Poemas de Literatura con explicacion, Ejercicios de Idioma Inglés

¡Descarga Poemas de Literatura con explicacion y más Ejercicios en PDF de Idioma Inglés solo en Docsity! "Alas, so all things now do hold their peace!" BY HENRY HOWARD, EARL OF SURREY Alas, so all things now do hold their peace! Heaven and earth disturbèd in no thing; The beasts, the air, the birds their song do cease, The nightès car the stars about doth bring; Calm is the sea; the waves work less and less: So am not I, whom love, alas! doth wring, Bringing before my face the great increase Of my desires, whereat I weep and sing, In joy and woe, as in a doubtful case. For my sweet thoughts sometime do pleasure bring: But by and by, the cause of my disease Gives me a pang that inwardly doth sting, When that I think what grief it is again To live and lack the thing should rid my pain. TRADUCCION Ay! Pues todas las cosas ahora se mantienen en calma, el cielo y la tierra sin ser molestados. Las bestias, el aire, los pájaros interrumpen su canción; las estrellas traen consigo el brillo de la noche. Tranquilo está el mar, las olas se van deteniendo, así que no soy yo, ay, a quien retuerce el amor, poniendo delante de mi cara el gran aumento de mis deseos, con lo cual lloro y canto, con alegría y congoja, como en una dudosa tranquilidad; porque mis dulces pensamientos a veces traen placer, pero tarde o temprano la causa de mi trastorno me da una pena que escuece internamente, cuando de nuevo pienso en qué dolor es este, vivir y no tener lo que debería liberarme de mi pena. The soote season, that bud and bloom forth brings BY HENRY HOWARD, EARL OF SURREY The soote season, that bud and bloom forth brings With green hath clad the hill and eke the vale; The nightingale with feathers new she sings; And turtle to her make hath told her tale. Summer is come, for every spray now springs; The hart hath hung his old head on the pale; The buck in brake his winter coat he flings; The fishes flete with new repairèd scale; The adder all her slough away she slings; The swift swalllow pursueth the flies small; The busy bee her honey now she mings; Winter is worn that was the flowers’ bale. And thus I see among these pleasant things Each care decays, and yet my sorrow springs. The Long Love That in My Thought Doth Harbour By Sir Thomas Wyatt The longë love that in my thought doth harbour And in mine hert doth keep his residence, Into my face presseth with bold pretence And therein campeth, spreading his banner. The author opens this first sonnet by explaining his motivation for composing the sonnet sequence. He believes that if his love were to read the sonnets, she would eventually return his affection. He argues that her pleasure in his pain would cause her to read his sonnets, and her reading of the sonnets would allow her to know the extent of his affection, which might make her pity the author's situation-and this pity may transform into grace and love. The author also describes his difficulties in composing the sonnet sequence. He has struggled to express the pain and misery of his emotions and has tried to look at other poets' works in order to gain inspiration. Still, he has been unsuccessful. Finally, the author has realized that the only way to fully express his love for Stella in his poetry is to write from his heart. Analysis: Sidney's actions of writing about how to compose a love sonnet allow him to do just that: compose a love sonnet. With this in mind, he warns the reader that the emotions expressed in the entire sonnet sequence stem directly from the heart-thus, he cannot be held rationally responsible. The statements in this first sonnet make clear that Sidney (who already can be identified with the author of the love sonnets) is conflicted in his role as a zealous lover and a self-critical poet. This sonnet demonstrates the first of many clashes between reason and passion that appear in the sonnet sequence. He already seems to know that he will never truly win Stella, but he cannot help but desire her. This conflict between contradicting forces is a crucial element of the sequence. Astrophil and Stella. Sonnet 2. Not at first sight, nor with a dribbed shot Love gave the wound, which while I breathe will bleed; But known worth did in mine of time proceed, Till by degrees it had full conquest got: I saw and liked, I liked but loved not; I lov’d, but straight did not what Love decreed. At length to love’s decrees I, forc’d, agreed, Yet with repining at so partial lot. Now even that footstep of lost liberty Is gone, and now like slave-born Muscovite I call it