Scrupulous Translations

Welcome to Celebrate Poe - Episode 325 - Translating Poe

Before Celebrate Poe goes any further, I want to admit that I am going back and dealing with some of the influences of Poe - emphasizing that they were part of Gothic literature or writing that employs dark and picturesque scenery, startling and melodramatic narrative devices, and an overall atmosphere of exoticism, mystery, fear, and dread.

But Edgar Allen Poe got later ahold of Gothic literature in the mid-1800s and succeeded like no one else. In Gothic literature, he found a place to explore psychological trauma, the evils of man, and mental illness. Any modern-day zombie story, detective story, or Stephen King novel owes a debt to Poe. There may have been successful Gothic writers before and after him, but no one perfected the genre quite like Poe.

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - My name is George Bartley, and this is Episode 324 - Scrupulous Translations

Just a heads-up - for the first time, today I am releasing TWO episodes of Celebrate Poe - this one (Scrupulous Translations) and an interesting approach to the dynamics of storytelling - Joseph Campbells’s take on The Hero’s Journey, and the archetypes found in stories - more interesting than it might sound.

Now, I got kinda psyched up for this episode because it touches on three areas that you might think have nothing to do with each other.

1) The most famous translator or Poe’s works
2) The problems of translating poetry
3) Daggers - yes, daggers!

Now most scholars will agree that the most influential and well-known translator of Poe’s works was Charles Baudelaire from France - a highly influential poet in his own right - but you probably knew that.  In 1847, Baudelaire first became acquainted with the works of Poe.  He described reading the works as an almost mystic experience - and even claimed that Poe’s poems and tales had long existed in his own brain but had never taken shape. Baudelaire basically saw Poe as his American  counterpart. He then became largely occupied with translating Poe's works; and his translations were widely praised. Baudelaire was not the first French translator of Poe, but his "scrupulous translations" were considered among the best. 

As you may know, I get really excited when I look at the stats for the show - and let me say again, my podcast hosting company does not mine any personal information or anything creepy like that.   But I do get an excellent breakdown of where listeners for Celebrate Poe live - currently almost 20,000 downloads in 93 countries. 

TRANSITION

Well, think of a work like Dante’s Inferno - or the Iliad, Odyssey, or any Greek or Roman literature - that work depends on a good translation - without a good translation, most of us would have no idea what the author is talking about..   And translation can be even harder when it comes to poetry. It is important for the translator to stay as close to the meaning and even structure of the poem as possible.  I could go on and on about the ins and outs of a good translation, but I think the best way to express what I am trying to say is by using a poem by none other than Charles Baudelaire.

This poem is from Fleurs du mal - or Flowers of Evil, and is called Le Vampire - yes - an intense poem by a serious writer about vampires - how cool!

First, I going to read 4 lines in the original French (and I apologize in advance for my total  non-fluency in French.

Toi qui, comme un coup de couteau,
Dans mon coeur plaintif es entrée;
Toi qui, forte comme un troupeau
De démons, vins, folle et parée,

I know that might not be perfect, but I hope that gives you a general idea of what it might sound like.

I promise you that the rest of this podcast will be in English.  I think you can learn a lot about the translation process by looking at several different French to English translations - and it is a lot easier to wrap your head around a stanza one at a time instead of trying to read several stanzas and then compare them.

Oh yes, to keep all this straight - with all the going back and forth between translations - I had to make a table of the four translations, and that’s what I am working from.

Starting with a translation of the first verse by William Aggeler -

You who, like the stab of a knife,
Entered my plaintive heart;
You who, strong as a herd
Of demons, came, ardent and adorned,

And Roy Campbell

You, who like a dagger ploughed
Into my heart with deadly thrill:
You who, stronger than a crowd
Of demons, mad, and dressed to kill,

And George Dillon

Thou who abruptly as a knife
Didst come into my heart; thou who,
A demon horde into my life,
Didst enter, wildly dancing, through

And a translation by  Jacques LeClercq
Thou, sharper than a dagger thrust
Sinking into my plaintive heart,
Thou, frenzied and arrayed in lust,
Strong as a demon host whose art

Now back to William Aggeler for the second verse
To make your bed and your domain
Of my humiliated mind
— Infamous bitch to whom I'm bound
Like the convict to his chain,

And Roy Campbell
Of my dejected soul have made
Your bed, your lodging, and domain:
To whom I'm linked (Unseemly jade!)
As is a convict to his chain,

And George Dillion
The doorways of my sense unlatched
To make my spirit thy domain —
Harlot to whom I am attached
As convicts to the ball and chain,

And Jacques LeClercq
Possessed my humbled soul at last,
Made it thy bed and thy domain,
Strumpet, to whom I am bound fast
As is the convict to his chain,

Now for the last four stanzas of the original, I am going to go back and read the respective translations of that stanza by William Aggeler, Roy Campbell, George Dillon, and Jacques LeClerq in turn

Like the stubborn gambler to the game,
Like the drunkard to his wine,
Like the maggots to the corpse,
— Accurst, accurst be you!

