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"La cade de la Casa de Usor" ("The Fall of the House of Usher") es un nara corta par Edgar Allan Poe. La tradui seguente es par Simon Davies en 2008.

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La cade de la Casa de Usor
par Edgar Allan Poe
The Fall of the House of Usher
by Edgar Allan Poe

Sua cor es un luto pendente;
E, cuando tocada, lo sona.
– De Béranger

Son cœur est un luth suspendu;
Sitôt qu'on le touche il résonne.
– De Béranger

Tra la intera de un dia gris, oscur, e sin sona, en la autono de la anio, cuando la nubes ia pende opresante basa en la sielos, me ia pasa ja solitar, sur cavalo, tra un area de campania estrema sombre; e final, a la prosimi de la ombras de la sera, me ia trova me ante la vista triste de la Casa de Usor. During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher.
Me no sabe como – ma, a mea regardeta prima a la construida, un senti de despera nontolerable ia permea mea spirito. Me dise "nontolerable", car la senti no ia es lejerida a cualce grado par acel emosia alga plasente, car poesial, con cual la mente reseta usual an la plu severes de la imajes natural de cosas ruinada o temable. I know not how it was – but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible.
Me ia regarda la sena ante me – la casa mesma, e la cualias simple de la vista de la tereno – la mures fria – la oios vacua de la fenetras – alga siperos densa – e alga troncos blanca de arbores putrida – con un depresa completa de la spirito cual me pote compara plu esata a no senti mundal ca a la state pos sonia de un estasior de opio – la emerji amarga a la vive dial – la cade fea de la velo. Me ia senti un jelinia, un afonda, un maladi de la cor – un sombria de pensa, sin remedia, cual no stimula de la imajina pote torse a un emosia plu alta. I looked upon the scene before me – upon the mere house, and the simple landscape features of the domain – upon the bleak walls – upon the vacant eye-like windows – upon a few rank sedges – and upon a few white trunks of decayed trees – with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium – the bitter lapse into everyday life – the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart – an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime.
Par cual parte – me ia pausa per pensa – par cual parte me ia es tan descorajida en contempla la Casa de Usor? La misterio ia es intera sin solve; e me no ia pote vinse la fola de fantasias ombrin cual ia presa se contra me en mea pensas. Me ia es obligada de retira me a la conclui nonsasiante ce, an si, sin duta, alga combinas de ojetos natural multe simple es serta capas de emosia nos en esta modo, an tal, la analise de esta capasia es un de la consideras tro profonda per nos. What was it – I paused to think – what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth.
Lo es posible (me ia medita) ce mera un posa diferente de la composantes de la sena, de la detalias de la depinta, va sufisi per altera o cisa elimina sua capasia de impresa triste; e, seguente esta idea, me ia redini mea cavalo a la borda presipe de un lageta negra e macabre cual reposa en refleta nonturbada ante la abitada, e me ia basi mea regarda – ma con un trema ancora plu intensa ca la presedente – a la imajes remoldida e inversada de la siperos gris, e la troncos pal de la arbores, e la oios vacua de la fenetras. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down – but with a shudder even more thrilling than before – upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows. ¶
Ma ancora, me ia proposa aora ce me va reposa per alga semanas en esta palasio de depresa. Sua proprior, Rodrigo de Usor, ia es un de mea amis prosima en mea enfantia; ma multe anios ia pasa ja pos nosa encontra ultima. An tal, un letera resente ia ateni me en un parte distante de la pais – un letera de el – cual, par sua natur savaje insistosa, ia permete sola un responde personal. Nevertheless, in this mansion of gloom I now proposed to myself a sojourn of some weeks. Its proprietor, Roderick Usher, had been one of my boon companions in boyhood; but many years had elapsed since our last meeting. A letter, however, had lately reached me in a distant part of the country – a letter from him – which, in its wildly importunate nature, had admitted of no other than a personal reply.
La manoscrito ia atesta un ajita nervosa. La scrivor ia parla sur un maladia agu de la corpo – un turba mental cual opresa el – e sur un desira seria de vide me, como sua ami personal la plu bon e vera la sola, per atenta lejeri alga sua maladia par la felisia de mea acompania. The MS. gave evidence of nervous agitation. The writer spoke of acute bodily illness – of a mental disorder which oppressed him – and of an earnest desire to see me, as his best, and indeed his only personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady.
Sua manera de dise esta cosas, e multe otras – la pare de cor cual ia vade con sua demanda – estas ia permete a me no posible de esita; e donce me ia obedi sin retarda un clama cual ia pare ancora multe strana a me. It was the manner in which all this, and much more, was said – it was the apparent heart that went with his request – which allowed me no room for hesitation; and I accordingly obeyed forthwith what I still considered a very singular summons. ¶
An si, como xicos, nos ia es asosiores an intima, me ia conose vera poca mea ami. Sua reserva ia es sempre tro forte e abitual. Ma me ia es consensa ce, en la istoria distante, sua familia multe antica ia es notada per un delicatia nonusual de condui, cual mostra se tra edas longa en multe obras de arte lodada, e cual ia apare resente en atas repeteda de carita jenerosa ma no intruinte, e ance en un dedica zelosa a la complicas, cisa an plu ca a la belias ortodox e fasil reconosable, de la siensa musical. Although, as boys, we had been even intimate associates, yet I really knew little of my friend. His reserve had been always excessive and habitual. I was aware, however, that his very ancient family had been noted, time out of mind, for a peculiar sensibility of temperament, displaying itself, through long ages, in many works of exalted art, and manifested, of late, in repeated deeds of munificent yet unobtrusive charity, as well as in a passionate devotion to the intricacies, perhaps even more than to the orthodox and easily recognisable beauties, of musical science.
Me ia aprende ja ance la fato multe notable ce la tronco de la familia de Usor, an si vea onorada, ia pone a no periodo un ramo durante; en otra parolas, la familia intera es situada en la linia direta de desende, e ia es ja sempre tal situada, con varia multe minor e multe tempora. I had learned, too, the very remarkable fact, that the stem of the Usher race, all time-honored as it was, had put forth, at no period, any enduring branch; in other words, that the entire family lay in the direct line of descent, and had always, with very trifling and very temporary variation, so lain.
Esta manca (me ia considera, esaminante en mea pensas la similia perfeta de la carater de la imobila e la carater atribuida a la familia, e divinante la influe cisa eserseda par la un a la otra tra la edas longa de la sentenios) – cisa esta manca de desendes paralel e la comunica seguente e nondeviante, de padre a fio, de no sola la propria ma ance la nom – cisa estas ia identifia lenta la du cosas tan multe ce la imobila ia fusa sua nom orijinal en la titulo anticin e ambigua de la "Casa de Usor" – un titulo cual ia pare inclui, en la mentes de la campanianes ci ia usa lo, no sola la familia ma ance sua cason. It was this deficiency, I considered, while running over in thought the perfect keeping of the character of the premises with the accredited character of the people, and while speculating upon the possible influence which the one, in the long lapse of centuries, might have exercised upon the other – it was this deficiency, perhaps, of collateral issue, and the consequent undeviating transmission, from sire to son, of the patrimony with the name, which had, at length, so identified the two as to merge the original title of the estate in the quaint and equivocal appellation of the "House of Usher" – an appellation which seemed to include, in the minds of the peasantry who used it, both the family and the family mansion. ¶
Me ia dise ce la sola resulta de mea esperimenta alga enfantin – de basi mea regarda a la lageta – ia es profondi la impresa strana prima. On no pote duta ce la consensia de la aumenta rapida de mea superstisio – car perce me no ta usa esta terma? – ia susede xef aselera la aumenta mesma. Tal, me sabe ja longa, es la leje paradoxosa de tota sentis fundida sur teror. I have said that the sole effect of my somewhat childish experiment – that of looking down within the tarn – had been to deepen the first singular impression. There can be no doubt that the consciousness of the rapid increase of my superstition – for why should I not so term it? – served mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis.
E cisa sola par esta causa, cuando me ia releva mea oios a la casa mesma supra sua imaje en la lageta, un fantasia strana ia crese en mea mente – un fantasia serta tan riable ce me refere a lo sola per mostra la fortia vivin de la sensas cual ia opresa me. And it might have been for this reason only, that, when I again uplifted my eyes to the house itself, from its image in the pool, there grew in my mind a strange fancy – a fancy so ridiculous, indeed, that I but mention it to show the vivid force of the sensations which oppressed me.