praise to suffer tyranny; And now employ the remnant of my wit To make myself believe that all is well, While with a feeling skill I paint my hell. Love gave the wound, which will bleed as long as I breathe, But not at the first sight of her, nor with a chance shot, Rather her established worth tunnelled away for a time, Until, little by little, it achieved a complete conquest. I saw her and liked her: I liked her but did not love her yet: Then I loved her but did not immediately obey Love’s demands: At length under duress I agreed to Love’s commands, Though complaining about the unfairness of my fate. Now even that step on the ladder of lost freedom Is vanished, and like a Muscovite born to love slavery, I call undergoing tyranny something worthy of praise: And now I make use of what is left of my intelligence To convince myself that everything is well, While with sensitive art I depict my self in hell. RESUMEN Y ANALISIS The author describes the slow progression of love into his life. Love did not come quickly or at first sight. Instead, the author's love for Stella began slowly and infiltrated his heart before he realized what was happening. He began by viewing her in a purely platonic way, and he then began to appreciate her more-and he finally fell in love with her. At first he bemoaned his loss of liberty at the hands of love, but now, his emotions run too deep to allow him to make even that small complaint about the circumstances. He praises his slavery and spends his time trying to obscure the truth of his situation. Analysis: Sidney presents himself as a passive participant in the progression of love. He has no control over his emotions. Moreover, because of the slow and steady progression of his emotions, he was unable to guard himself in any way. He is a slave to love and has no power to escape it. By presenting himself as a slave to a sort of happy tyranny, Sidney both justifies and excuses his actions. According to his inflexible Protestant background, Sidney's desire for Stella is inappropriate and must be restrained at all times. But if he is not under his own control, existing as nothing more than a slave to love, he cannot be judged as completely responsible for his behavior. Astrophil and Stella. Sonnet 6. Some lovers speak when they their Muses entertain, Of hopes begot by fear, of wot not what desires: Of force of heav’nly beams, infusing hellish pain: Of living deaths, dear wounds, fair storms, and freezing fires. Some one his song in Jove, and Jove’s strange tales attires, Broidered with bulls and swans, powdered with golden rain; Another humbler wit to shepherd’s pipe retires, Yet hiding royal blood full oft in rural vein. To some a sweetest plaint a sweetest style affords, While tears pour out his ink, and sighs breathe out his words: His paper pale despair, and pain his pen doth move. I can speak what I feel, and feel as much as they, But think that all the map of my state I display, When trembling voice brings forth that I do Stella love. Some lovers, when inspired by their Muses, Speak about hopes created by fear, and of who-knows-what desires, Of the power of heavenly rays infusing hellish pain, Of living deaths, dear wounds, fair storms, and freezing fires: One of them dresses his poems with Jupiter and Jupiter’s strange tales, Embroidering them with bulls and swans, sprinkling golden rain: Another humbler poet writes about pastoral shepherd’s flutes, But often hiding royal attitudes in the rural similes and metaphors: To some poets a sweet sadness allows their sweetest style, While they use tears for ink, and breathe out their words in sighs, And pale despair is their paper, and pain moves their pen. I can speak what I feel, and feel as much as they do, But I think that I show everything I can of my state of mind When my trembling voice utters its love for Stella. RESUMEN Y ANÁLISIS Mirroring the first sonnet in the sequence, Sidney describes why he is unable to copy other poets. He refers to the numerous conventions used to write sonnets. First, some poets view love as an overpowering force that makes lovers suffer. Second, some use contradictory terms or oxymorons, such as "living deaths" and "freezing fires." Third, some use mythology to express their ideas, for example, describing the many disguises of Jove. Fourth, some use the pastoral tradition, depicting gentlemen and ladies dressed as shepherds and shepherdesses. Finally, some Yet she, beholding me with constant eye, Delights not in my mirth nor rues my smart: But when I laugh she mocks, and when I cry She laughs and hardens