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i hear lots of people claim to ‘love the translation’ of a text of which they dont speak the language of the original. am i stupid for wondering, if you don’t speak the original, how you can judge the translation? I mean, you can admit to digging many aspects of the language... but the translation? people must say this because it sounds literary, right? there’s not even an agreed upon standard of what a great translation means... is it:1) the most accurate? – and this is troublesome, as well. does most accurate mean the most precise word-for-word translation? or, as many phrases and words don’t have exact translations, does it mean most accurately conveying the spirit of the original? and if so, what kind of parameters are we talking about?or2) the most appealing by contemporary standards? in other words, a lyrical and lush stylist in a time or land of lyrical and lush prose/poetry would, say, translate li po so that one could best approach his poetry… or so that one could best understand now, in our language, what li pos contemporaries were given in theirs? but, then, are they still li po’s poems? it’s all very confusing. whatever. i had to will myself through the stodgy boring dusty penguin editions. these breezed by. they were riveting. and i’m in no way suggesting that easier is better – only that in this particular case, i found Anne Carson’s translation not only more readable, but with greater rhythm and fluidity and verve. who’s responsible? euripedes? carson? i dont know and i kinda don’t care. it’s great shit.one play in particular, Hekabe, really destroyed me… euripides -- who aristotle called the most tragic of them all and carson compares to beckett -- depicts Troy after having fallen to the Greeks as a brutal and immoral civilization quickly slipping into total chaos... and writing about the Trojan War (and dying civilizations) was probably pretty easy for euripides as, through the whole of his life, Greece was engaged in the Peloponnesian War... this is, of course, impossible for most of my generation to imagine. It amuses me to hear my fellow countrymen state with misty-eyed pride that we are at war -- what a farce. we are a populace with our heads up our asses with the vague notion that our government is at war, that our government is quite engaged in torture and thuggery and the indiscriminate raining down of bombs, etc…a semantical distinction, maybe, but an important one. there is little sense of ‘the end’ in american life – our playwrights are not writing plays such as Hekabe and our artists are not painting, say, george grosz’s eyeless, armless, legless men…* the fallen nation-state of Troy, on the other hand, has been suddenly transformed into a moral blackhole: meaning has been sucked from anything and everything; the family unit has been destroyed; kings and queens are now prisoners, slaves, or defiled corpses; the very definition of morality has been irrevocably altered or erased… and at the end of Hekabe our ‘heroine’ leaves the play with the knowledge that she will soon be transformed into the form of a mangy dog. an appropriate fate. * we make movies such as Iron Man with a most vile message: our ‘hero’ Tony Stark exists as kind of a one-man manifestation or surrogate for the country as a whole. a man (and country) who has been involved in serious bad behavior, one who has been involved in the business of war and guns and bombs, but who really hasn’t taken much notice because well gee! life is just so damn fun and easy when one is tony stark (read: american)… but you know, of course, (gets all teary-eyed) that if we had the chance, like Tony Stark, to do the right thing… we’d renounce all this bad behavior and turn into a good guy! ugh. the liberal fantasy that is Iron Man is nearly as repellent as the thugs that make up our federal government.
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