Me ia opera mea imajina tan multe ce me crede vera ce un atmosfera pende sirca tota la cason e tereno, como un cualia spesial de los e de sua visinia direta – un atmosfera cual ave no similia con la aira de la sielo, ma cual ia es espirada de la arbores putrida, e la mur gris, e la lageta silente – un vapor nosiva e mistica, lenta, pigra, apena distinguable, e con tinje de plomo. I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity – an atmosphere which had no affinity with the air of heaven, but which had reeked up from the decayed trees, and the gray wall, and the silent tarn – a pestilent and mystic vapor, dull, sluggish, faintly discernible, and leaden-hued. ¶
Secutente de mea spirito esta, cual es sin duta un sonia, me ia esplora plu atendosa la aspeta real de la construida. Sua cualia major ia pare es un anticia enorme. La descolori par la edas ia es grande. Fungos pico ia covre tota la esterna, pendente de la teto como un rede magra e maraniada. Ma tota de esta no ia partisipa en cualce state de ruina estracomun. Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation.
No petra ia cade ja de la construida; e on ia pare ave un noncoere estrema entre sua partes ancora perfeta ajustada, e la state desintegrante de la petras individua. Esta ia fa ce me recorda multe la completia surfasal de un creada de lenio cual ia putri tra anios longa en un tomba descurada, sin disturba par la respira de la aira esterna. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of the individual stones. In this there was much that reminded me of the specious totality of old wood-work which has rotted for long years in some neglected vault, with no disturbance from the breath of the external air.
An tal, estra esta indica de putri estendeda, la materia ia dona poca sinias de nonstablia. Cisa la oio de un oservor esaminante ta pote descovre un fesur apena persepable, cual estende de la fronte de la teto de la construida e trova un via tra la mur en un dirije zigzagin, asta do lo es perdeda en la acuas triste de la lageta. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn. ¶
Notante esta cosas, me ia viaja longo un via levada corta a la casa. Un atendor servinte ia prende mea cavalo, e me ia entra su la arco gotica de la atrio. Un cameror, con pasos cuieta, ia gida me de ala, en silentia, tra multe pasajes oscur e labirintin en mea progresa a la studio de sua senior. Noticing these things, I rode over a short causeway to the house. A servant in waiting took my horse, and I entered the Gothic archway of the hall. A valet, of stealthy step, thence conducted me, in silence, through many dark and intricate passages in my progress to the studio of his master.
Sur la via, me ia encontra multe cual contribui, en un modo nonclar, per alti la sentis neblosa sur cual me ia parla ja. An si la ojetos sirca me – an si la siselis de la sofitos, la tapetos sombre de la mures, la negria ebanin de la solos, e la serie fantasin de trofeos eraldial cual clica a mea pasos, ia es mera cosas a cual, o de un spesie a cual, me ia deveni abituada ja en mea enfantia – an si me no ia esita confesa ce me conose tan multe tota de esta – me ia es ancora surprendeda ce la fantasias tisada par imajes comun es tan stranjer. Much that I encountered on the way contributed, I know not how, to heighten the vague sentiments of which I have already spoken. While the objects around me – while the carvings of the ceilings, the sombre tapestries of the walls, the ebon blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters to which, or to such as which, I had been accustomed from my infancy – while I hesitated not to acknowledge how familiar was all this – I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up.
Sur un de la scaleras, me ia encontra la mediciste de la familia. Sua fas (me ia pensa) porta un espresa miscada de astutia basa e confusa. El ia saluta me con ajita, e ia pasa plu. Aora la cameror ia abri subita un porte e ia introdui me en la presentia de sua senior. On one of the staircases, I met the physician of the family. His countenance, I thought, wore a mingled expression of low cunning and perplexity. He accosted me with trepidation and passed on. The valet now threw open a door and ushered me into the presence of his master. ¶
La sala en cual me ia trova me es multe grande e alta. La fenetras es longa, streta, e puntida, e a un distantia tan vasta de la solo de cuerco negra ce en no modo on ta pote asede los de la interna. Raios debil de lus carmesida veni tra la grilias de la vitros, e servi per distingui bastante la ojetos ambiente la plu notable; ma la oio luta futil per ateni la angulos plu distante de la spasio, o la nixes de la sofito voltosa e perforada. Cortinas oscur pende sur la mures. The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellissed panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber, or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls.
La mobilas jeneral es abundante, sin comforta, antica, e laserada. Multe libros e strumentos musical es sperdeda asi e ala, ma no susede dona cualce impresa de vive a la sena. Me senti ce me respira un atmosfera de tristia. Un aira de depresa sever, profonda, e nonbonable pende permeante supra tota. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all. ¶
A mea entra, Usor ia leva se de un sofa sur cual el ia reclina sua longia plen, e ia saluta me con un caldia animada cual conteni (me ia pensa prima) multe de un cortesia esajerada – de la condui constrinjeda de un om sosial noiada. Ma un regardeta a sua espresa de fas ia convinse me ce el es intera sinsera. Upon my entrance, Usher arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality – of the constrained effort of the ennuyé man of the world. A glance, however, at his countenance, convinced me of his perfect sincerity.
Nos ia senta nos; e per alga momentos, cuando el no parla, me ia oserva el con un emosia partal de compatia, partal de stona temosa. Serta, a no tempo presedente un om es tan asustante cambiada como Rodrigo de Usor! Sola difisil me ia pote susede aseta ce la person debil ante me es la mesma como la camerada de mea enfantia joven. An tal, la carater de sua fas ia es ja sempre notable. We sat down; and for some moments, while he spoke not, I gazed upon him with a feeling half of pity, half of awe. Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable.
Un pel de color morin; oios larga, licuida, e luminosa sin compara; labios alga magra e multe pal, ma con un curva suprapasante bela; un nas de un model delicata ivri, ma con un largia de narina nonusual en formas simil; un mento refinada moldida cual atesta, par sua manca de protende, un manca de enerjia moral; capeles plu suave e rarida ca un rede de arania; tota esta cualias, con un grandi nonmoderada supra la area de la tempes, asembla un fas cual on no oblida fasil. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity; these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten.
E aora, par mera la esajera de la carater xef de esta cualias, e de la espresa cual los comunica abitual, tan multe cambias ia aveni ce me ia duta a ci me parla. Spesial la palia aora macabre de la pel, e la lus aora miraclosa de la oio, ia xoca e an stona me. El ia lasa ance ce la capeles sedin crese sin cura, e, con un trama savaje gazin, los flota e no cade sirca la fas, donce me no ia pote, an con labora, relata sua espresa arabesca a cualce idea de umania simple. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eye, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity. ¶
En la manera de mea ami me ia vide direta un contradise – un noncoere; e me ia trova pronto ce esta veni de un serie de lutas debil e futil per vinse un ansia abitual – un ajita tro temosa. Per un cosa de esta spesie me ia es ja bon preparada, no min par sua letera ca par recordas de alga cualias enfantal, e par concluis deduida de la strania de sua natur e forma fisical. In the manner of my friend I was at once struck with an incoherence – an inconsistency; and I soon found this to arise from a series of feeble and futile struggles to overcome an habitual trepidancy – an excessive nervous agitation. For something of this nature I had indeed been prepared, no less by his letter, than by reminiscences of certain boyish traits, and by conclusions deduced from his peculiar physical conformation and temperament.
Sua atas ia es alternante animada e malumorosa. Sua vose ia varia rapida de un nondeside tremante (cuando la spiritos de vive ia pare completa asente) a acel spesie de consisia enerjiosa – acel pronunsia cortida, pesosa, nonfretante, e vacua sonante – acel parla gargal, lenta, ecuilibrada, e perfeta regulada cual on pote oserva en un enebriada perdeda, o en un comor de opio nonsalvable en la periodos de sua stimula la plu intensa. His action was alternately vivacious and sullen. His voice varied rapidly from a tremulous indecision (when the animal spirits seemed utterly in abeyance) to that species of energetic concision – that abrupt, weighty, unhurried, and hollow-sounding enunciation – that leaden, self-balanced and perfectly modulated guttural utterance, which may be observed in the lost drunkard, or the irreclaimable eater of opium, during the periods of his most intense excitement. ¶
Esta ia es la modo en cual el ia parla sur la ojeto de mea visita, sur sua desira seria de vide me, e sur la consola espetada cual me ta furni a el. El ia descrive multe longa un cosa cual, como el conseti lo, es la natur de sua maladia. Esta es (el ia dise) un malia de constitui e de familia, e un malia per cual el despera trova un remedia – mera un influe nervosa (el ia ajunta direta), cual va pasa pronto, sin duta. It was thus that he spoke of the object of my visit, of his earnest desire to see me, and of the solace he expected me to afford him. He entered, at some length, into what he conceived to be the nature of his malady. It was, he said, a constitutional and a family evil, and one for which he despaired to find a remedy – a mere nervous affection, he immediately added, which would undoubtedly soon pass off.
