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Playing with Adjectives: syntactic use of adjectives in Edgar Allan Poe’s Ligeia and
Cortazar’s translation.
Nicole L. Carvacho
Siham D. Lee
Playing with Adjectives: syntactic use of adjectives in Edgar Allan Poe’s Ligeia and
Cortazar’s translation.
linguistic systems can construe and describe experiences of reality. Contrastive Analysis,
studying the differences and similarities of two languages, can be applied to three different
main areas: translation, second language acquisition and psycholinguistics with the study of
linguistic relativity. In this sense, Contrastive Analysis can help us understand how linguistics
structures can be translated into another language that does not share the same linguistic
structures or features, whether the differences and similarities of two languages create an
advantage or disadvantage to the language learner and how two different language systems
Literary Translation, as it deals with one of the biggest problems of translating one language
into another: keeping content, form and style as loyally as possible. Conveying the same
meaning is not the only aim, and most of the times translators have to prioritize one element
over the other. The resources to achieve this are many, and they depend on the characteristics
of the Target Language and the Source Language, and how similar or different they are
regarding these characteristics. Syntax is one of the elements that could become problematic
at the moment of a translation, and it could affect it in all of the three areas named above.
Adjectives, even though relatively easy to translate, impose a challenge when focusing on
their syntax, specially in languages in which this can cause a significant difference in
Adjectives do not follow the same syntactic rules in English and Spanish. The
changes this can produce in the translated text do not necessarily imply a negative problem: it
is the translator’s work to play with the rules of the Target Language. In the case of
CORTAZAR’S ADJECTIVES IN LIGEIA 3
adjectives, this means using the rules of Spanish instead of English, in order to make it as less
obviously translated as possible (Newmark, 2009, p. 28) In this sense, the purpose of this
incipient research was to deal with the Spanish translation of an English literary work, to
compare and contrast the syntax of the adjectives used in both and explore how the
translation of linguistic constructions are different in both languages. For this, we chose
Edgar Allan Poe’s short story Ligeia, because of Poe’s well-known writing style and
abundant and detailed descriptions; for the Spanish translation we chose Argentinian writer
Julio Cortázar, who translated most if not all of Poe’s stories and poems, and whose
translations turned Poe famous in Spanish speaking countries. Because Cortázar was both a
translator and a writer, we expected to find in his translation features of his own writing, or at
least a much more free and creative translation. Following the same line, we were expecting
to encounter more post-nominal adjectives in the translation, as this is the usual position in
Spanish (Solé and Solé, 1979), and analyze this in terms of the meaning this could imply in
Theoretical Framework
Adjectives do not work the same way in English and Spanish, even though they share
the same function. According to Solé and Solé (1979), “the main function of adjectives is to
describe and determine nouns in some way” (p. 225), and this can be done in two different
ways: either with descriptive adjectives or with limiting adjectives. Descriptive adjectives
define and modify the nature of the noun, describing the shape, color, size, etc. Limiting
adjectives, on the other hand, modify nouns in relation to what is around them –this includes
possessives, numerals and demonstratives adjectives, among others–, but we will not deal
In terms of descriptive adjectives, and keeping in mind that we are interested in the
Predicative adjectives are joined to the noun by a copula, and they work in fairly similar ways
for both languages. Attributive adjectives pose a bigger challenge, since they are joined to the
noun by simply attaching it to it, which means they can be placed either before the noun –pre-
nominal position– or after the noun –post-nominal position–. In this sense, Spanish syntax is
more flexible, as it allows the movement of the adjective in a phrase or sentence, whereas in
English this is much more constrained. In the case of English, the most common, if not only
possible but rarely used, and the change in meaning or emphasis that post-nominal adjectives
can imply are usually conveyed through intonation. Spanish, as we already mentioned, is
much more flexible, and it allows the adjective to be placed in either pre-nominal or post-
nominal position; nevertheless, the most recurrent and common position for adjectives in
Spanish is post-nominal.
