Notas

Estribillo de un poema de Alexander Ross (1691-1754): «Wooded and married and a’».

Felicia Dorothea Hemans (1793-1835), de «The Spells of Home»: «By the soft green light in the woody glade, By the household tree thro' which thine eye /First looked in love to the summer sky».

Elizabeth Barrett Browning (18061861), de «The lady’s Yes»: «Learn to win a faith / Nobly, as the thing is high; With a loyal gravity. Point her to the starry skies, Pure from flatteries».

Mentar el sol y ver sus rayos. Equivalente a «Hablando del rey de Roma…»

William Habington (1606-1664), de Castara, tercera parte: «Cast me upon some naked shore, Only the print of some sad wracke I shall no gentler calm implore».

«I ask Thee for a thoughtful love, To meet the glad with joyful smiles, And a heart at leisure from itself / To soothe and sympathise».

Antiguo brindis de los monárquicos-anglicanos contra el resto del Parlamento largo, el Parlamento depurado, de 1648

De In Memoriam (1830): « the garden bough shall sway, / The tender blossom flutter down, The maple burn itself away; Ray round with flames her disk of seed, With summer spice the humming air, Till from the garden and the wild And year by year the landscape grow /Familiar to the child; / As year by year the labourer tills And year by year our memory fades / From all the cirde of the hills».

La veloz princesa guerrera de la Eneida.

Job, 2:13.

M. Arnold (1822-1888), de «Consolation»: «Mist clogs the sunshine,/ Smoky dwarf houses / Have we round ou wery side».

De «Hame, Hame, Hame». (Jacobite relics, 1820-1821), del poeta escocés James Hogg (1770-1835): «And hame, hame, hame, /Hame fain wad I be».

Alusión irónica a la anécdota del ciudadano que pidió al militar y político griego Arístides el Justo (540-468) en la asamblea que lo condenaría al ostracismo (483) que le escribiera, «Arístides» en la concha del voto. Arístides quiso saber qué mal le había hecho, y el hombre contestó que ninguno, pero que estaba harto de que le llamaran siempre «el justo».

Anna Letitia Barbauld (1743-1824), de «The Groans of the Tankard»: «Let earth, with stains, / with gold, and with azure veines, / The grateful flavour of the Indian leaf, / Or sunburnt berry glad receive».

G. Herbert (1593-1633), de «Affliction V».: «We are the trees whom shaking fastens more».

Inventor e industrial británico (1732-1792), que patentó la primera máquina de hilado en 1769.

« iron, they say, in all our blood, / And a grain or two perhaps is good; Has got a little too much of steel».

Isaías, 62,4: «Y llamarán a tu tienes Desposada [Beulah]… Y tu tierra tendrá esposo».

Isaías, 49:10

De Arthur Helps (1813-1875): «Well… I suppose we must».

Richard Chevenix Trench (1807-1886), de «The Kingdom of God»: «That doubt and trouble, fear and pain, That death itself shall not remain; A dreary labyrinth may thread, Yet, if we will one Guide, obey Shall issue out in heavenly day; Shall meet, our perilous voyage past, /All in our house at last!».

Robert Southey (1774-1843), «La madre del marinero, English Eglogues, IV: “I was used / To sleep at nights as sweetly as a child, And think of my poor boy tossing about To feel that it was hard lo take hirn from me / For such a titile fault”».

Walter Savage landor (1775-1864), Epigrama xxiii de The Last Fruit Off an Old Tree «Thought fights with thought; out springs a spark of truth /From the collision of the sword and shield».

Samuel T. Coleridge, de «The Devil’s Thoughts» (1799).

Referencia a Corintios, 13, 4 y 5 (sobre la caridad).

«Trust in that veilëd hand, which leads And always be for change prepared, /For the world’s law is ebb and flow».

«There are briars besetting every path, / Which call for patient care; And an earnest need for prayer».

Apocalipsis, 8, 11.

De Friedrich Schiller (1759-1805). Versión inglesa de S. T. Goleridge: «My heart revolts within me and two voices / Make themselves audible within my bosom».

