Robert Pinsky

 Bringing Dante Into the Realm Of Contemporary English

Translating Poetry

Below is some recommended reading and some links to essays on translating poetry by a range of practitioners, as part of the background to the Translating Poetry section of the course. David Butler's essay is given entire as it's tricky to find it on the Poetry Ireland site.

John Dryden, 'On Translation' in Rainer Schulte and John Biguenet, Theories of Translation, University of Chicago, 1992

George Steiner, Introduction to Penguin Book of Modern Verse Translation, 1966

Edwin Honig, interview with Michael Hamburger in The Poet's Other Voice, Conversations on Literary Translation, University of Massachussetts Press, 1985

Charles Tomlinson, Introduction to The Oxford Book of Verse in English Translation, OUP, 1980

Sounding Lines: The Art of Translating Poetry Seamus Heaney in conversation with Robert Hass

Kenneth Rexroth The Poet as Translator

Willis Barnstone An ABC of Translating Poetry

Hieronymo's Mad Againe: On Translating Nerval by Richard Sieburth

Traduttore, Traditore
by David Butler

(Poetry Ireland News, January / February 2005)

Perhaps it is because of our official status as a bilingual nation, perhaps because so many of us have lived or continue to live abroad, but Irish poets are very much given to translation. There are, famously, doubts as to whether it is even possible to translate poetry -- for Robert Frost, poetry might be succinctly defined as those qualities of a language that are lost in translation. It is a useful insight, since poetry has as much to do with connotative value as denotative, is concerned as much with the position of words and sounds within an idiomatic net of what the late Jacques Derrida termed différance as with simile, metaphor and rhythm. Nevertheless, I would argue that the eager engagement with other languages that characterises so many contemporary Irish poets has been of huge benefit both to their individual development, and to Irish poetry in general, if it is allowed that such a body exists.

What one gains by playing the translation game is, I think, self-evident. Not only does one need to read, in an intensely close way, the linguistic choices made by another author within another idiom, but more importantly, one becomes alive to those possibilities inherent in that author’s language which are unavailable in English, and vice versa. Many languages have a subjunctive mood, or differentiate between polite and familiar forms of address. The nouns of many languages carry a gender value, while others such as Spanish are highly flexible in terms of their syntax: thus ‘el tren llegó’ carries a different nuance to ‘llegó el tren’. Others, such as the Slavic languages, have no articles, so that the title of a poem like ‘Pamyatnik’ may be translated ‘A Memorial’, ‘The Memorial’ or, quite simply, ‘Memorial’. On the other hand, as Gerard Manley Hopkins made abundantly clear, English as a hybrid language offers choices between its Romance and Germanic parentage for which there are few equivalents elsewhere.

Related to this last point is the whole question of lexis. Any dictionary which attempts to map one language onto another using one-to-one transformations is highly misleading. For some time I was bemused by the title of Kafka’s great novel The Trial, since the satisfaction of a trial is precisely what eludes Joseph K. throughout the text. But the original title, Der Prozess, which can also signify ‘the legal process’, holds out no such certainty. And then there is the Pandora’s Box of wordplay. How, for instance, is one to render Richard III’s opening pun: ‘Now is the winter of our discontent / Made glorious summer by this sun of York’ into another language? Yet the persistence of giants such as Joyce, who translated Synge into Italian, and Beckett, who translated from the Spanish as well as more famously his own work from the French, suggests that something of value is achieved in the exercise.

But what makes for a good translation? This is a difficult and highly contentious question, and experts remain broadly divided into two camps. On the one hand there are those who maintain that a translation should read ‘naturally’, which is to say, as if it had been written in the target language. Such a view would insist on mirroring, where possible, the original rhyme scheme. Against this view there is the position, famously advanced by Vladamir Nabokov, that a translation should read precisely as a translation, maintaining where possible the ‘strangeness’ of the original idiom. Any concession to the new language at the cost of an absolute fidelity is to be abhorred. There is a broad consensus between both camps that, where possible within the limitations of space, all translations should have the original on the facing page.

