La Mascarada dal Moart Roxh

A translation of Edgar Allan Poe’s short story “The Masque of the Red Death”, done by Iustì Canun in October 2010.

The Masque of the Red Death

THE “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal — the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
La Mascarada dal Moart Roxh

LA “Moart Roxh” tignhova duratzie piglhada el päts. Aucün pestidonça txamais tignhova estescu sa fatal, eda sa tetrüs. El sang füt sieu ávatar es sieu saxhel — la roxhità es el þoror del sang. Hi füvent dals lanças, es dal verticità, es dal sangiçaziun prolixa dals staras, cün zißolvaziun. Els tacs c’hotschen sür el corputz es apartì sür la faça del victì, füvent la xhexhünaziun qi lo recuncludeva del agüd es dal cumpaziun da sieux vürs fuliensen. Es el tec entieir, el progreçéu es la terminaziun dal malaiça, füvent las spisodas d’iensa zemiþora.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.” Mas el Prinç Prospereu füt felicieu es unzißuaçaval es sagaciös. Quand sieux cüriots füvent zemipupulats, o pußideva à sieu presençù ‘n þúsund d’amíci salüveux es aleretzen qi despütevent els cnec’hts es las damas da sieu cort, es cün acestilor restireva àl secluçada profunda da viens da sieux arc’histaes castiglheschti. C’estev’iens strütür extendatíu es lauçuschul, la creaziun del Prinç sè propra gusta eccentric mas maxhestic. ‘N mür läxhir es inalt en girdeva. Acest mür tignhova dals varotas da fier. Els corteirs, osprei l’entrind, apoartevent dels cüptours es dels marteis grotzen es soldürevent els bletzen. Os resolvevent à laßarh ‘n avalità ni d’entreia ni da sortì àls veglhitaes süftanéas dal zesperançù eda dal frenescha del interiör. L’arc’histar tignhovent dels aciviours ampais. Cün dals prospicenças com’acestilor els corteirs pognhevent zesfiarh l’infeziun. El mundeu external pognheva cörarh-se. In l’interíu c’esteva dal ineptía à schagrinarh, eda à pensarh. El prinç tignhova asigürat toct i aparats del plaschair. Hi füvent dels paliaçéux, hi füvent dels improviçeirs, hi füvent dels balleteirs, hi füvent dels musiceaes, hi füt del Frumoasitè, hi füt del vineu. Toct d’acestilor es la sigürità füvent àl interiör. Àl exteriör füt la “Moart Roxh.”
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence. C’esteva àl ultimaziun del mes quintéu eda sextéu da sieu secluçada, es quand la pestidonça saiviçificheva el pü caloradamint utphäts, q’el Prinç Prospereu diverteva sieu þúsund d’amíci à’iensa mascarada dal magnhificità la phü unusual.
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven — an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue — and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange — the fifth with white — the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet — a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all. C’estev’iens schena voluc’hada, aceasta mascarada. Mas prüm, qe naradréu dals cámeras in qi c’esteva ceafada. Hi füvent séifet — ‘n cortíu imperial. In muitas palaþias, com’evri, tais cortíus forment ‘n vischta lung es direct, es las poartas fionçind alivrent presca àls mürs sür embù sidas, svo àð la vischta del amplex entieir isch ualvieça restancada. Aicì la cauça füt trei underschidlec’h; come si pognheva expectarh del düc s’amor del bisertéu. Las cámeras füvent aireçadas sa unregularmint, qe si non pognheva vidarh pü qe viensa cámera a’iens temp. Hi füt ‘n fieß scharpeu àð cadascu vaintsch eda treinçe viertxen, es à cadascu fieß ‘n efect noveu. Àl drept es àl sinistrà, àl centreu da cadascu mür, ‘n fenestra Goþic, inalt es extrict risguardev’iens coridor fermat qi piersequeva las tornaziuns del cortíu. Acestilor fenestras füvent da glaça colorada qissen colour zifereva eftir teínta prevalind dels decoramaintschen dal cámera ainciün qi ça apneva. La viensa àl