evermore her heart. What then can move her? if nor mirth nor moan, She is no woman, but a senseless stone. EXPLICACIÓN For the first time in the Amoretti, the speaker turns to the conceit of the theater to describe his situation. This world is a “Theatre in which we stay” while his beloved is “lyke the Spectator” watching idly as the speaker presents his “pageants” – short, dramatic parade-like affairs in which the scenes of some drama were presented, usually in still set-pieces rather than through acting—before her (lines 1-4). He attempts comedy “when glad occasion fits” (line 5), then turns to tragedy “when my ioy to sorrow flits” (line 7). Unfortunately, his beloved “delights not in my merth no[r] rues my smart” (line 10). She is moved to respond the opposite of what is expected: “when I laugh she mocks, and when I cry/she laughes” (lines 11-12). In light of his utter failure to touch her heart, the speaker concludes “she is no woman, but a sencelesse stone” (line 14), again returning to the image of his beloved as some hard, unyielding material that is invulnerable to his best efforts. Amoretti: Sonnet 75 One day I wrote her name upon the strand, But came the waves and washed it away: Again I write it with a second hand, But came the tide, and made my pains his prey. Vain man, said she, that doest in vain assay, A mortal thing so to immortalize, For I myself shall like to this decay, And eek my name be wiped out likewise. Not so, (quod I) let baser things devise To die in dust, but you shall live by fame: My verse, your virtues rare shall eternize, And in the heavens write your glorious name. Where whenas death shall all the world subdue, Our love shall live, and later life renew. EXPLICACIÓN In an effort to immortalize the name of his beloved, the speaker writes her name “upon the strand” (on the beach) only to have the waves wash it away (lines 1-2). He tries again, and again the tide erases his beloved’s name. While his fiancée calls him “Vayne man” to try such an impossible task, he rejects her argument that her own “selue shall lyke to this decay” (line 7) by turning (as usual) to his poetry as a source of immortality. He proudly proclaims, “my verse your vertues rare shall eternize,/and in the heauens wryte your glorious name.” (lines 11-12). Even when death “shall all the world subdew” (line 13) his verse will live on (in print?) and “later life renew” (line 14). SONNET 3 William Shakespeare Look in thy glass, and tell the face thou viewest Now is the time that face should form another; Whose fresh repair if now thou not renewest, Thou dost beguile the world, unbless some mother. For where is she so fair whose unear'd womb Disdains the tillage of thy husbandry? Or who is he so fond will be the tomb Of his self-love, to stop posterity? Thou art thy mother's glass, and she in thee Calls back the lovely April of her prime: So thou through windows of thine age shall see Despite of wrinkles this thy golden time. But if thou live, remember'd not to be, Die single, and thine image dies with thee. TRADUCCIÓN Dile al rostro que ves al mirarte al espejo, que es tiempo para él, de que modele a otro, pues si su fresco estado, ahora no renuevas, le negarás al mundo y a una madre su gloria. ¿Dónde hay una hermosura, de vientre virginal, que desdeñe el cultivo de tu acción marital? ¿O dónde existe el loco, que quiera ser la tumba, del amor de sí mismo y evitar descendencia? Espejo de tu madre, que sólo con mirarte evoca el dulce abril, que hubo en su primavera. Así, por las ventanas de tu edad podrás ver, tu presente dorado, pese a tus mil arrugas. Mas si vives tan solo, por no dejar recuerdo, muere célibe y muera contigo tu figura SONNET 12 When I do count the clock that tells the time, And see the brave day sunk in hideous night; When I behold the violet past prime, And sable curls all silver'd o'er with white; When lofty trees I see barren of leaves Which erst from heat did canopy the herd, And summer's green all girded up in sheaves Borne on the bier with white and bristly beard, Then of thy beauty do I question make, That thou among the wastes of time must go, Since sweets and beauties do themselves forsake And die as fast as they see others grow; Time doth transfix the flourish set on youth And delves the parallels in beauty's brow, Feeds on the rarities of nature's truth, And nothing stands but for his scythe to mow: And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand. TRADUCCIÓN Como avanzan las olas por la escarpada orilla, así nuestros minutos, van raudos hacia el fin, intercambiando el sitio con el que