea, ca si spre a si-o
cultiva. Acas, n atelierul su de un Iel ori altul, el si cultiv
7

Ioamea de nimic determinat, Ioamea sa de om, care e Ioamea de
afirmare
8
ca om, de lupt si de supravieuire prin Iapta sa si prin
ctitoriile
9
sale.
Dar cu Ioamea de nimic determinat am si atins o nou
treapt a omului si o nou raiune a lui de a-si Iace o cas, erosul.
Iar ceea ce e curios este c actul cel mai categoric
10
al speciei este
si cel mai intim. El reclam
11
ascunzisul
12
casei spre a Iace s se
consume
13
acolo misterul vieii, iesind apoi miraculos
14
la
lumin
15
prin procreaie
16
si Iamilie. Dar ce este casa, acest
cmin, aceast scoal si biseric a celulei Iamiliale
17
, dect un
comentariu al erosului desIsurat?
Atunci erosul Iace loc logosului, cuvnt si raiune. Omul se
trage nspre casa lui, spre a se regsi
18
n gndul propriu. Logosul
este nti tcere, cuget intim
19
al Iiecruia; apoi este gnd si
cuvnt ctre aproapele
20
su, ctre sinele su lrgit
21
. Casa poate
Ii doar a logosului nchis
22
, asa cum este la nceput doar a eului,
lrgit cel mult pn la Iamilie. Dar casa trebuie s Iie si a
oaspetelui. n antichitate exista un drept al oaspetelui de care
beneIicia chiar dusmanul. O cas Ir odaie de oaspei
23
este un
neadevr
24
uman si o mutilare
25
. Casa omului, din perspectiv
spiritual, este o nchidere ce se deschide
26
.
(Constantin Noica, Introaucere la locuinele anului 2001,
1977)

P. Clonea A. Mrsescu C. Nicolae


214
Words and phrases for study
















Text 22:
Cum poate cineva s rmn att de lipsit de simul
realitii
1
? se ntreab, mngindu-i umrul cu dou degete.
Asa se ntreab si cnd o vede cum lucreaz luni si luni la
ceva pentru care n-o s ncaseze
2
la sIrsit nici trei sute n mn
3
.
- Cred c n-ai neles, spune Romania, cu vioiciune
4
. La
crematoriu
5
l-au dus pentru c toat viaa unchiul Pavel a spus c
nu vrea s-l ngroape cu pop
6
.
Dar e convins c el nelege tot. Vezi si tu tot ce vd eu? l
ntreab cteodat. Paturile desprite
7
cu draperii
8
de musama
9
,
deasupra lor tbliele
10
negre cu numele nscris
11
, vrsta, operaia,
Iaiana
12
peretelui ptat galben, vezi si tu ce vd eu? Ochii ei
cernii
13
, buzele subiate
14
, acoperite cu o crust
15
portocalie, (.)
vocea ei impersonal.
- . unde suntem?
Toate lucrurile la care m uit, le vezi, Ir ndoial si tu.
Ar Ii rezistat oare dac n-ar Ii stiut c el vede, c el nelege
tot, chiar Ir s-i spun ea o vorb? Ca si cnd ar tot nota pe sub
ap
16
, kilometri si kilometri ntregi, respirnd printr-un Iir de
trestie
17
numai.
x afirmare
8

x aproape
20

x ascun:i
12

x ae:are
2

x categoric
10

x cmar
5

x celul familial
17

x consuma (a se)
13

x ctitorie
9

x cuget intim
19

x cultiva (foamea) (a)
7

x fire
3

x iei la lumin (a)
15


x inchiaere ce se aeschiae
26

x logos inchis
22

x miraculos
14

x mutilare
25

x neaaevr
24

x oaaie ae oaspei
23

x procreaie
16

x (la) propriu i la figurat
6

x pruaen
1

x reclama (a)
11

x regsi (a se)
18

x sinele su lrgit
21

x tre:i foamea (a)
4

The Aavancea Stuaents Book of Bilingual Literary Translation

215
- Deci nu pentru economie
18
l-a dus la crematoriu, insist.
- Dar dac banii au rmas, nu s-a suprat nimeni.
Dimpotriv, rde el, blnd.
Un Iel de nechezat subire
19
.
- Da, acum mi-amintesc ce povesteai despre mtusa si
unchiul tu: c nu se prea nelegeau
20
, si dup ce el a murit,
mama ta a spus c abia acum poate s triasc si sora ei linistit,
debiteaz
21
, jovial
22
.
- Numai c era mai complicat.
Se uit la lumea din Iaa magazinului: mai este o or pn
s se deschid.
- Mai complicat, spune ea. Pentru c dup ce unchiul Pavel
a murit, mtusa Milica nu mai prea s aib cheI
23
de nimic. Nici
s coas nu mai avea rbdare, rmnea cu ochii n gol
24
pe cte
un scaun.
Mai complicat, totul este mai complicat. Si ea tot n gol se
uit si pe Iuris
25
, cu o privire lacom
26
, i urmreste lui toate
miscrile: neastmprul
27
minilor, prea subiri pentru un brbat,
rsul copilresc si usuratic
28
.
Attea amnunte care n-au cum s-i plac.
Numai c totul este mai complicat: cu o supunere
29

exaltat
30
ea aproape nelege n clipa asta c l poi vrea pe
cellalt, chiar dac i displace c si salut seIul cu o nclinare
exagerat a capului
31
, si i Iace cadou personal de ziua lui o sticl
de Johnny Walker. Chiar dac i displac ironiile stereotipe
32
, si
glumele celorlali pe seama lui, si trupul din ce n ce mai greoi
(.). Chiar dac, Ir s stii de ce, mai ales la amiaz, mai ales pe
zpuseal
33
, cnd lumina este att de alb si oamenii merg
zorii
34
, si masinile sunt aglomerate
35
, te simi sleit
36
si nu mai
vrei nimic. E numai lumin, si cald, si i-e lehamite
37
. Dar alteori
pndesti
38
cu atta nerbdare de la geamul rezervei
39
. Si pe urm
cobori n goan scrile, cu pumnii strnsi n buzunarele halatului
alb, nu, spui n gnd
40
obrazului tras
41
, cu ochii ncercnai
42
, cu
prul clos
43
de atta zcere
44
, nu, spui n timp ce traversezi n
goan printre cele patru benzi
45
de masini colorate care gonesc pe
arter
46
, nu, acum, timp de o or n-am s m mai gndesc la

P. Clonea A. Mrsescu C. Nicolae


216
asta.
(Gabriela Adamesteanu, Jar - primvar, 1989)

Words and phrases for study


























Text 23:
Lumea n care m-am nscut eu nu privea cu ochi buni
1

cltoriile. Era o lume nchis
2
. Tatl meu a Icut o singur
cltorie, care a durat vreo cinci ani, strbtnd cteva ri dus si
ntors
3
, si care nu i-a lsat o amintire prea plcut desi a
ntreprins-o
4
gratuit
5
. Poate Iiindc n-a dorit-o si a Iost constrns
6

s voiajeze. Se aIla la coas
7
, n 1914, cnd a sunat mobilizarea
8
,
x aglomerat
35

x arter
46

x avea chef (a nu)
23

x bana
45

x bu:e subiate
14

x crematoriu
5

x crust
15

x aebita (a)
21

x aesprit
7

x araperie
8

x economie
18

x exaltat
30

x faian
12

x fi lehamite (a-i)
37

x fir ae trestie
17

x pe furi (a se uita)
25

x ironie stereotip
32

x incasa (a)
2

x inclinare a capului
31

x ingropa cu pop (a)
6

x inota pe sub ap (a)
16

x inscris
11

x inelege (a se)
20


x fovial
22

x lipsit ae simul realitii
1

x in man
3

x muama
9

x neastampr
27

x neche:at subire
19

x obra: tras
41

x ochi cernii
13

x ochi incercnai
42

x pr calos
43

x panai (a)
38

x privire lacom
26

x rmane cu ochii in gol (a)
24

x re:erv
39

x sleit
36

x spune in gana (a)
40

x supunere
29

x tbli
10

x uuratic
28

x vioiciune
4

x :cere
44

x :pueal
33

x :ori (a)
34


The Aavancea Stuaents Book of Bilingual Literary Translation

217
dup glontele de la Sarajevo, si a Iost nrolat
9
Ir s Iie ntrebat
dac era dispus sau nu s-si lase Inul neuscat
10
si s porneasc
prin Europa, n Iurgoanele
11
imperiului habsburgic
12
.
Singura amintire din aceast lung si primejdioas cltorie
a tatei e un tablou, cu un clre al crui cal parc zboar. Se aIl
pe peretele de deasupra patului meu acum si, de cte ori ridic
ochii, l vd. Calul e negru ca pana corbului
13
, cu inte albe
14
pe
Irunte si pe glezne
15
, iar clreul, cu tunica
16
lui visinie
17

Iluturnd n vnt
18
, cu pantalonii albastri vri n cizme
19
, ine
sabia ridicat n mna dreapt, n timp ce cu stnga strnge
drlogii
20
. Cerul din Iundal e pasnic, senin, cu civa norisori
idilici
21
, deasupra crora e nrmat n medalion
22
un btrn cu
Iavorii
23
albi, Franz JozeI desigur, Ilancat
24
de dou personaje pe
care lacunele
25
mele n materie de
26
istorie nu-mi permit s le
identiIic. n partea de jos a tabloului scrie cu cerneal neagr,
splcit
27
(recunosc caligraIia
28
tatei, Irumoas, ordonat,
elegant chiar): Kanonir Alecsanaru Paleriu K.u.K.Fh.R.
(probabil indicativul unitii
29
, pe care a schimbat-o odat cu
trecerea sau, mai degrab, Iuga n armata romn). Am copilrit
sub acest tablou, asezat pe peretele dinspre rsrit, dinspre uli
30
,
al casei si am Iost Ioarte mndru c tata a zburat prin aer pe un
asemenea cal de poveste
31
. Ceva mai trziu am descoperit, nu Ir
o strngere de inim
32
, c si uniIorma si calul erau un desen
standard
33
si c numai capul clreului a Iost IotograIiat si
montat
34
n acest desen. Atunci mi-a mai sczut entuziasmul
35
,
dar pstrez cu emoie
36
aceast unic amintire rmas mie din
singura cltorie a tatei. El mai avea una. si pierduse pe jumtate
vocea, vorbea slab, stins
37
. Fusese ngropat de un obuz
38
, sttuse
acoperit de pmnt pn sub brbie, iar aceasta i aIectase
coardele vocale
39
.
(Octavian Paler, Et in Arcaaia ego', 1991)