postremità àl est tignhova dels decoramaintschen bléux — es sieux fenestras füvent d’iens bléu vif. La cámera secund s’urnamínts es taspestarais füvent purpül, es aicì els carais füvent purpüls. La tierçéa füt virt partù, es sa füvent els oncaßamaintschen. La quartéa füt xharnada es luminada cün crisomileu — la quintéa cün biançéu — la sextéa cün violet. La cámera seiftéa füt istrict coverada cün dels taspestarais da velour negreu qi hangevent del laquiar es dels mürs, tombind in alivraziuns sür ‘n tapitz del mismeu colour es dal misma teínta. Mas solamint in aceasta cámera, el colour dals fenestras faileva à corespúnsarh cün els decoramaintschen. El carais aicì füvent c’hötschen — ‘n colour profundeu es sangesc. Nun, in aucün d’acestilor séifet cámeras füt ingen lampa eda ingen luminareu, intra l’amint prolixeu d’urnamínts d’or qi füvent spapersats recußaval eda dependevent del tetsch. Hi non füt nesorta da lux qi emaneva da lampa eda da luminareu da din el cortíu dals cámeras. Mas in els coridors qi parsequitevent el cortíu, hi füt, davant cadascu fenestra, ‘n fanà grotz, sostischind ‘n foculüs da féu qi casteva sieux rais trans la glaça colorada es, com’acest, saglhindmint ilumineva la cámera. Es com’acest füt produçat ‘n plenitüd d’apiarançuns vesedours es fäntästici. Mas in la cámera àl ovest, la cámera neagra, l’efect del féu sè lux qi perlumineva els carais sangeschti sür els spindrats fuschti füt extrem cadaverös, es produçev’iens aspectüs sa salvatx sür las pienas dels viensas qi entrevent, qe hi füvent aliquands dal covieþa qi füvent aßei coraxhösen à stigarh ainciün sieux taquiltas da toct.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before. C’esteva in aceasta cámera, ocsà, qi steva erga el mür oçizental ‘n þoroloxheu txigantéu d’evunai. Sieu peindülüm pisvoteva recußaval cün ‘n trac bispiglh, grotz, es monotonic; es quand la mha del míut compiaçeva sieu circuiteu dal cadriun, es la þora füt picat, veneva dels pormours fräcs del þoroloxheu ‘n son qi füt clar es inalt es graviuschul es extrem musical, mas d’iensa notaziun es d’iensa emfasiçù sa pecüliar qe, à cadascu paßaziun d’iensa þora, els musiceaes dal orcestrà füvent cunstregnhats à piarariftarh, momenteir, in lor espunziun, àð auscultarh àl son; es aglhorc els waltzeirs neceßarmint ceßevent lors movamaintschen; es hi füt ‘n cunsternaziun scurznia dal covieþa felicia entieir; es, quand las campuonas del þoroloxheu resteva sonorind, c’esteva auservat q’els pü estordats zeveneva brançéux, es els pü vells es cletschen paßevent lors maes över lors ußas sa schi os estadrent in ‘n siemì cunfundat eda meditaziun. Mas quand els sintzours tignhovent ceßats complätsmint, ‘n ridaziun glhestour strax patrunçeva l’aßemblatx; els musiceaes risguardevent l’iens à l’altreu es smaidevent sa schi à lor propra nervösità es ineptía, es façevent dals cjatfas schuschtadas, l’iens à l’altreu, q’el sonorarh proxim del þoroloxheu non produçadra aucün emoziun similar; es aglhorc, osprei la paßaziun da sexeinçe míuts, (qi embraçent tres þúsund es sex chint secunds del Temp qi vola,) hi füt ‘n altreu sonorind del þoroloxheu, es aglhorc la misma consternaziun es la misma vibrapuntità es la misma meditaziun füvent repetadas ‘n altreu fäts.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not. Mas, zespitzi acestilor cosas, c’estev’iens gargariçaziun felicia es lauçuschul. Las gustas del düc füvent pecüliaes. O tignhov’iens uglh grült per els colours es els efects. O zisregareva els decora dal moda simplic. Sieux plaes füvent harþen es ignhituis, es sieux cuncieziuns clarichevent avetz ‘n lustra barbareasca. J’ont viensas qi pensadrent q’o füt mäts. Sieux parsequiteirs sentievent q’o non füt mäts. C’esteva neceßar àð auscultarh-lo es à vidarh-lo es à tocarh-lo àð estarh sigür q’o non füt mäts.