va delante, en su afanoso esfuerzo de querer avanzar. La infancia cuando llega sobre el mar de la luz, se arrastra hacia la cumbre y apenas la corona, lucha contra la insidia de malignos eclipses y el don que le dio el Tiempo, el Tiempo lo destruye. El Tiempo transfigura las galas juveniles, excava con sus surcos la faz de la belleza y tiene su alimento en las raras naturas, sin que nada subsista a su aguda guadaña. Sin embargo, mis versos, perdurarán al Tiempo, elogiando tus prendas sin ver su mano cruel. SONNET 116 Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. TRADUCCIÓN Ante la unión de espíritus leales, no dejéis, que ponga impedimentos. No es el amor, que enseguida se altera, cuando descubre cambios o tiende a separarse de aquel que se separa. El amor es igual que un faro inamovible, que ve las tempestades y no es zarandeado. Es la estrella que guía la nave a la deriva, de un valor ignorado, aún sabiendo su altura. No es juguete del Tiempo, aun si rosados labios o mejillas alcanza, la guadaña del Tiempo. Ni se altera con horas o semanas fugaces, si no que aguanta y dura hasta el último abismo. Si es error lo que digo y en mí puede probarse, decid, que nunca he escrito, ni amó jamás el hombre. SONNET 126 O thou, my lovely boy, who in thy power Dost hold Time's fickle glass, his sickle, hour; Who hast by waning grown, and therein show'st Thy lovers withering as thy sweet self grow'st; If Nature, sovereign mistress over wrack, As thou goest onwards, still will pluck thee back, She keeps thee to this purpose, that her skill May time disgrace and wretched minutes kill. Yet fear her, O thou minion of her pleasure! She may detain, but not still keep, her treasure: Her audit, though delay'd, answer'd must be, And her quietus is to render thee. TRADUCCIÓN ¡Oh, tú bello muchacho, que tienes en tu fuerza, el espejo del Tiempo y la hora y su hoz! Tú, que menguado creces y le muestras a quien te ama marchitándose, como crece tu ser. Pues la Naturaleza, señora de naufragios, mientras vas avanzando, te retiene hacia atrás. Para un fin te conservas: Poder tu maestría, matar esos minutos que al Tiempo le deshonran. Mas témela ¡por Dios! ¡valido de su gozo! Que puede retenerte, mas no guardarte siempre. Y su morosa cuenta debe ser atendida, y su carta de pago es tu restitución. SONNET 130 My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; es lo que me sospecho aunque no lo aseguro, pues, lejos ya de mí, y más aún siendo amigos, presiento que hay un ángel en el infierno de otro. Nunca sabré que pasa y viviré en la duda, hasta que el ángel malo, expulse al ángel bueno. The Flea BY JOHN DONNE Mark but this flea, and mark in this, How little that which thou deniest me is; It sucked me first, and now sucks thee, And in this flea our two bloods mingled be; Thou know’st that this cannot be said A sin, nor shame, nor loss of maidenhead, Yet this enjoys before it woo, And pampered swells with one blood made of two, And this, alas, is more than we would do. Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, w'are met, And cloistered in these living walls of jet. Though use make you apt to kill me, Let not to that, self-murder added be, And sacrilege, three sins in killing three. Cruel and sudden, hast thou since Purpled thy nail, in blood of innocence? Wherein could this flea guilty be, Except in that drop which it sucked from thee? Yet thou triumph’st, and say'st that thou Find’st not thy self, nor me the weaker now; ’Tis true; then learn how false, fears be: Just so much honor, when thou yield’st to me, Will waste, as this flea’s death took life from thee. TRADUCCIÓN Mira esta pulga, y mira cuán pequeño es el favor que tú, cruel, me rehúsas; me picó a mí primero; luego, a ti. Y en esta pulga tu sangre y la mía se han confundido; ¿puede declararse que hay en tal hecho pecado, vergüenza, o pérdida de la virginidad? Pero este insecto disfruta, sin matrimonio, y el muy consentido con nuestras sangres se atiborra. En cambio tal cosa no se nos es permitida a nosotros. Detente, no la mates salva nuestras tres vidas perdonando a este insectillo, en quien nosotros casi nos casamos: sirva esta pulga de lecho nupcial, sea templo de nuestras bodas, por mucho que gruñan tus padres y tú, ya ha sido consumado adentro de este insecto nuestra unión. Por más que matarme, mi amor, acostumbres, no añadas suicidio a ese crimen, ni sacrilegio, tres faltas en una. Cruel, despiadada, ¿has manchado tus manos con sangre inocente? ¿Qué culpa puede esta pulga haber tenido, excepto la gota que sustrajo de tus venas? Pero sobreviviste al robo, y me