In November 2016, Sue Niebrzydowski introduced us to Peniarth MS 106 and its anonymous Troelus a Chresyd. In February, the National Library of Wales followed up with news of the manuscript on its blog. From NLW, we owe our gratitude to Iwan ap Dafydd,Maredudd ap Huw, and Rhodri Shore for their gracious and generous help. And a special thanks to Jacqueline Burek for making us aware of this understudied appropriation of Troilus and Criseyde. By permission of Llyfrgell Genedlaethol Cymru / National Library of Wales.
As an additional treat for Global Chaucers’s readers, Maredudd ap Huw recorded a clip from the prologue to Troelus a Chresyd. Listen and imagine yourself back in a sixteenth-century Welsh-speaking household where a performance of Chaucer’s Trojan love story is about to begin.
by Sue Niebrzydowski, Darllendydd/Reader, Ysgol Llendyddiaeth Saesneg/School of English Literature, Prifysgol Bangor University
Troelus a Chresyd is an example of putting old wine into new bottles. Why was Chaucer’s romance of Troilus and Criseyde translated into a Welsh language play at the close of the sixteenth century? In 1598 George Chapman translated the Seven Books of the Iliades, and there followed a series of Trojan plays: an unidentified play of Troy (1596), Dekker and Chettle’s Troyeles and Creasse daye (1599), both now lost, Thomas Heywood’s two-part play, The Iron Age (?1595–?1596), and Shakespeare’s Troilus and Cressida (1602 or 1603, published 1609). Whoever wrote Troelus a Chresyd did so amid a flurry of interest in all things Trojan.
Troelus a Chresyd differs from English plays about Troy in its emphasis on the doomed relationship of two lovers caught up in the conflict. In basing his play on Chaucer and Henryson, and translating their poetry into another language, our playwright was following in the footsteps of Nicholas Grimald who, in 1559, so John Bale tells us, wrote a Latin, comic play, Troilus ex Chaucero (‘Troilus from Chaucer’) based on Chaucer’s romance. Sadly, this play is now lost.
How might Troelus a Chresyd have been performed? Jones’ copy lacks annotation, and some pages remain uncut, suggesting that the manuscript was used neither as a prompt book nor an acting text of any kind. The ’Iawn urddassol ddarlleydd’ / ‘Right Honorable Reader’ (pp. 38 and 106 of the manuscript) is addressed twice and Chaucer’s narrator, transformed into a ‘chorus’ figure, speaks to an implied audience of ‘Chwchwi rasysol gwmpeini’ / ‘you gracious company’ (opening of Book 1). Troelus a Chresyd may have been designed to be read aloud. Its stage directions, however, suggest performance:
Kalchas yn dywedyd wrtho ei hun / ‘Calchas talking to himself’ (stanza 6)
Kressyd yn dyfod gida Synon, ag yn syrthio ar in glinieu/ ‘Chresyd comes in with Sinon and falls to her knees’ (stanza 25)
Troelws yn dywedydyn issel ynghlysd i vrawd Hector / ‘Troilus whispers into his brother Hector’s ear’ (stanza 32)
Ac ar hynn yma yn llesmeirio. Troylus [sic] a’i gleddyf noeth yn ei law yn ymkanu ei ladd ei hunan / ‘At this point she faints. Troelus draws his sword with the intention of killing himself’ (stanza 146)
Kressyd yn rhoddi ei llaw i Ddiomedes / ‘Chresyd gives her hand to Diomedes’ (stanza 171)
Here we see instructions for entrances and exits, bodily gesture, facial expression, soliloquy and dialogue. Props are required – Troelus’ sword, the brooch that he gives to Chresyd, the mirror in which she sees her altered state, the purse of gold and jewels given to her by Troelus – as is sound (a bell is rung before the judgement of the gods on Chresyd), and costume; Diomedes’ cloak. David Klausner has suggested that during the judgement of the gods against Chresyd, some of the gods may have entered and then paraded wearing headdresses and carrying symbols of their power, akin to masque performance. If so, then music would be appropriate at this point. The whole play can be performed in around an hour-and-a-half, with as few as ten players, and in a single playing space. In August 1954, Gwyn Williams directed Troelus a Chresyd at the Eisteddfod Genedlaethol Ystradgynlass in the Gwwini Theatre y Deau, demonstrating that it is a performable play.