H. Vaughan (1621-1695); de Silex Scintillans, 1650: «As angels in some brighter dreams / Call to the soul when man doth sleep, And into glory peep».

Referencia a la parábola del hombre rico y el pobre Lázaro, a quien los perros lamían las llagas (Lucas, 17, 19-26).

De la obra de teatro The Bloody Brother; atribuida a John Fletcher (1579-1625): «Old and young, boy, all eat I have it / have ten tire of teeth a-piece, I care not».

Ebenezer EIliott (El Herrero de Sheffield 1781-1849), de «The Exile»: «On earth is known to none / The smile that is not sister to a tear».

Poemas sobre la ley de los cereales, de Ebenezer Elliott, de «The Death Feast»: «But work grew scarce while bread grew dear, For Irish hordes were bidders here, / Our work to do».

Edmund Spenser (1552-1599), de The Faerie Queene: «Which when his mothee saw, she in her mind / Was troubled sore, ne wist well what to ween».

Referencia a «A Dream of Fair Women» de Alfred Tennyson.

W. Fowler (1560.1612) de The Tarantula of Love, soneto 9: «Your beauty was the first that won the place, / And the walls of my undaunted heart, / Wich, captive now, pines in a caitive case, Yet not the less your servant shall abide, / In spite of rude repulse or silent pride».

Del poema «La isla» (sobre el motín del Bounty): «Revenge may have her own;/ Roused discipline aloud proclaims their cause, /And injured navies urge their broken laws».

Referencia a la traducción al inglés de Edward Fairfax de la obra Gerusalemme Liberata (1581) de Torquato Tasso. La autora cambia «la dulce imagen de ella» para «adaptar» el verso a su relato.

Haz lo que debes, pase lo que pase.

Referencia a Apocalipsis, 21, 1.

De «The Bride’s Farewell»: «I have found that holy place of rest / Still changeless».

Acto V, escena 1; Teseo: «For never any thing can be amiss / When simpleness and duty tender it».

«Ay and sooth, we feel too strong in weal, to need Thee un that road; /But woe being come the soul is dumb, that crieth no on “God”».

iu

Referencia a Apocalipsis, 14, 13; Isaías, 28, 12; Salmos, 127, 2.

Ezequiel, 18, 2.

Fragmento 34, Cuaderno 2: «Some wishes crossed my mind and dimly cheered it Each in the pale unwarning light of hope, Moths in the mombeam!».

Alusión a la historia de Catherine Douglas, que lo hizo para proteger a Jacobo I de Escocia (1397-1437).

Robert Southwell (1561-1595), de «Time goes by turnes»: «The saddest birds a season find to sing».

De «The two voices»: «Never to fold the robe o’er secret Pain, / Never, weighed down by memory’s clouds again, / To bow thy head! Thou art gone home!».

Tira de papel retorcida, astilla o «cerilla», que se usaba para encender las velas.

El poeta nace, no se hace.

Juan, 14.

George Crabbe (17541882), de The Borough carta 14: «Show not that manner, and these features all / The cunning and the fall?».

Drama poético de Byron, V, II: «What! remain to be / Denounced - dragged, it may be, in chains».

Henry King (1592-1669), de «An Exequy…», escrito en 1624 a la muerte de su esposa: «Sleep on, my love, in thy cold bed, My last Good Night - thou wilt not wake / Till I thy fate shalt overtake».

«Truth will fail thee never, neverl / Though thy bark be tempst-driven, Truth will bear thee on for ever».

«There’s nought so finely spun / But it cometh to the sun».

De La vita nuova de Dante, soneto 26: «Y parece que de sus labios surgiera / un espíritu suave de amor pleno / que va diciendo al alma: ¡Suspira!».

Alusión a II Reyes, 8, 13.

De «The Sensitive Plant» (1820): «The steps of the bearer, heavy and slow, /The sobs of the mourners, deep and low».

Thomas Hood (1799-1845), de «The Lay of the Labourer»: «A spade! a rake! a hoz! A hook to reap, or a scythe to mow, And a ready hand And enough, by lessons roagh, / In rugged school».

«Then proudly, proudly up she rose, / Tho' the tear was in her , / ye say, think what ye may, / get na word frae me!”».

