Platero y Yo/Platero And I (Dual-Language Books)

Platero y Yo/Platero And I (Dual-Language Books)

Juan Ramon Jimenez

Language: English

Pages: 192

ISBN: 0486435652

Format: PDF / Kindle (mobi) / ePub


Recipient of the 1956 Nobel Prize for Literature, Jian Ramon Jimenez (1881 1958) ranks among the foremost Spanish poets. The early influences of German Romanticism and French Symbolism led Jimenez to the development of his unique voice, and he became a leader in the vanguard known as the "modernistas," who staged a Spanish literary revival at the turn of the twentieth century.
Jimenez's most popular work, "Platero y yo," unfolds in his native Andalusia. A series of autobiographical prose poems about the wanderings of a young writer and his donkey, it first appeared in a shorter version, suitable for children, in 1914. This new, accurate English translation is drawn from the complete edition, which was published in 1917. The only dual-language edition of this classic of Spanish literature, it is accompanied by an excellent introduction and explanatory notes that will assist students in understanding and appreciating this work."

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Copyright English translation, Introduction, and footnotes copyright © 2004 by Dover Publications, Inc. All rights reserved. Bibliographical Note This Dover edition, first published in 2004, contains the complete Spanish text of the first full edition of Platero y yo as published by Calleja, Madrid, in 1917, together with a new English translation by Stanley Appelbaum, who also provided the Introduction and the footnotes. Library of Congress Cataloging-in-Publication Data Jiménez,

De vez en cuando, Platero deja de comer, y me mira . . . Yo, de vez en cuando, dejo de leer, y miro a Platero . . . LXIX: El canto del grillo Platero y yo conocemos bien, de nuestras correrías nocturnas, el canto del grillo. El primer canto del grillo, en el crepúsculo, es vacilante, bajo y áspero. Muda de tono, aprende de sí mismo y, poco a poco, va subiendo, va poniéndose en su sitio, como si fuera buscando la armonía del lugar y de la hora. De pronto, ya las estrellas en el cielo verde y

alpende, los toneleros daban redondos golpes huecos, metidos en la limpia viruta olorosa . . . Yo entraba en Almirante por una puerta y salía por la otra—las dos alegres puertas correspondidas, cada una de las cuales le daba a la otra su estampa de vida y de luz—, entre el cariño de los bodegueros . . . Veinte lagares pisaban día y noche. ¡Qué locura, qué vértigo, qué ardoroso optimismo! Este año, Platero, todos están con las ventanas tabicadas y basta y sobra con el del corral y con dos o tres

townspeople, there rose to the starry sky the spinning golden crown of the most elaborate piece, the “castle,” which possesses the heavy thunder that makes the women shut their eyes and cover their ears, Platero ran away into the grapevines, like a soul carried off by the devil, madly braying at the tranquil pines in the darkness. LXXVII: El Vergel Como hemos venido a la Capital, he querido que Platero vea El Vergel . . . Llegamos despacito, verja abajo, en la grata sombra de las acacias y de

mood, and, as you see, he’s brought them all the way to the Hermitage. I’ve sometimes thought that Lipiani might “take the man” out of you—you know what it means to “take the donkey out of a child,” to quote our mayor—but I’m afraid you’d die of hunger. Because poor Lipiani, with the pretext of brotherhood in God and that phrase about “the children coming to me,” which he expounds after his own fashion, makes every child share his lunch with him, on afternoons in the country, which he arranges

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