{"id":62051,"date":"2013-11-04T11:54:13","date_gmt":"2013-11-04T16:54:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=62051"},"modified":"2014-03-08T15:03:10","modified_gmt":"2014-03-08T20:03:10","slug":"recapping-dante-canto-5-or-a-note-on-the-translation","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/11\/04\/recapping-dante-canto-5-or-a-note-on-the-translation\/","title":{"rendered":"Recapping Dante: Canto 5, or A Note on the Translation"},"content":{"rendered":"
\"Alberto-Martini-Paris-Review\"<\/a>

Alberto Martini, Min\u00f3s (Inferno V)<\/em> (detail), 1937.<\/p><\/div>\n

With multiple translations come disagreements\u2014different scholarly notes, interpretations, and even titles. But often what allows a translation itself to become a great work of literature can be determined by something as subtle as the phrasing of a single idea.<\/p>\n

Lord Byron, the notorious English poet who died in 1824, at the age of thirty-six, toyed around with his own translation of a passage from the Inferno<\/em>. The passage is in canto 5, in which Dante enters hell past Minos, and meets the carnal sinners. He comes across Francesca da Rimini, who was killed with her love, Paolo, after the two had an affair. Francesca, like many other characters in the Inferno<\/em>, identifies herself first by some obscure trait\u2014in her case, the river near which she was born. She tells Dante that she could not resist Paolo because love itself can sway the heart of a beloved. Indeed it is one of the most beautifully agonizing passages in the Inferno<\/em>, and probably one of the most difficult to translate. After all, Byron picked it for a reason. In a way, Byron even presented readers with a sort of litmus test for determining the quality of a translation; in the way a translator engages such a passage, a reader can observe not only the translator\u2019s precision, but his or her skill as a poet. Here is Byron\u2019s:<\/p>\n

\n

\nThe Land where I was born sits by the seas,
\nUpon that shore to which the Po descends,
\nWith all his followers in search of peace.
\nLove, which the gentle heart soon apprehends,
\nSeized him for the fair person\u00a0which was ta\u2019en
\nFrom me, and me even yet the mode offends.
\nLove, who to none beloved to love again
\nRemits, seized me with\u00a0wish to please, so strong,
\nThat, as thou seest, yet, yet it doth remain.
\nLove to one death conducted us along.\n<\/p>\n<\/blockquote>\n

Byron was clearly more interested in preserving the rhyme of Dante than he was in providing a clear translation that presents the text in English as lucidly as it was written in Italian. Nevertheless, and no surprise here, Byron is showing off.<\/p>\n

Here is the Hollanders\u2019 translation:<\/p>\n

\n

On that shore where the river Po
\nwith all its tributaries slows
\nto peaceful flow, there I was born.<\/p>\n

Love, quick to kindle in the gentle heart,
\nseized this man with the fair form taken from me.
\nThe way of it afflicts me still.
\nLove, which absolves no one beloved from loving,
\nseized me so strongly with his charm that,
\nas you see, it has not left me yet.<\/p>\n

Love brought us to one death.<\/p>\n<\/blockquote>\n

The Hollanders succeed where Byron fails; Byron\u2019s tireless dedication to the preservation of Dante\u2019s rhyme stifles his translation. The Hollanders nail the cadence of epic poetry and, in comparison, make Byron sound a bit like Burns. \u201cLove, quick to kindle in the gentle heart\u201d is more lyrical and even more refined than Byron\u2019s \u201cLove, which the gentle heart soon apprehends.\u201d Byron\u2019s true skill is demonstrated in his translation of the line \u201cLove, who to none beloved to love again \/ Remits.\u201d<\/p>\n

A few others to consider:<\/p>\n

Pinsky:<\/p>\n

\n

My Birthplace is a city that lies
\nWhere the Po finds peace with all its followers.
\nLove, which in the gentle heart is quickly born,
\nSeized him for my fair body\u2014which, in a\u00a0fierce
\nManner that still torments my soul, was torn
\nUntimely away from me. Love, which absolves
\nNone who are loved from loving, made my heart Burn<\/p>\n

With joy so strong that as you see it cleaves
\nStill to him, here. Love gave us both one death.<\/p>\n<\/blockquote>\n

