Traduction de "fix them" à espagnol
Phrases de contexte similaires
Exemples de traduction
I could probably fix them if I could see, but to fix them I have to take them off, and then I can’t see anymore.
Seguramente podría arreglarlas si viera, pero para arreglarlas me las tengo que quitar, y entonces no veo nada.
‘Can’t you fix them with a charm or something?’ he asked the matron.
–¿No podría arreglarlas con un encantamiento o algo?
When his memories paraded before him they were magnified and magnificent, and he sought to capture and fix them.
Sus recuerdos, ampliados por su imaginación, eran tan deslumbrantes que Xhai trató de fijarlos de algún modo.
He stopped moving and his crossed eyes pinwheeled beneath the mask as he struggled to fix them on his friend.
Dejó de moverse, con los ojos estrábicos girando en las órbitas bajo la media, esforzándose por fijarlos en su amigo.
The specificity and density of the male solitaries come from the poet’s attempt to externalize them, to pin and fix them as temporary foci of perception.
La especifidad y la densidad de los hombres solitarios es el resultado del empeño del poeta de externalizarlos, de fijarlos como centros de percepción momentáneos.
Amongst so many foreigners, fancy pictures, I know not in the least why, the presence of a young man of an English type of face, whose features, however, always elude my mind's attempt to fix them.
Entre tantos extranjeros, la fantasía retrata, no tengo ni la más remota idea de por qué, la presencia de un joven con una cara de aspecto inglés, cuyos rasgos, sin embargo, siempre eluden los intentos de mi mente por fijarlos.
In the occasional moments of lucidity that arrive like waves licking the sands of a beach, moments to which she clings, desperately trying to fix them in her confused, ghost-ridden memory, she seems to recall that she is fifty-four years old.
A veces, en momentos de lucidez que llegan como una ola lamiendo la arena de una playa, y a los que se aferra con desesperación intentando fijarlos en su memoria confusa, atormentada por fantasmas, cree recordar que tiene cincuenta y cuatro años.
and as he’d sought the sky with his eyes for something to fix them on, now he did that and listened too, for something to break through the fearful vacancy which was tolling his senses one by one until, in this absurd anxiety mounted in him from the consciousness at his back, he abruptly saw himself darting his eyes’ attention everywhere, sniffing, clutching at anything, even grass, to taste, speaking to hear.
y mientras paseaba los ojos por el cielo en busca de algo en que fijarlos, ahora hacía eso y además escuchaba, a la espera de algo que se abriera paso a través de la temerosa vacuidad que iba apagando sus sentidos uno a uno hasta que, con la absurda ansiedad que le había embargado desde la conciencia a su espalda, bruscamente se vio dirigiendo la atención de sus ojos hacia todas partes, sorbiendo por la nariz, agarrándose a cualquier cosa, hasta a la hierba, para sentir, hablando para oír.
behind them came an art critic in an impeccable white suit and its contemptuous corollary on his lips, which he repeated constantly: “These people are all ridiculous!” He was hand in hand with his sister, a tall, beautiful statue made of confectioner’s sugar who would repeat, like some sisterly echo, “Ridiculous, we’re all ridiculous,” while an old painter with invisible, sharp, and powerful halitosis announced he was the teacher of this new artist, Tizoc, a position disputed by another painter of melancholic and disillusioned mien, famous for his funerary black-and-white paintings and for his pure-black lover and disciple, nicknamed “Xangó” by the painter, by Mexico City, and by the world, although to gild, I mean geld, I mean gild the lily, as Carmen Cortina would say, the powerful black had an Italian wife whom he introduced as the model for La Gioconda. This whole circle was watched from a distance and with clinical disapproval by an English couple whom Carmen introduced as Felicity Smith, an extremely tall woman who could not observe what was going on without lowering her disdainful eyes, although, because she was courteous, she preferred to fix them on the distance; and a short, bearded, elegant man whom Carmen introduced as James Saxon and (sotto voce) as King George’s bastard son, who’d taken refuge in a tropical hacienda in the Huasteca area of the state of San Luis Potos, which said bâtard had transformed into a folie worthy, as his companion Felicity pointed out, of the king of literary eccentrics William Beckford: “When you live in James’s house, you have to fight your way through orchids, cockatoos, and bamboo blinds.”
– ¡Todos son una faaaacha! Iba tomado de la mano de su hermana, una bella y alta estatua de piloncillo que repetía como eco fraternal, una facha, todos somos una facha, mientras que un viejo pintor con halitosis invisible, aguda y omnívora, se declaraba maestro del nuevo pintor Tízoc, enseñanza que le era disputada por otro pintor de melancólica y desengañada estampa, famoso por sus cuadros funerarios en blanco y negro y por su amante y discípulo puramente negro y apodado, por el pintor, la ciudad y el mundo 'Xangó', aunque, para taparle el ojo al macho -es un decir, decía Carmen Cortina- el fornido negro tenía una esposa italiana a la que presentaba como la modelo de la Gioconda. Todo este circo era visto de lejos y con displicencia clínica por una pareja de ingleses a los que Carmen presentó como Felicity Smith, una mujer altísima que no podía observar lo que ocurría sin bajar la mirada con aire de desprecio y, cortés como era, prefería fijarla en lontananza, pues su compañero era bajo, barbado y elegante, presentado por Carmen como James Saxon y, en voz baja, como hijo bastardo de Jorge V de Inglaterra, refugiado en una hacienda tropical de la Huasteca potosina que el susodicho bátard convirtió en una follie, comentó su compañera Felicity, digna del rey de los excéntricos literarios William Beckford: – Vivir en casa de James es un perpetuo abrirse paso entre orquídeas, cacatúas y cortinas de bambú.
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