Where might Troelus a Chresyd have been performed? One possibility is before a Welsh speaking audience of cultured guests, settled comfortably in the hall of a wealthy house in the March of Wales. A private, domestic context might have allowed for the play’s performance by friends or local actors, and for female parts to be played by women. The Welsh-speaking household may have been London-based, those living away from their native Wales, gathering and socialising in their language of choice, to watch or participate in a play on a topic much in vogue. A further possibility is that Troelus a Chresyd was performed at one of the Inns of Court in London. Between 1590 and 1639, 526 members were admitted from Wales, with a strong representation at Lincoln’s Inn and Inner Temple.
That someone chose to translate Chaucer’s Troilus and Criseyde into Welsh should not surprise as his countrymen had a long established tradition of translation of Latin, French and English works into their native tongue, and vice versa. ‘Troy Story’ was a trend at the turn of the sixteenth century, and the play catered for those interested in Chaucer and this narrative. For those away from their homeland, Chresyd’s lament for her lost city of Troy may have served as a poignant reminder of the North Walian walled cities – of Biwmaris, Conwy and Caernarfon – and of the pain that separation from beloved people and places can cause:
Arnad, Troea, mewn hiraeth a thrymder yr wy’n edrych –
dy dyre uchel a’th reiol gaeref kwmpaswych;
llawer diwrnod llawen a fewn dy gaeref a gefais,
a llawer o hiraeth amdanad ti a ddygais.
O Troea, gwae fi o’r myned!
O Troelus, gwae fi dy weled!
O Troelus, fy anwylyd
On you, Troy, I look with longing and sorrow –
On your high towers and grand encircling walls;
I have had many a glad day within your walls,
and I bear great longing for you.
O Troy, alas for my leaving
O Troilus, alas for my seeing you
O Troilus, my beloved
Troelus a Chresyd, stanza 180
With so many people today exiled from their country and language of origin, this play still has much to say.
 David Klausner ‘English Economies and Welsh Realities: Drama in Medieval and Early Modern Wales’ in Authority and Subjugation in Writing of Medieval Wales edited Ruth Kennedy and Simon Meecham-Jones (Basingstoke: Palgrave Macmillan, 2008) 213-229 (219).
 Wilfred R. Prest The Inns of Court under Elizabeth I and the Early Stuarts 1590-1640 (London: Longman Group, London, 1972) 33, 36, 37.
How can non-verbal communication and gestures by those “living outside language” help us understand the uses and limitations of linguistic translation? This is the overriding question for me after our PHF seminar discussion prompted by Leon Hilton’s paper, “Deligny’s Traces,” based on the efforts of Fernand Deligny (1913–1996) to create viable communities for those generally labelled as “autistic.”
Among Deligny’s many efforts were the “traces” recording the spatial movements of the community’s inhabitants. They are reminiscent of a choreographic notation, collapsing four dimensions into two. Time and spatial depth are minimized, sometimes even eliminated. In this way, they become identifying markers for the community member associated with the tracings. While “living outside language” might be enough to prevent these members from achieving identity and subject formation, these tracings of non-verbal gestures suggest just the opposite: more than fingerprints or DNA, which the individual inherits without any contribution to their shape, these traces are created by the individuals and they encode embodied practices and preferences.
These gestural translations of self—these traces of repetitive, purposeful, even expressive movement—correspond (it seems to me) to the literary translations that engage with the non-verbal elements of a source text, its structure and form at the root of the text’s identity. Deligny’s tracings remind us that non-verbal elements are integral to creating the subject, and the tracings remind us that the identity of a text is so wrapped up in the non-verbal elements that they cannot be easily shed, even in translation.
At the George Washington Digital Humanities Institute’s symposium, “Global Chaucer and Shakespeare in a Digital World,” on 4 February 2017, Chico Botelho provided the opening address. He graciously shared the notes and images from his talk, and we are pleased now to share them with you. In addition to his award-winning translation of The Canterbury Tales, he has recently published his translation of Romeo and Juliet. These two translations were the subject of his talk.
by José Francisco Botelho
Good morning to all of you. It is an honor and an exquisite pleasure to be here in the United States of America, talking to you, in my first lecture in English, after a long journey that begun months ago, when I received a kind invitation from George Washington Digital Humanities Institute. I would like to express my heartfelt thanks to Professors Jonathan Hsy and Alexa Huang, my dear friends Candace Barrington and Mike Shea; Haylie Swenson and Gabby Bychowski; the George Washington University, George Washington Digital Humanities Institute, Central Connecticut State University, and, of course, Global Chaucers. I also would like to thank each and every person present here this morning.
