Frases de Patrick O'Brian
Fecha de nacimiento: 12. Diciembre 1914
Fecha de muerte: 2. Enero 2000
Patrick O'Brian fue un novelista y traductor británico, conocido por la serie de novelas Aubrey-Maturin, ambientadas en la Marina Real Británica durante las Guerras Napoleónicas y centrada en la amistad entre el capitán inglés Jack Aubrey y el médico irlandés-catalán Stephen Maturin. Las veinte novelas de la serie, la primera de las cuales es Capitán de mar y guerra, se caracteriza por el nivel de detalle y documentación con el que es retratada la vida en el siglo XIX, así como su prosa auténtica y evocativa.
Frases Patrick O'Brian
„Two weevils crept from the crumbs. 'You see those weevils, Stephen?' said Jack solemnly.
Which would you choose?'
There is not a scrap of difference. Arcades ambo. They are the same species of curculio, and there is nothing to choose between them.'
But suppose you had to choose?'
Then I should choose the right-hand weevil; it has a perceptible advantage in both length and breadth.'
There I have you,' cried Jack. 'You are bit - you are completely dished. Don't you know that in the Navy you must always choose the lesser of two weevils? Oh ha, ha, ha, ha!“
„The weather had freshened almost to coldness, for the wind was coming more easterly, from the chilly currents between Tristan and the Cape; the sloth was amazed by the change; it shunned the deck and spent its time below. Jack was in his cabin, pricking the chart with less satisfaction than he could have wished: progress, slow, serious trouble with the mainmast-- unaccountable headwinds by night-- and sipping a glass of grog; Stephen was in the mizentop, teaching Bonden to write and scanning the sea for his first albatross. The sloth sneezed, and looking up, Jack caught its gaze fixed upon him; its inverted face had an expression of anxiety and concern. 'Try a piece of this, old cock,' he said, dipping his cake in the grog and proffering the sop. 'It might put a little heart into you.' The sloth sighed, closed its eyes, but gently absorbed the piece, and sighed again.
Some minutes later he felt a touch upon his knee: the sloth had silently climbed down and it was standing there, its beady eyes looking up into his face, bright with expectation. More cake, more grog: growing confidence and esteem. After this, as soon as the drum had beat the retreat, the sloth would meet him, hurrying toward the door on its uneven legs: it was given its own bowl, and it would grip it with its claws, lowering its round face into it and pursing its lips to drink (its tongue was too short to lap). Sometimes it went to sleep in this position, bowed over the emptiness.
'In this bucket,' said Stephen, walking into the cabin, 'in this small half-bucket, now, I have the population of Dublin, London, and Paris combined: these animalculae-- what is the matter with the sloth?' It was curled on Jack's knee, breathing heavily: its bowl and Jack's glass stood empty on the table. Stephen picked it up, peered into its affable bleary face, shook it, and hung it upon its rope. It seized hold with one fore and one hind foot, letting the others dangle limp, and went to sleep.
Stephen looked sharply round, saw the decanter, smelt to the sloth, and cried, 'Jack, you have debauched my sloth.“
— Patrick O'Brian, H.M.S. Surprise
„They will not be pleased. But they know we must catch the monsoon with a well-found ship; and they know they are in the Navy--they have chosen their cake, and must lie on it.'
You mean, they cannot have their bed and eat it.'
No, no, it is not quite that either. I mean--I wish you would not confuse my mind, Stephen.“
— Patrick O'Brian, H.M.S. Surprise
„Sir,’ said Stephen, ‘I read novels with the utmost pertinacity. I look upon them--I look upon good novels--as a very valuable part of literature, conveying more exact and finely-distinguished knowledge of the human heart and mind than almost any other, with greater breadth and depth and fewer constraints.“
— Patrick O'Brian, The Nutmeg of Consolation
„Stephen had been put to sleep in his usual room, far from children and noise, away in that corner of the house which looked down to the orchard and the bowling-green, and in spite of his long absence it was so familiar to him that when he woke at about three he made his way to the window almost as quickly as if dawn had already broken, opened it and walked out onto the balcony. The moon had set: there was barely a star to be seen. The still air was delightfully fresh with falling dew, and a late nightingale, in an indifferent voice, was uttering a routine jug-jug far down in Jack's plantations; closer at hand and more agreeable by far, nightjars churred in the orchard, two of them, or perhaps three, the sound rising and falling, intertwining so that the source could not be made out for sure. There were few birds that he preferred to nightjars, but it was not they that had brought him out of bed: he stood leaning on the balcony rail and presently Jack Aubrey, in a summer-house by the bowling-green, began again, playing very gently in the darkness, improvising wholly for himself, dreaming away on his violin with a mastery that Stephen had never heard equalled, though they had played together for years and years.
Like many other sailors Jack Aubrey had long dreamed of lying in his warm bed all night long; yet although he could now do so with a clear conscience he often rose at unChristian hours, particularly if he were moved by strong emotion, and crept from his bedroom in a watch-coat, to walk about the house or into the stables or to pace the bowling-green. Sometimes he took his fiddle with him. He was in fact a better player than Stephen, and now that he was using his precious Guarnieri rather than a robust sea-going fiddle the difference was still more evident: but the Guarnieri did not account for the whole of it, nor anything like. Jack certainly concealed his excellence when they were playing together, keeping to Stephen's mediocre level: this had become perfectly clear when Stephen's hands were at last recovered from the thumb-screws and other implements applied by French counter-intelligence officers in Minorca; but on reflexion Stephen thought it had been the case much earlier, since quite apart from his delicacy at that period, Jack hated showing away.
Now, in the warm night, there was no one to be comforted, kept in countenance, no one could scorn him for virtuosity, and he could let himself go entirely; and as the grave and subtle music wound on and on, Stephen once more contemplated on the apparent contradiction between the big, cheerful, florid sea-officer whom most people liked on sight but who would have never been described as subtle or capable of subtlety by any one of them (except perhaps his surviving opponents in battle) and the intricate, reflective music he was now creating. So utterly unlike his limited vocabulary in words, at times verging upon the inarticulate.
'My hands have now regained the moderate ability they possessed before I was captured,' observed Maturin, 'but his have gone on to a point I never thought he could reach: his hands and his mind. I am amazed. In his own way he is the secret man of the world.“
— Patrick O'Brian, The Commodore