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Αποσπάσματα από το «Τα έργα του Έντγκαρ Άλαν Πόου»

Σελίδες από το «Τα έργα του Έντγκαρ Άλαν Πόου» που στέκονται μόνες τους, διαλεγμένες για το πώς διαβάζονται σήμερα. Το κείμενο ανήκει στο κοινό κτήμα.

Η λογική της εκδίκησης, απλωμένη με τρομακτική υπομονή.

The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled—but the very definitiveness with which it was resolved, precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Η παράξενη ηρεμία που έρχεται όταν το χειρότερο έχει κιόλας συμβεί.

“It may appear strange, but now, when we were in the very jaws of the gulf, I felt more composed than when we were only approaching it. Having made up my mind to hope no more, I got rid of a great deal of that terror which unmanned me at first. I suppose it was despair that strung my nerves.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Όσο περισσότερο λες στον εαυτό σου πως ο φόβος είναι παράλογος, τόσο δυναμώνει.

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. 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.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Γιατί καμιά φορά κάνουμε κάτι ακριβώς επειδή ξέρουμε πως δεν πρέπει.

Examine these similar actions as we will, we shall find them resulting solely from the spirit of the Perverse. We perpetrate them because we feel that we should not. Beyond or behind this there is no intelligible principle; and we might, indeed, deem this perverseness a direct instigation of the Arch-Fiend, were it not occasionally known to operate in furtherance of good.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Τι απομένει από ένα τοπίο όταν το καταραστείς στη σιωπή;

“Then I grew angry and cursed, with the curse of silence, the river, and the lilies, and the wind, and the forest, and the heaven, and the thunder, and the sighs of the water-lilies. And they became accursed, and were still. And the moon ceased to totter up its pathway to heaven—and the thunder died away—and the lightning did not flash—and the clouds hung motionless—and the waters sunk to their level and remained—and the trees ceased to rock—and the water-lilies sighed no more—and the murmur was heard no longer from among them, nor any shadow of sound throughout the vast illimitable desert. And I looked upon the characters of the rock, and they were changed; and the characters were SILENCE.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Αυτό που δεν βλέπεις επειδή βρίσκεται μπροστά στα μάτια σου.

“There is a game of puzzles,” he resumed, “which is played upon a map. One party playing requires another to find a given word—the name of town, river, state or empire—any word, in short, upon the motley and perplexed surface of the chart. A novice in the game generally seeks to embarrass his opponents by giving them the most minutely lettered names; but the adept selects such words as stretch, in large characters, from one end of the chart to the other. These, like the over-largely lettered signs and placards of the street, escape observation by dint of being excessively obvious; and here the physical oversight is precisely analogous with the moral inapprehension by which the intellect suffers to pass unnoticed those considerations which are too obtrusively and too palpably self-evident. But this is a point, it appears, somewhat above or beneath the understanding of the Prefect.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Ένα σχολείο τόσο λαβυρινθώδες που κανείς δεν ξέρει σε ποιον όροφο βρίσκεται.

But the house!—how quaint an old building was this!—to me how veritably a palace of enchantment! There was really no end to its windings—to its incomprehensible subdivisions. It was difficult, at any given time, to say with certainty upon which of its two stories one happened to be. From each room to every other there were sure to be found three or four steps either in ascent or descent. Then the lateral branches were innumerable—inconceivable—and so returning in upon themselves, that our most exact ideas in regard to the whole mansion were not very far different from those with which we pondered upon infinity. During the five years of my residence here, I was never able to ascertain with precision, in what remote locality lay the little sleeping apartment assigned to myself and some eighteen or twenty other scholars.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Μια κοιλάδα τόσο όμορφη που μοιάζει να μην έχει διέξοδο.

On all sides—save to the west, where the sun was about sinking—arose the verdant walls of the forest. The little river which turned sharply in its course, and was thus immediately lost to sight, seemed to have no exit from its prison, but to be absorbed by the deep green foliage of the trees to the east—while in the opposite quarter (so it appeared to me as I lay at length and glanced upward) there poured down noiselessly and continuously into the valley, a rich golden and crimson waterfall from the sunset fountains of the sky.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

Οι προλήψεις που χωρούν σε έναν γάμο, ακόμη κι όταν τις πιστεύεις μόνο εν μέρει.

This latter was a remarkably large and beautiful animal, entirely black, and sagacious to an astonishing degree. In speaking of his intelligence, my wife, who at heart was not a little tinctured with superstition, made frequent allusion to the ancient popular notion, which regarded all black cats as witches in disguise. Not that she was ever serious upon this point—and I mention the matter at all for no better reason than that it happens, just now, to be remembered.
— Τα έργα του Έντγκαρ Άλαν Πόου, Edgar Allan Poe (1850)

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