señalas que tú ni yo menos vivos estamos; ello es verdad: ¿no te parece entonces que falsos son tus miedos?, si te entregas a mí tanto honor perderás como vida con la picada de pulga perdiste. A Valediction: Of Weeping Let me pour forth My tears before thy face, whilst I stay here, For thy face coins them, and thy stamp they bear, And by this mintage they are something worth, For thus they be Pregnant of thee; Fruits of much grief they are, emblems of more, When a tear falls, that thou falls which it bore, So thou and I are nothing then, when on a diverse shore. On a round ball A workman that hath copies by, can lay An Europe, Afric, and an Asia, And quickly make that, which was nothing, all; So doth each tear Which thee doth wear, Yo podría eclipsarlos de un solo parpadeo, que más no puedo estarme sin mirarla. Si sus ojos aún no te han cegado, fíjate bien y dime, mañana a tu regreso, si las Indias del oro y las especias prosiguen en su sitio, o aquí conmigo yacen. Pregunta por los reyes a los que ayer veías y sabrás que aquí yacen Todos, en este lecho. Ella es todos los reinos y yo, todos los príncipes, y fuera de nosotros nada existe; nos imitan los príncipes. Comparado con esto, todo honor es remedio, toda riqueza, alquimia. Tú eres, sol, la mitad de feliz que nosotros, luego que a tal extremo se ha contraído el mundo. Tu edad pide reposo, y pues que tu deber es calentar el mundo, con calentarnos baste. Brilla para nosotros, que en todo habrás de estar, este lecho tu centro, tu órbita estas paredes. TO HIS COY MISTRESS Andrew Marvell Had we but world enough, and time, This coyness, lady, were no crime. We would sit down and think which way To walk, and pass our long love's day; Thou by the Indian Ganges' side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the Flood; And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires, and more slow. An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time's winged chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found, Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long preserv'd virginity, And your quaint honour turn to dust, And into ashes all my lust. The grave's a fine and private place, But none I think do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may; And now, like am'rous birds of prey, Rather at once our time devour, Than languish in his slow-chapp'd power. Let us roll all our strength, and all Our sweetness, up into one ball; And tear our pleasures with rough strife Thorough the iron gates of life. Thus, though we cannot make our sun Stand still, yet we will make him run. TRADUCCIÓN Si tuviéramos bastante mundo y tiempo tu timidez, señora, no seria delito. Sentados pensaríamos hacia dónde marcharnos para pasar nuestro largo día de amor. Tú encontrarías rubíes en las riberas del Ganges de la India: yo me lamentaría con la marea del Humber. Te daría mi amor desde diez años antes del Diluvio, y tú, si quisieras, podrías decirme «no» hasta después de la conversión de los judíos. Mi amor vegetal crecería más lento y sería más vasto que un imperio. Al menos cien años se me irían en alabar tus ojos y en contemplar tu frente, cuatrocientos en adorar tus senos No name shall but your own be found. When we have run our passion's heat, Love hither makes his best retreat: The gods who mortal beauty chase, Still in a tree did end their race. Apollo hunted Daphne so, Only that she might laurel grow, And Pan did after Syrinx speed, Not as a nymph, but for a reed. What wondrous life is this I lead! Ripe apples drop about my head; The luscious clusters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons as I pass, Insnared with flowers, I fall on grass. Meanwhile the mind, from pleasure less, Withdraws into its happiness: The mind, that ocean where each kind Does straight its own resemblance find; Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that's made To a green thought in a green shade. Here at the fountain's sliding foot, Or at some fruit-tree's mossy root, Casting the body's vest aside, My soul into the boughs does glide: There like a bird it sits and sings, Then whets and combs its silver wings; And, till prepared for longer flight, Waves in its plumes the various light. Such was that happy garden-state, While man there walked without a mate: After a place so pure and sweet, What other help could yet be meet! But 'twas beyond a mortal's share To wander solitary there: Two paradises 'twere in one To live in Paradise alone. How well the skillful gard'ner drew Of flowers and herbs this dial new; Where from above the milder sun Does through