La malia ia mostra se como un fola de sentis nonatural. Algas de estas, cuando el esplica los, ia interesa e confusa me, an si, cisa, la termas e la manera jeneral de la nara ia fa sua influe. El sufri multe de un agia morbosa de la sensas; sola comedas la plu blanda es tolerable; el pote porta sola vestes de un trama spesial; la odores de tota flores opresa; sua oios es torturada par an un lus debil; e sola sonas strana, veninte de strumentos de cordeta, no pleni el con xoca. It displayed itself in a host of unnatural sensations. Some of these, as he detailed them, interested and bewildered me; although, perhaps, the terms, and the general manner of the narration had their weight. He suffered much from a morbid acuteness of the senses; the most insipid food was alone endurable; he could wear only garments of certain texture; the odors of all flowers were oppressive; his eyes were tortured by even a faint light; and there were but peculiar sounds, and these from stringed instruments, which did not inspire him with horror. ¶
Me ia trova ce el es un sclavo liada a un spesie de teror anomal. "Me va mori," – el ia dise – "me nesesa mori en esta folia lamentable. En esta modo, esta e no otra, me va es perdeda. La avenis de la futur asusta me, no los mesma, ma sua resultas. Me trema en pensa sur cualce aveni, an la min importante, cual pote opera sur esta ajita nontolerable de spirito. Vera, me no odia la peril, ma sola sua resulta asoluta – la teror. En esta state descorajida – esta state compatiable – me senti ce pronto o tarda la periodo va ariva cuando me debe abandona intera la vive e la razona, en un luta con la fantasma sombre de TEME." To an anomalous species of terror I found him a bounden slave. "I shall perish," said he, "I must perish in this deplorable folly. Thus, thus, and not otherwise, shall I be lost. I dread the events of the future, not in themselves, but in their results. I shudder at the thought of any, even the most trivial, incident, which may operate upon this intolerable agitation of soul. I have, indeed, no abhorrence of danger, except in its absolute effect – in terror. In this unnerved – in this pitiable condition – I feel that the period will sooner or later arrive when I must abandon life and reason together, in some struggle with the grim phantasm, FEAR." ¶
Plu, me ia aprende a intervales, e par indicetas nonperiodal e ambigua, un otra parte strana de sua state mental. El es cadenida par alga impresas superstisiosa relatada a la casa en cual el abita, e de cual nunca en multe anios el ia osa viaja – relatada a un influe de cual el comunica sua fortia suposada en termas tro ombrin per redise asi – un influe cual (el ia dise) la tolera longa de alga cualias strana en mera la forma e sustantia de sua cason de familia ia oteni sur sua spirito – un resulta lenta en la cualia de sua esiste causada par la natur de la mures e toretas gris, e de la lageta oscur su la regarda de estas. I learned, moreover, at intervals, and through broken and equivocal hints, another singular feature of his mental condition. He was enchained by certain superstitious impressions in regard to the dwelling which he tenanted, and whence, for many years, he had never ventured forth – in regard to an influence whose supposititious force was conveyed in terms too shadowy here to be re-stated – an influence which some peculiarities in the mere form and substance of his family mansion, had, by dint of long sufferance, he said, obtained over his spirit – an effect which the physique of the gray walls and turrets, and of the dim tarn into which they all looked down, had, at length, brought about upon the morale of his existence. ¶
An tal, el ia confesa, an si esitante, ce multe de la sombria strana su cual el sufri tan multe es atribuable a un orijina plu natural e serta plu palpable – a la maladia sever e longa continuante – vera a la mori evidente prosiminte – de un sore tenera amada – sua sola acompanior tra anios longa – la sola e ultima de sua relatadas sur la tera. La estingui de sua sore – el ia dise con un amargia cual me pote oblida nunca – va lasa el (el, la desperante, la frajil) como la membro final de la familia antica de Usor. He admitted, however, although with hesitation, that much of the peculiar gloom which thus afflicted him could be traced to a more natural and far more palpable origin – to the severe and long-continued illness – indeed to the evidently approaching dissolution – of a tenderly beloved sister – his sole companion for long years – his last and only relative on earth. "Her decease," he said, with a bitterness which I can never forget, "would leave him (him the hopeless and the frail) the last of the ancient race of the Ushers."
An cuando el ia es parlante, la dama Madelin (car esta ia es sua nom) ia pasa lenta tra un area distante de la aparte, e, sin nota me presentia, ia desapare. Me ia regarda el con un stona completa, no nonmiscada con un teme forte – e, an tal, me ia trova ce justi tal sentis es nonposible. Un sensa de stupor ia opresa me cuando mea oios segue sua pasos retirante. While he spoke, the lady Madeline (for so was she called) passed slowly through a remote portion of the apartment, and, without having noticed my presence, disappeared. I regarded her with an utter astonishment not unmingled with dread – and yet I found it impossible to account for such feelings. A sensation of stupor oppressed me, as my eyes followed her retreating steps.
Cuando un porte ia clui ultima pos el, mea oios ia xerca instintosa e zelosa la espresa de la frate – ma el ia asconde ja sua fas en sua manos, e me ia pote persepi sola ce un palia multe plu ca normal estende ja tra la ditos magrida entre cual multe larmas emosiosa flueta. When a door, at length, closed upon her, my glance sought instinctively and eagerly the countenance of the brother – but he had buried his face in his hands, and I could only perceive that a far more than ordinary wanness had overspread the emaciated fingers through which trickled many passionate tears. ¶
La maladia de la dama Madelin ia confusa longa la capasia de sua dotores. Un apatia fisada, un consuma gradal de la corpo, e atacas frecuente ma tempora de un carater partal catalesica, ia es la diagnose strana. The disease of the lady Madeline had long baffled the skill of her physicians. A settled apathy, a gradual wasting away of the person, and frequent although transient affections of a partially cataleptical character, were the unusual diagnosis.
Ante esta tempo, el ia resiste firma contra la presa de sua maladia, e no ia vade sur sua via final a sua leto; ma, a la comensa de la sera de mea ariva a la casa, el ia sede (como sua frate dise a me a note, con un ajita nonespresable) a la potia vinsente de la destruor; e donce me ia aprende ce la videta cual me ia oteni de sua person va es probable la final cual me va oteni – ce me no va vide plu la dama, a la min en vive. Hitherto she had steadily borne up against the pressure of her malady, and had not betaken herself finally to bed; but, on the closing in of the evening of my arrival at the house, she succumbed (as her brother told me at night with inexpressible agitation) to the prostrating power of the destroyer; and I learned that the glimpse I had obtained of her person would thus probably be the last I should obtain – that the lady, at least while living, would be seen by me no more. ¶
Tra alga dias seguente, sua nom no ia es diseda o par Usor o par me: e en esta periodo me ia es ocupada en laboras sinsera per lejeri la tristia de mea ami. Nos ia depinta e leje en junta; o me ia escuta, como si en un sonia, la improvisas stimulada de sua gitar espresosa. E en esta modo, cuando un intimia ancora sempre plu prosima permete ce me entra min reservada en la privatas de sua spirito, me ia persepi plu amarga la vania de cualce atenta per felisi un mente de cual un oscuria, como si un cualia esensal positiva, versa se sur tota ojetos de la universo moral e fisical, en un radia de sombria sin sesa. For several days ensuing, her name was unmentioned by either Usher or myself: and during this period I was busied in earnest endeavors to alleviate the melancholy of my friend. We painted and read together; or I listened, as if in a dream, to the wild improvisations of his speaking guitar. And thus, as a closer and still closer intimacy admitted me more unreservedly into the recesses of his spirit, the more bitterly did I perceive the futility of all attempt at cheering a mind from which darkness, as if an inherent positive quality, poured forth upon all objects of the moral and physical universe, in one unceasing radiation of gloom. ¶
Me va porta sempre en me un recorda de la multe oras seria cual me ia spende, en esta modo, solitar con la senior de la Casa de Usor. Ma me ta fali en cualce atenta per comunica un impresa de la carater esata de la studias, o de la ocupas, en cual el ia envolve me, o a cual el ia introdui me. Un idealia ajitada e multe malada ia lansa un lus sulfurin supra tota. Sua lamentas longa e improvisada va resona sempre en mea oreas. Entre otra cosas, me teni dolosa en mente un perverti e intensi spesial strana de la melodia savaje de la valsa ultima de Von Weber. I shall ever bear about me a memory of the many solemn hours I thus spent alone with the master of the House of Usher. Yet I should fail in any attempt to convey an idea of the exact character of the studies, or of the occupations, in which he involved me, or led me the way. An excited and highly distempered ideality threw a sulphureous lustre over all. His long improvised dirges will ring forever in my ears. Among other things, I hold painfully in mind a certain singular perversion and amplification of the wild air of the last waltz of Von Weber.