Michael Drayton (1563-1631), de Idea, soneto 61: «Nay, I have done, you get no more of me, That thus so clearly I myself am free».

Thomas Wyatt (1503-1542), de «Th’answere that ye made to me…»: «I have no wrong, where l can claim no right, / Naught ta’en me fro, where I have nothing had, / Yet of my woe I cannot so be quite, With that, that thus in sorrow makes me sad».

Personajes de The Faerie Queene, de Edmund Spenser (1552-1599), símbolos de, lo verdadero y lo falso, la verdad y la mentira.

Alude a una canción (en que una madre acuna y riñe… a su hijo hasta que se calma y sonríe). Véase la recopilación de The Paradise of Dainty Devices del poeta y dramaturgo Richard Edwards (1523-1566).

Robert Browning (1812-1889), de Paracelsos: «I see my way as birds their trackless way - I ask not: but unless God send his hail. In some time —his good time— I shall arrive; / He guides me and the bird. In His good time!».

Francisco de Sales (1567-1622), Introducción a la vida devota (1608): «No quisiera reprender a mi corazón de esta manera: Qué miserable y abominable eres, desvergonzado, traidor y desleal a tu Dios, y otras cosas parecidas; sino que preferiría corregirlo por el camino de la compasión: Animo, pobre corazón mío. Hemos caído en el precipicio del que queríamos escapar. Levantémonos y salgamos de él para siempre; acudamos a la misericordia de Dios y confiemos en que nos ayudará a ser más resueltos en adelante; emprendamos el camino de la humildad. ¡Valor! Seamos más vigilantes. Dios nos ayudará».

Del soneto «Substitution»: «When some beloved voice that was to you / Both sound and sweetness, faileth suddenly, Aches round you like a strong disease and new - That silence to your sense?».

Ebenezer EIiott, de The Village Patriarch: «The meanest thing to which we bid adieu, / Loses its meanness in the parting hour».

William Cowper, de «Hope»: «A dull rotation, never at a stay, / face twin image of today».

Friedrich Rückert (1781-1866), de «Pantheon»: «Of what each one should be, he sees the form and rule, / And till he reach to that, his joy can be full».

La esposa del rey Asuero (Ester, 1,12), que se negó a asistir al festín de éste para que todos vieran su belleza.

Tío de Ester (Ester, 3), que se niega a postrarse ante Amán, favorito del rey Asuero.

De The Last Fruit Off an Old Tree «Where are the sounds that swam along /The buoyant air when I was young? / The last vibration now is , / And they who listened are no more, /Ah! let me close my eyes and dream».

Johann Ludwig Uhland (1787-1862), de Ueber diesen Strom vor Jahren «So on those happy days of yore / Oft as I dare to dwell once more, Whom Death has severed from my side. Spirit it is that spirit finds In spirit yet to them bound».

Referencia al poema de Goethe («Hermann und Dorothea», 1797).

Poema de Longfellow (1847).

Que se avergüence quien mal piense.

Hebreos, 18, 8 y Salmos, 90, 2.

Del soneto «Perplexed Music»: «Experience, like a pale musician, holds Whence hamonies we cannot understand, / Of will in His worlds, the strain unfolds / In sad, perplexed minors».

«My own, my friend l have shown, thou hast known, / How dear thou art to me».

Génesis, 80, 1 (palabras de Raquel a Jacob).

Sin miedo y sin tacha.

Thomas Hood (1799-1845), de «Hero and Leander»: «And down the sunny beach she paces slowly, / With many doubtful pauses by the way; / Grief hath an influence so and holy».

Septimia Zenobia, reina de Palmira (siglo ).

Canción infantil: «Here we go up, up, up; / And here we go down, down, downee!».

Isaías, 23, 8.

William Wordsworth (1770.1850), de The Old Cumberland Beggar.

Juego de rimas: «Bear up, brave heart! we will be calm and strong; Nor let the smallest sign appear / She ever was, and is, and will be dear».

«For joy or grief for hope or fear /For all hereafter as for here, /In peace or strife, in storm or shine».