P. Clonea A. Mrsescu C. Nicolae


218
Words and phrases for study























Text 24:
ntr-o noapte din copilrie, m-am trezit auzind ipete si
m-am speriat. n Ierestrele casei, luceau
1
vlvtile
2
unui Ioc
urias, iar pe uli se vedea ca ziua
3
. M-am ghemuit
4
n pat,
nIricosat de lumina violent care lingea amenintor geamurile
si, convins c visam, am adormit din nou. Dimineaa am zrit
pdurea ars, neagr, ca o ran urt ntins pe toat coasta
5

Secii. Un nor de Ium se ridica deasupra munilor, murdrind
6

lumina aurie a toamnei. Tot astIel am crezut ntr-o vreme c
singurtatea a ars, ca n vis, o parte din pdurile mele si m-am
trezit cnd ravagiile
7
erau clare, nu mai era nimic de Icut. M
tem, ns, c n-as putea nvinui
8
pe nimeni pentru partea mea de
singurtate si c sunt unicul ei artizan
9
.
x cal ae poveste
31

x caligrafie
28

x cerneal splcit
27

x coarae vocale
39

x coas
7

x constrange (a)
6

x aesen stanaara
33

x aus i intors
3

x emoie
36

x favorii
23

x fan neuscat
10

x flanca (a)
24

x flutura in vant (a)
18

x furgoane
11

x gle:n
15

x gratuit
5

x imperiul habsburgic
12

x inaicativul unitii
29

x inrma in meaallion (a)
22

x inrola (a)
9


x intreprinae o cltorie (a)
4

x lacun
25

x lume inchis
2

x in materie ae
26

x monta (a)
34

x negru ca pana corbului
13

x noriori iailici
21

x obu:
38

x peretele ainspre uli
30

x privi cu ochi buni (a nu)
1

x scaea entu:iasmul (a-i)
35

x strange aarlogii (a)
20

x strangere ae inim
32

x suna mobili:area (a)
8

x tunic
16

x inte albe
14

x varat in ci:me
19

x viiniu
17

x vorbi slab, stins (a)
37


The Aavancea Stuaents Book of Bilingual Literary Translation

219
E drept c o dimensiune
10
mi-a lipsit cu desvrsire
11
. N-am
dorit niciodat s joc rolul unui Robinson. Aventurile celor care
au vrut s experimenteze mitul bunului slbatic
12
mi-au inspirat
mai curnd suspiciuni
13
. Cum s te retragi de bunvoie
14
pe o
insul pustie? Bnuiesc c eu numai legat n lanuri
15
as sta ntr-o
sihstrie
16
absolut. Pe sub Iereastra mea trec camioane,
autobuze, troleibuze, automobile, motociclete, crue
17
,
basculante
18
, masini ale Salvrii
19
cu sirenele
20
n Iunciune, nu
mai lipseste dect tramvaiul ca repertoriul de zgomote
21
s Iie
complet, dar nu m plng. Vacarmul
22
m oboseste, ns de tcere
mi e Iric, mai ales cnd e desvrsit
23
. n ciuda singurtilor
mele, am rmas un animal social si nu m-as putea lipsi de
eIectele si deIectele
24
civilizaiei pentru a gusta deliciile
slbticiei
25
, socotite de unii un raIinament
26
. Slbticiile mele
sunt de cu totul alt ordin. Dar despre asta s-ar cuveni s vorbesc
Ir zmbete.
(O. Paler, Butoiul lui Diogene, 1991)

Words and phrases for study













x arti:an
9

x basculant
18

x cru
17

x coast
5

x aefect
24

x aeliciile slbticiei
25

x aesvarit
23

x aimensiune
10

x ghemui (a se)
4

x inspira suspiciuni (a)
13

x invinui (a)
8

x legat in lanuri
15

x lipsi cu aesvarire (a)
11


x luci (a)
1

x maini ale Salvrii
19

x mitul bunului slbatic
12

x murari (a)
6

x rafinament
26

x ravagii
7

x repertoriu ae :gomote
21

x retrage ae bunvoie (a se)
14

x sihstrie
16

x siren
20

x vacarm
22

x valvti
2

x veaea ca :iua (a se)
3


P. Clonea A. Mrsescu C. Nicolae


220
Text 25:
n Iapt, singurtatea unui artist este totdeauna
contradictorie
1
, pentru c el se retrage n singurtate nu pentru a
tcea. Si, cu ct e mai singur, cu att e mai nsetat s-o spun
2

cuiva, contestndu-si
3
singurtatea chiar prin Iaptul c o
mrturiseste. Concluzia, mi se pare, se impune
4
: acolo unde
singurtatea esueaz, triumI
5
arta. Nici un scriitor nu s-a
conIesat pentru c a Iost singur, ci pentru c n singurtate n-a
consimit
6
s devin mut
7
, n-a renunat la dorina de comunicare.
n chiar momentul cnd ncepe s scrie, el recunoaste c trebuie
s ias dincolo de limitele sale, c nu poate tri Ir alii. Ce
credei c sunt n realitate invectivele sarcastice aruncate
8
uneori
din singurtate de un artist-solitar? Eu v propun s vedei n ele
strigte mndre de ajutor
9
. Cnd nu mai are curaj s spun c
iubeste lumea, artistul pretinde c o dispreuieste
10
. Dar dispreul
su nu e dect un mod de a ascunde o iubire care sngereaz. Eu
sunt singur, n timp ce ei, ei sunt toi`, spune cineva n
Dostoievski. Artistul nu poate nainta prea departe pe acest drum.
n singurtate, el descoper ceea ce l Iace solidar
11
.
Dar e oare necesar s Iim singuri pentru a Iace aceast
descoperire? ntr-adevr, o asemenea ntrebare trebuie pus. De
ea depinde n bun msur
12
soarta scriitorului. Pentru c si
scriitorul vrea s se bucure de lumea n care trieste. Numai c
pentru a iubi lumea trebuie, cum zicea Leonardo, s-o cunoastem,
iar pentru a o cunoaste trebuie mai nti s ne cunoastem pe noi.
O legend din Mexic spune c arborele universului
13
are
dou brae. Unul al dragostei, altul al durerii. Si m gndesc c,
poate, si artistul e un astIel de arbore. Pe de o parte singur, pe de
alt parte solidar, el si obine tocmai n singurtate dreptul de a
iubi. Si uneori se rateaz
14
nu pentru c n-a dorit s Iie solidar, ci
pentru c n-a ndrznit s Iie singur, nu s-a cuIundat destul de
adnc n adevrul su
15
, Ir de care ar sIrsi prin a repeta numai
ceea ce aude la alii. Problema cea mai spinoas
16
a unui artist e
tocmai aceasta, s in o cumpn dreapt
17
. ntruct, trind la o
rspntie
18
, ntre eu` si noi`, el n-are voie s uite c rostul
singurtii sale nu poate Ii dect acela de treapt spre o
solidaritate mai adnc.
The Aavancea Stuaents Book of Bilingual Literary Translation

221
V cer scuze, n ncheiere, dac nu v-am convins.
(O. Paler, Artistul i arborele universului, 1991)

Words and phrases for study














Text 26:
n urm cu cteva zile, un coleg maghiar mi povestea
aventura sa legat de un articol despre situaia politic din
Ungaria, care i-a Iost solicitat
1
de o important revist ruseasc.
Printre altele, colegul cu pricina
2
povestea cum un important
canal de televiziune din Ungaria a sIrsit prin a Ii anexat
3
si
controlat de "Iorele de dreapta"
4
. n mintea sa, acesta era un
exemplu, printre altele, de extindere abuziv
5
a politicului. Pentru
redactorii
6
rusi ns era evident c publicul lor (mai elitist
7
, se
pare) va nelege un singur lucru: n sIrsit, iat, s-a ntmplat si
n Ungaria ceea ce trebuie si e bine s se ntmple, adic
societatea trece cu arme si bagaje
8
"pe dreapta", acolo de unde
rsare noul Soare. O coleg din Grecia, care asista la discuie, s-a
ntors atunci ctre mine si m-a ntrebat: Dar in Romania cum e,
actualul guvern e liberal
9
sau au rmas la conaucere tot vechii
comuniti? Mae, aa i aa, am ngimat
10
eu ambiguu, ca si
situaia.
De atunci m-am tot gndit cum ar putea Ii Iormulat clar si
precis un rspuns la o astIel de ntrebare. Pn ieri cnd, trecnd
x arborele universului
13

x arunca invective
sarcastice (a)
8

x in bun msur
12

x consimi (a)
6

x contesta (a)
3

x contraaictoriu
1

x cufunaa in aaevrul su
(a se)
15

x aispreui (a)
10

x impune (a se)
4



x fi insetat s spun (a)
2

x mut
7

x problem spinoas
16

x rata (a se)
14

x rspantie
18

x soliaar
11

x strigte manare ae
afutor
9

x triumfa (a)
5

x ine o cumpn areapt
(a)
17


P. Clonea A. Mrsescu C. Nicolae


222
prin Busteni, constat c vechea alimentar "Mioria", vnznd de
cnd o stiu eu n primul rnd produse lactate
11
(ce altceva?), a
devenit peste noapte un motel-restaurant cu o Iirm sclipitoare
12