De la depintas supra cual sua imajina complicada ia medita triste, e cual ia crese, par toca pos toca, a cosas neblosa ante cual me ia trema plu stimulada car me ia trema sin conose la razona; – de esta depintas (an si sua imajes es aora vivin per me) me ta labora futil per estrae plu ca un parte peti cual me pote ensirca en mera parolas scriveda. Par la simplia asoluta, par la nudia de sua desinias, el ia saisi e stona la atende. Si cualce mortal ia depinta un idea, esta mortal ia es Rodrigo de Usor. From the paintings over which his elaborate fancy brooded, and which grew, touch by touch, into vaguenesses at which I shuddered the more thrillingly, because I shuddered knowing not why; – from these paintings (vivid as their images now are before me) I would in vain endeavor to educe more than a small portion which should lie within the compass of merely written words. By the utter simplicity, by the nakedness of his designs, he arrested and overawed attention. If ever mortal painted an idea, that mortal was Roderick Usher.
A la min per me – en la situa aora sirca me – en la astratas pur cual la ipocondrica ia construi per lansa sur sua lona, un intensia nontolerable de stona temosa ia leva se, de cual me ia senti nunca an un ombra en la contempla de la sonias serta briliante ma tro concreta de Füssli. For me at least – in the circumstances then surrounding me – there arose out of the pure abstractions which the hypochondriac contrived to throw upon his canvass, an intensity of intolerable awe, no shadow of which felt I ever yet in the contemplation of the certainly glowing yet too concrete reveries of Fuseli. ¶
Un de la consetis fantasiosa de mea ami, car lo representa no tan rijida la spirito de astratia, es ombrosa somable en parolas, an si debil. Un depinta peti ia presenta la interna de un tomba o tunel estrema longa e retangulo, con mures basa, lisa, blanca, e sin interompe o sinia. Alga cualias minor de la desinia ia servi bon per comunica la idea ce esta escava es situada a un profondia enorme su la surfas de la tera. On oserva no sorti en cualce parte de sua estende vasta, e on pote distingui no torxa o otra fonte de lus; an tal, un deluvia de raios intensa onda tra la loca, e bani tota en un brilia macabre e nonconveninte. One of the phantasmagoric conceptions of my friend, partaking not so rigidly of the spirit of abstraction, may be shadowed forth, although feebly, in words. A small picture presented the interior of an immensely long and rectangular vault or tunnel, with low walls, smooth, white, and without interruption or device. Certain accessory points of the design served well to convey the idea that this excavation lay at an exceeding depth below the surface of the earth. No outlet was observed in any portion of its vast extent, and no torch, or other artificial source of light was discernible; yet a flood of intense rays rolled throughout, and bathed the whole in a ghastly and inappropriate splendor. ¶
Me veni de parla sur acel state morbosa de la nervo oreal, cual ia fa ce tota musica deveni nontolerable a la sufror, estra alga produidas de strumentos de cordeta. Cisa la limitas streta entre cual el ia restrinje tal sua obras con la gitar ia es lo cual ia pari, en grado grande, la carater fantasin de sua presentas. I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar, which gave birth, in great measure, to the fantastic character of his performances.
Ma on no pote esplica en esta modo la flue zelosa de sua improvisas. Me ia suposa, e me ia sabe, ce la notas, e ance la parolas de sua fantasias savaje (car, no nonfrecuente, el acompania se con frases rimosa inventada), es la resulta de acel consentra de mente intensa e nondestraeda a cual me ia refere como oservable sola en alga momentos de la stimula artifisial la plu alta. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasias (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement.
Me recorda fasil la parolas de un de esta rapsodias. Cisa sua presenta ia impresa me en modo plu fortiosa car, en la flue ascondeda o mistica de sua sinifia, me ia imajina ce me persepi, a la ves prima, un consensia plen en la mente de Usor ce sua razona nobil bambola sur sua trono. La strofes, su la titulo de "La palasio fantasmosa", ia vade multe prosima, si no esata, como la seguentes: The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it, as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher, of the tottering of his lofty reason upon her throne. The verses, which were entitled "The Haunted Palace," ran very nearly, if not accurately, thus:
   
1.
En nosa vale la plu verde,
    Do abit' anjeles bon,
En pasada, radiante
    Sta con dinia un cason.
En la pais de l' re de Pensa
    Lo ia es!
Serafines vola supra
    Un mur plu bela a no ves.
I.
In the greenest of our valleys,
    By good angels tenanted,
Once a fair and stately palace –
    Radiant palace – reared its head.
In the monarch Thought's dominion –
    It stood there!
Never seraph spread a pinion
    Over fabric half so fair.
2.
Sur la teto la banderas
    Jala, oro, glorios',
Los ia flota, los ia flue
    En un eda ante nos;
E cada venta dulse lenta
    Tra dias de sol
Longo la muron de plumas
    Bonodori en sua vol'.
II.
Banners yellow, glorious, golden,
    On its roof did float and flow;
(This – all this – was in the olden
    Time long ago)
And every gentle air that dallied,
    In that sweet day,
Along the ramparts plumed and pallid,
    A winged odor went away.
3.
Vagores en la val' de joia
    Tra du fenetras plen de lus
Ia vide dansas de spiritos
    Regulada par un lut',
Sirca un trono do ia senta
    (Naseda per purpur!)
La re de la domin' en gloria
    Bon conveninte a sua natur.
III.
Wanderers in that happy valley
    Through two luminous windows saw
Spirits moving musically
    To a lute's well-tunéd law,
Round about a throne, where sitting
    (Porphyrogene!)
In state his glory well befitting,
    The ruler of the realm was seen.
4.
Con perl' e rubi lo ia brilia,
    La porte bel' palasial,
Tra cual ia flue, flue, flue
    Sintilinte, nunca pal
Un bande d' Ecos con la taxe
    De canta a la cor
En voses la plu deletante
    La sabes saja de l' renor.
IV.
And all with pearl and ruby glowing
    Was the fair palace door,
Through which came flowing, flowing, flowing,
    And sparkling evermore,
A troop of Echoes whose sweet duty
    Was but to sing,
In voices of surpassing beauty,
    The wit and wisdom of their king.
5.
Ma cosas mal, en robas triste,
    Ataca la monarc' en cas'
(Ai, nos lamenta el, perdeda,
    Sin lus doman, no plu capas!);
E sua gloria ros florinte
    Es sola un fable
De la tempos ja tombida
    Apen' aora recordable.
V.
But evil things, in robes of sorrow,
    Assailed the monarch's high estate;
(Ah, let us mourn, for never morrow
    Shall dawn upon him, desolate!)
And, round about his home, the glory
    That blushed and bloomed
Is but a dim-remembered story
    Of the old time entombed.
6.
La viajores ala oji
    Vide tra fenetras roj'
Formas vast' en moves strana
    Sur un melodia plen dolos';
E como un rio pal rapida
    Tra la porte a su
Un fola fea versa sempre
    E rie – ma no surie plu.
VI.
And travellers now within that valley,
    Through the red-litten windows, see
Vast forms that move fantastically
    To a discordant melody;
While, like a rapid ghastly river,
    Through the pale door,
A hideous throng rush out forever,
    And laugh – but smile no more.
   
Me recorda bon ce sujestas levada par esta balada ia gida nos a un segue de pensas en cual un opina de Usor ia deveni evidente, un opina a cual me refere no tan par causa de sua novia (car otra omes* ia pensa ja tal) como par causa de la ostina con cual el manteni lo. Esta opina, en sua forma jeneral, es ce tota cosas vejetal es capas de senti. Ma, en sua fantasia desordinada, la idea ia oteni ja un carater plu osante, e ia invade ja, en alga casos, la rena de desorganiza.
* Watson, Dotor Percival, Spallanzani, e spesial la Bispo de Landaff. – Vide "Articles Cimical", libro 5.