Solé and Solé, in their extensive analysis of Spanish syntax, claim that adjectives
“describe a quality which seems characteristic of the noun they modify, without necessarily
CORTAZAR’S ADJECTIVES IN LIGEIA 5
adding anything new to its idea or restricting or specifying its meaning.” (p. 233). These
judgement” (p. 233) or to highlight an attitude towards the noun. For this reason, they are
235). When using pre-nominal adjectives, the speaker seems to be focusing more on the noun
that the adjective. Post-nominal adjectives, on the contrary, “usually restrict, clarify, or
specify the meaning of the modified noun by adding an idea not expressed by the noun” (p.
231), and as such they correlate with restrictive adjectival clauses because they provide the
information to identify the noun to which the clause is referring to. Post-nominal adjectives
are also used when talking about an inherent characteristic when this has the intention to only
describe –and not contrast or specify–, mainly for “stylistic and poetic reasons” (p. 232). In
these occasions, the speakers seems to be focusing more on the adjective than the noun. This
is also the case when speaking about how relevant is the information that the adjective is
providing (Hill & Bradford, 2000, p.4). In pre-nominal position, information is rarely
necessary to distinguish the noun, which gives it a higher degree of relevance to the adjective.
The translation process involves four main elements a Source Text written in an
original language which will eventually be changed into a Target Text written in a Target
Language. (Munday, 2001, p.8) Additionally, when making a translation, the translator must
take the readership into consideration to provide a faithful rendition of the Source Text. This
is a difficult task considering that every Language has its different syntax and different words
that often do not convey the same meaning as they do in the SL, in this sense the translator
must make decisions regarding form and content, sometimes a nuance of meaning must be
In a good translation “is expected that there will not be evidence of the language of
the source text” (Malmkjær, 2010, p. 122) that is to say, it is expected that TT follows the
grammatical rules from the TL instead of translating word by word and keeping the
grammatical structure of the SL. When this phenomenon occurs, it is pejoratively referred as
translationese, in said case the structure of the Source Language is evident in the Target Text
and the grammatical and lexical conventions of the Target Language are ignored. When the
features of the Source Text are purposefully copied, the phenomenon is referred to as Formal
Correspondence. This systematic use of the ST structures often results in a distortion of the
There are many different types of texts that can be translated for different purposes.
For the purpose of this research, we will take a closer at Literary Translation. Within Literary
Translation, how things are said is equally as important as to what is said. In this sense, the
literary translator faces a great challenge: to create a rendition of the original text that is
similar not only in terms of content and meaning but also in terms of style and form. The
literary translator can sometimes incur in a creative or liberal translation in order to achieve
this goal as maintaining the equivalence of meaning and form is difficult. Since the corpus of
this research is a translation done by another fiction author, it is believed that this version
could be more flexible, and the translator would include personal stylistic devices in the
translation, however, it is found that “Córtazar offers a close, although not literal, translation
rather than a creative or liberal translation of Poe’s short fiction” (Esplin & Vale de Gato,
2009, p. 254)
CORTAZAR’S ADJECTIVES IN LIGEIA 7
Methodology
This research aims at analyzing the position of adjectives in Poe’s Ligeia and
Cortazar’s translation. In order to do so, two paragraphs of 151 and 215 words each were
selected from the short story and the translated version. The paragraphs were later broken
down into sentences and for each sentence, descriptive adjectives were highlighted. Each
descriptive adjective was analyzed in terms of position (pre or post-nominal) and classified
according to marked and unmarked position. The adjectives were later quantified and
illustrated in a table. With this information, marked adjectives were analyzed in relationship
to the general impression and style that they give to the text, comparing both versions in
Results
The data collected from the four paragraphs is detailed in the tables below. The first
two tables correspond to Edgar Allan Poe’s original version of Ligeia in English, and the
other two to Julio Cortázar’s Spanish translation. They show the total amount of descriptive
adjective and the number of pre-nominal, post-nominal, and also predicative adjectives
found.