pe care scrie (scuze, Domnule Pruteanu!) "New Mioria". Asta e'
- mi-am zis eu n barb
13
, acesta este rspunsul.
ntr-adevr, s ne gndim puin. "New Mioria" trimite, pe
de o parte, la un aefa-vu, la o anumit recuren
14
istoric; pe de
alt parte ns, este ceva total "new", isnt it? Ca si guvernul
A. N. Am veriIicat n urm cu cteva luni, de pild, componena
conducerii locale
15
dintr-un jude
16
al patriei, cu convingerea
Ierm
17
c marea majoritate trebuie s Iie Iormat din vechi
activisti
18
. Ei bine, nu! Erau doar doi. Dar totul prea, nu stiu de
ce, ca pe vremuri
19
, mi suna al naibii de
20
cunoscut
21
.
S mergem ns mai departe cu imaginaia interpretativ.
Ce este vechi si ce este nou n aria noii Miorie? Pi, intriga
rmne aceeasi: turma de oi (mai mult sau mai puin) mndre si
cornute
22
. Procedura este ns total "new". posesorul lor nu mai
este asasinat, ci i se privatizeaz
23
turma. Rezultatul: turma trece
n proprietatea celor doi invidiosi, dar Ir vrsare de snge, ci
legal si democratic. Cci poate s spun cineva c guvernul
nostru n-a privatizat ntr-un an ct alii n zece? Si se poate ndoi
cineva c acest lucru le-a prins tare bine
24
? Iat, de pild, dup
Iabrici si uzine
25
, servicii publice si companii, Delta Dunrii, cu
turmele ei de pesti, tocmai Iu privatizat si ea, iar dac vrei s
stii cine sunt noii lipoveni
26
, citii Acaaemia Caavencu din luna
august. Dar si mai Irumos, tocmai am aIlat si eu, ntorcndu-m
n ar, c a Iost privatizat n acelasi Iel si Limba Romn, acest
bun public
27
cel mai public si mai bun. Privatizare care a trecut
neobservat, ca atare, dar care este singura ce permite
guvernanilor s spun Ir drept de apel
28
c e Limba noastr,
Iacem ce vrem cu ea. Si, cu voia dumneavoastr, ultima pe list,
chiar si antropologia
29
a Iost privatizat n acelasi Iel.
Cum ns n-as putea s-i explic grecoaicei
30
mele toate
aceste subtiliti ale spaiului neo-mioritic, ar trebui s m
rezum
31
la o Iormul mai tehnic: neo-liberalism totalitar.
(Vintil Mihilescu, New Mioria, n 'Dilema nr. 505,
15-21 noiembrie 2002)
The Aavancea Stuaents Book of Bilingual Literary Translation

223
Words and phrases for study



















Text 27:
Ce-i place lui la mine e c stie c n-am s-l dau niciodat n
judecat pentru ndrzneala de a Ii achitat nota de plat
1
pentru
amndoi (si recunoastei, Ietelor, c e bine s-i aduci aminte c
el e brbatul mcar atunci cnd esti nainte de salariu). Stie c
n-am s i-o retez scurt
2
cnd o s-mi Iluture
3
dou bilete la Iilm
(si uite asa mi-am asigurat si o sear plin cnd credeam c nu
am cheI de nimic) si c o s m bucur dac programul serii va Ii
complet, planiIicat strategic
4
si n-o s mai am nimic de Icut
dect s-l las pe el, c e brbat si stie mai bine. Ce usurare
5
cnd,
dup toate deciziile zilei (suntem Iemei moderne si active,
hotrm multe ntr-o zi), obsedanta ntrebare: "Unde mergem/ce
Iacem n seara asta?" nu primeste drept rspuns un timid: "Unde
vrei tu/cum spui tu!".
Si oricum s-a Icut rcoare n seara asta, i-ar Ii Iost Irig si
poate c ai Ii rcit Ir haina lui. Si e mai bine c tipul la Irumos
de la petrecere a venit el la tine si i-a spus c ai o rochie
x activist
18

x anexa (a)
3

x antropologie
29

x bun public
27

x colegul cu pricina
2

x conaucere local
15

x convingere ferm
17

x elitist
7

x extinaere abu:iv
5

x fr arept ae apel
28

x firm sclipitoare
12

x fore ae areapta
4

x grecoaic
30

x a ingima
10

x fuae
16

x lactate
11

x liberal
9


x lipovean
26

x al naibii ae
20

x prinae bine (a-i)
24

x privati:e (a)
23

x recuren
14

x reaactor
6

x re:uma la (a se)
31

x solicita (a)
1

x suna cunoscut (a)
21

x trece cu arme i bagafe
(a)
8

x turm ae oi manare i
cornute
22

x u:ine
25

x pe vremuri
19

x :ice in barb (a-i)
13


P. Clonea A. Mrsescu C. Nicolae


224
interesant - bine, nu i-a venit altceva - dar tu te chinuiai de vreo
dou ore cu ideea: s m duc eu la el, s nu m duc, oare ce o s
cread despre mine dac m duc, dar de ce s nu m duc, nu mai
exist bariere din astea, nu? Ba bine c sunt - las-le brbailor
reIrenul cu "s m duc eu la ea?" (au mai mult exerciiu
6
) si
primeste trandaIirul - nu e sigur c a nimerit-o
7
, nu stie dac esti
genul care nc mai accept din astea - ncepe s arate caraghios
cu el n mn.
E greu s Iii Iemeie, asa e - sunt zile n care Ieminismul
8
i
se revolt pentru c ntorsul de la treburi
9
i trezeste, Ir voia ta,
toate cliseele
10
anti-brbai pe care le-ai auzit de la mama - mai
ales la cu brbaii si o anume specie de patruped
11
roz, murdar si
domestic
12
. Dar e bine, pentru c dup ce i mai tragi suIletul
13
te
ntlnesti cu tipul la de la petrecere, la care nu s-a priceput prea
bine la complimente
14
, dar i-a Icut o surpriz si si-a salvat
onoarea
15
cu biletele la premiera
16
din seara asta. Chiar n-aveai ce
Iace - caIeaua cu prietenele pe sptmna asta i-o busesi deja si,
hai s spunem drept, prietena cea mai bun seamn n multe
privine cu brbatul ideal, dar cteodat Iaci rabat
17
de la calitile
pe care i le doresti cu adevrat, dar ai n schimb... un brbat.
Si dac tot nu esti lmurit
18
dac e sau nu e brbat, pune-l
s se mbrace n albastru si vezi si tu dac i vine bine
19
.
(Iulia Gorzo, Fii brbai, c nou ne place', in 'Dilema
nr. 505, 15-21 noiembrie 2002)

Words and phrases for study

x achita nota ae plat (a)
1

x avea exerciiu (a)
6

x cliee
10

x compliment
14

x aomestic
12

x face rabat (a)
17

x feminism
8

x flutura (a)
3

x lmurit
18

x nimeri (a o)
7


x patrupea
11

x planificat strategic
4

x premier
16

x rete:a scurt (a o)
2

x salva onoarea (a-i)
15

x trage sufletul (a-i)
13

x treburi
9

x uurare
5

x veni bine (a-i)
19

The Aavancea Stuaents Book of Bilingual Literary Translation

225
Text 28:
Noi vedem NATO ca reprezentnd un set de valori
1

caracteristice Vestului: perIormane economice, democraie,
societate civil
2
, valori de care am Iost separai brutal la sIrsitul
anilor '40. NATO este un vis naional al romnilor". Asa i zicea
n 1998 presedintele Emil Constantinescu jurnalistului Robert
Kaplan (La Rsrit, spre Tartaria, Polirom, 2002). Puin cam
melodramatic
3
, s-ar putea spune, dar Kaplan a Iost impresionat,
nu att de Emil Constantinescu, ct de hotrrea tuturor
interlocutorilor
4
si romni. "Nici o alt ar din Europa nu are
mai mult nevoie de NATO dect noi", i spunea generalul
Degeratu, seIul de atunci al Marelui Stat Major
5
.
Se pare c n aceast sptmn visul se va mplini si
nevoia va Ii satisIcut. Unanimitatea
6
Iorelor politice din
Romnia n proclamarea
7
voinei de a intra n alian si
ndrjirea
8
omului de rnd par a-i speria pe vestici... Cei sub 15
dintre romni care se declar mpotriva intrrii n NATO nu
exist practic n spaiul public. Cine sunt ei? Nu este Ioarte clar,
sunt prea puini pentru ca datele din sondaj
9
s Iie analizate cu
seriozitate. La un pseudo-experiment mi-am ntrebat
cunostinele
10
dac ei cunosc pe cineva contra. Nu am gsit nici
n anturajul
11
meu direct, nici printre cunostinele cunostinelor
mele un opozant
12
. Fie si unul care s nu Iie de acord, asa
dintr-un moIt
13
, de-al naibii.
De altIel, spaiul public a Iost suprasaturat
14
cu acest
subiect asa c nu a mai rmas loc pentru o discuie critic.
"NATO" a devenit pretext politic pentru Iel de Iel de aciuni Ir
legtur cu domeniul militar, nici cu cel extern, nici mcar cu
ideea extins de "securitate". Oamenii de treab
15
, ipocriii,
ticlosii, Iiecare a gsit scuze pentru propria Iapt. Un
sindicalist
16
, Marius Petcu, lider al unei centrale
17
apropiate de
guvern, spunea c a semnat acordul
18
social cu executivul
19

pentru ca s intre Romnia n NATO. Alii sunt pentru NATO ca
s-si asigure propria mbogire
20
si pentru a prinde la viitoarele
alegeri, anticipate
21
sau nu, un loc cu imunitate
22
garantat. Un
parlamentar
23
membru n comisia
24
controlat de SRI
25
spunea c
tripleta
26
Plesu-Patapievici-Dinescu urmreste interese strine
27