I well remember that suggestions arising from this ballad, led us into a train of thought wherein there became manifest an opinion of Usher's which I mention not so much on account of its novelty, (for other men* have thought thus,) as on account of the pertinacity with which he maintained it. This opinion, in its general form, was that of the sentience of all vegetable things. But, in his disordered fancy, the idea had assumed a more daring character, and trespassed, under certain conditions, upon the kingdom of inorganization.
* Watson, Dr. Percival, Spallanzani, and especially the Bishop of Landaff. – See "Chemical Essays," vol v.
Me no ave parolas per espresa la grado plen o la savajia seria de sua convinse. Ma la crede ia ave un lia (como ja me ia indiceta) con la petras gris de la casa de sua asendentes. La state per crea la capasia de senti ia es asi completida (el ia imajina) par la metodo de junta esta petras – par la ordina de sua posa, e ance par la loca de la multe fungos cual estende supra los, e de la arbores putrida cual sta ambiente – ante tota, par la esiste longa nonturbada de esta posa, e par sua dupli en la acuas calma de la lageta. I lack words to express the full extent, or the earnest abandon of his persuasion. The belief, however, was connected (as I have previously hinted) with the gray stones of the home of his forefathers. The conditions of the sentience had been here, he imagined, fulfilled in the method of collocation of these stones – in the order of their arrangement, as well as in that of the many fungi which overspread them, and of the decayed trees which stood around – above all, in the long undisturbed endurance of this arrangement, and in its reduplication in the still waters of the tarn.
Sua atesta – la atesta de la capasia de senti – es vidable (el ia dise, e aora me ia trema subita a sua parla) en la condensa gradal ma definida de un propre atmosfera sirca la acuas e la mures. La resulta es descovrable (el ia ajunta) en acel influe silente ma presante e temable cual ia moldi la fortunas de sua familia tra sentenios, e cual fa ce el, mea ami, deveni como me vide el aora – como el es. Tal opinas nesesa no comenta, e me va fa no comenta. Its evidence – the evidence of the sentience – was to be seen, he said, (and I here started as he spoke,) in the gradual yet certain condensation of an atmosphere of their own about the waters and the walls. The result was discoverable, he added, in that silent, yet importunate and terrible influence which for centuries had moulded the destinies of his family, and which made him what I now saw him – what he was. Such opinions need no comment, and I will make none. ¶
Nosa libros – la libros cual, tra anios, ia formi un parte plu ca peti de la esiste mental de la malada – ia es, como on ta pote suposa, plen conveninte a esta carater fantasial. En junta, nos ia deveni asorbeda en tal obras como la Vert-Vert e Chartreuse par Gresset; la Belfagor par Machiavelli; la Sielo e enferno par Swedenborg; la Viaja su tera de Niels Klim par Holberg; la Ciromansias par Robert Fludd, par Jean D'Indaginé, e par De la Chambre; la Viaja a la distantia blu par Tieck; e la Site de la sol par Campanella. Our books – the books which, for years, had formed no small portion of the mental existence of the invalid – were, as might be supposed, in strict keeping with this character of phantasm. We pored together over such works as the Ververt et Chartreuse of Gresset; the Belphegor of Machiavelli; the Heaven and Hell of Swedenborg; the Subterranean Voyage of Nicholas Klimm by Holberg; the Chiromancy of Robert Flud, of Jean D'Indaginé, and of De la Chambre; the Journey into the Blue Distance of Tieck; and the City of the Sun of Campanella.
Un libro favoreda ia es un edita otida peti de la Manual de incuisisiores par la dominican Aymerich de Girona; e on ave pasajes en Pomponio Mela sur la satires e ejipanes vea de Africa, supra cual Usor ia senta soniante tra oras. An tal, el ia trova sua deleta major en la esamina de un libro estrema rara e strana, gotica, cuatrida – la manual de un eglesa oblidada – la Preas per la mores en modo de la coro de la Eglesa de Mainz. One favorite volume was a small octavo edition of the Directorium Inquisitorium, by the Dominican Eymeric de Gironne; and there were passages in Pomponius Mela, about the old African Satyrs and Œgipans, over which Usher would sit dreaming for hours. His chief delight, however, was found in the perusal of an exceedingly rare and curious book in quarto Gothic – the manual of a forgotten church – the Vigiliae Mortuorum secundum Chorum Ecclesiae Maguntinae. ¶
Me no ia pote evita pensa sur la rituo savaje de esta obra, e sur sua influe probable a la ipocondrica, cuando, a un sera, pos informa subita ce la dama Madelin no es plu, el ia declara a me sua intende de conserva la corpo de la dama per du semanas (ante sua entera final) en un de la multe tombas en la mures major de la construida. Ma la razona mundal cual el ia dona per esta ata strana ia es un cosa ante cual me no ia senti ce un disputa es permeteda. I could not help thinking of the wild ritual of this work, and of its probable influence upon the hypochondriac, when, one evening, having informed me abruptly that the lady Madeline was no more, he stated his intention of preserving her corpse for a fortnight, (previously to its final interment,) in one of the numerous vaults within the main walls of the building. The worldly reason, however, assigned for this singular proceeding, was one which I did not feel at liberty to dispute.
La frate ia es gidada a sua deside (como el ia dise a me) par considera la carater noncomun de la maladia de la mor, alga demandas intruinte e zelosa de sua omes medical, e la situa distante e esposada de la semetero de la familia. Me no va nega ce, cuando me ia recorda la fas malvolente de la person ci me ia encontra sur la scalera en la dia de mea ariva a la casa, me no ia desira oposa un ata cual me ia regarda otimiste como sola un proteje nonperilosa e serta no nonatural. The brother had been led to his resolution (so he told me) by consideration of the unusual character of the malady of the deceased, of certain obtrusive and eager inquiries on the part of her medical men, and of the remote and exposed situation of the burial-ground of the family. I will not deny that when I called to mind the sinister countenance of the person whom I met upon the staircase, on the day of my arrival at the house, I had no desire to oppose what I regarded as at best but a harmless, and by no means an unnatural, precaution. ¶
Car Usor ia demanda, me mesma ia aida el en la preparas per la tombi tempora. Pos la pone de la corpo en un caxon, nos du, solitar, ia porta lo a sua reposa. La tomba en cual nos ia loca lo (e cual ia es tan longa nonabrida ce nosa torxas, partal sofocada en sua atmosfera opresante, ia dona a nos poca capasia de investiga) ia es peti, moiada, e completa sin modo per entra de lus – situante, a un profondia grande, direta su acel parte de la construida cual conteni mea propre aparte de dormi. At the request of Usher, I personally aided him in the arrangements for the temporary entombment. The body having been encoffined, we two alone bore it to its rest. The vault in which we placed it (and which had been so long unopened that our torches, half smothered in its oppressive atmosphere, gave us little opportunity for investigation) was small, damp, and entirely without means of admission for light; lying, at great depth, immediately beneath that portion of the building in which was my own sleeping apartment.
Lo pare ce on ia usa lo, en un eda feudal distante, per la intendes la plu mal de un prison de castel, e, en dias a pos, como un loca per teni polvo negra o alga otra sustantia estrema combustable, car un parte de sua solo, e la interna completa de un arco longa tra cual nos ia ateni lo, ia es atendosa covreda con cupre. La porte, de fero solida, ia es ance simil protejeda. Sua pesa enorme ia causa un sona de raspa noncomun agu cuando lo ia move sur sua xarnieres. It had been used, apparently, in remote feudal times, for the worst purposes of a donjon-keep, and, in later days, as a place of deposit for powder, or some other highly combustible substance, as a portion of its floor, and the whole interior of a long archway through which we reached it, were carefully sheathed with copper. The door, of massive iron, had been, also, similarly protected. Its immense weight caused an unusually sharp grating sound, as it moved upon its hinges. ¶
Pos depone nosa carga lamentada sur cavaletas en esta area de teror, nos ia move partal a lado la covrente de la caxon no ja fisada, e ia regarda la fas de la ocupor. Aora a la ves prima, un similia notable entre la frate e sore ia saisi mea atende; e Usor, cisa divinante mea pensas, murmura alga parolas par cual me ia descovre ce la mor e el ia es jemelos, e ce simpatias de un natur apena comprendable ia esiste ja sempre entre los. Having deposited our mournful burden upon tressels within this region of horror, we partially turned aside the yet unscrewed lid of the coffin, and looked upon the face of the tenant. A striking similitude between the brother and sister now first arrested my attention; and Usher, divining, perhaps, my thoughts, murmured out some few words from which I learned that the deceased and himself had been twins, and that sympathies of a scarcely intelligible nature had always existed between them.