has 0 adjectives, and sentence 4 has 1 pre-nominal adjective. In total, paragraph 1 has 1 post-
Sentence 1 0 5 0
Sentence 2 1 8 0
Sentence 3 0 0 0
Sentence 4 0 1 0
Total 15
Paragraph 2 of the English version has 31 adjectives, out of which 7 are predicative
adjectives. All the rest 24 attributive adjectives are in pre-nominal position, in the 5 sentences
Sentence 1 0 2 1
Sentence 2 0 3 1
Sentence 3 0 5 0
Sentence 4 0 7 3
Sentence 5 0 7 2
Total 31
The data collected from Julio Cortázar’s translation of Ligeia was divided in two
other tales. The total amount of descriptive adjectives found in paragraph one was 23, all of
adjectives and 9 pre-nominal, sentence 3 has 1 pre-nominal adjective and sentence 4 also 1
nominal adjectives.
Sentence 1 6 0 0
Sentence 2 6 9 0
CORTAZAR’S ADJECTIVES IN LIGEIA 10
Sentence 3 0 1 0
Sentence 4 0 1 0
Total 23
attributive. Sentence 1 has 1 post-nominal and 1 pre-nominal adjective, sentence 2 has 1 post-
Sentence 1 1 1 0
Sentence 2 1 2 1
Sentence 3 2 3 0
Sentence 4 2 4 2
Sentence 5 3 5 0
Total 27
CORTAZAR’S ADJECTIVES IN LIGEIA 11
Discussion
In the first sentence of the first chosen paragraph, we were able to identify five
adjectives in the English version (see Appendix A), in the Spanish version we identified six
adjectives. It is interesting to note that in the translated version, there are more adjectives and
that all of these adjectives are in an unmarked position. In the translation “luxurious” was
omitted and replaced by “plena y suave”, there is a reverse nominalization of the word
“smoothness” transforming it into “suave” (smooth) and the replacement of the adjective
“plena” instead of “luxurious”. This last change disrupts the tone of the description since
Poe’s choice of “luxurious” and “voluptuous” are evidence of his elevated diction.
The second sentence of the first paragraph, has ten adjectives in the English version
and fifteen adjectives in the Spanish version. Interestingly, the English version has one
postnominal adjective (marked position) “heavenly”. We argue that, the use of this
postnominal adjective was as to give a poetic tone to the description; since postnominal is the
unmarked position for Spanish adjectives, this structure was kept in the translation.
Additionally, the use of postnominal adjectives is usually archaic. The adjectives “dulce”
position in Spanish. “Dulce” was used after “boca” to stress the characteristic of the mouth
“when the descriptive adjective precedes the noun, it enhances the noun or offers personal
estimation or value judgement concerning it” (Hill & Bradford, 2000, p.4). We argue that
corresponds to personal estimation of the mouth since the narrator is describing his beloved.
The last four adjectives in Spanish are stacked up to premodify the noun “sonrisa”. They are
in prenominal position, emulating the listing effect that they had in the English version
additionally, keeping the unmarked position of adjectives in this specific sentence would be
The third sentence of the first paragraph does not have adjectives in the English
version, whereas in Cortazar’s version we found one. “Noble” was employed in replacement
of “gentleness”, again, we find that Córtazar is using reverse nominalization, gentleness is the
noun transformation of gentle and it is purposefully translated into an adjective in the Spanish
“amplitud” (noun), it could be argued that this choice was made based on “relative
informativeness”, the translator is signaling to stress the adjective instead of the noun.
The last sentence of the paragraph contains only one adjective in both versions and it
postnominal adjectives in Spanish, if used after the noun, “grande” means, literally, “big” or
“large” when used after the noun (like in this specific case) “grande” means “great” or
“grand”. Córtazar gave “Grande” the limiting meaning by placing it after “ojos”.