P. Clonea A. Mrsescu C. Nicolae


226
destabilizatoare
28
pentru Romnia nainte de Praga. Ce mai poate
nsemna "interese strine" Ia de Romnia si de NATO
concomitent
29
? Doar Moscova. Plesu kaghebist
30
! Dinescu Ian
Putin! Omul vorbea serios si e Ioarte posibil ca n logica lui
lucrurile s se lege. Doar NATO a devenit un Iel de sperietoare
31

pentru toi. Societatea civil doreste pe bun dreptate ca
securistii
32
s nu mai decid si pentru generaiile viitoare, si cum
argumentele de bun-sim si cele morale nu au trecere
33
, aduce
argumentul suprem: NATO are ceva cu securistii. Culmea este c
strategia ine, doar acum puterea discut, Iace conIerine la
Snagov, unde se prezint seIul SRI n persoan. Este invitat si un
consilier de pe la NATO: el Iace o declaraie evaziv
34
, de parc
ar Ii stiut replica din "Balana", cea cu "dac se discut politic,
nu zi nici da, nici nu, Ii ambiguu". SeIul SRI apare pe TVR si
spune c NATO nu are nimic special cu securistii nostri, ar vrea
doar ca ei s nu aib acces la secretele sale. Presa de opoziie
35

titreaz
36
c NATO i vrea dai aIar pe securisti.
(Cristian Ghinea, In sfarit, parial europeni n 'Dilema
nr. 506, 22-28 noiembrie 2002)

Words and phrases for study

x alegeri anticipate
21

x anturaf
11

x central
17

x comisie
24

x concomitent
29

x cunotin
10

x aestabili:ator
28

x eva:iv
34

x executiv
19

x imunitate
22

x interese strine
27

x interlocutor
4

x imbogire
20


x opo:ant
12

x parlamentar
23

x presa ae opo:iie
35

x proclamare
7

x securist
32

x semna un accora (a)
18

x set ae valori
1

x sinaicalist
16

x societate civil
2

x sonaaf
9

x sperietoare
31

x SRI
25

x suprasaturat
14

The Aavancea Stuaents Book of Bilingual Literary Translation

227






Text 29:
Culmea este c sperietoarea NATO chiar mpinge lucrurile
nainte, mai ceva dect agitaia
1
oamenilor din societatea civil,
care vd cum puterea devine mai puin arogant
2
si abuziv
3
cnd
cele patru iniiale magice
4
i sunt servite cum trebuie. n numele
NATO se Iac reIorme, multe, proIunde, cu si Ir legtur
vizibil cu NATO. Toat lumea a remarcat eIortul Icut de
armata romn. Si-a redus eIectivele
5
de la 280.000 la 180.000 de
oameni n civa ani. Si nu s-a ncheiat, n viitorul apropiat sunt
pe cale de a Ii disponibilizai
6
ali 50.000 de militari. Pn n
2007, proIesionistii
7
vor Ii dou treimi din armat si imediat dup
aceea se va renuna si la serviciul militar obligatoriu
8
. Se putea
Iace mai devreme, dar NATO nu a cerut rspicat
9
acest lucru.
Opiniile a zeci de mii de tineri si ale Iamiliilor lor ale cror
planuri de via se Irng
10
pentru o perioad nu a Iost niciodat
un motiv pentru a se lua serios n considerare renunarea la
stagiul militar obligatoriu, dar, dac NATO sugereaz doar, este
suIicient.
Necesitatea acestor eIorturi era limpede. Dar NATO
determin reIorme unde nici nu te astepi. De exemplu, n
administraie
11
, unde o Ioarte binevenit lege a transparenei
12
a
Iost sugerat de NATO, ajutat de organizaii civile, elaborat de
guvern si trimis n Parlament, unde are toate sansele s Iie
adoptat
13
. Poate c ar Ii Iost de preIerat ca NATO s pun mai
multe condiii, de exemplu ca, pn la Praga, Autoritatea pentru
Privatizare
14
s rmn Ir obiectul muncii
15
. Cred c se rezolva.
Pn si adopiile
16
internaionale si sistemul de protecie a
copilului au Iost reIormate sub grija ministrului Serban
Mihilescu si astIel Romnia a ajuns un exemplu pozitiv pentru
alii. Dac-i ordin, cu plcere.
x inaarfire
8

x kaghebist
30

x meloaramatic
3

x moft
13

x om ae treab
15

x eful Marelui Stat Mafor
5

x titra (a)
36

x trecere (a avea)
33

x triplet
26

x unanimitate
6


P. Clonea A. Mrsescu C. Nicolae


228
De unde aceast hotrre ntr-o ar deloc obisnuit s duc
lucrurile pn la capt
17
?
(Cristian Ghinea, In sfarit, parial europeni, n 'Dilema
nr. 506, 22-28 noiembrie 2002)

Words and phrases for study











Text 30:
Vesticii mai au un motiv de mirare: cu ct est-europenii
sunt mai bogai, cu att scade ncrederea n NATO. Pentru unii -
ultima speran, pentru alii un grup de iniiale asociat de obicei
cu cheltuieli militare si implicri n cine stie ce conIlicte, stricnd
tihna mbogirii
1
. n cea mai nstrit ar dintre cele Ioste
comuniste, Slovenia, doar 45 din populaie sprijin aderarea la
NATO, mai mult dect sigur de altminteri. De aceea,
conductorii sloveni nici nu se ncumet
2
s organizeze
reIerendum
3
. n schimb, n una dintre cele mai srace ri,
Romnia, procentul se menine mereu peste 85. Salariatul
mediu
4
sloven cstig 970 de euro pe lun, iar pensionarul
5
din
aceast minuscul si nehotrt ar primeste tot n medie 375 de
euro. n schimb, salariatul mediu romn trebuie s Iie mulumit
cu 130 de euro, iar pensionarul cu 30, de zece ori mai puin dect
cel sloven.
NATO a devenit de Iapt sperana pentru toate nemplinirile
tranziiei
6
. Disperat de ineIiciena democraiei si a elitei politice
generate de aceasta, populaia vede salvarea n exterior
7
. n plus,
o idee proIund ntiprit
8
n cultura politic si caut cu disperare
x abu:iv
3

x aaministraie
11

x aaopta o lege (a)
13

x aaopii
16

x agitaie
1

x arogant
2

x Autoritatea pentru Privati:are
14

x cere rspicat (a)
9

x aisponibili:at
6


x auce la capt (a)
17

x frange (a se)
10

x iniiale magice
4

x obiectul muncii
15

x profesionist
7

x reauce efectivele (a-i)
5

x serviciul militar obligatoriu
8

x transparen
12


The Aavancea Stuaents Book of Bilingual Literary Translation

229
conIirmarea: noi suntem europeni. Iar cum NATO e mai
accesibil, ntrupeaz conceptul european mai bine dect o
Uniune European prea pretenioas. n ciuda evidenei strzii
9
,
suntem europeni. n ciuda standardului de via
10
, suntem
europeni. Trebuie s intrm, doar suntem europeni. AIlat n
Georgia, acelasi Kaplan remarc: "Aici, ca si n Romnia,
oamenii te servesc cu caIea oriental si i vorbesc despre
europenitatea
11
lor. Si, tot ca n Romnia, insistena lor e lucrul
cel mai sIsietor
12
, pentru c au parial dreptate.
(Cristian Ghinea, In sfarit, parial europeni, n
'Dilema nr.506, 22-28 noiembrie 2002)

Words and phrases for study









Text 31:
Deputaii
1
si senatorii
2
vor s nu-si piard micile bucurii
3

ale vieii de parlamentar nici dup ncetarea mandatului
4
: potrivit
unei propuneri de modiIicare
5
a Ordonanei
6
83/2003 privind
regimul pasapoartelor
7
, si ex-parlamentarii ar putea beneIicia de
pasapoarte diplomatice
8
. Mai mult, ar putea primi un astIel de
document de cltorie
9
si membrii de Iamilie so, soie si copii
minori atunci cnd l nsoesc pe titular
10
. Propunerile au Iost
strecurate pe sest
11
ntr-un banal raport de mediere
12
la textele
aIlate n divergen
13
ntre Senat si Camera Deputailor
14
, la
proiectul de lege pentru aprobarea Ordonanei 83/2003. Cu un an
nainte de expirarea mandatului, deputaii din Comisia pentru
administraie au Iost primii care s-au gndit c si Iostii lor colegi
ar putea s se plimbe n vacan n strintate tot cu pasapoarte
diplomatice, ca s nu mai vorbim de cei care nu si vor mai
x europenitate
11

x eviaena str:ii
9

x in exterior
7

x iaee intiprit
8

x incumeta (a se)
2

x neimplinirile
tran:iiei
6


x pensionar
5

x referenaum
3

x salariat meaiu
4

x sfaietor
12

x stanaara ae via
10

x tihna imbogirii
1


P. Clonea A. Mrsescu C. Nicolae


230
prelungi mandatul
15
actual. Totusi, comisia limitase acest drept
strict la ex-parlamentari, excluznd Iamiliile. Motivaia oIicial
care Iigura n raport a Iost c acestia si-au stabilit n perioada
exercitrii mandatului relaii n exterior, iar ara are nevoie ca ei
s-si menin contactele diplomatice
16
. Propunerea Comisiei de
administraie a trecut n vitez de
17
plenul
18
Camerei, Ir s
provoace nici o reacie advers
19
. In consecin, a Iost Iorat
nota
20
si, la mediere, parlamentarii au mprit pasapoarte
diplomatice si nevestelor si copiilor. Din Comisia pentru mediere
au Icut parte, printre alii, senatorii Sergiu Nicolaescu (PSD) si
Ilie Pltic Vidovici (PSD), precum si deputatul bulgar Petru
Mirciov, cruia Camera i-a pltit recent o deplasare
21
la Las
Vegas. Scandalul pasapoartelor diplomatice a izbucnit pe vremea
Iostului presedinte Emil Constantinescu, cnd s-a descoperit c
mai muli oameni de aIaceri beneIiciau de astIel de documente de
cltorie.
(M. Marian, Paapoarte aiplomatice pe via pentru
parlamentari i neamurile lor, ,Adevrul, nr. 4171, mari, 25
noiembrie, 2003)