He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm — much of what has been since seen in “Hernani.” There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these — the dreams — writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away — they have endured but an instant — and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments. O tignhova zirectat, in pärts grült, las intzorçonaziuns movavais dals séifet cámeras, per l’ocaziun d’aceasta fête grült; es c’esteva sieu propra gusta förind qi tignhova zonada el caractréu àls mascaradeirs. Estetz sigür q’os füvent groteschti. Hi füvent forçéu lusor es forçéu splenzichind es forçéa stimulaziun es forçéa fantasma — muiteu da qet tent estescu vidat in “Hernani.” Hi füvent dels figürs arabeschti cün mebras uncopuladas es esqipamaintschen uncopulats.Hi füvent dals splaceainças arapticias com’el vür mäts figura. Hi füvent forçéa frumoasità, forçéa estravagità, forçéa stroinschità, ‘n po dal terivalità, es non ‘n po da qet qi stimuladra l’ödiösità. Recußaval in las séifet cámeras staglheva, à fäts, ‘n hansa dals reivas. Es acestilor — las reivas — torçevent circüm las cámeras, preindind dal teínta dals cámeras, es cauçind l’orcestra sè músiqeu salvatx à semblarh com’el sintzour da sieux päçen. Es bentopt pica el þoroloxheu d’evunai qi sta in la cámera da velour. Es, pr’iens momaintsch, toct cünsta, es toct c’e silént salva qe la voce del þoroloxheu. Las reivas sint sclerots — frieradas dove stent-as. Mas els sintzours del sonorind fadent — os solamint tiennent lastats ‘n istind — es ‘n ridaziun, glhestour es zemïadeiçada, flota osprei lhor quand os zespartent. Es nun el músiqeu gunfia ‘n altreu fäts, es las reivas vivent, es torçent recußaval pü glaðlíamint q’os tignhovent, preindind dal teínta dals muitas fenestras coloradas qi perfluent els rais dals fanaes. Mas àl cámera qi’st la phü ovestvärts dals séifet, nun j’ont aucün dels mascaradaeirs qi rischcient; parç q’el nic’ht descrescha; es perflua els carais sangeschti ‘n lux pü roréu; es la negrità del forc’hanc civlaineu cunsterna; es à lo qissen ped tomba sür el tapitz civlaineu, va del þoroloxheu d’evunai qi vicina ‘n son scumentat qi’st pü solenéamint emfätic q’ingen son qi reaha lor aureglhas qi lividinent in las felicitaes pü zisparadas dals altras cámeras.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise — then, finally, of terror, of horror, and of disgust. Mas acestilor altras cámeras füvent daiçmint perstipadas, es in lor pulseva febrivalmint la coraziun da vida. Es la gnhostolada aduncheva, txusca finalmint començeva el þoroloxheu sè picaziun del centreu del nic’ht. Es el músiqeu ceßeva, come téu zirat; es els movamaintschen dels waltzeirs füvent sileçeschti; es hi füt ‘n ceßaziun zestorvada da toct cosas, come tignhova paßat. Mas nun hi füvent d&ueacute;desch picaziuns àð estarh picadas par el þoroloxheu; es com’acest ça paßeva, sà’starh pü dal pensaziun schlüteva, avetz pü del temp, ainciün las meditaziuns dels coxhitapunts intr’acestilor qi garagariçevent. Es com’acest ocsà, ça paßeva, q’avant els sintzours dirnalaisets del sonorind final tignhovent sfundrats ainciün la sileçù, hi füvent muiteux in la fola qi tignhovent troveschti la vaquità à zevienarh sentzint dal presençù d’iens figür mascat qi tignhova preindat l’atenziun da neviens avant qe nun. Es el rimour d’aceasta noua presençù tischind amußat-se in schuschten circüm la celevraziun, ariçeva dal covieþa entieir, osprei früstüglh, ‘n bezind, eda ‘n susurind, expreßatíu da zisapproval es da surpriça — es, finalmint, da terour, da þoror, es d’ödiösità.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince’s indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood — and his broad brow, with all the features of the face, was besprinkled with the scarlet horror. In ‘n aßemblatx da fantasmas come téu peintat, povadra estarh suposat q’aucün apiarançù qualunc povadra tirh stimulada aceasta sensaziun. Veritalmint, la licençù dal mascarada sür acest nic’ht füt presca sincunfì; mas el figür dal fraga füt pü come Þeroð qe Þerod steçéu, es o tignhova venescu piusutra el prinç sè decorüm undefinì. J’ont dels acords in la coraziun dels pü spensinds qi non povent estarh tocat sanc l’emoziun. Misma cün els soviarschamint pierdats, à qi la vida es el moart sint pariliteir dals ludicraziuns, j’ont dals facendas da qi si non put ludicrarh. La covieþa entieir, echida, nun sembleva à sentiarh profundamint qe, in el garbeu es l’anair del stranxheir, ni del uit ni dal creança existeva. El figür füt inalt es magreu, es coverat del cäps àl ped in els riegadins del graveu. La masca qi cunçeglheva el visaxheu füt façat sa squasi à resemblarh la piena d’iensa cearvosta sclerotiçada q’el scrütì el pü istrict veladra tirh tenescu dal unfaþilità à zestectarh l’astuçía. Mas el garbat tignhova venescu sa luegnh q’o aßumeva la mena del Moart Roxh. Sieu paramainta füt splatterada cün sang — es sieu ußa vasta, cün toct i featüras dal faça, füt asparsada avetz el þoror c’hötsch.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage. Quand els uglhen da Prinç Prospereu tombevent sür acest imatx spietoural (qi cün ‘n movamaintsch devagar es solenéu, sa schi ça veladra pü complätsmint à sostirh sieu rosla, staglheva recußaval intr’els waltzeirs) o füt vidat àð estarh sparaßat, in el momaintsch prüm cün ‘n snüetaziun eda da terour eda da desgostaziun; mas, in el proxim, sieu ußa indroseva avetz saiviça.