Today, we will be talking about very interesting topics such as Chaucer, Shakespeare, South American History, Brazilian proverbs and witticisms, lovebirds, oral poetry, and the way cultures may transcend borders, creating shared imaginary worlds and shifting identities. But let’s begin with The Canterbury Tales.
As it so often happens in the South American literary world, a book by Borges led my way to Chaucer.
It was an especially cold winter of one of the last few years of the past millennium, in my hometown – Bagé, on the far south of Brazil (yes, it does gets cold in the South of Brazil; more on that later). At the time, the Argentinian Jorge Luis Borges was my favorite writer. I had recently taken hold of his complete works and was reading his latest book, “A History of Night”. In it, there is a poem named “El caballo”, or “The Horse”. One of its first lines supposedly quotes the Canterbury Tales. It was the first time I’d heard about Chaucer – whose work, back then, was largely unknown in Brazil. Here is Borges’ poem in a loose translation:
The great plains await since the beginning. Beyond the last peach trees, close to the waters, a white horse, with sleepy eyes, seems to be filling the morning. The arching neck, like a Persian blade, and the mane, and the swirling tail. The horse is elegant and firm and made up of long curves. I remember a quaint verse by Chaucer: a very horsely horse. And now the sun rises. And here is the horse, but there is something strange about him, because he is also a horse in a dream: a dream by Alexander of Macedon.
Borges’ poem describes a horse in a dream; the man who is dreaming is Alexander the Great. And to round up the description, Borges quotes Chaucer: “a very horsely horse.” That line stuck with me, for several reasons.
I grew up in the Brazilian countryside, in the southern state of Rio Grande do Sul. My hometown lies in a very isolated and peculiar region, called The Frontier (A Fronteira), because it borders with Uruguay and Argentina. It shares with those countries not only a similar landscape ‒ the Pampas ‒ but also several cultural traits. On the borderlands of Rio Grande do Sul, different worlds converge and combine: that’s the place where the Portuguese-speaking part of South America ‒ Brazil ‒ meets the Spanish-speaking part. It is worth mentioning that those two South American worlds not always lived in peace: in the past, my State was one of the most intense battlefields in the wars between the Portuguese and the Spanish Empires. During the eighteenth and the nineteenth centuries, the Frontier was a moving thing, like a living and restless creature, unsure about where it really belonged on the maps, going up north, and then plunging back south, several times. Nowadays, however, this violent History is no longer the stuff of disputes, but the source that provides both sides of the Frontier with the feeling of a shared past. In the region where Brazil and Uruguay meet, most people, on both sides of the border, are bilingual; and some speak a hybrid of Portuguese and Spanish known as “Portuñol”, one of the many dialects spoken in my state. Gaucho culture, generally associated with Uruguay and Argentina, also marks the cultural identity of the southern parts of Rio Grande do Sul. Originally, gauchos or gaúchos were the inhabitants of rural areas in the South of the continent. The gaucho is a national symbol both of Uruguay and Argentina; gaúcho is also the demonym of the people from Rio Grande do Sul. Gauchoesque language is a blend of Spanish, Portuguese, Native American languages (such as Quechuan) and African words. Gaúcho culture is one of the many regional cultures of Brazil; and it is also a kind of cultural bridge connecting us to the rest of South America.
So this is the world where I grew up. I spent part of my childhood in a farm on the borderlands, where horses were a daily sight. Since I was a little boy, I had a recurring dream of a white horse, its colors mirroring those of the westering moon in the wide pampa. When I read about the “very horsely horse” in that cold afternoon in the late ‘90s, my imagination lit up. Although I had never heard of Chaucer before, I was determined to find him – or, rather, to find his book, and the horse within the book.
It wasn’t as easy as I’d thought it would be. Translations of Chaucer into Portuguese were very rare. Among the great classics of western literature, I think the Tales were, at that point, one of the least known among readers in the Portuguese-speaking world. There was no full verse translation in Portuguese, anywhere.
By the time I read the Middle English original, I was already living in the state’s capital, Porto Alegre, and working as a journalist and freelance writer. And so, at last, I found out that Borges had slightly misquoted Chaucer. When Borges wrote his poem, he probably had these verses from The Squire’s Tale in mind (I will read all Chaucer’s quotations from a Modern English Translation, to make things easier to everyone).
Just as it were a steed of Lombardy;
Therewith as horsely and as quick of eye
Well, I had finally found Chaucer’s horse, but the verse was not exactly as I had read in Borges’ poem. Borges’ version seemed as a blurry, misremember citation. Almost immediately, some verses in Portuguese sprang to my mind, mixing Chaucer’s line with Borges’ creative misreading:
Era um cavalo muito cavalar.