Words and phrases for study

x bucurie
3

x Camera Deputailor
14

x contact aiplomatic
16

x aeplasare
21

x aeputat
1

x aivergen
13

x aocument ae cltorie
9

x fora nota (a)
20

x incetarea manaatului
4

x Oraonan
6

x paaport aiplomatic
8


x plen
18

x prelungi un manaate
(a)
15

x propunere ae moaificare
5

x raport ae meaiere
12

x reacie aavers
19

x regimul paapoartelor
7

x senator
2

x pe est
11

x titular
10

x trece in vite: ae (a)
17

The Aavancea Stuaents Book of Bilingual Literary Translation

231
Text 32:
,Am aecis s prsesc puterea. Mi-am aat seama c se
merge spre vrsare ae sange
1
i c ar fi mai bine s m retrag.
Nicioaat nu mi-am traat poporul i ae aceea crea c, in
calitatea mea ae preeainte, trebuie s aemisione:.: cuvintele
rostite pe un ton aparent calm de Eduard Sevardnadze au marcat
sIrsitul glorios al ,revoluiei de catiIea
2
din Georgia, care
amenina s ia o turnur
3
dramatic, dac Iostul presedinte ar Ii
reIuzat s in seama de principala dorin a demonstranilor. (...)
Desi nimeni nu poate nega nsemntatea
4
gestului lui
Sevardnadze, e clar c decizia sa a Iost luat nu numai sub
presiunea strzii. Abia dup ce conducerile armatei si Iorelor de
securitate au anunat c nu vor interveni
5
mpotriva populaiei, si-
a dat seama c nu mai are nici o sans. Un rol hotrtor l-au jucat,
cu siguran, si cele dou mari puteri Rusia si SUA, ale cror
interese se ntretaie
6
n Iosta republic sovietic. (...) Rusia
asigur alimentarea cu gaze naturale a rii si exercit o doz
7

substanial de inIluen
8
n regiunea autonom Adjaria, ca si n
alte dou regiuni georgiene de orientare pro-moscovit
9
, Abhazia
si Osetia, care, practic, s-au separat de guvernul central de la
Tbilisi, constituindu-se ntr-un Iel de cal troian
10
al Kremlinului,
asemenea rolului jucat de Transnistria n cadrul Republicii
Moldova.
La rndul su, Washingtonul caut s se substituie
inIluenei rusesti, Iiind principalul creditor si Iinanator
11
extern
al Georgiei si Iurnizndu-i ajutor militar, inclusiv un numr de
instructori. Nu trebuie, de asemenea, uitat c Georgia este
teritoriul de tranzit
12
ntre imensele rezerve
13
de iei din Caspica
si piaa mondial, americanii Iiind interesai n aceeasi msur ca
si rusii de controlul asupra reelei
14
de transport a aurului negru.
SuIiciente motive pentru a explica atenia deosebit cu care
evenimentele de la Tbilisi au Iost urmrite la Moscova si
Washington. (...)
Att presedinta provizorie
15
, ct si Mihail Saakashvili,
liderul gruprilor de opoziie
16
, sunt de Iormaie
17
occidental (cel
de-al doilea a studiat chiar n SUA) si Washingtonul conteaz,
probabil, pe ei pentru a lua locul Rusiei ca partener al Georgiei.
P. Clonea A. Mrsescu C. Nicolae


232
Pe de alt parte ns, ntre cei doi nu exist o identitate perIect
de preri, prima Icnd elogiul
18
,marelui stat al Rusiei, n
vreme ce al doilea s-a abinut de la orice aluzie n acest sens.
Interesele Moscovei si Washingtonului nu sunt diametral opuse
19
,
ambele puteri doresc stabilitate n zon, dar modul n care vd
realizat acest obiectiv este diIerit (...) si aceste diIerene s-ar
putea reIlecta si n politica intern georgian.
Nu este exclus ca, pe acest Iundal, opoziia triumItoare n
,revoluia de catiIea s se scindeze, o dat ce si-a atins elul,
eventual ntr-o arip pro-rus si una pro-american. EuIoria
20
de
dup victorie s-ar putea n curnd risipi
21
.
(Romulus Cplescu, ,Revoluia ae catifea` ain Georgia
intre focul ae interese al marilor puteri, ,Adevrul, nr. 4171,
mari, 25 noiembrie, 2003)

Words and phrases for study













Text 33:
(Se auae ae unaeva, ae sus, glasul ascuit
1
al unui turc,
aa cum strig mue:inii
2
.)
GLASUL: 'Allah aude si vede. 'Allah aude si vede.
'Allah.
ZUNIS: Iar se roag.
GLASUL: 'Aude si vedeee.
FINANELE: Asta s-o cread el.
x cal troian
10

x aiametral opus
19

x ao:
7

x euforie
20

x exercita o influen (a)
8

x face elogiul (a)
18

x finanator
11

x ae formaie
17

x grupare ae opo:iie
16

x interveni (a)
5

x insemntate
4


x intretia (a se)
6

x orientare pro-moscovit
9

x preeainte provi:oriu
15

x reea
14

x revoluie ae catifea
2

x re:erv
13

x risipi (a se)
21

x tran:it
12

x turnur
3

x vrsare ae sange
1


The Aavancea Stuaents Book of Bilingual Literary Translation

233
GLASUL: 'Ooo, poporul meu. Cmila pe care-o vedei
aparine lui Allah. E un semn de la el. Las-o s treac si nu-i
csuna vreun ru
3
. AltIel va Ii ru de tine
4
.
(Se inelege acum c glasul vine chiar ae aeasupra lor. )
RZBOIUL: Ascultai-m pe mine: e ca pictura . menit s
verse paharul
5
.
FINANELE: Dar cum s-o Ii urcnd acolo?
RZBOIUL: Chiar n capul nostru.
ZUNIS: Simplu, cu scara
6
.
FINANELE: Si apoi, cum reuseste s-si menin echilibrul
7
?
neleg c st pe scar si merge.
MPRATUL (vine cu un papuc in man): Am gsit un papuc la
us .
GLASUL: 'Cmila pe care...
MPRATUL: Bine, dar paza palatului? Ce pzeste garda de 300
de suedezi nali, narmai pn-n dini
8
? De ce se d voie s se
oIicieze
9
n capul meu rugciunea musulman
10
, n timp ce eu Iac
pe cea crestin? Dac se-amestec? S Iie dat imediat jos. M
ncurc
11
la 'Tatl nostru.
(Incepe s se roage, 'Tatl nostru`, in grecete,
suprapunanau-se
12
glasului tanguitor
13
al musulmanului.)
ZUNIS: E pltit! I-au dat parale grele
14
s ne converteasc
15
. Au
gsit un habotnic
16
musulman, i-au pus un minaret
17
n brae si
Iace pe muezinul peste mpria bizantin
18
.
MPRTEASA (apare inaignat
19
): Mcar credina s ne-o
lase nestirbit
20
! Am tot respectul pentru legea lor, dar si ei s
aib acelasi respect pentru credina mea, credina prinilor nostri.
GLASUL: 'Nu-i spune rugciunile prea n gura mare
21
, dar nici
prea soptit, ci pe un glas de mijloc
22
.
ZUNIS: Vedei, nici Coranul
23
lui mcar nu-l respect. Url ca un
disperat
24
.
MPRTEASA (ingriforat): N-a mai aprut Stratos?
FINANELE: Eh! E aproape sigur c .
MPRTEASA: Nu se poate.
RZBOIUL: Stimat Doamn, multe nu se pot si . ce se mai
Iac! Ba chiar, cu ct un lucru pare mai imposibil, tocmai acela se
nIptuieste primul.
P. Clonea A. Mrsescu C. Nicolae


234
ZUNIS (inaignat): Mai nti c ne-a jignit. sta de sus e un copil
care zdrngneste
25
o jucrie nevinovat, pe lng monstrul de
Stratos.
MPRTEASA: Cum s ne vnd el pe noi? E peste marginile
nchipuirii
26
. L-am primit n Iamilia noastr, am mprit aceeasi
pine amar a pribegiei
27
. Ba noi ne cunoastem chiar de la
palat. O dat i-am ntins mna la o recepie si-am schimbat
cteva cuvinte.
RZBOIUL: Ce e mai ciudat e c tocmai el ne sItuia s Iim de
granit
28
. ns eu v-am mai spus: btaia corporal
29
, aplicat n
mod abuziv si cu o anumit regularitate. l Iace pe om s-si
vnd. mam, tat, Irai, surori, cumnai, veri, unchi, mtusi.
ZUNIS: Familia te priveste. ns cine-i d dreptul s te atingi
de ar?.
(Marin Sorescu, Rceala, 1980)