Ma nosa oios no ia reposa longa sur la mor – car nos no ia pote regarda el sin teme. La maladia cual ia tombi tal la dama en la maturia de jovenia ia lasa, como usual en tota maladias de carater vera catalesica, la burla de un rojia pal sur la peto e la fas, e acel surie suspetosa durante sur la labio, cual es tan asustante en moria. Nos ia repone e visi la covrente, e, pos securi la porte de fero, ia vade sur nosa via difisil a la apartes apena min sombre de la parte alta de la casa. Our glances, however, rested not long upon the dead – for we could not regard her unawed. The disease which had thus entombed the lady in the maturity of youth, had left, as usual in all maladies of a strictly cataleptical character, the mockery of a faint blush upon the bosom and the face, and that suspiciously lingering smile upon the lip which is so terrible in death. We replaced and screwed down the lid, and, having secured the door of iron, made our way, with toil, into the scarcely less gloomy apartments of the upper portion of the house. ¶
E aora, pos la pasa de alga dias de lamenta amarga, un cambia oservable ia ariva en la cualias de la desordina mental de mea ami. Sua manera comun desapare. El iniora o oblida sua ocupas comun. El vaga de sala a sala con pasos fretante, nonegal, e sin ojeto. La palia de sua fas prende ja, si posible, un color plu macabre – ma la lus de sua oios es plen estinguida. La cualia a veses roncin de sua tono pasada no es plu oiada; e un trema vibrante, como si de teror estrema, deveni un parte abitual de sua parla. And now, some days of bitter grief having elapsed, an observable change came over the features of the mental disorder of my friend. His ordinary manner had vanished. His ordinary occupations were neglected or forgotten. He roamed from chamber to chamber with hurried, unequal, and objectless step. The pallor of his countenance had assumed, if possible, a more ghastly hue – but the luminousness of his eye had utterly gone out. The once occasional huskiness of his tone was heard no more; and a tremulous quaver, as if of extreme terror, habitually characterized his utterance.
Veses ia aveni, vera, cuando me ia pensa ce sua mente nonsesante ajitada batalia con alga secreta opresante, e ce el luta per la coraje nesesada per revela esta. A veses, denova, me ia debe redui tota a sola la caprises nonesplicable de dementia, car me ia vide el regardante a la vacua tra oras longa, en un posa de atende la plu profonda, como si el escuta alga sona imajinal. Lo no es surprendente ce sua state ia asusta – ce lo ia infeta me. Me ia senti ce, en grados lenta ma definida, la influes savaje de sua propre superstisios, fantasin ma impresante, rampe en dirije a me. There were times, indeed, when I thought his unceasingly agitated mind was laboring with some oppressive secret, to divulge which he struggled for the necessary courage. At times, again, I was obliged to resolve all into the mere inexplicable vagaries of madness, for I beheld him gazing upon vacancy for long hours, in an attitude of the profoundest attention, as if listening to some imaginary sound. It was no wonder that his condition terrified – that it infected me. I felt creeping upon me, by slow yet certain degrees, the wild influences of his own fantastic yet impressive superstitions. ¶
Spesial, pos retira a leto, tarda en la note de la dia sete o oto pos pone la dama Madelin en la tomba, me ia esperia la potia plen de tal sentis. La dormi no ia prosimi a mea leto – e la oras ia pasa e pasa plu. Me ia luta per elimina par razona la ansia cual domina me. Me ia atenta crede ce multes, si no totas, de mea sentis es causada par la influe confusante de la mobilas sombre de la sala – de la cortinas oscur e laserada cual, torturada a moves par la respira de un tempesta cresente, ia flota nonpredisable de asi a ala sur la mures, e ia xuxa noncuieta sirca la ornas de la leto. Ma mea atentas ia es futil. It was, especially, upon retiring to bed late in the night of the seventh or eighth day after the placing of the lady Madeline within the donjon, that I experienced the full power of such feelings. Sleep came not near my couch – while the hours waned and waned away. I struggled to reason off the nervousness which had dominion over me. I endeavored to believe that much, if not all of what I felt, was due to the bewildering influence of the gloomy furniture of the room – of the dark and tattered draperies, which, tortured into motion by the breath of a rising tempest, swayed fitfully to and fro upon the walls, and rustled uneasily about the decorations of the bed. But my efforts were fruitless.
Un trema nonrepresable ia permea gradal mea corpo; e, a fini, un incubo de alarma intera sin causa ia senta direta sur mea cor. Secutente esta de me par un spasma e un luta, me ia leva me sur la cuxines, e, regardante seria en la oscuria intensa de la sala, ia escuta – me no sabe perce, estra ce un spirito instintosa ia provoca me – alga sonas basa e nondefinida cual ia veni, tra la pausas de la tempesta, a intervales longa, e me no ia sabe de do. An irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my very heart an incubus of utterly causeless alarm. Shaking this off with a gasp and a struggle, I uplifted myself upon the pillows, and, peering earnestly within the intense darkness of the chamber, harkened – I know not why, except that an instinctive spirit prompted me – to certain low and indefinite sounds which came, through the pauses of the storm, at long intervals, I knew not whence.
Inondada par un senti intensa de teror, nonesplicable ma nontolerable, me ia vesti me con freta (car me ia senti ce me no va dormi plu en esta note), e ia atenta velia me de la state compatiable en cual me ia cade, par pasea rapida de asi a ala tra la aparte. Overpowered by an intense sentiment of horror, unaccountable yet unendurable, I threw on my clothes with haste (for I felt that I should sleep no more during the night), and endeavored to arouse myself from the pitiable condition into which I had fallen, by pacing rapidly to and fro through the apartment. ¶
Me fa ja sola poca moves en esta modo cuando un paso lejera sur un scalera visina saisi mea atende. Pronto me reconose lo como de Usor. Pos un momento el bateta mea porte par un mano jentil, e entra, portante un lampa. Sua fas es, como usual, morin pal – ma, en ajunta, el ave un spesie de ilaria demente en sua oios – un isteria evidente frenida en sua condui intera. Sua aira xoca me – ma cualce cosa es preferable a la solitaria cual me ia tolera tan longa, e me bonveni an sua presentia como un lejeri. I had taken but few turns in this manner, when a light step on an adjoining staircase arrested my attention. I presently recognised it as that of Usher. In an instant afterward he rapped, with a gentle touch, at my door, and entered, bearing a lamp. His countenance was, as usual, cadaverously wan – but, moreover, there was a species of mad hilarity in his eyes – an evidently restrained hysteria in his whole demeanor. His air appalled me – but anything was preferable to the solitude which I had so long endured, and I even welcomed his presence as a relief. ¶
"E tu no ia vide?" – el dise subita, pos regarda sirca se per alga momentos en silentia – "Donce tu no ia vide? – Ma para! Tu va vide." Con esta parla, e pos proteje atendosa sua lampa, el freta a un de la fenetras e abri lo, subita librinte lo a la tempesta. "And you have not seen it?" he said abruptly, after having stared about him for some moments in silence – "you have not then seen it? – but, stay! you shall." Thus speaking, and having carefully shaded his lamp, he hurried to one of the casements, and threw it freely open to the storm. ¶
La furia fortiosa de la soflon cual entra leva nos cuasi de nosa pedes. Vera, la note es tempestosa ma sever bela, e savaje strana en sua teror e sua belia. Lo pare ce un vortis de venta ia colie sua fortia en nosa visinia, car cambias frecuente e violente aveni en la dirije de la venta; e la densia estrema de la nubes (cual pende tan basa ce los presa sur la toretas de la casa) no preveni ce nos persepi la rapidia con cual los vola noncontrolada de tota puntos, la un contra la otras, sin pasa a via distante. The impetuous fury of the entering gust nearly lifted us from our feet. It was, indeed, a tempestuous yet sternly beautiful night, and one wildly singular in its terror and its beauty. A whirlwind had apparently collected its force in our vicinity; for there were frequent and violent alterations in the direction of the wind; and the exceeding density of the clouds (which hung so low as to press upon the turrets of the house) did not prevent our perceiving the life-like velocity with which they flew careering from all points against each other, without passing away into the distance.