Velozes são seus olhos; parecia
Atrevido corcel da Lombardia.
It was a very horsely horse.
Quick were its eyes; it seemed
A saucy steed from Lombardy.
(As you see, I turned Chaucer’s 2 lines into 3 lines. That’s something I did throughout the translation, as I will explain later).
So this is how it began. I decided at that moment that I would someday translate the entire Canterbury Tales, and began to make plans and think my way through it. I started practicing the decasyllable‒a traditional poetic form in Portuguese, and Luis Vaz de Camões’ favorite meter. (Now, Camões is the great Portuguese classic. Sometimes described as Portugal’s Shakespeare, because his works greatly influenced the shaping of the Portuguese language. His great epic poem, The Lusiads, describes Portuguese discoveries and conquests, in a ten-syllable meter that became the staple verse of epic poetry in Portuguese and whose rhythm is similar to that of the iambic pentameter. It was also widely used by Brazilian epic poets such as Basílio da Gama and Gonçalves Dias).
I also began to think about ways to efficiently transplant Chaucer’s stories and voice to my South American surroundings. Now, I’ll explain some of my translating decisions, and how I tried to recreate Chaucer’s fictional and poetic universe in my own culture.
Before we proceed, I have a little confession to make: in the final version of the book, I incorporated that line with Borges misreading. You will find “um cavalo muito cavalar” (my translation of the nonexistent verse “a very horsely horse”) right there on page four hundred eighty five. It was the line that lured me toward Chaucer, so I thought I should keep it where it belongs.
It’s kind of a talisman.
When I set out to translate Chaucer, my first decision was to make it as readable as I could to the Brazilian readership. I did not want to make a translation that would interest only specialists and academic researchers; I wanted to create a literary work that could have real artistic relevance and, therefore, I had to speak with a voice that would reach casual readers as well as trained medievalists and literary experts. How should I do that? How should I recreate Chaucer’s flow of poetic narrative in the most accessible way to Brazilian readers? Then it occurred to me: what if I take this medieval poem, rather unknown in Brazil, and mix it with some popular music and ôral poetry, to bring it closer to readers that might otherwise feel intimidated? That lead me to a crucial decision about a fundamental issue: rhyming. In Portuguese and Brazilian poetry, there are two main kinds of rhyme. The one considered most “literary” is the rima consoante, known henceforth as “complete rhyme”, which rhymes all the final letters of two words: batata and bravata, for instance. On the other hand, rima toante, which we may call “slant rhyme”, matches only the vowels: for instance, bagagem and verdade. Medieval troubadours in the Iberian Peninsula originally used slant rhyme. From the sixteenth century onward, however it lost favor. Complete rhyme became the more prestigious, literary choice. However, slant rhyme remained widely used in popular music and in popular oral poetry. Now, oral poetry in Brazil stems from the medieval “romances”, that is, rhymed narratives that were orally passed on from generation to generation in medieval Portugal. In many places of Brazil, there still exists what we could call a minstrel tradition, wherein poets will “improvise” lines or entire poems in front of the audiences. They are generally called “cantadores”, from the verb “cantar”, to sing. Oral poets or improvisators also have regional names. In the Northeast, they are called repentistas; in the South, pajadores. The pajador tradition is now disappearing, but I had the honor of meeting some of its last representatives – actually, I learned to rhyme and to make verse scansion with one of them.
As an example, consider these verses from a popular Southern song:
In literature, slant rhyme has been revived in the twentieth century by Cecília Meirelles, my favorite Brazilian poet, in her masterpiece “Romanceiro da Inconfidência”, that purports to recreate the intonation of the old “romances”, in a narrative poem that tells the story of an eighteenth century Brazilian insurgency against Portuguese monarchy.
For most of my translation, I used slant rhymes, to give Chaucer’s text the tone of a declaimed popular poem. It wasn’t an easy decision: more often than not, translations of classics in Brazil are made in complete rhyme. So, it was a rather risky choice to combine this very popular kind of rhyme with the decassylable verse, considered as very literary and solemn.
The decision to make Chaucer’s text legible did not mean making it Brazilian in perfunctory way. From the start, I kept in mind that I was translating fiction; I had to create a believable fictional universe, in which the reader could dive in and experience what Coleridge describes as a “momentary suspension of disbelief.” After all, one of the main principles of good fiction is establishing a balance between strangeness and familiarity. To make the Contos work not only as poetry, but also as fiction, I had to respect this axiom.