Words and phrases for study













x btaie corporal
29

x cuna vreun ru (a)
3

x converti (a)
15

x Coran
23

x glas ascuit
1

x glas ae mifloc
22

x granit
28

x in gura mare
21

x habotnic
16

x inaignat
19

x impria bi:antin
18

x inarmat pan-n aini
8

x incurca pe cineva (a)
11

x marginile inchipuirii
26

x menine echilibrul (a-i)
7


x minaret
17

x mue:in
2

x musulman
10

x netirbit
20

x oficia (a se)
9

x parale grele
14

x painea amar a pribegiei
27

x pictura menit s verse
paharul
5

x ru ae cineva (a fi)
4

x scar
6

x suprapune (a se)
12

x tanguitor
13

x urla ca un aisperat (a)
24

x :arngni (a)
25


The Aavancea Stuaents Book of Bilingual Literary Translation

235
Text 34:
RZBOIUL: Trebuie s Iii Iericit c e biat.
IZABELA: Dac trebuie, sunt Iericit, domnule ministru de
rzboi
1
. Eu mi-as Ii dorit o Iat. Cu vremurile
2
pe care le trim!
Attea rzboaie.
FINANELE: Fetele sunt o pacoste
3
pentru vistierie
4
.
O VOCE: Atenie, vorbeste ministrul de Iinane
5
. (Rasete)
RZBOIUL: Esti obsedat de problema banilor, drag.
FINANELE: Iar ministrul de rzboi nu vede dect carne de tun
6
.
IZABELA: Iar ai gsit un prilej s v tachinai
7
? (Ctre ministrul
ae r:boi) E adevrat, am auzit c-ar nvli
8
turcii?
RZBOIUL: Asta se aude de vreo 30 de ani. (Sigur pe sine) Nu
vin ei ncoace.
FINANELE: Dac nu vin. dac nc nu vin. asta nu e din
cauz c s-ar teme de oastea lui.
RZBOIUL: Vrei s spui c-au aIlat c e vistieria goal? N-au de
ce se osteni
9
! Prin urmare, ar Ii meritul tu c ne-ai pustiit
10

naintea turcilor? (Rasete)
IZABELA: Lsai sIada
11
. Amndoi avei merite mari n
stavila
12
puhoiului
13
turcesc. Cum zice si unchiul: 'Amndoi niste
ncurc lume
14
. I-ai ncurcat si pe turci. (Curio:itate) E
adevrat c sunt catolici?
RZBOIUL: Dac sunt pgni? (Rasete) Asta-mi aminteste de
ntrebarea unuia: 'E adevrat c Papa acesta ar Ii mai catolic
dect Papa cellalt?
IZABELA: Ce dac sunt pgni? N-or Ii avnd nici un
dumnezeu?
ZUNIS (ctre Finane): Drglas
15
copil. Pcat c vremurile
sunt asa cum sunt.
FINANELE (a s :ic ceva, o observ pe I:abela, care s-a
apropiat ae grupul lor. Ia un pahar i inchin
16
): n sntatea
prinului Ioachim, nepotul Mriei-Sale
17
Constantin Paleologu,
mpratul Bizanului
18
. (Artana spre copil) Sper c stie c ne
gsim la Curtea bizantin. (Rasete) Sau n-a Iost nc inIormat?
IZABELA: O s aIle peste civa ani, cnd.
RZBOIUL: .cnd o Ii prea trziu.
P. Clonea A. Mrsescu C. Nicolae


236
ZUNIS: Viitorul n Ias
19
. s stpneasc si s mreasc
Imperiul bizantin.
IZABELA: Mulumesc, domnule Zunis.
FINANELE: Pcat c vremurile sunt asa cum sunt.
IZABELA: Dar cum sunt vremurile, domnule? Mie mi se par
normale.
ZUNIS (ra:ana): Normale? Adic, neleg. Toate mamele sunt
optimiste. AltIel n-ar mai naste prunci vii
20
, si nu i-ar mai hrni
cu lapte. Nu-mi pot nchipui o pesimist nscnd. Rostul Iemeii e
s cread n via si s creeze viaa.
IZABELA (iritat): Si al brbailor e s Iac viaa imposibil.
Am auzit c vin niste brbai. o nebunie. Nu cred n mitul
sta. C ar Ii Iiorosi
21
si asa mai departe. Sultanul Mahomed,
e poet si stie sase limbi: greaca, latina, araba, caldeeana
22
si
persana
23
. E un om luminat
24
. si destul de tnr.
ZUNIS: Ce e mai grav e c nici dumnealui nu crede. (Arat ctre
ministrul ae r:boi.)
IZABELA: Si de ce e grav?
ZUNIS: Pentru c rspunde de
25
paza cetii. Care are attea
mini. Unele popoare asiatice
26
. nIiseaz zeitatea suprem
cu o mulime de mini. bune si rele. Depinde n ce mn
ncapi
27
.
(Marin Sorescu, Rceala, 1980)

Words and phrases for study

x asiatic
26

x Bi:an
18

x Calaeean
22

x carne ae tun
6

x argla
15

x in fa
19

x fioros
21

x incpea in mana cuiva
(a)
27

x inchina un pahar (a)
16

x incurc lume
14

x Mria-Sa
17


x ministru ae finane
5

x ministru ae r:boi
1

x nate prunci vii (a)
20

x nvli (a)
8

x om luminat
24

x osteni (a se)
9

x pacoste
3

x persan
23

x puhoi
13

x pustii (a)
10

x rspunae ae ceva (a)
25

The Aavancea Stuaents Book of Bilingual Literary Translation

237





Text 35:
ZUNIS: Vedei?
FINANELE (ctre Zunis): Mai bine ai da ordin s dubleze
garda
1
la porile cetii.
RZBOIUL: Partea proast
2
e c n-avem armat.
IZABELA: Si asta o spune chiar ministrul de rzboi! . Cum e
posibil asa ceva? Chiar n-avem oaste?
RZBOIUL: Avem, dar nu e n stare s lupte.
IZABELA: De ce?
RZBOIUL: Din cauza opiniilor divergente
3
. Fiecare soldat are
o alt convingere politic. Si cnd se ntlnesc mai muli, ncep s
se certe si s despice Iirul de pr n patru
4
. Am ncercat s adun
un corp de armat
5
pentru o trecere n revist
6
. A degenerat
7

ntr-o revoluie si o contrarevoluie
8
simultan
9
.
FINANELE: Poate c au dreptate. Oamenii au nceput s
gndeasc.
RZBOIUL: Ce rost are s te bai?
IZABELA: Am impresia c au nnebunit cu toii. Dar vd c vine
Patriarhul
10
. nseamn c Mria-Sa o s-si Iac n curnd apariia
si putem boteza
11
copilul. De n-ar Ii rcit, mititelul, de cnd
asteapt. (Se inareapt spre leagn
12
.)
ZUNIS: A Ii mprat nseamn o chestie ncurcat
13
.
FINANELE: Mria-Sa stie ct e de greu. Desi nu prea ia
seama la zvonurile astea alarmante. C vin, c nu vin. Turcii
ne-au Iost ntotdeauna inIeriori prin religie si prin. tot. Si-apoi,
Mahomed a dat n ultimul an o serie de declaraii, prin care
garanteaz pacea
14
n lume.
RZBOIUL: Cnd o s nvm s nu mai credem n declaraii?
IZABELA: Acum, nici s vedem totul n negru
15
.
FINANELE: Da, da, turcii ne-au Iost ntotdeauna inIeriori. Ia, o
aduntur
16
de musulmani.
(Rumoare
17
in ranaul celorlali oaspei.)
x sfaa
11

x stavil
12

x tachina (a se)
7

x vistierie
4

x vremuri
2


P. Clonea A. Mrsescu C. Nicolae


238
ZUNIS: Lumea vd c se agit
18
. nseamn c a aprut
mpratul.
IZABELA (bucuroas): Nasu`. Trebuie s soseasc dintr-o
clip n alta, s ia copilul n brae si s-l sloboad n cazan
19
.
ZUNIS: Ceremonia botezului e sInt.
(Marin Sorescu, Rceala, 1980)

Words and phrases for study














Text 36:
Un aecor
1
care poate aauce a orice. ae preferin, o pia
public
2
, cateva vitrine
3
pe funaal. o gur ae canal
4
neaprat
5
.
aac regi:orul nu are prefuaeci, aceasta va putea fi chiar in
miflocul pieei, in ca: contrar, unaeva in culise
6
. oaat aefinit
caarul, iat i personafele aflate in scen.
BTRNUL (ae:at pe o banc)
CERSETOAREA (ae:at pe fos, in apropierea gurii ae canal)
Numai acum piesa poate incepe sau, mai exact, poate
continua.
ORBUL (intrana prin stanga, pipina cu bastonul
7
boraura
8
,
strecuranau-se
9
ae-a lungul vitrinelor, enunanau-i
10
textul cu
un glas monoton
11
): Ajutai-m, oameni buni, s trec si eu strada!
Fie-v mil
12
de un biet orb!
BTRNUL: Bun dimineaa, Orbule!
x aauntur
16

x agita (a se)
18

x bote:
11

x chestie incurcat
13

x contrarevoluie
8

x corp ae armat
5

x aegenera (a)
7

x aespica firul ae pr in
patru (a)
4

x aubla garaa (a)
1

x garanta pacea (a)
14


x leagn
12

x opinii aivergente
3

x partea proast
2

x Patriarh
10

x rumoare
17

x simultan
9

x slobo:i in ca:an (a)
19

x trecere in revist
6

x veaea in negru (a)
15


The Aavancea Stuaents Book of Bilingual Literary Translation

239
ORBUL (oprinau-se): Bun dimineaa, omule! Cine esti?
BTRNUL: Eu . Btrnul. Chiar nu m recunosti?
ORBUL (vag): Eu nu recunosc niciodat pe nimeni.
BTRNUL: Pe mine ar trebui totusi s m recunosti!
ORBUL: Poate.
BTRNUL: Nu-i spune nimic vocea mea?
ORBUL: Vocea . (apoi repeae) Nu! (aana
13
s-i continue
arumul) Ajutai-m.
BTRNUL: Cam devreme ai pornit-o azi la drum.
ORBUL: Pentru mine nu e niciodat devreme, niciodat nu e
trziu.
BTRNUL: Asa e, dar totusi e devreme. Eu ies s m plimb,
pentru c n-am somn
14
, dar tu.
ORBUL: Iar eu pentru c vreau s trec. (inareptanau-se spre
ieire) Ajutai-m oameni buni! Fie-v mil de un biet orb!
BTRNUL: Ei, dar tare mai esti grbit. Ce-o s Iaci toat
ziua?
ORBUL (ters
15
): O s traversez.
BTRNUL: Si asta i se pare puin?
ORBUL:Nu-i vorba de
16
puin sau mult aici.
BTRNUL: Ba chiar despre asta-i vorba! (cltinana ain cap
17
)
Stii, iart-m c m dau de exemplu
18
, eu unul nu traversez dect
o dat la dou-trei zile, cel mult!
ORBUL: Fiecare Iace cum crede.
BTRNUL: Sau cum cred alii c trebuie s cread! (pe un ton
mai cala
19
) De ce nu vrei totusi s mai stai puin? Mai schimbam
si noi cteva cuvinte
20
.
ORBUL: Le-am mai schimbat si ieri.
BTRNUL: Ieri a Iost ieri, azi.
ORBUL: .e tot ca ieri si mine va Ii tot ca si azi.
BTRNUL: Nu putem Iace altceva dect s repetm.
ORBUL: . pentru ca premiera
21
s Iie ct mai Irumoas!
(animanau-se
22
) Pentru ca premiera s Iie ntr-adevr o reusit!
(Emil Paraschivoiu, Cine m trece straaa?, 2001)