Nevertheless, we argue that Córtazar chose to keep the postnominal structure to add a more
poetic sense to the Spanish translation, since “grandes ojos” implies that “grande” is an
When analyzing the second paragraph, we find that in the first sentence there are two
adjectives in both versions (see Appendix B). Both adjectives are used in prenominal position
in English. “Profunda” is used in marked position, after the word “importancia, in this case
the translator is using this construction to keep the original syntax of the ST, (an example of
formal correspondence) the word “profunda” does not clarify a new meaning for
“importancia”. As Spanish native speakers we believe that keeping the unmarked position
importancia” sounds seemingly more natural as “profunda” could be a synonym for the
CORTAZAR’S ADJECTIVES IN LIGEIA 13
limiting adjective “gran importancia” (and gran is usually placed before the noun).The
The second sentence of the paragraph contains three adjectives in both versions. In
English the three adjectives are employed in their unmarked position whereas in Spanish only
one of them is in unmarked position and two of them are in marked position. “altas” is
employed before the noun “torrecillas” to enhance the inherent quality of the towers, in this
sense the adjective is working almost as an epithet, implying that the towers are, by
definition, tall. The adjective “vastas” is placed before “dimensiones” to specify the meaning
In the third sentence of the same paragraph, there are five adjectives in both the
original and translated version. In the original version all of the adjectives are in prenominal,
“unica” is used in pre nominal position to stress the fact that there is only one window, if the
adjective was placed after the noun “única” would be adding “uniqueness” to the window,
this position to stress the characteristic of the crystal, it could also be argued that the
adjective-noun since in this particular sentence the three prenominal adjectives are followed
by each other. In the noun phrase “sola pieza” the adjective sola is also a limiting adjective,
The fourth sentence of the second paragraph contains seven prenominal unmarked
adjectives in English; two postnominal adjectives and four prenominal adjectives in Spanish.
“inmensa” “añosa” “macizos” and “sombrío” are all used in prenominal position to maintain
Poe’s original elevated tone. In Spanish, it is very rare to use premodifying adjectives, and
they typically are employed to create a poetic diction. All of the adjectives in this sentence
CORTAZAR’S ADJECTIVES IN LIGEIA 14
are used to enhance the characteristics of the noun rather than to merely describe the nouns.
Additionally, the unmarked position adjectives are used following the word “más” (más
extraños, más grotescos”) creating a parallel structure that is not used in the original version.
It is possible that Cortazar chose these structures to add rhythm to his description.
In the final sentence of the second paragraph, there are seven adjectives in unmarked
position in the Source Text. There are two postnominal and five prenominal adjectives in the
“boveda”, i.e. the characteristic is more important than the noun itself. In “sola cadena de
oro” the adjective sola is used in prenominal position as a limiting adjective, sola meaning
“single” instead of “alone”. “Largos eslabones” and “inmensos incensario” are used in a
similar way to “melancolica boveda”, emphasizing the new characteristics of the nouns, in
Conclusions
Contrary to our expectations, our analysis of both texts shows that Cortázar’s
translation uses more pre-nominal adjectives than post-nominal adjectives. Because of the
context in which they are used and the nature of the adjectives, we concluded that this might
be due to an attempt on Cortázar’s part to imitated Poe’s elevated language, which would
require the use of a less common syntax in Spanish. This could be due to the mimicry of
Poe’s structures and style –use of pre-nominals–, making use of formal correspondence in his
translation; however, it could also have to do with the effect that marked adjectives have in
the Spanish language, as they usually stress the characteristic of the noun through relative
informativeness. Pre-nominal adjectives also add a more poetic style to the text in Spanish,
mainly because they emphasize inherent information of the noun and add value judgement to
References
Esplin, E., & Vale de Gato, M. (2014). Translated Poe (1st ed.). Maryland: Lehigh
University Press.
