What makes a better translation?
What makes better literature?
How do you challenge someone else's opinion on literature using an identifiable set of criteria?
How do you develop this set of criteria?
I was evaluated based on this class, and it went really well.
The other important thing to note is that you should give them this hand out in advance. When I did this set of debates, I gave them a day to prepare. When I later gave them a week to prepare, the results were much better.
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Tomorrow in class we will be discussing
various translations of the same passage from Beowulf. Please read
the translations, and then use the following questions to help draw
comparisons between them.
- How does the form of this translation make use of oral poetic characteristics? (alliteration, repetition, spacing, etc) [NB: I have recreated the text exactly as it appears on the page, including commas, spaces, justifications. Take that into consideration, also!]
- What kind of imagery is used in the passage?
- What word choices does the translator make?
- What can you infer about the translator's intent based on the language? (academic, storytelling, etc) What are the benefits of the intent that the translator uses?
- Does the passage reflect the model of the heroic mode? How?
Translation #1 (Seamus Heaney):
So times were pleasant for the people
there
100 until finally one, a fiend out of
hell,
began to work his evil in the world.
Grendel was the name of this grim
demon
haunting the marches, marauding round
the heath
and the desolate fens; he had dwelt
for a time
in misery among the banished monsters,
Cain’s clan, whom the Creator had
outlawed
and condemned as outcasts. For the
killing of Abel
the Eternal Lord had exacted a price:
Cain got no good from committing that
murder
110 because the Almighty made him
anathema
and out of the curse of his exile
there sprang
ogres and elves and evil phantoms
and the giants too who strove with God
time and again until He gave them
their reward.
(2001-02-17). Beowulf (Bilingual
Edition) (Kindle Locations 476-477). W. W. Norton & Company.
Kindle Edition.
Translation #2: Anne Schotter:
And so the warriors lived in joy
100 happily until one began
to commit crimes, a fiend from hell
the grim demon was called Grendel,
notorious borderland-prowler who
dwelt in the moors
fen and stronghold; the home of
monsterkind
105 this cursed creature occupied
for a long while
since the Creator had condemned
him
as the kin of Cain - he punished
the killing,
the Eternal Lord, because he slew
Abel;
He did not rejoice in that evil deed,
but He banished him far
100 from mankind, God, in return
for the crime.
(Excerpt from Longman Anthology of
British Literature, 3rd Edition. Eds. Damrosch and
Dettmar.)
Translation #3: Allan Sullivan and
Timothy Murphy
So the king's thanes
90 gathered in gladness; then crime
came calling.
a horror from hell, hideous
Grendel,
wrathful rover of borders and
moors,
holder of hollows, haunter of
fens.
He had lived long in the land of
the loathsome,
born to the band whom God had
banished
as kindred of Cain, thereby
requiting
the slayer of Abel. Many such
sprang
from the first murderer: monsters
and misfits,
elves and ill-spirits, also those
giants
100 whose wars with the Lord earned
them exile.
(Excerpt from Longman Anthology of
British Literature, 3rd Edition. Eds. Damrosch and
Dettmar.)
Translation #4: R.M. Liuzza [the text
assigned to this course]
-Thus this lordly people lived in joy,
blessedly, until one began
to work his foul crimes – a fiend
from hell.
This grim spirit was called Grendel,
mighty stalker of the marshes, who held
the moors and fens; thivs miserable man
lived for a time in the land of giants,
after the Creator had condemned him
among Cain's race – when he killed
Abel
the eternal Lord avenged that death.
No joy in that feud – the Maker
forced him
far from mankind for his foul crime.
From thence arose all misbegotten
things,
trolls and elves and the living dead,
and also the gianys who strove against
God
for a long while – He gave them their
reward for that.
[Anonymous. Beowulf. Ed. R.M. Liuzza.
Peterborough: Broadview, 2013. Print.]
I would add that, since the release of the Tolkien edition of Beowulf, I would likely swap out one of these in favour of the Tolkien one ... I am not above exploiting their attachments to popular culture, as distant as this might be to LOTR.
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