P. Clonea A. Mrsescu C. Nicolae


240
Words and phrases for study














Text 37:
DOAMNA: Bnuiesc c mnnc la ore Iixe
1
, dup program.
DOMNUL: Da, doamn. n secolul nostru, lumea se
mbolnveste
2
n mas
3
de ulcer
4
. in la acest lucru. Cinele s
mnnce la ore stabilite.
DOAMNA: Cred c e un cine Ioarte sntos!
DOMNUL: Exact. Nici ulcer, nici nevroz
5
, nici ciroz
6
, nici o
boal!
DOAMNA: Dar cancer?!
DOMNUL: VeriIicat: n-are nici cancer. Am un ser
7
special care-l
imunizeaz
8
mpotriva cancerului...
DOAMNA: E un ser att de bun? Pentru oameni n-am auzit de un
asemenea ser...
DOMNUL: Pentru oameni nu exist seruri. Numai pentru cini.
(repeae) Suntei curioas s stii cum se cheam serul?!
DOAMNA: (incurcat) Nu, numai asa... ntrebam.
(hotranau-se) Nu sunt curioas.
DOMNUL: (ae:anau-se) Suntei Iemeie, doamn... Ei, bine,
serul se cheam "romantism"
9
...
DOAMNA: Nu neleg... e att de ciudat ce spunei...
DOMNUL: mi dai voie s v explic mai n amnunt? (aoamna
aprob). Ai intrat vreodat ntr-o caIenea
10
?
x anima (a se)
22

x avea somn (a nu)
14

x boraur
8

x cltina ain cap (a)
17

x culise
6

x aa exemplu (a se)
18

x aa s (a)
13

x aecor
1

x enuna (a)
10

x fie-v mil
12

x glas monoton
11


x gur ae canal
4

x neaprat
5

x pia public
2

x pipi cu bastonul (a)
7

x premier
21

x schimba cateva cuvinte (a)
20

x strecura (a se)
9

x ters
15

x ton cala
19

x vitrin
3

x nu-i vorba ae
16

The Aavancea Stuaents Book of Bilingual Literary Translation

241
DOAMNA: Mai de mult. Eram tnr si retras
11
.
DOMNUL: Bun... Eu am intrat mai mult dect o dat!
Imaginai-v o caIenea!... V-ai imaginat-o?
DOAMNA: (chinuinau-se
12
) Mi-am imaginat-o...
DOMNUL: (riaicat aemonstrativ
13
) Privii din us
14
,
interiorul
15
... Mese, scaune, oameni. O chelneri grbit, o tav
16

plin. Nici un loc liber... Si dvs. vrei un loc!
DOAMNA: (pasionat) Da, vreau un loc!
DOMNUL: V mai uitai cteva clipe, calculai
17
... Dnsii mai au
puin si pleac... Se vor scula si eu le voi lua locul... Eroare,
doamn! Nu cei asupra crora v-ai Iixat privirea
18
se vor scula, ci
un btrn care abia a comandat caIeaua!... Va sorbi
19
o dat, l va
chema pe barman
20
si-i va plti... si va stinge igara
21
, se va
ridica si va iesi... V bucurai... s-a Icut loc! V asezai... Din
obligaie
22
, o s aprindei o igar...
DOAMNA: Nu Iumez.
DOMNUL: S zicem c Iumai. Vei aprinde o igar
23
, vei
comanda o caIea... igara va trece! Va trebui s-o stingei. O vei
stinge n aceeasi scrumier
24
n care si-a stins-o si btrnul... Din
neatenie, dar absolut din neatenie, o s atingei scrumiera.
Exact acolo unde a atins-o si btrnul.(ipana) Asta e cancerul!
DOAMNA: Nu se poate... Suntei macabru
25
...
DOMNUL: (ae fos, absent): Ce e acest macabru, doamn...
DOAMNA: Si nu vd unde-i legtura: vorbeam de ser... si am
ajuns la cancer...
DOMNUL: Nu exist nici o legtur (raae) V-ai speriat,
doamn?
(E. Paraschivoiu, Exact sau Caine ae van:are, 2001)

Words and phrases for study

x aprinae o igar (a)
23

x barman
20

x cafenea
10

x calcula (a)
17

x chinui (a se)
12

x ciro:
6

x aemonstrativ
13

x fixa privirea (a-i)
18

x imuni:a (a)
8

x interior
15

x imbolnvi ae (a se)
2

x macabru
25


P. Clonea A. Mrsescu C. Nicolae


242









Text 38:

COPIL

Printr-o sprtur
1
fcut anume intr-un :ia
inalt ae patru metri i vopsit
2
galben se
veaea infernul
3
. Noi, ins, pentru c eram
foarte btrani, nu puteam privi inun-
tru. trebuia s ne mulumim
4
cu nite po:e vechi
pe care un copil foarte mic le arta ae la
aeprtare
5
.
(Nichita Danilov, Copil, 1993)

Words and phrases for study





Text 39:

AER N PUMNI

Tinerii cu care vorbeam
nu prea tiau ce au ae fcut
vorbeau puin i plecau foarte repeae
(preau c pricep
1
foarte greu)
i se cltinau
2
niel
3
.
x in mas
3

x nevro:
5

x ain obligaie
22

x la ore fixe/stabilite
1

x privi ain u (a)
14

x retras
11

x romantism
9


x scrumier
24

x ser
7

x sorbi (a)
19

x stinge igara (a)
21

x tav
16

x ulcer
4


x ae la aeprtare
5

x infern
3

x mulumi (a se)
4


x sprtur
1

x vopsi un :ia (a)
2


The Aavancea Stuaents Book of Bilingual Literary Translation

243
Erau aintre cei care nu ineleg nicioaat nimic
nu auceau nici un cantec pan la capt
4
i ne tot invarteam
5
in furul inaicatoarelor
6
suflau aer cala in pumni
7
suflau aer cala in pumni
ae ce st pe loc ae ce nu pornete i ne :aruncin
8
?
(Simona Popescu, Aer in pumni, 1993)

Words and phrases for study







Text 40:

EL SI AMINTESTE

Barca st cu vaslele
1
incruciate
2
La mal
Jantul beat rscolete
3
rmul
Buci ae hartie caini
Mtsuri
4
sfaiate earfe
5

Lang barc o umbr
Crete

Barca impins ae un roi ae albine
6
Pe mare

Jaslele incruciate la mal
El ca o negreal
7
peste valuri
Ii amintete
Si face caiva pai
8
.
(Traian SteI, El ii amintete, 1999)
x cltina (a se)
2

x auce la capt (a)
4

x inaicator
6

x invarti (a se)
5

x niel
3

x pricepe (a)
1

x sufla aer in pumni (a)
7

x :aruncina (a)
8


P. Clonea A. Mrsescu C. Nicolae


244
Words and phrases for study






x earf
5

x face pai (a)
8

x incruciat
2

x mtsuri
4

x negreal
7

x rscoli (a)
3

x roi ae albine
6

x vasl
1


The Advanced Students Book of Bilingual Literary Translation

245
GENERAL BIBLIOGRAPHY

A. The Theory of Translation in a Nutshell
1. * * * Concise Oxford Dictionary, tenth edition, Oxford
University Press, Oxford, 1999.
2. * * * Websters Encyclopedic Unabridged Dictionary of the
English Language, Gramercy Books, New York/Avenel,
1996.
3. Banta, Andrei; Croitoru, Elena, Didactica traducerii, Editura
Teora, Bucureti, 1998.
4. Banta, Andrei, Translation-Oriented Text Analysis
(TOTA), in Revue Roumaine de Linguistique. Cahiers de
linguistique thorique et applique, 25, No.2/1988, July-
December.
5. Bassnett, Susan, Translation Studies, revised edition,
Routledge, London and NewYork, 1988.
6. Catford, J.C., A Linguistic Theory of Translation, Oxford
University Press, London, 1969, apud S. Bassnett, op. cit.
7. Chao, Y.R., Language and Symbolic Systems, Cambridge
University Press, Cambridge, 1968.
8. Duff, Allan, Translation, Oxford University Press, Oxford,
1990.
9. Jackobson, Roman, On Translation, Harvard Univ. Press,
Cambridge Mass., 1959.
10. Newmark, Peter, About Translation, Longdunn Press, Bristol,
1993.

