Frases de Anthony Burgess página 8

“Ser bueno puede llegar a ser algo horrible.”

“Quizás el hombre que elige el mal es en cierto modo mejor que aquel a quien se le impone el bien”

A Clockwork Orange

“El hombre que no puede elegir ha perdido la condición humana.”

A Clockwork Orange

“Pero hermanos, este morderse las uñas acerca de la causa de la maldad es lo que me da verdadera risa. No les preocupa saber cuál es la causa de la bondad, y entonces, ¿por qué quieren averiguar el otro asunto? Si los liudos (individuos) son buenos es porque les gusta, y ni se me ocurriría interferir en sus placeres, así que lo mismo deberían hacer en el otro negocio. Y yo soy cliente del otro negocio.”

A Clockwork Orange

“Hay pecado supongo, pero el castigo fue del todo desproporcionado. Te han convertido en algo que ya no es una criatura humana. Ya no estás en condiciones de elegir. Estás obligado a tener una conducta que la sociedad considera aceptable, y eres una máquina que sólo puede hacer bien".”

A Clockwork Orange

“Algunas veces no es grato ser bueno, pequeño 6655321. Ser bueno puede llega a ser algo horrible. Y te lo digo sabiendo que puede ser una afirmación muy contradictoria. ¿Qué quiere Dios, el bien o que uno elija el camino del bien? Quizás el hombre que elige el mal es en cierto modo mejor que aquel a quien se le impone el bien.”

Frases de hombres de Anthony Burgess

“Algunas veces no es grato ser bueno, pequeño 6655321. Ser bueno puede llegar a ser algo horrible. Y te lo digo sabiendo que quizá te parezca una afirmación muy contradictoria. Sé que esto me costará muchas noches de insomnio. ¿Qué quiere Dios? ¿El bien o que uno elija el camino del bien? Quizás el hombre que elige el mal es en cierto modo mejor que aquel a quien se le impone el bien. Son problemas profundos y difíciles, pequeño 6655321.”

A Clockwork Orange

“Él ordeñaría al hombre blanco ... El hombre blanco tenía más dinero que sentido.”

A Clockwork Orange

Esta traducción está esperando su revisión. ¿Es correcto?

“(Singapur) no es ni siquiera un lugar donde a un hombre blanco se le permite desmoronarse...”

Esta traducción está esperando su revisión. ¿Es correcto?

“¿Es mejor para un hombre haber elegido el mal que tener el bien impuesto sobre él?”

Esta traducción está esperando su revisión. ¿Es correcto?

“Oh, era suntuoso, y la suntuosidad hecha carne. Los trombones crujían como láminas de oro bajo mi cama, y detrás de mi golová las trompetas lanzaban lenguas de plata, y al lado de la puerta los timbales me asaltaban las tripas y brotaban otra vez como un trueno de caramelo. Oh, era una maravilla de maravillas. Y entonces, como un ave de hilos entretejidos del más raro metal celeste, o un vino de plata que flotaba en una nave del espacio, perdida toda gravedad, llegó el solo de violín imponiéndose a las otras cuerdas, y alzó como una jaula de seda alrededor de mi cama. Aquí entraron la flauta y el oboe, como gusanos platinados, en el espeso tejido de plata y oro. Yo volaba poseído por mi propio éxtasis, oh hermanos.”

Anthony Burgess Frases y Citas

“Bueno, que me cuelguen si no es ese gordo maloliente, el cabrón Billy y toda la porquería. ¿Cómo estás, botellón de aceite de cocina barato? Acércate, que te daré una en los yarblocos, si es que los tienes, eunuco grasiento.”

A Clockwork Orange

“Las cosas serán siempre peores, nunca mejores.
Qué nuevo mundo están preparándose ustedes.”

A Clockwork Orange

“Es tan inhumano ser totalmente bueno como totalmente malvado. Lo importante es la elección moral.”

A Clockwork Orange

“El enfoque científico de la vida no es necesariamente apropiado para los estados de angustia visceral.”

Esta traducción está esperando su revisión. ¿Es correcto?

“... ¿Solo ustedes malditos hipócritas con sus cuatro esposas y sus diez mil horas en el cielo? ...”

Esta traducción está esperando su revisión. ¿Es correcto?

“Bien alimentado y licuado, respondí con ardor.”

Esta traducción está esperando su revisión. ¿Es correcto?

“Los escritores no son, por naturaleza, respetables: su función es ser subversivos.”

