Monday, June 20, 2022

Translation into Modern English of Boris Pasternak's Russian Translation of Shakespeare Sonnet No. 73

                                                               Image by Zayda C. on Pixabay


Boris Pasternak

(1890-1960)

 

Translation into Modern Russian of Shakespeare’s Sonnet No. 73

То время года видишь ты во мне,

Когда из листьев редко где какой, 

Дрожа, желтеет в веток голизне, 

А птичий свист везде сменил покой. 


Во мне ты видишь бледный край небес, 

Где от заката памятка одна, 

И, постепенно взявши перевес, 

Их опечатывает темнота. 


Во мне ты видишь то сгоранье пня, 

Когда зола, что пламенем была, 

Становится могилою огня, 

А то, что грело, изошло дотла. 


И, это видя, помни: нет цены 

Свиданьям, дни которых сочтены.

 

d

 

Literal Translation

 

You see in me that time of year (season)

When of the leaves only one or two,

Tremble yellow amidst the nakedness of branches,

And [silent] calm has replaced the sound of birdsong.

 

In me you see the pallid edge of the skies,

Where of the sunset [there remains] little but a memory [memorandum],

And, gradually achieving ascendancy,

Darkness seals them [the skies] up.

 

In me you see the burning away of a tree stump,

When cinders that were flame

Become the grave of the fire,

And that which warmed one has dissipated into ashes.

 

And seeing [all of] this, remember: priceless

Are the meetings [time spent together] of those whose days are numbered.

 

d

 

Literary Translation/Adaptation (into Modern English) by U.R. Bowie

 

You look at me and see that time of year

When withered leaves await their sad decease,

When yellowed, trembling, hang they on in fear,

And sounds of birdsong yield to silent peace.

 

You look at me and see the sky’s pale rim,

Where sunset’s light diminished fades away,

And gradually, as dimmer goes more dim,

Dark night seals up the doors of what was day.

 

In me you see a burning stump expire,

You watch the embers that just now were flame,

As they become the grave of what was fire,

And ashes victory over warmth proclaim.

 

And seeing this, remember, precious be

The time that’s all too short for you and me.   

 

                                                         Shakespeare Sonnet No. 73

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consum'd with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well which thou must leave ere long.

 

d

 

Modern English Paraphrase

(from website No Sweat Shakespeare)

 You may see that time of year in me when few, or no, yellow leaves hang on those branches that shiver in the cold bare ruins of the choir stalls where sweet birds sang so recently. You see, in me, the twilight of a day, after the sun has set in the west, extinguished by the black night that imitates Death, which closes everything in rest. You see in me the glowing embers that are all that is left of the fire of my youth – the deathbed on which youth must inevitably die, consumed by the life that once fed it. This is something you can see, and it gives your love the strength deeply to love that which you have to lose soon.

 

 


 


Thursday, June 16, 2022

Translation into Modern English of Marshak's Russian translation of SHAKESPEARE, SONNET NO. 90

 


Top of Form

Bottom of Form

Вильям Шекспир. Сонеты (в переводе Маршака)

Samuil Marshak

(1887-1964)

William Shakespeare, Sonnet No. 90

 

Уж если ты разлюбишь - так теперь,

Теперь, когда весь мир со мной в раздоре.

Будь самой горькой из моих потерь,

Но только не последней каплей горя!

 

И если скорбь дано мне превозмочь,

Не наноси удара из засады.

Пусть бурная не разрешится ночь

Дождливым утром - утром без отрады.

 

Оставь меня, но не в последний миг,

Когда от мелких бед я ослабею.

Оставь сейчас, чтоб сразу я постиг,

Что это горе всех невзгод больнее,

 

Что нет невзгод, а есть одна беда -

Твоей любви лишиться навсегда.

 

d

Literal Translation

 

If you stop loving me, then [do it] now,

Now, when I’m at odds with all the world.

Be the most bitter of my losses,

Only don’t be the final drop of grief!

 

And if it’s given to me to overcome sorrow,

Don’t deliver a blow from some ambush spot.

Let the turbulent night not end up as

A rainy morning—a morning without joy.

 

Leave me, but not at the final moment,

When I’ve become weakened from petty woes.

Leave me now, so that I might straightaway comprehend

That of all the adversities this grief is the most painful,

 

That there are no adversities, but there is one true calamity:

To be deprived of your love for all time.