Bringing Chaucer closer to non-expert readers, therefore, did not mean neutralizing the strangeness of the Tales. I neither intended to water the Tales down, nor make them hermetical. I did not want the readers to feel they were reading a story set in Brazil because that would feel fake. My intention was not to subdue Chaucer’s medieval strangeness. On the contrary, I wanted, so to speak, to “medievalize” some portions of Brazilian culture, thus creating a fictional universe in which Chaucer’s world and my own would contaminate and transform each other, creating something new.
How was I to pull it off? The answer, once more, came from the culture of rural Brazil. Brazilian Literature has been marked by a set of loosely connected literary movements collectively called regionalismo, or regionalism. They represent Brazilian countryside and rural culture within a literary system that was (and is) mainly dominated by two big urban centers, São Paulo and Rio de Janeiro. Regionalism brought us some of the great classics of Brazilian literature, such as Grande Sertão Veredas by Guimarães Rosa, considered by many as the best Brazilian novel of all times; O Tempo e o Vento by Érico Veríssimo and Memorial de Maria Moura by Raquel de Queiroz. Among the short story collections, we have Contos Gauchescos & Lendas do Sul, by Simões Lopes Neto, arguably one of the best short story collections ever written in Portuguese; and the “Borderland” short stories of Sergio Faraco, a master story-teller whose masterpieces showcase the peculiar dialect of the Southern Frontier, a blend of Portuguese, Spanish and other linguistic influences.
Nowadays, however, many young writers have turned away from regional themes, seeking a language that can be easily translated into English and “universalized,” giving preference, thus, to urban, “cosmopolitan” literary themes.
Yet I did not want Chaucer to sound like a yuppie, but rather like a tongue-in-cheek, slightly old fashioned, worldly countryside gentleman of the old, sensual Brazil of yore. Why have I avoided modern, citified slang, in favor of regional idioms? My choice has to do with Brazilian history and with the reception of fiction and language among the Brazilian public. Brazil was still mostly rural in the early twentieth century. The country then underwent a sudden – and, some would say, rushed and incomplete – process of industrialization in the ‘40s. Brazil has been split in half by this process. Even today, the backcountry or interior is seen as the site of archaic ways of life and worldviews. Literature that wants to be regarded as “thoroughly contemporary” tends to focus on metropolitan lifestyles. (In my own efforts as a fiction writer, I have done exactly the opposite, mixing the urban, the rural and the scholarly. But that’s a different story.) Language that stems from the backcountry experience is immediately identified with the past. This rural past has a strange aura of imperfection and desire. In some states, local culture is deeply marked by a longing for the ancient, evanescent world of the pagus (a world that never really existed as we remember it). Therefore, backcountry words feel a bit old-fashioned, but close to us, nevertheless, and familiar in a strange way; they form the shadows of a past world that hasn’t left us and probably never will, a world under whose strange dominion we still exist. To create the idea of a world long gone, but at the same time real and strangely alive, I chose words taken from the culture of rural areas and placed it on dramatic passages of Chaucer’s poem.
Among the sources I used throughout are, of course, my own childhood memories, and some regionalist writers and the popular songbook of the South and the Northeast, including musicians Luis Gonzaga and Noel Guarani, as well as gauchoesque poems as Amaro Juvenal’s masterpiece Antônio Chimango.
As an example, let’s turn to a passage on the General Prologue, when Chaucer, after introducing the Somnour, gives us these lines about the Pardoner:
With him there rode a noble PARDONER
Of Rouncival, his friend and his compeer
Here, I have created a line that is not found in the original, but brings the Brazilian reader very close to those two characters – just as if they had met them on the street, or maybe heard some gossip about them, around the neighborhood:
Com ele viajava um VENDEDOR
D’INDULGÊNCIAS – garanto que era flor
Nascida no mesmíssimo canteiro
With him, traveled a Seller of Indulgencies.
Take it from me, he was a flower grown
in the very same flowerbed.
Here, I have combined two very well know Brazilian proverbs:
Proverb number one: Ele não é flor que se cheire – “He is not a flower to sniff.” Meaning: this guy is up to no good, stay away! He might seem seductive (a “flower”) but if you get close enough, you’ll notice the stench instead of the perfume.
Proverb number two: Eles são farinha do mesmo saco – “They are wheat flour from the same bag.” Meaning: they are birds of a feather, and are both equally bad.
Those are very old and very popular proverbs, used throughout Brazil, but they do not sound too modern, contemporary, or urban. So from these two well-known proverbs, I made one: They are flowers from the very same flowerbed.