Perhaps it comes down to preferences. My own loyalty is squarely within the latter camp, so much so that when I come across a monolingual book of translations which rhyme, my first instinct is to reach for the bin. It is seldom indeed that an equivalent rhyme-scheme can be set up in English without doing a good deal of violence to the original. Still worse is the introduction of new or explanatory conceits, a charge which to my mind should carry an endorsement of the poetic licence. Traduttore traditore indeed! A great strength of the twenty volumes of the Dedalus European Poets series, this year sadly discontinued, is that where possible the original is made available, and the range of languages and translators attests to the continued willingness of Irish poets to embrace diversity.

But let us be quite clear here. What I am referring to is pure translation. When a great poet such as Robert Lowell in his ‘Imitations’ (1961) offers loose and idiosyncratic versions of foreign poems, the results can be exhilarating. In Ireland we have wonderfully inventive versions by such verbal prestidigitators as Paul Muldoon and Ciaran Carson, but what is critical here is that the translator’s poetic is of equal if not surpassing interest, much as is the case, say, with the ‘variations on a theme’ that one gets when Rachmaninov revisits Paganini or Corelli. One can identify a comparable impulse to assimilate in the translations of Montague, Heaney and Fallon.

In order to see in three dimensions, it is necessary to have binocular vision, that is, two eyes whose fields overlap almost entirely, but do so eccentrically. A comparable power can be conferred by the small degree of semantic distance inherent in a second language. To engage seriously in translation is to appreciate that the world is not linguistically flat, and I would argue that this appreciation has differentiated Anglo-Irish from other English poetic traditions, thanks in part to the efforts of Douglas Hyde through to Thomas Kinsella. To return to my point of departure, perhaps this should be the most compelling reason to continue to promote the status of Irish as a national language.

Selected Pessoa, David Butler's translation from the Portuguese, was published in 2004, while a collection of his own work, Via cruces, is due out in 2005, both with Dedalus Press

Raw Materials

Aingeal Clare reviews Raw Material, Derek Mahon's translations and reworkings

Günter Eich (1907 – 1972):The Spanner in the Works

A review of Michael Hofmann's translations of Günter Eich's poems, Angina Days, by Axel Vieregg in the Berlin Review of Books

'Translating in the Dark'

“We must believe in poetry translation, if we want to believe in World Literature.” Thus Thomas Tranströmer, the Swedish poet and winner of this year’s Nobel Prize in Literature, quoted in a recent essay by Robert Robertson, one of his translators. Robertson goes on to describe the difficulties of capturing Tranströmer’s spare voice and masterful evocation of Swedish landscape in English, particularly if you don’t know Swedish well.

Tim Parks, in Translating in the Dark, in The New York Review of Books, addresses some of the issues around the translation of poetry.

O'Brien Press are about to publish An Paróiste Míorúilteach/The Miraculous Parish, a dual-language selection of Máire Mhac an tSaoi's poems edited by Louis de Paor, with translations by myself, Celia de Fréine, Louis de Paor, Gabriel Fitzmaurice, James Gleasure, Aidan Higgins, Valentine Iremonger, Biddy Jenkinson, Máire Mhac an tSaoi, Eiléan Ní Chuileannáin and Douglas Sealy. It comes with an illuminating introduction by Louis de Paor. Here's a taster, first the original, then my own translation.


Cian á thógaint díom

Do mheabhair is mó anois a bhraithim uaim –
Ní cuí dhom feasta cumann rúin an tsúsa –
Cleamhnas na hintinne, ná téann i ndísc,
A d’fhág an t-éasc im lár, an créacht ná dúnann.


An mó de bhlianaibh scartha dhúinn go beacht
Roimh lasadh im cheann don láchtaint seo taibhríodh dom?
Téann díom, ach staonfad fós den gcomhaireamh seasc,
Altaím an uain is ní cheistím an faoiseamh.


Milse ár gcomhluadair d’fhill orm trém néall,
Cling do chuileachtan leanann tréis na físe,
Do leath ár sonas tharainn mar an t-aer.
Bheith beo in éineacht, fiú gan cnaipe ’scaoileadh.


Do cheannfhionn dílis seirgthe i gcré
An t-éitheach; is an fíor? An aisling ghlé.


Sorrow lifts from me


More than anything, it’s your mind I feel the loss of now.
The love between the sheets has had its day
But the bond of mind, which never fades
Is what tears me, is the wound that never heals.


How many years exactly since we parted
Before this brightening kindled like a waking dream?
I can’t remember, and will not count them, but
Give thanks for the moment and not question its peace.


