Poems, Imitations & Translations

Showing posts with label Octavio Paz. Show all posts
Showing posts with label Octavio Paz. Show all posts

Friday

Theme & Variations (2010)


Douglas Adams: Babel-Fish
[The Hitchhiker's Guide to the Galaxy (1981)]


Poetry off the Page

Guest Lecture
(Tuesday, 18 May, 2010)

Opinions on Translation:


Poetry is what gets left out in translation.
– Robert Frost


What is translation? On a platter
A poet’s pale and glaring head,
A parrot’s speech, a monkey’s chatter,
And profanation of the dead.
– Vladimir Nabokov


el original es infiel a la traducción
[the original is unfaithful to the translation]
– Jorge Luis Borges


Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own.
– Walter Benjamin


Walter Benjamin’s view of the translator [is] one who elicits, who conjures up by virtue of unplanned echo a language nearer to the primal unity of speech than is either the original text or the tongue into which he is translating … this is why, says Benjamin, ‘the question of the translatability of certain works would remain open even if they were untranslatable for man’.
– George Steiner


•

[Fresco in Herculaneum]

The Masks of Catullus:
Methods of Translation

Odi et amo, quare id faciam, fortasse requiris.
Nescio, sed fieri sentio et excrucior.

– Catullus (c.84-54 BC): Elegy LXXXV

word-for-word crib:

Ōdī ět ămō, quārē ĭd făcĭăm, fŏrtăssě rěquīrĭs.
I detest and I love. Why that I may do, perhaps you ask.
Nĕscĭō sěd fĭěrī sěntĭŏ ět ěxcrŭcĭŏr.
I do not know, but to become I sense and I am tortured.

rhyming couplets:

I hate and love; would’st thou the reason know?
I know not, but I burn, and feel it so.
– Richard Lovelace (1618-1657)

I hate and love – ask why – I can’t explain;
I feel ’tis so, and feel it racking pain.
– Charles Lamb (1775-1834)

literal version:

I hate and love. Why? You may ask but
It beats me. I feel it done to me, and ache.
– Ezra Pound (1885-1972)

aural transcription:

O th’hate I move love. Quarry it fact I am, for that’s so re queries.
Nescience, say th’ fiery scent I owe whets crookeder.
– Louis Zukofsky (1904-1978)


There were many words that you could not stand to hear and finally only the names of places had dignity. Certain numbers were the same way and certain dates and these with the names of the places were all you could say and have them mean anything. Abstract words such as glory, honor, courage, or hallow were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and the dates.

- Ernest Hemingway, A Farewell to Arms (1929)



The Exercise:


  • You will be given a copy of a poem in a foreign language.
  • The text will be accompanied by a literal translation.
  • I want you to write me your own poem using these two components.
  • It can be a translation (as free, or literal, as you like) of the text you were given.
  • Or it can be more obviously your own poem (though it should incorporate some ideas, words, lines or concepts from the original you were given).
  • Type the text of your poem into an email and post it to me to be put up on this blog.



•

Authors:



[Marten Van Valckenborch I (1534-1612):
The Building of the Tower of Babel]

Wednesday

Last Dawn


[Siege of Teruel (1938)]


Spanish:


Alba última


Tendida en los confines
Tus cabellos se pierden en el bosque,
Tus pies tocan los míos.
Dormida eres más grande que la noche
Pero tu sueño cabe en este cuarto.
¡Cuanto somos qué poco somos tánto!
Afuera pasa un taxi
Con su carga de espectros.

El río que se va
Siempre
Está de regreso.

¿Mañana será otro día?



- Octavio Paz (1914-1998)

Literal translation:

Alba última
Last dawn


Tendida en los confines
Stretched out within the confines
Tus cabellos se pierden en el bosque,
Your hair is lost in the forest,
Tus pies tocan los míos.
Your feet touch mine.
Dormida eres más grande que la noche
Asleep you are greater than the night
Pero tu sueño cabe en este cuarto.
But your dream fits into this room.
¡Cuanto somos qué poco somos tánto!
How much [many] we are to be so little [few]!
Afuera pasa un taxi
Outside a taxi passes
Con su carga de espectros.
With its cargo of ghosts.
El río que se va
The river which flows away
Siempre
Forever
Está de regreso.
Is on its way back.