Esta traducción está esperando su revisión. ¿Es correcto?

“¿Qué va a pasar entonces, eh?”

Esta traducción está esperando su revisión. ¿Es correcto?

Esta traducción está esperando su revisión. ¿Es correcto?

“Me curé bien.”

“... Tu pequeño feuilleton ... grabando ... el crudo filisteísmo de mi nabob ...”

Esta traducción está esperando su revisión. ¿Es correcto?

“excita el páncreas a nuevos esfuerzos”

Esta traducción está esperando su revisión. ¿Es correcto?

“La iglesia sostiene que puede ser maltratada, pero los puños que la maltratan conocen su propia impotencia.”

Esta traducción está esperando su revisión. ¿Es correcto?

“Las lenguas nunca se detienen. La ortografía moderna cristaliza las pronunciaciones perdidas: lo visual nunca alcanza a lo auditivo.”

Esta traducción está esperando su revisión. ¿Es correcto?

“… Prefiero pensar en las [mujeres jóvenes] menos como seres humanos que como parcelas llenas de reflejos televisivos.”

Esta traducción está esperando su revisión. ¿Es correcto?

“Mientras caminaba hacia el viaje, esa ilusión de liberación, extrañamente me sentí caminando de regreso a la infancia.”

Esta traducción está esperando su revisión. ¿Es correcto?

“Todo fuera Quiero verte en tu horrible desnudez sucia, peluda y barrigada.”

Esta traducción está esperando su revisión. ¿Es correcto?

“…the snarling, whining, pampered, analphabetic humanoids of Hollywood emerge as garbage irrelevantly gilded with adventitious photogeneity.”

Anthony Burgess: Frases en inglés

“I lay a little while, naked, mottled, sallow, emaciated, smoking a cigarette that should have been postcoital but was not.”

"Schmuck".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The dog looked up through its hairy yashmak and farted.”

Fiction, Earthly Powers (1980)

“All right,” said Rowlandson. He began shakily to count out notes. Near-broken, he was still an Englishman; he would not bargain.”

Fiction, The Right to an Answer (1960)

“The greater part of the time I spent, when I talked at all, talking to men. I liked to take luncheon in some pub or other, sitting on a high stool at the snack-counter, barons of beef, hams, salads and dishes of pickle spread before me, the server in his tall white cap carving with skill. Other male eaters would be wedged against me, champing over newspapers, and there were a peculiar animal content in being among warm silent men, raising glasses in smacking silent toasts to themselves, the automatic ‘ah’ after the draught, the forkful of red beef and mustard pickle. Sitting with my gin or whisky afterwards I would often manage to get into conversation with some lonely man or other – usually an exile like myself – and the talk would be about the world, air-routes and shipping-lines, drinking-places thousands of miles away. Then I felt happy, felt I had come home, because home to people like me is not a place but all places, all places except the one we happen to be in at the moment.”

Fiction, Devil of a State (1961)

“We're in control, and we have what we want!”

Fiction, The Right to an Answer (1960)

“…I’m a typical Englishman of my class - a crank idealist.”

Fiction, Beard's Roman Women (1976)

“I am late with the new Doris Lessing [The Golden Notebook]. I make no apology: it has taken me a long time to read (568 pages of close print) and at the end of it all I feel cheated. This talented writer has attempted an experiment which has failed, essayed a scale which is beyond her…. This is a book of revolt – political, social, sexual. Anna [the heroine] became a Communist in South Africa, seeing in Communism a "moral energy" not to be found in other creeds or in the long-entrenched privileged class. Anna is also concerned with being a "free woman" – rebelling against traditional male dominance – and with achieving maximal erotic fulfilment…. There is no doubt about the great moral virtues here – intelligence, honesty, integrity – but it is the aesthetic virtues that seem to be lacking. The characters do not really interest us: when we have dialogue it is strangely unnatural … Mrs Lessing’s old singleness of vision, her strength as a writer, is not to be found here. [Review in the English provincial newspaper the Yorkshire Post, 1962]”

Fiction, Beds in the East (1959)

“…the Malay word chium meant to plough the beloved’s face with one’s nose”

People, Joseph Conrad, Doris Lessing

“In China he had spoken good Mandarin, and in ten years this had become his first tongue. Here he found himself with a parish of Hokkien and Cantonese speakers and a few English people whose language he could hardly talk. His French, severed from its sources of nourishment, grown coarse through lack of use, halted and wavered, searching for the right word which Mandarin was always ready to supply.”