Here’s another example: in The Franklin’s Tale, there’s a passage describing winter in Western Europe:
The bitter frosts, with all the sleet and rain,
Had killed the green of every garden-yard.
Janus sat by the fire, with double beard,
And drained from out his bugle horn the wine.
It was almost a guilty pleasure to produce the following translation:
Geadas e granizos fustigantes
Já mataram as plantas verdejantes;
Jano, com grande barba bifurcada,
Em uma longa guampa recurvada
Bebe vinho, sentado junto ao fogo.
Well, my personal touch here was to translate “bitter frosts” as “geada” and “bugle” as “guampa”.
Let’s begin with guampa. In “metropolitan Brazil,” the more accepted term for horn would be chifre, whereas “guampa” is very typical of the rural world. The word stems from the Quechuan huamparu and means horn or bugle. Bottles made of horn can still be found today in the rural regions. In the olden days, traveling gauchos would carry large guampas on their saddles, not only to store water but also liquor ‒ more specifically, canha, the Brazilian sugarcane rum. Therefore, drinking (water or alcohol) from a guampa is an image that can be easily found in local poetry and popular music.
Now, let’s turn to geada, or ground frost, a weather phenomenon common in the state of Rio Grande do Sul. Due to low altitudes, snow is rare, but in some winter dawns, the Brazilian pampas will wake covered in a white, thin layer of frozen dew. By choosing the southern idiom, I wanted to not only create an idea of a fictional past, but also to produce the feeling of a “Brazilian winter.” Of course, Brazil is stereotypically a tropical country, a civilization of scantily dressed people living in eternal seaside warmth. In some parts of the South, however, winter can be chilling. (Well, in relative terms…) I wanted Brazilian readers to identify with the Brazilian or South American idea of cold; I wanted them to picture – unconsciously – an old gaucho sitting by the fire, surrounded by the white pampa. So I put a guampa in the hands of old Janus, and I covered European December in a South American geada.
However, as I’ve stated earlier, I didn’t intend to create the illusion that the Tales were actually set in Brazil; the gist of my translation was the construction of a new fictional universe in which Chaucer’s voices resounded with new life –a linguistic world-building process, so to speak. In my search for ingredients to bring into the mix, I also drew upon medieval and courtly Portuguese literature. I interwove idioms and cultural morsels of Brazilian stock with vocabulary taken from works like Os Lusíadas, by Camões. Thus I mixed what was specifically Brazilian (the language of the Brazilian backcountry), with the specifically European (the Portuguese Middle Ages), endeavoring to create a seamless world in which to set these renewed Contos. Mixing the scholarly and the colloquial, the regio and the urbs, the down-to-earth and the archaic, I tried to produce a significant and cohesive (if diverse) whole, as if for a while Brazil did kind of have the Middle Ages within itself.
Now, let us turn to Shakespeare. In my translation of “Romeo & Juliet” I used a very similar method. Naturally, the way that method was applied and the results that unfolded thereby were very different from what happened with the Tales.
To begin with, I decided to use different kinds of verse throughout the play. The reason to do this was twofold. As I told you before, when translating Chaucer’s Tales, sometimes I would turn one couplet into two. I did this because Portuguese words tend to be longer than their English equivalents. Take, for instance, a very common word such as “man”. In Portuguese, you would need two syllables to say the same thing: “ho-mem”. And things can get worse: “head”, one syllable in English, demands three syllables in Portuguese: “ca-be-ça”. Portuguese metrics is based on the number of poetic syllables within a line. A decasyllable has a similar rhythm to the iambic pentameter, but generally holds less information. Because I didn’t want to trim important pieces of information, nor to create compressed, hermetical verses, I decided to duplicate lines when the need arose. The same strategy worked beautifully with Shakespeare’s blank verses. But when I got to the Sonnets or Sonnet-like passages in Romeo & Juliet, things got trickier. You cannot add lines to a sonnet, because then it would cease to be a sonnet. Therefore, in those passages, as I could not add lines, I decided to use longer lines. What I did then was to use what we call the “dodecassílabo” – a twelve-syllable kind of verse that might sound like an anapestic hexameter in English and is formally similar to the French alexandrin. Whereas the Portuguese decasyllable was the staple meter of epic poetry, the twelve-syllable verse is associated with with lyricism. It then occurred me that beginning Shakespeare’s greatest love story with a sonnet written in alexandrin would naturally please the Brazilian ear (and eyes).