 

d

 

Literary Translation/Adaptation by U.R. Bowie

 

If you’re to bid farewell to loving me,

Act now, when I’m at odds with all mankind.

Of my vile miseries the most bitter be,

But not the one that leaves all hopes behind.  

 

If I’m to have a chance to cope with grief,

Don’t strike me unawares from ambuscade.

For turbulence of night I would as lief

To see the sunrise ease and mitigate.

 

So leave me then, but not when strife has bent me,

When pettiness and spite my will depleted.

Leave me today, so I can plainly see

That here’s the pain most painful, most deep-seated;

 

All other doleful woes that now seem woe,

Compared to losing you are far from so.

 

 

d

 

Shakespeare Sonnet No. 90

 

Then hate me when thou wilt; if ever, now;
Now, while the world is bent my deeds to cross,
Join with the spite of fortune, make me bow,
And do not drop in for an after-loss:
Ah! do not, when my heart hath ‘scaped this sorrow,
Come in the rearward of a conquered woe;
Give not a windy night a rainy morrow,
To linger out a purposed overthrow.
If thou wilt leave me, do not leave me last,
When other petty griefs have done their spite,
But in the onset come: so shall I taste
At first the very worst of fortune’s might;
And other strains of woe, which now seem woe,
Compared with loss of thee, will not seem so.

 

d

Paraphrase in Modern English

(from Online site, No Sweat Shakespeare)

So hate me whenever it pleases you, but if you are going to, do it now – now while the world is determined to frustrate all my actions. Join with the spitefulness of Fortune, make me bow under the burden, but don’t come and bite me from behind just when I’ve got over this particular blow. Don’t be a rainy morning after a stormy night, drawing out the defeat that you’re determined to impose on me. If you’re going to go, don’t leave it to the end, when other small sorrows have done their worst but do it at the beginning so that I’ll experience the very worst misfortune first. Then other painful things that are hurting now won’t seem so bad compared with the loss of you.

 



PLURALS, from Bobby Goosey's Nonsense Verse for Kids

                                                                             Red Fox Kits


                                                                               Meeses


Bobby Goosey

 

Plurals

Mouse mice

Moose meese

Louse lice

Goose geese.

Running through the barnyard—gooses and geeses.

 

Goose geese

Louse lice

Moose meese

Mouse mice.

Running through my bedroom—mouses and mices.

 

Mouse mice

Goose geese

Moose meese

Louse lice.

Running through my curly hair—louses and lices.

 

Louse lice

Goose geese

Mouse mice

Moose meese.

Running through my sleeping brain—mooses and meeses.

 

Running through my dreams in threes,

Once, twice, thrice:

Three mouses and three mices

Three mooses and three meeses

Three gooses and three geeses

Three louses and

Lots and lots and lots of

Lices.

                                                       Monkies Searching for Lices




Friday, June 10, 2022

On Depression

                                                    Image by Graham Hobster on Pixabay


                                                                       On Depression

The philosopher Jean-Paul Sartre once took an injection of mescaline, in an attempt to pull himself out of a depression. Soon he found himself ambling about the streets of Paris, pursued by imaginary giant lobsters. But he wasn’t depressed anymore.

 Try it. Try running in a panic from giant lobsters; you sure as hell will not feel depressed.

[Excerpt from the book by U.R. Bowie, Here We Be. Where Be We?]

Image by Gerhard C. on Pixabay



Wednesday, June 8, 2022

Translating Marshak's Translation of Shakespeare's Sonnet #81 Back Into English

 

Перевод Самуила Яковлевича Маршака

Samuil Marshak

(1887-1964)

Translation into Russian of Shakespeare’s Sonnet #81

 

Тебе ль меня придется хоронить
Иль мне тебя, - не знаю, друг мой милый.
Но пусть судьбы твоей прервется нить,
Твой образ не исчезнет за могилой.

Ты сохранишь и жизнь и красоту,
А от меня ничто не сохранится.
На кладбище покой я обрету,
А твой приют - открытая гробница.

Твой памятник - восторженный мой стих.
Кто не рожден еще, его услышит.
И мир повторит повесть дней твоих,
Когда умрут все те, кто ныне дышит.

Ты будешь жить, земной покинув прах,
Там, где живет дыханье, - на устах!

 

 

d

Literal Translation of Modern Russian (Back into Modern English)

Will it be up to you to bury me

Or me to bury you? I don’t know, my dear friend.