Or as the gamester to his dice,
Or as the drunkard to his dram,
Or as the carrion to its lice —
I curse you. Would my curse could damn!

As gamblers to the wheel's bright spell,
As drunkards to their raging thirst,
As corpses to their worms — accurst
Be thou! Oh, be thou damned to hell!

Like the stubborn gambler to the game,
Like the drunkard to his wine,
Like the maggots to the corpse,
— Accurst, accurst be you!

And 4 translations of the next verse

I begged the swift poniard
To gain for me my liberty,
I asked perfidious poison
To give aid to my cowardice.

BTW - I know the word poniard was new to me - it means a small, slender dagger.   Some of the other translations in this group will use blade or sword.

To continue with the next three translations of the verse

I have besought the sudden blade
To win for me my freedom back.
Perfidious poison I have prayed
To help my cowardice. Alack!

I have entreated the swift sword
To strike, that I at once be freed;
The poisoned phial I have implored
To plot with me a ruthless deed.

BTW - A phial is defined as a container for poison.

I begged the swift poniard
To gain for me my liberty,
I asked perfidious poison
To give aid to my cowardice.

And 4 translations of the next to last stanza

Alas! both poison and the knife
Contemptuously said to me:
'You do not deserve to be freed
From your accursed slavery,

Both poison and the sword disdained
My cowardice, and seemed to say
"You are not fit to be unchained
From your damned servitude. Away,

Alas! the phial and the blade
Do cry aloud and laugh at me:
'Thou art not worthy of our aid;
Thou art not worthy to be free.

But sword and poison in my need
Heaped scorn upon my craven mood,
Saying: "Unworthy to be freed,
From thine accursed servitude,
 
And now 4 translations of the final stanza -

Fool! — if from her domination
Our efforts could deliver you,
Your kisses would resuscitate
The cadaver of your vampire!’

You imbecile! since if from her empire
We were to liberate the slave,
You'd raise the carrion of your vampire,
By your own kisses, from the grave.”

'Though one of us should be the tool
To save thee from thy wretched fate,
Thy kisses would resuscitate
The body of thy vampire, fool!’

O fool, if through our efforts, Fate
Absolved thee from thy sorry plight,
Thy kisses would resuscitate
Thy vampire's corpse for thy delight."

Thanks for staying with me.  I hope that you have seen that all 4 translations express basically the same idea - I’m sorry to say I don’t speak French, so I can’t go into a lot more than that. All four translations were quite different - but also right in their own ways - Each translation has a different emphasis with various shades of meaning.   And that is one of the characteristics of great literature.


In summary, the process of literary translation, as exemplified by Charles Baudelaire’s translations of Edgar Allan Poe, is a complex and creative endeavor that goes beyond mere linguistic conversion. It involves capturing the essence, style, and cultural context of the original work while making it accessible and resonant for a new audience. 

Translators must navigate cultural differences embedded in the source text. Literature often reflects specific cultural ideals, idioms, and historical contexts that may not have direct equivalents in the target language. This requires balancing fidelity to the original with adaptations that resonate with the target audience.

Each author’s unique voice and stylistic choices contribute to the identity of their work. Translators must strive to maintain these elements while adhering to the grammatical and rhetorical norms of the target language.

Now translating poetry is particularly challenging due to its reliance on rhythm, rhyme, and meter. These sound-based qualities often do not translate directly, requiring creative solutions to preserve the emotional and aesthetic impact.

Some words or ideas in the source language may lack direct counterparts in the target language, necessitating innovative approaches to convey their meaning without losing depth or nuance.

Charles Baudelaire’s translations of Edgar Allan Poe stand out as a model of dedication and artistry in literary translation. His approach was characterized by conveying the philosophical depth and emotional resonance of Poe’s works over strict adherence to linguistic conventions. He sometimes employed unconventional French expressions to preserve the rhythm or mood of Poe’s prose.