“Who dares?” he demanded hoarsely of the courtiers who stood near him — “who dares insult us with this blasphemous mockery? Seize him and unmask him — that we may know whom we have to hang at sunrise, from the battlements!” “¿Qi desfisa?” demandeva-t-o rauc’hamint dels corteirs qi stevent à c’hosta da lo — “¿qi desfisa àð insultarh-noi avetz acest schnöß naitiensös? ¡Atrapa-lo es unmasca-lo — qe noi säpadrent qi noi tiennent à peindarh àl duna, dels chirnais!”
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly — for the prince was a bold and robust man, and the music had become hushed at the waving of his hand. C’esteva la cámera àl est, la cámera blua in qi steva el Prinç Prospereu quand oirschireva-t-o acestilor mocts. Os sonorent las séifet cámeras inaltmint es clarmint — parç q’el prinç estev’iens vür harþ es virxhös, es el músiqeu tignhova zevenescu scumentat àl signharh da sieu mha.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince’s person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple — through the purple to the green — through the green to the orange — through this again to the white — and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry — and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form. C’esteva in la cámera blua dove steva el prinç, cün ‘n grupa da corteirs brançéux à sieu c’hosta. Àl prüm, quand o parleva, hi füt ‘n movamaintsch flaivleu d’investind d’aceasta grupa in la zireziun del intruçeir, qi, àl momaintsch füt ocsà proxim es à mha, es nun, cün dels päçen apschtas es staltsen, façevent ‘n aproscha pü istrict àl parleir. Mas d’iens cert numenön numattä avetz qi las aßumaiziuns mätsilor del garbat tignhovent inspirat la covieþa entieir, aucün füt trovat qi extendeva sieu mha àð atraparh-lo; svo àð, unimpedat, o paßeva da din ‘n viertx del prinçsè perziun; es, quand l’aßemblatx väts, sa schi cün viens inpuls, restreçeva dels centreux dals cámeras àls mürs, o façeva sieu vej, uninterompat, mas cün el mismeu päç solenéu es miaschürat qi lo tignhova ziuzicat del prüm, trans la cámera blua àl purpül — trans la purpül àl virt — trans la virt àl crisomileu — trans acest ‘n altreu fäts àl biançéa — es da là àl violet, avant qe ‘n movamaintsch zecidat tignhova estescu façat à detainarh-lo. C’esteva à’cest temp, masmint, q’el Prinç Prospereu, mätsifichind avetz saiviça es la þonta da sieu propra putróneça momentanéa, investeva trans las sex cámeras, quand aucün lo parsequiteva per gcauça d’iens terour feraglheu qi tignhova afectat toct. O apoartev’iens tuzalt in l’ar, es tignhova proximat, in impestatità rapíu, à da din tres eda qátor pudismeux del figür restratind, quand quel, tischind reahat la postremità dal cámera da velour, tornieva repantal es cunfrunteva sieu piersequeir. Hi füt ‘n crüt — es el tuzalt tombeva lürind sür el tapitz civlaineu, sür qi, xhuschtair entienþa, tombeva slec’htat in moart el Prinç Prospereu. Aglhorc, pußidind el curatx salvatx dal zesperançù, ‘n torma dels gargariçeirs dret se xhetevent ainciün la cámera neagra, es, atrapind el garbat, qissen figür inalt steva inscherat es inmot da din umbra del þoroloxheu d’evunai, þalestevent in þoror unoirschiraval àl trovarh dels cospertours gravs es dal masca cearvosteasca qi os manipulevent cün tal malpardertità violè, àð estarh unarvoriats par ingen forma tocaval.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all. Es nun füt repaxhat la presençù dal Moart Roxh. O tignhova venescu com’iens voleir in el nic’ht. Es sinxhiglhatim tombevent els garagariçeirs in las salas coveradas cün sang da lor gnhostolada, es moareva cadascu in la stada unquietind da sieu tombaziun. Es la vhida del þoroloxheu d’evunai veneva cün la vhida del felicieux dirnalaisets. Es els féux da toct i fanaes expirevent. Es l’Auscürità es el Távis es la Moart Roxh tignhovent cüriot unlimitaval över dtoct.