Applied Linguistics: Concepts and Skills (2nd ed., pp. 121 - 134). New York: Taylor
Membrives, E., Peinado, M., & Classen, A. (2012). Aspects of Literary Translation.
Munday, The Routledge Companion to Translation Studies (1st ed., pp. 20 - 36). New
Poe, E., & Cortázar, J. (2002). Cuentos (4th ed.). Madrid: Alianza Editorial.
Appendix A
English and Spanish version of the first paragraph chosen, broken down into sentences.For
each language, adjectives in unmarked position are highlighted in pink, marked position
adjectives are highlighted in yellow and underlined. Predicative adjectives are highlighted in
blue.
1. There were the same luxurious smoothness of surface, the same scarcely
perceptible tendency to the aquiline, the same harmoniously curved nostrils speaking
the free spirit.
2. I regarded the sweet mouth. Here was indeed the triumph of all things heavenly —the
magnificent turn of the short upper lip —the soft, voluptuous slumber of the under —
the dimples which sported, and the color which spoke —the teeth glancing back, with
a brilliancy almost startling, every ray of the holy light which fell upon them in her
serene and placid, yet most exultingly radiant of all smiles.
3. I scrutinized the formation of the chin —and here, too, I found the gentleness of
breadth, the softness and the majesty, the fullness and the spirituality, of the Greek —
the contour which the god Apollo revealed but in a dream, to Cleomenes, the son of
the Athenian.
4. And then I peered into the large eyes of Ligeia.
1. Tenía la misma superficie plena y suave, la misma tendencia casi imperceptible a ser
aguileña, las mismas aletas armoniosamente curvas, que revelaban un espíritu libre.
2. Contemplaba la dulce boca. Allí estaba en verdad el triunfo de todas las cosas
celestiales: la magnífica sinuosidad del breve labio superior, la suave, voluptuosa
calma del inferior, los hoyuelos juguetones y el color expresivo; los dientes, que
reflejaban con un brillo casi sorprendente los rayos de la luz bendita que caían sobre
ellos en la más serena y plácida y, sin embargo, radiante, triunfal de todas las
sonrisas.
3. Analizaba la forma del mentón y también aquí encontraba la noble amplitud, la
suavidad y la majestad, la plenitud y la espiritualidad de los griegos, el contorno que
el dios Apolo reveló tan sólo en sueños a Cleomenes, el hijo del ateniense.
4. Y entonces me asomaba a los grandes ojos de Ligeia.
CORTAZAR’S ADJECTIVES IN LIGEIA 18
Appendix B
English and Spanish version of the second paragraph chosen, broken down into sentences.
For each language, adjectives in unmarked position are highlighted in pink, marked position
adjectives are highlighted in yellow and underlined. Predicative adjectives are highlighted in
blue.
1. I have said that I minutely remember the details of the chamber —yet I am sadly
forgetful on topics of deep moment —and here there was no system, no keeping, in
the fantastic display, to take hold upon the memory.
2. The room lay in a high turret of the castellated abbey, was pentagonal in shape, and
of capacious size.
3. Occupying the whole southern face of the pentagon was the sole window — an
immense sheet of unbroken glass from Venice —a single pane, and tinted of a leaden
hue, so that the rays of either the sun or moon, passing through it, fell with a ghastly
lustre on the objects within.
4. Over the upper portion of this huge window, extended the trellice-work of an aged
vine, which clambered up the massy walls of the turret. The ceiling, of gloomy-
looking oak, was excessively lofty, vaulted, and elaborately fretted with the wildest
and most grotesque specimens of a semi-Gothic, semi-Druidical device.
5. From out the most central recess of this melancholy vaulting, depended, by a single
chain of gold with long links, a huge censer of the same metal, Saracenic in pattern,
and with many perforations so contrived that there writhed in and out of them, as if
endued with a serpent vitality, a continual succession of parti-colored fires.