Poe’s works lacked strong cultural references tied to his immediate environment, which made them more translatable across cultures. - Let say that again - Poe’s works lacked strong cultural references tied to his immediate environment, which made them more translatable across cultures.

Baudelaire knew to focus on internal elements like interaction and form rather than external cultural markers.

Baudelaire also identified deeply with Poe’s themes of mysticism, melancholy, and alienation. This connection allowed him to channel Poe’s spirit into his translations, creating versions that were both faithful and enriched by his own artistic sensibilities.

Through his translations, Baudelaire introduced new stylistic elements into French literature, enriching its expressive potential and influencing its development.

Charles Baudelaire's philosophy of translation deeply influenced his approach to rendering Edgar Allan Poe's works into French, shaping both the perception of Poe in France and Baudelaire's own literary identity. His translations were not merely linguistic exercises but acts of profound artistic and philosophical engagement.

Baudelaire saw himself as a kindred spirit to Poe, describing their connection as almost mystical. He believed that Poe’s themes of alienation, melancholy, and the grotesque mirrored his own inner world. This identification allowed Baudelaire to approach Poe’s works with a unique sensitivity, striving not just to translate words but to convey the emotional and intellectual essence of the original texts. As mentioned earlier, he once stated that reading Poe felt like encountering thoughts he had already conceived but had not yet written down.

Baudelaire’s translations were marked by a dedication to preserving the meaning, tone, and atmosphere of Poe’s works rather than adhering strictly to literal word-for-word accuracy. He understood that the structural and cultural differences between English and French required creative adaptation. For instance, he often enriched or clarified Poe’s prose when he felt it necessary to ensure the intended impact on French readers.

Baudelaire adopted much of Poe’s aesthetic philosophy, particularly the idea of "art for art's sake" and the pursuit of beauty as an end in itself. He viewed poetry and literature as means to transcend materialism and explore the sublime. This alignment with Poe’s ideals influenced his translations, as he sought to maintain the philosophical depth of Poe’s work while adapting it to his own cultural context.

Baudelaire’s translations were instrumental in establishing Poe’s reputation in France as a literary genius, even surpassing his reception in English-speaking countries at the time. By framing Poe as a visionary artist who transcended his era, Baudelaire effectively recontextualized - that’s a fancy word -  him for a French audience. 

While Baudelaire strove for fidelity, his translations sometimes involved embellishments or reinterpretations that reflected his own artistic sensibilities. For example, he occasionally chose words or phrases that amplified the emotional resonance or clarified ambiguities in the original text. These choices made his translations feel like living works of art, blending the voices of both Poe and Baudelaire.

Baudelaire also reframed some of Poe’s ideas through a lens that suited his own metaphysical and aesthetic concerns. For instance, he emphasized spiritual and imaginative aspects over technological or material themes in works like The Philosophy of Composition - a great work by Poe that this podcast will go into later.

Baudelaire's translations not only introduced Edgar Allan Poe to French audiences but also immortalized him within European literary tradition. They became more than just faithful reproductions; they were transformative acts that bridged two literary cultures while enriching both. In sum, Baudelaire’s philosophy shaped his translations into deeply personal yet universally resonant interpretations of Poe’s work. His approach exemplifies how translation can be an act of both fidelity and creative reinvention, revealing new dimensions of meaning while preserving the spirit of the original text.

Baudelaire’s translations exemplify how a translator can act as both a bridge between cultures and an artist in their own right. His work not only brought Edgar Allan Poe to French audiences but also reshaped perceptions of Poe's genius globally. By engaging deeply with the text and its underlying spirit, Baudelaire demonstrated that translation is not just about linguistic accuracy but about recreating an equivalent literary experience for a new audience.

In summary, any form of literary translation can be viewed as an intricate art form that requires sensitivity to language, culture, and aesthetics. Translators such as Baudelaire show how this process can be transformative—not only for the text but also for readers who gain access to new worlds through their efforts.

Join Celebrate Poe for episode 325 - The Hero’s Journey

Sources for this episode include Edgar Allan Poe: A Critical Biography and by Arthur Hobson Quinn, The Poe Log: A Documentary Life of Edgar Allan Poe by Dwight R. Thomas and David K. Jackson,  Edgar Allan Poe: The Man by Mary E. Phillips, and Edgar Allan Poe by George E. Woodberry from the American Men of Letters series.

Thank you for listening to Celebrate Poe.