But though the thread of your destiny be broken,

Your image will not disappear beyond the grave.

 

You’ll preserve both your life and your beauty,

While of me nothing will be preserved.

In graveyard I shall attain to peace,

While your refuge will be an open sepulchre.

 

Your monument is my ecstatic verse.

He not yet born will hear it.

And the world will repeat the tale of your days,

When all those who breathe today are dead.

 

You will live on, having left behind your earthly dust,

There where breath lives: on lips!

 

d

 

Literary Translation/Adaptation (into Modern English) by U.R. Bowie

 

Will my lot be dear you, my friend, to bury,

Or will you be the one to me immure?

But though fate lead you but to naught and nary,

Beyond the grave your image will endure.

 

Your life and beauty both shall be sustained,

While of me void and emptiness persever.

In graveyard and at peace I’ll lie constrained,

But your tomb will be airy, open ever.

 

Your monument will be my verses’ glory,

He not yet born my poems will hear, esteem.

The world will tell and retell your life’s story,

When men who breathe today are mist and dream.

 

You’ll live on after flesh’s apocalypse,

Where breath dwells ever moistly, on men’s lips!

 

d

 

Shakespeare, Sonnet No. 81

 

Or I shall live your epitaph to make
Or you survive when I in earth am rotten.
From hence your memory death cannot take,
Although in me each part will be forgotten.
Your name from hence immortal life shall have,
Though I, once gone, to all the world must die.
The Earth can yield me but a common grave,
When you entombèd in men’s eyes shall lie.
Your monument shall be my gentle verse,
Which eyes not yet created shall o’erread;
And tongues to be your being shall rehearse
When all the breathers of this world are dead.
You still shall live—such virtue hath my pen—
Where breath most breathes, even in the mouths of men.

 

d

 

The 1609 Quarto Version


OR I fhall liue your Epitaph to make,
Or you
ſuruiue when I in earth am rotten,
From hence your memory death cannot take,
Although in me each part will be forgotten.
Your name from hence immortall life
ſhall haue,
Though I ( once gone) to all the world mu
ſt dye,
The earth can yeeld me but a common graue,
When you intombed in mens eyes
ſhall lye,
Your monument
ſhall be my gentle verſe,
Which eyes not yet created
ſhall ore-read,
And toungs to be, your beeing
ſhall rehearſe,
When all the breathers of this world are dead,
You
ſtill ſhal liue (ſuch vertue hath my Pen)
Where breath mo
ſt breaths, euen in the mouths of men. 

d

Translator’s Notes

Fearing being overinfluenced by the great, I avoided looking at Shakespeare’s masterpiece while translating Marshak’s Russian translation back into English. Of course, Marshak writes his translations in modern Russian, not attempting what would be for any modern writer a horrendously difficult feat: trying to translate 16th century English into 16th century Russian. In his acclaimed translations of Shakespeare’s plays Pasternak has taken the same approach. Given this initial premise, it is no surprise that what I come up with in my modern translation has a multitude of words not in common with the original Shakespeare poem.

Reading the original after completing my effort, chained to Marshak, I cannot help feeling jealous of so many wonderful lines. An interesting lacuna in Marshak; while Shakespeare has a trio of body parts yet to be born engaging in the glorification of his subject—eyes, tongues, mouths—Marshak settles for just one, and that one is a part of the body not specifically mentioned in the original: lips.

A few more points about the original. When reading Shakespeare I always find myself wondering how words were pronounced in his time. The rhymes here—those that are non-rhymes in modern English: have/grave; shall read/dead—provide clues. Judging by his other sonnets, the words love and move, e.g., probably rhymed back then. Maybe most fascinating of all is how many of the words in this poem, now four hundred years old, still retain essentially their same meaning and same pronunciation.

For the life of me I can’t get Shakespeare’s third line to scan metrically, in what is supposed to be iambic pentameter: “From hence your memory death cannot take.” Only way I can make it work is to assume pronunciations that change memory as well as death into two syllables: From hence your mem’ry de-ath cannot take (da-DUM, da-DUM, da-DUM, da-DUM, da-DUM). I suppose commentators have dealt with this issue somewhere, but in a cursory look at analyses of the poem online, I find no one addressing it. The last line won’t scan either, unless we pronounce even as e’en, which is probably how Shakespeare pronounced it.

                                                                            Kandinsky