Me dise ce an sua densia estrema no preveni ce nos persepi esta – ma nos no videta la luna o stelas – e no ardes subita de lampo aveni. Ma la surfases basa de la masas enorme de vapor ajitada, como ance tota ojetos de la tera sirca nos, brilieta en la lus nonatural de un espira de gas pal luminosa e clar vidable cual pende sirca la cason e veli lo. I say that even their exceeding density did not prevent our perceiving this – yet we had no glimpse of the moon or stars – nor was there any flashing forth of the lightning. But the under surfaces of the huge masses of agitated vapor, as well as all terrestrial objects immediately around us, were glowing in the unnatural light of a faintly luminous and distinctly visible gaseous exhalation which hung about and enshrouded the mansion. ¶
"Tu no ta – tu no va regarda esta!" – me dise tremante a Usor, gidante el, con un intensia jentil, de la fenetra a un seja – "Esta apares, cual confusa tu, es mera fenomenos eletrica no noncomun – o cisa los ave sua orijina macabre en la vapores malodorinte de la lageta. Nos ta clui esta fenetra – la aira es fria e perilosa a tua corpo. Me ave asi un de tua romanses favoreda. Me va leje, e tu va escuta – e en esta modo, nos va esclui esta note temable, en junta." "You must not – you shall not behold this!" said I, shudderingly, to Usher, as I led him, with a gentle violence, from the window to a seat. "These appearances, which bewilder you, are merely electrical phenomena not uncommon – or it may be that they have their ghastly origin in the rank miasma of the tarn. Let us close this casement; – the air is chilling and dangerous to your frame. Here is one of your favorite romances. I will read, and you shall listen; – and so we will pass away this terrible night together." ¶
La libro antica cual me ia prende es la Encontra fol par Senior Launcelot Canning; ma me ia descrive lo como un favoreda de Usor en broma triste plu ca en modo seria, car, vera, on trova poca en sua parolosia cru e nonimajinosa cual pote interesa la idealia alta e spirital de mea ami. The antique volume which I had taken up was the "Mad Trist" of Sir Launcelot Canning; but I had called it a favorite of Usher's more in sad jest than in earnest; for, in truth, there is little in its uncouth and unimaginative prolixity which could have had interest for the lofty and spiritual ideality of my friend.
An tal, no otra libro es direta su mano; e me regala un espera neblosa ce cisa la stimula cual ajita aora la ipocondrica va trova un lejeri (car la istoria de desordina mental es plen de anomales simil) an en la estremia de la folia cual me va leje. Vera, si me ta pote judi par la aira savaje e tro tensa animada con cual el escuta, o pare escuta, la parolas de la nara, alora cisa me ta loda la susede de mea intende. It was, however, the only book immediately at hand; and I indulged a vague hope that the excitement which now agitated the hypochondriac, might find relief (for the history of mental disorder is full of similar anomalies) even in the extremeness of the folly which I should read. Could I have judged, indeed, by the wild overstrained air of vivacity with which he harkened, or apparently harkened, to the words of the tale, I might well have congratulated myself upon the success of my design. ¶
Me ariva ja a acel parte bon conoseda de la nara, do Etelredo, la eroe de la Encontra, pos xerca futil per entra pasosa en la abitada de la eremita, prosede per reali un entra par fortia. Asi, on va recorda, la parolas de la nara vade tal: I had arrived at that well-known portion of the story where Ethelred, the hero of the Trist, having sought in vain for peaceable admission into the dwelling of the hermit, proceeds to make good an entrance by force. Here, it will be remembered, the words of the narrative run thus: ¶
"E Etelredo, ci ia es natural de un cor corajosa, e ci ia es aora ance forte par causa de la potia de la vino cual el ia bevi, no ia pospone plu sua negosia con la eremita, ci ia ave en veria un natur ostinosa e malvolente, ma, sentinte la pluve sur sua spalas, e temente la crese de la tempesta, ia leva sua rompetesta sin retarda e, con colpas, ia crea un buco en la faxas de la porte per sua mano armada; e aora forte tirante con esta mano, el ia fesuri e lasera e creve tota en pesos en tal modo ce la ruido de la lenio seca e vacua sonante ia alarma e resona tra tota la foresta." "And Ethelred, who was by nature of a doughty heart, and who was now mighty withal, on account of the powerfulness of the wine which he had drunken, waited no longer to hold parley with the hermit, who, in sooth, was of an obstinate and maliceful turn, but, feeling the rain upon his shoulders, and fearing the rising of the tempest, uplifted his mace outright, and, with blows, made quickly room in the plankings of the door for his gauntleted hand; and now pulling therewith sturdily, he so cracked, and ripped, and tore all asunder, that the noise of the dry and hollow-sounding wood alarummed and reverberated throughout the forest." ¶
A la fini de esta frase me trema, e pausa per un momento, car lo pare a me (an si me conclui direta ce mea fantasia stimulada ia engana me) – lo pare a me ce, de alga parte multe distante de la cason, mea oreas deteta nonclar lo cual pote es, par sua similia perfeta de carater, la eco (ma serta sofocada e amortida) de esata la sona fesurinte e laserante cual Senior Launcelot ia descrive tan detaliosa. At the termination of this sentence I started, and for a moment, paused; for it appeared to me (although I at once concluded that my excited fancy had deceived me) – it appeared to me that, from some very remote portion of the mansion, there came, indistinctly, to my ears, what might have been, in its exact similarity of character, the echo (but a stifled and dull one certainly) of the very cracking and ripping sound which Sir Launcelot had so particularly described.
La coaveni es, sin cualce duta, la sola cosa cual ia saisi mea atende, car, entre la clicas de la strutures de la fenetras, e la ruidos comun miscada de la tempesta ancora cresente, la sona ave serta en se mesma no cualia cual debe interesa o turba me. Me continua la nara: It was, beyond doubt, the coincidence alone which had arrested my attention; for, amid the rattling of the sashes of the casements, and the ordinary commingled noises of the still increasing storm, the sound, in itself, had nothing, surely, which should have interested or disturbed me. I continued the story: ¶
"Ma la bon campion Etelredo, aora entrante tra la porte, ia es multe colerida e stonada cuando el ia persepi no sinia de la eremita malvolente, ma, en loca de esta, un dragon de aspeta scamosa e enorme, e de lingua focosa, cual senta gardante ante un palasio de oro con un solo de arjento; e sur la mur un scermo de laton briliante ia pende con esta testo enscriveda – "But the good champion Ethelred, now entering within the door, was sore enraged and amazed to perceive no signal of the maliceful hermit; but, in the stead thereof, a dragon of a scaly and prodigious demeanor, and of a fiery tongue, which sate in guard before a palace of gold, with a floor of silver; and upon the wall there hung a shield of shining brass with this legend enwritten –
    Ci entra asi, ci mata la dragon;
    El es un vinsor, el gania la laton;
    Who entereth herein, a conqueror hath bin;
    Who slayeth the dragon, the shield he shall win;
E Etelredo ia leva sua rompetesta e ia bate sur la testa de la dragon, cual cade ante el e abandona sua respira pestin con un xilia tan asustante e dolosa, e ance tan penetrante, ce Etelredo ia nesesa clui sua oreas con sua manos contra esta ruido temable, simil a no cosa oiada a cualce tempo presedente." And Ethelred uplifted his mace, and struck upon the head of the dragon, which fell before him, and gave up his pesty breath, with a shriek so horrid and harsh, and withal so piercing, that Ethelred had fain to close his ears with his hands against the dreadful noise of it, the like whereof was never before heard." ¶
Asi denova me pausa subita, e aora con un senti de stona savaje – car vera no duta pote esiste ce, en esta caso, me oia vera (an si me no pote dise la dirije de cual lo veni) un sona basa e parente distante, ma agu, estendeda, e la plu noncomun, un sona de cria o raspa – la jemelo esata de lo cual mea imajina ia sujesta ja per la xilia nonatural de la dragon como descriveda par la romansor. Here again I paused abruptly, and now with a feeling of wild amazement – for there could be no doubt whatever that, in this instance, I did actually hear (although from what direction it proceeded I found it impossible to say) a low and apparently distant, but harsh, protracted, and most unusual screaming or grating sound – the exact counterpart of what my fancy had already conjured up for the dragon's unnatural shriek as described by the romancer. ¶
Serta opresada, como me es a la apare de esta coaveni nova e multe estracomun, par mil emosias desacordante, entre cual la xefes es la mervelia e la teror estrema, me reteni ancora un calmia sufisinte per evita ajita par cualce comenta la ansia delicata de mea acompanior. Me no es intera serta ce el ia nota la sonas pertinente, an si, sin duta, un altera strana ia aveni en sua condui en la minutos la plu resente. Oppressed, as I certainly was, upon the occurrence of this second and most extraordinary coincidence, by a thousand conflicting sensations, in which wonder and extreme terror were predominant, I still retained sufficient presence of mind to avoid exciting, by any observation, the sensitive nervousness of my companion. I was by no means certain that he had noticed the sounds in question; although, assuredly, a strange alteration had, during the last few minutes, taken place in his demeanor.