Fiction, Beds in the East (1959)

“I know what is love. Love is man and woman in bed.”

Fiction, The Enemy in the Blanket (1958)

“The great gift of the southern lands to our civilisation is the simple right to sit at an outside cafe table and look at things.”

Fiction, Beds in the East (1959)

“…slang…the home-made language of the ruled, not the rulers, the acted upon, the used, the used up. It is demotic poetry emerging in flashes of ironic insight.”

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“I myself was, for nearly six years, in such close touch with the Malay language that it affected my English and still affects my thinking. When I wrote a novel called A Clockwork Orange, no European reader saw that the Malay word for "man" – orang – was contained in the title (Malay students of English invariably write "orang squash"…”

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“You drink wine, you have foreskins. These things have been observed.”

Non-Fiction, Joysprick: An Introduction to the Language of James Joyce (1973)

“Relief brought an aching desire to be sitting in a kedai with a large bottle of Tiger or Anchor or Carlsberg in front of him….”

Fiction, Napoleon Symphony (1974)

“Any kind of discourse which has a flavour of the British ruling class, so powerful is ancestral memory, must be strenuously avoided.”

Fiction, Time for a Tiger (1956)

“(Singapore) is not even a place where a white man is permitted to go to pieces….”

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“Writers are not, by nature, respectable: their function is to be subversive.”

"Tanah Melayu".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The British…used to regard foreigners as either a comic turn or a sexual menace. To learn a European language…was, at best, to seek to acquire a sort of girls’-finishing-school ornament, at worst, to capitulate feebly to the enemy.”

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“All art preserves mysteries which aesthetic philosophers tackle in vain.”

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“There is a profound middle-class nostalgia for the days of British protection….”

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“The consciousness in [Australia and New Zealand] of the elevation of a substandard dialect into a national tongue has been responsible for a mixture of attitudes to citizens of the mother country - inferiority, defiance, contempt. A blending of the first two may be responsible for the upward intonation pattern of answers, more appropriate to questions…. slang is of its nature defiant. It is also demotic…. But the ruling class of Australia is itself demotic.”

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“They could hardly believe it, the retreating arses of all that Mameluke or Turkish cavalry, heathen anyway, crying heathen words as they cantered off in gunsnioke and dust-clouds, dropping spears and jewels and good Birmingham pistols. And soon it was water water water, a world of blessed water, the muddy stinking welcoming mother Nile near Rahmaniya.”

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“The most sensational of all the sick literary lives was that of Maupassant, who died mad at forty-three and whose hatred of God, man and nature - manifested in literary productions which give us immense pleasure: how is that to be explained? - spring from a kind of mother fixation as well as a terror of the cold. He was a bull of a man much given to boats and riparian dalliance, but he had bad circulation. He had other things too, including a Chinese-style priapism which enabled him to copulate, usually in public, six times in a row, the secret being his failure to detumesce. This, of course, like acne and the common cold, can be a symptom of tertiary syphilis, which Maupassant certainly had.”

Fiction, Napoleon Symphony (1974)

“‘That it is still possible for a man of initiative to make money in the East is the firm opinion of balding, plump Mr Denham who adds, however, “Not if you take a wife with you.” Mr Denham has scathing things to say about Englishwomen and their lack of domestic virtues. He particularly selects their cooking as a target, but considers also that they are far inferior to the slant-eyed beauties of the Orient in the all-important matter of fidelity to their menfolk. Mr Denham is considered an authority on the women of Japan who, he says, are lovely, demure and submissive…. On his own admission he has little time for anything except money, dalliance, and the “imbibing of liquors of all kinds”.’”

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“There was a silence. Outside, and most unfortunately, a boy could be heard calling to another boy: ‘Piss off, Cowie.’ Stern looks were fixed on Woolton.”

Fiction, The Right to an Answer (1960)

“…the bathroom which Crabbe visited showed signs that Moneypenny now regarded even a lavatory as supererogatory.”

Fiction, The Worm and the Ring (1960)

“Ted, I noted, was very busy - at the pumps, at the glasses behind, the bottles below, the merrily ringing till, like a percussion-player in some modern work who dashes with confidence from xylophone to glockenspiel to triangle to wind-machine to big drum to tambourine.”

Fiction, Beds in the East (1959)

“There were…smiles of encouragement for Lydgate, and some smiles of sweet pity as well, as for the only leper present.”

Fiction, The Right to an Answer (1960)