The second reason to use two kinds of verse was that I wanted to create different tempos within the play: on one hand, the quick rhythm of intrigue and duel and gossip and masquerades and blood feuds unfolding on the streets; on the other hand, the deep rhythm of intimate speculation and mystical amazement and ecstasy and ominous anticipation. I wanted to impress the feeling that Time in fair Verona flowed too quick and too slow. That things happened in a way that couldn’t be correctly measured by the human mind, but only under the perspective of Eternity or the inscrutable Fate. That Time now washed over the characters as the lightning that is over before you can say “it lights”, and now slows down and resembles more a deep lake than a rapid river. That effect I created by the succession of meters. The play begins with quick-witted decasyllables, but slows down when the two lovers meet for the first time, and the more ponderous rhythm of the twelve-syllable verse gives a taste of eternity within the dizzying brevity of human drama.
As I had done with Chaucer, I also used Brazilian idioms and proverbs to convey Shakespeare’s wit and language play, but in a way that would not seem too obvious or heavy-handed. I wanted audiences to experience Shakespeare’s words and thought games as something urgent, touching, cheerful, disturbing and so on.
We all remember the famous lines where Romeo and Juliet talk about larks and nightingales. The usual translation for “lark” in Portuguese would be “cotovia”: it means
the European lark, exactly the bird mentioned by Juliet. There is, however, a much prettier word in Portuguese to designate a similar bird: “calhandra”. In Brazil, “calhandra” is also used to designate some local species of thrush, one of the most famous and widespread of all Brazilian birds. That happens a lot in Portuguese: an old Portuguese word, used to mean one thing in Europe, is used to refer to a different thing in the Americas. So, the word “calhandra” means something similar to the lark, but also other birds that exist only in Brazil: it is a kind of semantical bridge, and also a multitudinous bird, one bird that is many birds, simultaneously a very Brazilian bird and an exclusively European one, and therefore a point of confluence of the strange and the familiar. And, of course, the word “calhandra” is widely used on the borderlands where I was born. Using it to replace the traditional “cotovia” was one of many ways in which I left a kind of personal mark on Shakespeare’s immortal play.
A new translation is a way to keep a great text alive, but it can also become a means to echo other voices, that were not present in the original work. All the local cultures I just mentioned are more or less threatened. Some, like the Portuguese-speaking gaúcho culture of Southern Brazil, are already in the process of disappearing. The angel of History flies away with a silent, sidelong glance. In my work, I tried to retain at least a small glimpse of those fading worlds.
Many thanks to all of you.
” Dark-haired woman, let me tell you,/ I do want to change my ways. / I’m done playing around/ with girls of evil drinking, or wild carousing girls”. The song is “Louco por Chamamé”, by Mauro Ferreira and Luiz Bastos.
“A good cowboy from the Northeast/ will always die penniless,/ and his name will be forgotten/ in the deep backlands”.
Today’s Penn Humanities Forum seminar discussion centered on Kimberley Thomas’ study of failed water management efforts in Bangladesh. Her “hydro-social” framework reminds us of the difficulties of determining boundaries and “ownership” of fluid cultural artifacts. Because of this fluidity, we face difficulties when we approach a source text thinking we already know what it means. The source might make no effort to be either complex or coy, yet because the translator approaches it with partial or tainted knowledge, the translation ends up misleading and no one understands (at least initially) that the communication misfired. When we embrace the fluid nature of the source text, then identifying these misfires in a translation allows us then to return to the source text to see how we might have also been victims of partial or tainted knowledge.
On 2 and 3 February 2017, Global Chaucers’ ambassadors, Jonathan Hsy and Candace Barrington, traveled to the University of Virginia in order to speak to the Scholars’ Lab and the Medieval/Renaissance Colloquium about “Digital Hospitality” on Thursday afternoon, and to lead a roundtable on “Linguistic and Cultural Hospitality” with the Medieval/Renaissance Colloquium on Friday morning. In addition to the two events’ lively Q&As, we enjoyed ample opportunities to enjoy rich conversations with UVa faculty and graduate students before and after the scheduled sessions. Their probing questions and thoughtful suggestions helped us think about some of the next steps available to Global Chaucers. All in all, the two days became less about what we shared with our UVa colleagues and more about the unusual luxury of measuring Global Chaucers’ development thus far and assessing the directions it could take in the future.
When we started this blog in September 2012, we didn’t really know what direction our fledgling project would take. We were uncertain about what sort of global Chaucers were out there—and we certainly didn’t know how we could respond to what we did find. And though we had a website with a list of the translations and appropriations we had tracked down, it wasn’t entirely clear to us that we had a Digital Humanities project.