De un posa fasante me, el ia torse gradal sua seja per situa en tal modo ce sua fas regarda la porte de la sala; e donce me pote persepi sola un parte de sua espresa, an si me vide ce sua labios trema como si el murmura nonoiable. Sua testa ia cade sur sua peto – ma me sabe ce el no dormi car sua oio es larga e rijida abrida cuando me videta lo en profil. Plu, la move de sua corpo no coere con esta idea – car el osila de lado a lado con un ritmo dulse ma constante e uniforma. Pos nota rapida tota esta, me recomensa la nara de Senior Launcelot, cual prosede tal: From a position fronting my own, he had gradually brought round his chair, so as to sit with his face to the door of the chamber; and thus I could but partially perceive his features, although I saw that his lips trembled as if he were murmuring inaudibly. His head had dropped upon his breast – yet I knew that he was not asleep, from the wide and rigid opening of the eye as I caught a glance of it in profile. The motion of his body, too, was at variance with this idea – for he rocked from side to side with a gentle yet constant and uniform sway. Having rapidly taken notice of all this, I resumed the narrative of Sir Launcelot, which thus proceeded: ¶
"E aora, la campion, pos evade la furia temable de la dragon, e recordante la scermo de laton e la rompe de la encanta cual ia es sur lo, ia move la corpo mor cual impedi la via ante el, e ia prosimi corajosa sur la pave de arjento de la castel a la loca do la scermo ia es sur la mur; e, en veria, la scermo no ia permane asta sua ariva plen, ma ia cade a sua pedes sur la solo de arjento, con un ruido resonante, forte, grande, e asustante." "And now, the champion, having escaped from the terrible fury of the dragon, bethinking himself of the brazen shield, and of the breaking up of the enchantment which was upon it, removed the carcass from out of the way before him, and approached valorously over the silver pavement of the castle to where the shield was upon the wall; which in sooth tarried not for his full coming, but fell down at his feet upon the silver floor, with a mighty great and terrible ringing sound." ¶
Direta pos pasa esta silabas tra mea labios, alora – como si vera un scermo de laton cade en acel momento sur un solo de arjento – me deveni consensa de un resona clar, vacua, metal, e ecosa, ma parente amortida. Completa asustada, me salta a mea pedes; ma la osila mesurada de Usor es nonturbada. Me core a la seja en cual el senta. No sooner had these syllables passed my lips, than – as if a shield of brass had indeed, at the moment, fallen heavily upon a floor of silver – I became aware of a distinct, hollow, metallic, and clangorous, yet apparently muffled reverberation. Completely unnerved, I leaped to my feet; but the measured rocking movement of Usher was undisturbed. I rushed to the chair in which he sat.
Sua oios regarda fisada ante el, e tra sua fas completa un rijidia petrin rena. Ma, cuando me pone mea mano sur sua spala, un spasma forte veni tra sua corpo intera; un surie malada trema sirca sua labios; e me vide ce el parla en un murmura basa, fretada, e babelante, como si nonconsensa de mea presentia. Apoiante me a prosima supra el, me asorbe gradal la sinifia xocante de sua parolas. His eyes were bent fixedly before him, and throughout his whole countenance there reigned a stony rigidity. But, as I placed my hand upon his shoulder, there came a strong shudder over his whole person; a sickly smile quivered about his lips; and I saw that he spoke in a low, hurried, and gibbering murmur, as if unconscious of my presence. Bending closely over him, I at length drank in the hideous import of his words. ¶
"No oia lo? – si, me oia lo, e ia oia lo. Longa – longa – longa – tra multe minutos, multe oras, multe dias, me ia oia lo – ma me no ia osa – o, compatia me, misera, nonfortunosa! – me no ia osa – me no ia osa parla! Nos ia pone la dama vivente en la tomba! Esce me no ia dise ce mea sensas es agu? Me dise a tu aora ce me ia oia sua moves prima debil en la caxon. Me ia oia los – a multe multe dias ante aora – ma me no ia osa – me no ia osa parla! E aora – a esta note – Etelredo – ha! ha! – la rompe de la porte de la eremita, e la cria morinte de la dragon, e la resona de la scermo! – dise, plu coreta, la creve de la caxon de la dama, e la raspa de la xarnieres de fero de sua prison, e sua lutas en la arco cuprida de la tomba! O, do me va fuji? El va es pronto asi, no? El freta per reproxa contra mea rapidia, no? Me oia ja sua paso sur la scalera, no? Me distingui acel pulsa pesosa e temable de sua cor, no? Demente!" – asi el salta furiosa a sua pedes, e xilia sua silabas, como si par la ata el sede sua spirito – "Demente! Me declara ce el sta aora a la porte!" "Not hear it? – yes, I hear it, and have heard it. Long – long – long – many minutes, many hours, many days, have I heard it – yet I dared not – oh, pity me, miserable wretch that I am! – I dared not – I dared not speak! We have put her living in the tomb! Said I not that my senses were acute? I now tell you that I heard her first feeble movements in the hollow coffin. I heard them – many, many days ago – yet I dared not – I dared not speak! And now – to-night – Ethelred – ha! ha! – the breaking of the hermit's door, and the death-cry of the dragon, and the clangor of the shield! – say, rather, the rending of her coffin, and the grating of the iron hinges of her prison, and her struggles within the coppered archway of the vault! Oh whither shall I fly? Will she not be here anon? Is she not hurrying to upbraid me for my haste? Have I not heard her footstep on the stair? Do I not distinguish that heavy and horrible beating of her heart? Madman!" – here he sprang furiously to his feet, and shrieked out his syllables, as if in the effort he were giving up his soul – "Madman! I tell you that she now stands without the door!" ¶
Como si en la enerjia supraumana de sua pronunsia la potia de un encanta es trovada – en acel momento, la plances antica vasta a cual la parlor punta retira lenta sua mandibulas de ebano pesosa. Lo es la efeto de la soflon de tempesta – ma alora, ultra acel portes, on vide vera la figur alta stante e velida de la dama Madelin de Usor. As if in the superhuman energy of his utterance there had been found the potency of a spell – the huge antique pannels to which the speaker pointed, threw slowly back, upon the instant, their ponderous and ebony jaws. It was the work of the rushing gust – but then without those doors there did stand the lofty and enshrouded figure of the lady Madeline of Usher.
El ave sangue sur sua robas blanca, e la atesta de alga luta amarga sur cada parte de sua corpo magrida. Per un momento el resta a la porte, tremante e bambolante de asi a ala – alora, con un cria basa jeminte, el entra, pesosa cadente sur la corpo de sua frate, e, en sua angusas morinte, violente, e aora final, tira sua frate a la solo, mor, un vitim de la terores cual el ia previde. There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame. For a moment she remained trembling and reeling to and fro upon the threshold – then, with a low moaning cry, fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated. ¶
De acel sala, e de acel cason, me fuji forte xocada. La tempesta es ancora ambiente en sua furia plen, en cuando me traversa la via levada vea. Subita, un lus savaje lansa se longo la rua, e me torse me per vide de do un lumina tan nonusual pote emerji, car sola la casa vasta e sua ombras es situada pos me. La raios parteni a la luna, plen, desendente, e roja como sangue, cual brilia aora potiosa tra acel fesur apena distinguable a ante, cual me ia descrive como estendente de la teto de la construida, en un dirije zigzagin, a la funda. From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon, which now shone vividly through that once barely-discernible fissure, of which I have before spoken as extending from the roof of the building, in a zigzag direction, to the base.
An cuando me oserva, esta fesur largi rapida – un respira ferose veni de la vortis de venta – la globo intera de la luna esplode subita en mea oios – mea serebro bambola vidente la mures forte separa cadente – me oia un sona de cria longa e desordinada como la vose de mil acuas – e, a mea pedes, la lageta profonda e fria clui silente e malumorosa supra la fratos de la Casa de Usor. While I gazed, this fissure rapidly widened – there came a fierce breath of the whirlwind – the entire orb of the satellite burst at once upon my sight – my brain reeled as I saw the mighty walls rushing asunder – there was a long tumultuous shouting sound like the voice of a thousand waters – and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the "House of Usher."