B. English-Romanian Translation Models
1. Austen, Jane, The Watsons in Lady Susan. The Watsons.
Sanditon, Penguin Books, London, 1974.
2. Butler, Samuel, The Way of All Flesh, Penguin Books,
London, 1986.
3. Conrad, Joseph, Heart of Darkness, Penguin Books, London,
1994.
4. Dylan Thomas, The Fight in The Portrait of the Artist as a
Young Dog, Everyman, J.M. Dent, London, 1994.
P. Clonea A. Mrescu C. Nicolae


246
5. Fowles, John, The Enigma in The Penguin Book of Modern
British Short Stories (Bradbury, Malcolm, ed.), Penguin
Books, London, 1988.
6. Frost, Robert, Stopping by Woods on a Snowy Evening and
Fire and Ice in The American Tradition in Literature
(Bradley, S., Beatty, R. C., Long, E. H. , Perkins, G.), fourth
edition, vol. 2, Grosset & Dunlap, New York, 1978.
7. Guest, Diane, The Nightwalker, HarperCollins Publishers,
London, 1994.
8. Mikes, George, The Generation Gap in How to be a Brit. A
George Mikes Minibus, Penguin Books, London, 1986.
9. Mikes, George, How to Die in How to be a Brit. A George
Mikes Minibus, Penguin Books, London, 1986.
10. Poe, Edgar Allan, To Helen in The American Tradition in
Literature (Bradley, S., Beatty, R. C., Long, E. H. , Perkins,
G.), fourth edition, vol. 1, Grosset & Dunlap, New York,
1978.
11. Shakespeare, William, Sonnet XVIII in The Complete Works
of William Shakespeare, Wordsworth Editions, 1998.
12. Tremain, Rose, The Stack in New Writing 9 (Kennedy, A. L.
Fowles, J., ed.), Vintage in assoc. with the British Council,
London, 2000.
13. Vermes, Vivienne, The Spaces in Houses, in New Writing 9
(Kennedy, A. L., Fowles, J., ed.), Vintage in assoc. with the
British Council, London, 2000.
14. Yeats, William Butler, When You Are Old in Selected Poetry,
Penguin Books, London, 1991.

C. Romanian-English Translation Models
1. Breban, Nicolae, Francisca, Editura pentru Literatur,
Bucureti, 1967.
2. Clinescu, George, Cartea nunii, in Opere, vol. I, Editura
pentru Literatur, Bucureti, 1965.
3. Dragolea, Mihai, De departe spre aproape, in Calende nr. 5-
6-7-8/2001, Piteti.
4. Minulescu, Ion, Casa cu geamurile portocalii, in Corigent la
limba romn i alte proze, Editura Dacia, Cluj-Napoca, 1989.
The Advanced Students Book of Bilingual Literary Translation

247
5. Popescu, Tudor, ,,H.W. i caut umbra, Editura Militar,
Bucureti, 1970.
6. Preda, Marin, Moromeii, vol. I, vol. II., Editura Minerva,
Bucureti, 1970.
7. Rebreanu, Liviu, Dincolo in Opere, vol. III, Editura pentru
Literatur, Bucureti, 1968.
8. Stnescu, Nichita, Evocare in Poezii, Editura Minerva,
Bucureti, 1988.
9. Voiculescu, Vasile, Zahei Orbul, Editura Dacia, Cluj-Napoca,
1986.

D. English-Romanian Translation Work
1. Amis, Kingsley, Lucky Jim, Penguin Books, London, 1976.
2. Archer, Jeffrey, Something for Nothing in New Writing 8
(Fischer, T., Norfolk, L., ed.), Vintage in assoc. with the
British Council, London, 1999.
3. Austen, Jane, Northanger Abbey, Penguin Books, London,
1994.
4. Bront, Emily, Wuthering Heights,
http://www.literatureclassics.com/etexts/290/1184
5. Conrad, Joseph, Heart of Darkness, Penguin Books, London,
1994.
6. Defoe, Daniel, Robinson Crusoe, Wordsworth Classics, 1995.
7. Dickens, Charles, Great Expectations, Penguin Books,
London, 1977.
8. Donaghy, Michael, A Sicilian Defence in New Writing 9
(Kennedy, A. L., Fowles, J., ed.), Vintage in assoc. with the
British Council, London, 2000.
9. Dreiser, Theodore, An American Tragedy, Signet Classic, New
York, 1964.
10. Fielding, Henry, Joseph Andrews in Annotated English
Literature. Eighteenth Century Prose (Clonea, P., Banta, A.,
Clonea, D.), Editura Paralela 45, Piteti, 1996.
11. Golding, William, Lord of the Flies, Faber and Faber,
London, 1962.
12. Greene, Graham, Our Man in Havana, Penguin Books in
assoc. with William Heinemann, London, 1971.
P. Clonea A. Mrescu C. Nicolae


248
13. Hemingway, Ernest, Big Two-Hearted River: Part I in The
Snows of Kilimanjaro, Triad Panther, Frogmore, St. Albans,
1977.
14. Jensen, Liz, The Friendship Centre in New Writing 8
(Fischer, T., Norfolk, L., ed.), Vintage in assoc. with the
British Council, London, 1999.
15. Joyce, James, Dubliners, Penguin Books, London, 1992.
16. McEwan, Ian, Black Dogs, Vintage, London, 1998.
17. ONeill, Eugene, The Hairy Ape,
http://gutenberg.net/etext03/hryap10.txt
18. Porter, Peter, Orlandos Parrot in New Writing 9
(Kennedy, A. L., Fowles, J., ed.), Vintage in assoc. with the
British Council, London, 2000.
19. Robertson, Robin, Waking Late in New Writing 9
(Kennedy, A. L., Fowles, J., ed.), Vintage in assoc. with the
British Council, London, 2000.
20. Rushdie, Salman, The Firebirds Nest in New Writing 8
(Fischer, T., Norfolk, L., ed.), Vintage in assoc. with the
British Council, London, 1999.
21. Sillitoe, Allan, The Widowers Son, Harper & Row, New
York, 1976.
22. Swift, Jonathan, Gullivers Travels, Wordsworth Classics,
1992.
23. Thackeray, William Makepeace, Vanity Fair, Penguin
Books, London, 1985.
24. Wilde, Oscar, Lady Windermeres Fan in The Importance
of Being Earnest and Other Plays, Penguin Books, London,
1986.
25. Woolf, Virginia, Jacobs Room, Vintage, London, 1992
26. * * * Good Housekeeping, June 1991
27. * * * Newsweek, October 1, 2001.

E. Romanian-English Translation Work
1. Adameteanu, Gabriela, Var-primvar in Var-primvar
(proz scurt), Editura Cartea Romneasc, Bucureti, 1989.
2. Agrbiceanu, Ion, Morala public in Nuvele. Povestiri,
Editura Minerva, Bucureti, 1982.
The Advanced Students Book of Bilingual Literary Translation

249
3. Arghezi, Tudor, Cimitirul Buna-Vestire, Editura Minerva,
Bucureti, 1983.
4. Cioran, Emil, Ispita de a exista, Editura Humanitas, Bucureti,
1992.
5. Danilov, Nichita, Copil in Antologia poeziei generaiei 80
(Muina, Al.), Editura Vlasie, Piteti, 1993.
6. Eliade, Mircea, Isabel i apele diavolului, Editura Minerva,
Bucureti, 1993.
7. Eminescu, Mihai, Ft-Frumos din lacrim in Proz literar,
Editura Minerva, Bucureti, 1981.
8. Eminescu, Mihai, Srmanul Dionis in Proz literar, Editura
Minerva, Bucureti, 1981.
9. Ibrileanu, Garabet, Adela, Editura pentru Literatur,
Bucureti, 1961.
10. Ionesco, Eugne, Jurnal n frme (Journal en miettes),
Editura Humanitas, Bucureti, 1992, (trad. n rom. Irina
Bdescu).
11. Noica, Constantin, Introducere la locuinele anului 2001 in
Simple introduceri la buntatea timpului nostru, Editura
Humanitas, Bucureti, 1992.
12. Paler, Octavian, ,,Et in Arcadia ego! in Rugai-v s nu v
creasc aripi, Editura Albatros i Editura Universal Dalsi,
Bucureti, 1995.
13. Paler, Octavian, Butoiul lui Diogene in Rugai-v s nu v
creasc aripi, Editura Albatros i Editura Universal Dalsi,
Bucureti, 1995.
14. Paler, Octavian, Artistul i arborele universului in Rugai-v
s nu v creasc aripi, Editura Albatros i Editura Universal
Dalsi, Bucureti, 1995.
15. Paraschivoiu, Emil, Cine m trece strada? in Cine m trece
strada?, Editura Paralela 45, Colecia Scena, Piteti, 2001.
16. Paraschivoiu, Emil, Exact sau Cine de vnzare in Cine m
trece strada?, Editura Paralela 45, Colecia Scena, Piteti,
2001.
17. Petrescu, Camil, Ultima noapte de dragoste, ntia noapte de
rzboi, Editura Tineretului, Colecia Lyceum, Bucureti,
1968.
P. Clonea A. Mrescu C. Nicolae


250
18. Popescu, Simona, Aer n pumni, in Antologia poeziei
generaiei 80 (Muina, Al.), Editura Vlasie, Piteti, 1993.
19. Rebreanu, Liviu, Divorul in Opere, vol. III, Editura pentru
Literatur, Bucureti, 1968.
20. Sadoveanu, Mihail, Hanul Boului in Cincizeci de povestiri,
Editura Minerva, Bucureti, 1984.
21. Sadoveanu, Mihail, i-aduci aminte, Teofile in Cincizeci de
povestiri, Editura Minerva, Bucureti, 1984.
22. Slavici, Ion, Popa Tanda in Nuvele, Editura Minerva,
Bucureti, 1987.
23. Sorescu, Marin, Rceala in Teatru, Editura Scrisul Romnesc,
Craiova, 1980.
24. tef, Traian, El i amintete in Tandreea dintre noi, Editura
Axa, Botoani, 1999.
25. Zamfirescu, Duiliu, Spre mare in Nuvele, Editura Tineretului,
Bucureti, 1957.
26. * * * Dilema, nr. 505, 15-21 noiembrie 2002.
27. * * * Dilema, nr. 506, 22-28 noiembrie 2002.
28. * * * Adevrul, nr. 4171, 25 noiembrie 2003.