¿Mañana será otro día?
Will tomorrow be another day?


[Octavio Paz]

•

Versions:




1.

Lie on the beach
your hair is lost in the woods,
your feet touching mine.
Dormida're
Bigger than the night
but your dream fit in the room.
The how little we have so much!
Outdoor
Passes a taxi with its mass spectrum.
The river that is always going back.

Tomorrow is another day?


2.

Most Houaerba



The edge is
Your hair is lost forest
I am for your feet.
Sleeping're night
However, the dream was to meet in this room.
Small, we are!
Outside, passing taxi
Range.

River
Always
Returned.

Tomorrow a new day?


3.

ყველაზე Houaerba



პირას არის
თქვენი თმის დაკარგულია ტყის
მე შეეხება თქვენს ფეხზე.
Sleeping're ღამეს
თუმცა, ოცნება შეხვდეს ამ ოთახში.
მცირე, ჩვენ ვართ!
გარეთ, ჩაბარების ტაქსის
ასორტიმენტს.

მდინარე
ყოველთვის
დაბრუნდა.

ხვალ ახალი დღე?

- Kristen, Chloe & Zarah



Thursday

31 Days (30)




Octavio Paz
(1914-1998)

from “La Verdad contra el Compromiso”

Prólogo al libro
Tristeza de la verdad: André Gide regresa de Rusia
de Alberto Ruy-Sánchez


El ensayo es un género difícil. Por esto, sin duda, en todos los tiempos escasean los buenos ensayistas. En uno de sus extremos colinda con el tratado; en el otro, con el aforismo, la sentencia y la máxima. Además, exige cualidades contrarias: debe ser breve pero no lacónico, ligero y no superficial, hondo sin pesadez, apasionado sin patetismo, completo sin ser exhaustivo, a un tiempo leve y penetrante, risueño sin mover un músculo de la cara, melancólico sin lágrimas y, en fin, debe convencer sin argumentar y, sin decirlo todo, decir lo que hay que decir... Esto fue lo que se me ocurrió después de leer este notable ensayo de Alberto Ruy Sánchez. Su libro pertenece simultáneamente a la historia moderna, a la literatura y a la más viva actualidad: la conversación de André Gide al comunismo, sus años de creyente devoto, sus dudas y su final, valerosa apostasía. Con este libro Ruy Sánchez se ha revelado como uno de nuestros mejores ensayistas. Su escritura es nerviosa y ágil, su inteligencia aguda sin ser cruel, su ánimo compasivo sin condescendencia ni complicidad. El asunto de su ensayo requería todo esto: el episodio de Gide es uno de los capítulos más impresionantes de la historia, casi siempre lamentable, de las relaciones entre los intelectuales del siglo XX y el comunismo. Fue una admirable lección de moral que, como es sabido, muy pocos se atrevieron a imitar.



The essay is a difficult genre. That's why, undoubtedly, in every era, there’s a lack of good essayists. At one end, it’s akin to the treatise; at the other, with the aphorism, the judgment and the maxim. Also, it demands contradictory qualities: it must be brief but not laconic, light and not superficial, deep without heaviness, excited without pathos, complete without being exhaustive, at the same time light and penetrating, smiling without moving a muscle of the face, melancholy without tears and, in end, it must convince without arguing and, without saying everything, say what it is necessary to say... This was what occurred to me after reading this notable essay of Alberto Ruy Sánchez. His book belongs simultaneously to modern history, to literature and to the most vivid actuality: the conversion of André Gide to communism, his years as a devout believer, his doubts and his final, courageous apostasy. With this book Ruy Sánchez has been revealed as one of our best essayists. His writing is nervous and agile, his intelligence sharp without being cruel, his compassionate spirit without condescension or complicity. The material of his essay needed all this: the Gide episode is one of the most impressive chapters of the history, almost always lamentable, of the relations between the intellectuals of the XXth century and communism. It was an admirable moral lesson that, as everyone knows, very few dared to imitate.