The sweetness of our company came back to me in the 
                                                                              dream,
The chime of your pleasure still sounds in the room,
Our joy spread round us like the air.
Even if no button is undone, just to be alive together.


This is the lie: your fair head withered in clay.
And the truth? The clear vision in the brightening day.

Pound and Chinese poetry

Other translations of 'The River Merchant's Wife'

Paul Celan: Todesfuge

Paul Celan reading Todesfuge

John Felstiner on translating 'Todesfuge' (a pdf file)

John Felstiner Paul Celan: Poet, Survivor, Jew

John Felstiner Selected Poems and Prose of Paul Celan

See also Michael Hamburger's translations of Celan

Marjorie Perloff on translations of Celan by Pierre Joris and others in the Boston Review

Galassi's Leopardi

The Solitary Life
Review by Peter Campion of Jonathan Galassi's translations of Leopardi (CANTI By Giacomo Leopardi. Translated and annotated by Jonathan Galassi.498 pp. Farrar, Straus & Giroux. $35.)

Why Translate Poetry?

Reflections on translating Paul Celan, with a response by Carol Rumens, from the excellent Three Per Cent blog, whose name comes from the fact that only 3% of books published in the US are translations.

Translating Yves Bonnefoy

Hoyt Rogers on Yves Bonnefoy and the Art of Translation

The milkwoman will cut our throats

Ausweis by Piotr Sommer, from the Times Literary Supplement

Translating Zbigniew Herbert

David Orr reviews Zbigniew Herbert’s Collected Poems, 1956-1998 (Ecco/HarperCollins, $34.95), translated by Alissa Valles.

A much more critical view is taken by Michael Hofmann in his Poetry (Chicago) piece, A Dead Necktie.

Boston Review review

Review by James A. Reid

Amazon.com page on the book, with many responses

Response by the translator. Alissa Valles

Adam Czerniawski: Not Lost in Translation

Adam Czerniawski writing in the Toronto Slavic Quarterly on the gains of translation. Includes his own translations of Kochanowski, Adam Mickiewicz, Cyprian Norwid, Czesław Miłosz and Tadeusz Różewicz.

The Fifty Minute Mermaid

Siren's call: The Fifty Minute Mermaid, a dual-language collection by Nuala Ní Dhomhnaill and Paul Muldoon, is a parallel text for the poetry lover, not the scholar, says Niall O'Gallagher
Saturday December 15, 2007
The Guardian

Ciaran Carson's version of the Táin

Éilís Ní Dhuibhne Táin in the 21st century, in the Irish Times, Saturday December 15, 2007

Courage's brutal core, Peter McDonald is delighted by Ciaran Carson's translation of the blood-and-guts Irish saga The Táin, Saturday October 27, 2007

A new translation of the ancient Irish epic of senseless slaughter is a marvel of wit and linguistic velocity, Murrough O'Brien in The Independent 28 October 2007

The role of snow

The role of snow James Buchan wonders if Ian Fairley's parallel translation in Snow Part/Schneepart and Other Poems adds to the appreciation of Paul Celan's work (The Guardian, 22 September, 2007)

Ted Hughes as translator

Clive Wilmer reviews Ted Hughes' Selected Translations

Sir Gawain and the Green Knight

In The Times, Alan Garner contemplates the Middle English Christmas-time poem of Sir Gawain and the Green Knight, newly translated by Simon Armitage. “The language of Gawain is alive, rooted in its Pennine Land,” he writes, arguing that the English spoken now in Gawain country means that the Middle English language of the poem is only a “small barrier” to those readers. He then offers extracts by himself, Simon Armitage, Bernard O’Donoghue, Ted Hughes and J RR Tolkein for readers to compare.

The Orpheus File

Some links on Don Paterson's Orpheus (Faber, 2006)


'Translation shows us how poetry works - and reminds us why it matters' Don Paterson's New Stateman piece on translating the Sonnets to Orpheus

Interview with Don Paterson in The Guardian

Adam Philips on Don Paterson's Orpheus in The Guardian

Jeremy Noel-Tod's Telegraph review

Translations of The Sonnets to Orpheus by Howard A. Landman along with links to other translations.

This is from Stephen Cohn's Carcanet Press version

Don't depend on it, but here's the Wikipedia entry on Rilke. Some good links.