Longfellow:<\/p>\n

\n

Sitteth the city, wherein I was born,
\nUpon the sea-shore where the Po descends
\nTo rest in peace with all his retinue.<\/p>\n

Love, that on gentle heart doth swiftly seize,
\nSeized this man for the person beautiful
\nThat was ta\u2019en from me, and still the mode offends me.<\/p>\n

Love, that exempts no one beloved from loving,
\nSeized me with pleasure of this man so strongly,
\nThat, as thou seest, it doth not yet desert me;<\/p>\n

Love has conducted us unto one death;<\/p>\n<\/blockquote>\n

Durling and Martinez:<\/p>\n

\n

\nThe city where I was born sits beside the
\nShore where the Po descends to have peace with its
\nFollowers.
\nLove, Which is swiftly kindled in the noble heart,
\nSeized this one for the lovely person that was taken
\nfrom me; and the manner still injures me.
\nLove, which pardons no one loved from loving in
\nReturn, seized me for his beauty so strongly that, as
\nYou see, it still does not abandon me.
\nLove led us on to one death.\n<\/p>\n<\/blockquote>\n

Pinsky loses a lot of the lyricism of Dante\u2019s poem, and doesn\u2019t exactly charm the reader with phrases as cheesy as \u201cmade my heart burn with joy.\u201d Durling and Martinez can feel clumsy at times, but is ingenious at others, using the phrase \u201cswiftly kindled in the noble heart,\u201d which has a lot more grace than many of the other translations.<\/p>\n

In Byron\u2019s translation, the following fact is obscured, but Byron, the Hollanders, Longfellow, and Durling and Martinez, as Dante did, begin each stanza with the word love<\/em> so that the sensation of reading the word itself begins to feel relentless, as though the tragedy is redoubled with every repetition, or as though each time Francesca speaks the world she is at once slowly further unshrouding her notion of love and reimagining love just a bit, so that ultimately love absolves her of the infidelity. The best translations here remember that though Francesca is speaking, love commands these ten lines.<\/p>\n

But would this review of canto 5\u2019s famous lines, spoken by one of Dante\u2019s most famous characters, be complete if I didn\u2019t disclose the fact that, frustrated in a Chicago winter during my freshman year and during my first year of studying Italian, I tried <\/i>to translate canto 5?<\/p>\n

\n

The land where I was born sits
\nby the seashore where dismounts the Po
\nto have peace with his followers.
\nLove, which is abducted by the gracious heart
\ntook him from the beautiful person
\nwhich was taken from me, and in a manner that still hurts me.<\/p>\n

Love which forgives no love from the beloved,
\ntook him into my favor so strongly,
\nwhich, as you see, still does not abandon me.<\/p>\n

Love brought us to a single death.<\/p>\n<\/blockquote>\n

This fall, we\u2019re recapping<\/a> the <\/em>Inferno. Read along<\/a>!<\/em><\/p>\n

To catch up on our Dante series, click here<\/a>.<\/em><\/p>\n

Alexander Aciman is the author of <\/em>Twitterature<\/a>. He has written for the <\/em>New York Times, <\/em>Tablet, the <\/em>Wall Street Journal, and <\/em>TIME. Follow him on Twitter at @acimania<\/a>.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

With multiple translations come disagreements\u2014different scholarly notes, interpretations, and even titles. But often what allows a translation itself to become a great work of literature can be determined by something as subtle as the phrasing of a single idea. Lord Byron, the notorious English poet who died in 1824, at the age of thirty-six, toyed […]<\/p>\n","protected":false},"author":419,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[2930,12133,12135,10681,12134,1453],"class_list":["post-62051","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-dante","tag-henry-wadsworth-longfellow","tag-jean-hollander","tag-lord-byron","tag-robert-hollander","tag-robert-pinsky"],"acf":[],"yoast_head":"\nRecapping Dante: Canto 5, or A Note on the Translation by Alexander Aciman<\/title>\n<meta name=\"description\" content=\"November 4, 2013 \u2013 With multiple translations come disagreements\u2014different scholarly notes, interpretations, and even titles. 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