a fragrant zodiac run; And, as it works, th' industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckoned but with herbs and flowers! TRADUCCIÓN Cuan en vano se enajenan los hombres por alcanzar la palma, el roble o el laurel, y así ver su incesante trabajo coronado por un único árbol o un arbusto cuya corta, estrecha y limitada sombra con discreción sus labores califica, mientras aquí las flores y los árboles entretejen las guirnaldas del reposo. ¡Aquí te he hallado, suavísima calma, y a la Inocencia, tu querida hermana! Equivocado, siempre te busqué en la agitada compañía del hombre. Tus sacras plantas, al menos en la tierra, prosperan sólo entre las plantas, pues son casi rudas las personas con estas soledades deliciosas. Jamás vio nadie un blanco, un rojo, tan dulce como este verde seductor. Tontos amantes, cual sus amadas crueles, grabaron en los árboles sus nombres; bien poco saben, ¡ay!, o se dan cuenta de cuánto superan ellos su belleza. Bellos árboles: si vuestros troncos llego a herir sólo en ellos vuestros nombres se verían. Agotada ya de la pasión la calentura hace el amor aquí refugio sin igual. El dios que fue tras la mortal belleza también en árbol culminó la caza: Apolo a Diana persiguió de tal manera para que sólo —ya laurel— medrar pudiera, y en pos de Siringe se apresuró el dios Pan, no tras la ninfa, sino por una flauta. ¡Qué mágica la vida que llevo aquí! It could not withered be. But thou thereon didst only breathe, And sent’st it back to me; Since when it grows, and smells, I swear, Not of itself, but thee. TRADUCCIÓN Bebe por mí sólo con tus ojos, y yo brindaré con los míos; o deja un beso en la copa y no pediré vino. Sed que del alma es toda la alegría exige que el licor sea divino, y ni el néctar más puro de los dioses hoy lo cambiaría, Celia, por tu vino. Tarde envié la rosada guirnalda, No sólo para honranrte sino para darle la esperanza De que nunca se habrá de marchitar. Más sobre ella apenas respiraste Y la enviaste de nuevo hacia mí; Desde entonces crece y huele, lo juro, no a sí misma sino a ti OF MARRIAGE AND SIGLE LIFE Francis Bacon HE that hath wife and children hath given hostages to fortune; for they are impediments to great enterprises, either of virtue or mischief. Certainly the best works, and of greatest merit for the public, have proceeded from the unmarried or childless men; which both in affection and means have married and endowed the public. Yet it were great reason that those that have children should have greatest care of future times; unto which they know they must transmit their dearest pledges. Some there are, who though they lead a single life, yet their thoughts do end with themselves, and account future times impertinences. 1 Nay, there are some other that account wife and children but as bills of charges. Nay more, there are some foolish rich covetous men, that take a pride in having no children, because they may be thought so much the richer. For perhaps they have heard some talk, Such an one is a great rich man, and another except to it, Yea, but he hath a great charge of children; as if it were an abatement to his riches. But the most ordinary cause of a single life is liberty, especially in certain self-pleasing and humorous 2 minds, which are so sensible of every restraint, as they will go near to think their girdles and garters to be bonds and shackles. Unmarried men are best friends, best masters, best servants; but not always best subjects; for they are light to run away; and almost all fugitives are of that condition. A single life doth well with churchmen; for charity will hardly water the ground where it must first fill a pool. It is indifferent for judges and magistrates; for if they be facile and corrupt, you shall have a servant five times worse than a wife. For soldiers, I find the generals commonly in their hortatives put men in mind of their wives and children; and I think the despising of marriage amongst the Turks maketh the vulgar soldier more base. Certainly wife and children are a kind of discipline of humanity; and single men, though they may be many times more charitable, because their means are less exhaust, yet, on the other side, they are more cruel and hardhearted (good to make severe inquisitors), because their tenderness is not so oft called upon. Grave natures, led by custom, and therefore constant, are commonly loving husbands, as was said of Ulysses, vetulam suam prætulit immortalitati [he preferred his old wife to immortality]. Chaste women are often proud and froward, as presuming upon the merit of their chastity. It is one of the best bonds both of chastity and obedience in the wife, if she think her husband wise; which she will never do if she find him jealous. Wives are young men’s mistresses; companions for middle age; and old men’s nurses. So as a man may have a quarrel 3 to marry when he will. But yet he 4 was reputed one of the wise men, that made answer to the question, when a man should marry,—A young man not yet, an elder man not at all. It is often seen that bad husbands have very good wives; whether it be that it raiseth the price of their husband’s kindness when it comes; or that the wives take a pride in their patience. But this never fails, if the bad husbands were of their own choosing, against their friends’ consent; for then they will be sure to make good their own folly. RESUMEN PRIMEROS CINCO CAPÍTULOS DE LOS VIAJES DE GULLIVER: JONATHAN SWIFT Los viajes de Gulliver fue creada inicialmente como una burla, un ataque ácido y simbólico contra la vanidad y la hipocresía de las cortes, los reyes, los hombres de estado y los partidos políticos de su tiempo, auque también contiene deteriorados pensamientos acerca de la naturaleza humana, por consiguiente, es una obra brutalmente amarga y en cierto punto un tanto cínica. Una burla a la sociedad inglesa de su tiempo y por toda la raza humana, al mismo tiempo, es imaginativa, ingeniosa y sencilla de leer, en uno de los últimos capítulos referente a los Houyhnhms, no es vista con buenos ojos por mucha gente ya que narra tristemente que estos animales pueden tener mas compasión y calidez que nosotros mismos, sobre este mismo también nos hace reflexionar sobre la manera en que nos comportamos si somos como los yahoos o como los Houyhnhms. Al mismo tiempo tiene un gran contenido respecto a la navegación. Primera parte. Viaje a Liliput Capitulo I. Gulliver naufraga y es capturado A la edad de catorce años fui enviado a estudiar medicina, en Cambridge, mi padre le enviaba una ayuda económica que utilizaba para pagar los estudios de navegación y matemáticas, entré a trabajar como aprendiz con un cirujano londinense llamado Jaime Bates después de cuatro años regresé con mi padre quien con la ayuda de otros parientes me ayudaron para terminarla carrera de medicina. Cuando terminé de estudiar el señor Bates me recomendó para que fuera a trabajar como cirujano a bordo de la Golondrina, después de mucho navegar me aburrí y decidí quedarme un tiempo con mi esposa e hijos, decidí regresar como doctor a otro barco en el cual naufrague debido a una tormenta; llegué a un lugar llamado Liliput, donde me encontré con que todos sus habitantes eran gente diminuta, al principio me tomar prisionero para lo cual me amarran, después de un tiempo de persuasión los logré convencer de que no era malo y me semi-liberaron, después me llevaron ante su máxima autoridad. Capítulo II. El emperador de Liliput El rey era una persona muy bondadosa y valiente me lo presentaron y enseguida fue a discutir con el congreso mi situación, muchas personas se acercaban a mí y algunas hasta me dispararon flechas el rey los descubrió y mando a que los ataran y me los entregaran al principio todos pensaban que los iba devorar, pero solo los libere, después de eso el rey mando a que me alimentaran, me construyeran una casa y una cama, una cobija, un traje y que dos de sus hombres me enseñaran su lenguaje. Después de un tiempo inspeccionaron mis bolsillos y me quitaron mi pistola, mis balas, mi espada y una cajita con pólvora. Capítulo III. Gulliver en la corte de Liliput Después de muchos esfuerzos puedo decir que comprendí por completo su idioma, así que le envié muchas cartas a su Majestad pidiendo mi libertad. Hasta que por fin decidió hablar con el consejo y como ya me había ganado la confianza de todos sus habitantes nadie se opuso a que me soltaran excepto Skyresh Bolgolam, quien aceptó con la condición de que él redactara una especie de contrato donde decía que yo debía ser obediente y fiel a Su Majestad y que no podía escapar, yo accedí, lo firmé y entonces me quitaron las cadenas. Capítulo IV. El palacio del emperador y su secretario principal La primera petición que hice al obtener mi libertad fue que me dieran permiso de caminar por todo el pueblo y me lo concedieron yo lo hice encantadísimo, después de tres días logré ver las habitaciones del palacio ya que muchos árboles tapaban la vista, 15 días después de ser liberado fue a visitarme Reldresal el secretario principal del rey el cual me pidió que en caso de una invasión por su mayor enemigo el pueblo de Blefusco los ayudara, a lo que yo accedí inmediatamente.