While we still aren’t certain the directions Global Chaucers will take, we now realize we have a viable DH project. Beyond the ongoing blog reports and the initial catalog of print texts, our website takes advantage of its ability to provide links to graphic novels, poetic performances, translators’ readings, spoken word and standup, and non-spoken languages (such as ASL). Our principles of digital hospitality and openness require, however, that along with embracing the inherent advantages of a digital archive we must also acknowledge and address the unanticipated challenges figured by two curious examples we’ve encountered.
In April 2015, we were pleased to discover a tweet by Sarah Bickley with her exciting, playful, and brilliant emoji translation of the first 20 lines of the General Prologue. We reached out to her, asking her permission to post on the site and added this screenshot with the link. This act of emoji translation—which went viral on twitter over the next week or so—invites such fascinating questions as “are these lines legible to anyone who isn’t already familiar with the GP?” In any case, our archiving of this tweet through a blog post demonstrates one downside to digital communication: its transience. Since the posting of this link, Sarah has since closed her twitter account, and the snapshot that now remains on the blog is a ghost of its former viral life.
On the first Whan That Aprille Day in 2014 (encouraged by the Chaucer Tweeter, LeVostreC), we posted the opening lines in twelve different languages. Some of the non-Roman scripts did not display well, so we took screenshots and posted them online. What we have discovered, though, is that the pleasure of encountering the text in an array of unfamiliar scripts and tongues is not accessible to all. One of our collaborators is blind, and she uses a screen reader to access online material; that device cannot read non-English texts or scripts. Moreover, image files without alt-text are completely inaccessible (there might as well be nothing there). The screen-grabbed emoji poem is likewise completely inaccessible for her at present. Likewise, any audiovisual materials hosted on our site are currently inaccessible to Deaf or hard of hearing visitors unless we embed captions. What might seem like digital openness to many can end up excluding some.
Just as the principle of digital hospitality requires us to rethink our digital presence, the principles of linguistic and cultural hospitality also require us to reconsider how we imagine Global Chaucers and its collaborators. We began thinking that we would be creating an archive of data and texts that we would then analyze and disseminate. Although we remain the project’s primary ambassadors, the active interest and participation of other scholars, translators, and enthusiasts means that we shouldn’t resist participants ready to take Global Chaucers in new directions. Not only does information want to be free, so do the voices and data assembled under the Global Chaucers rubric. We hope that the project becomes multi-faceted, with some of its aspect thriving without our direct involvement.
So what are some of the new directions that our UVa conversations helped reveal?
It’s time to rethink our initial parameters of “post-1945 translations and appropriations of The Canterbury Tales.” Our catalog now includes translations of and engagements with Troilus and Criseyde, The Parlement of Fowles, and Chaucerian lyrics; and the catalog spans works from as early as the sixteenth century.
Our catalog is diverse enough to justify bringing in colleagues with coding expertise, so that we can creating a database coding our collected information about the various translations—languages, translators, tales, dates, and source texts, for instance. That database will then be used to do more outwardly visible work, such as classroom-friendly mapping projects.
We need to determine the best way to archive the various forms of graphic, visual, and audiovisual media, including the possibility of a new infrastructure for such material. If Global Chaucers is to encourage an inclusive dialogue about Chaucer as well as more to provide more routes of access that allow us to discuss problematic aspects of his verse, then we need better ways to archive and present information.
We need to consider if its desirable to switch the Global Chaucers site into a maker space rather than a user space. If we decide to move in that direction, then we will need help to make the change.
Although we are not certain about the shape Global Chaucers will take, we are confident it will adhere to its initial values of digital, linguistic, and cultural hospitality despite the challenges those values might pose. For these reasons, we were gratified to learn that our UVa colleagues shared not only our enthusiasm for Chaucer’s global reception but also our commitment to creating a global community.
Thank you Justin Greenlee, DeVan Ard, Zach Stone, Bruce Holsinger, Elizabeth Fowler, Anna Brickhouse, and the Scholars’ Lab staff for your gracious hospitality and for the opportunities to share our work and to learn from you.
In her 8 November presentation “Crypto-Monolingualism: Machine Translation and the Poetics of Automation,” Avery Slater challenges us to consider the ways machine translation has relied on efforts to locate, nay create, a singular language that eradicates impediments to communication caused by linguistic diversity. In pursuit of this goal, proponents of machine translation ignore the fact that linguistic messiness starts with individual languages. Although that messiness complicates translation, it is not caused by translation.
In its earliest iterations, machine translation sought a way to account for, reign in, and even take advantage of the paradoxes of informational entropy. On the one hand, an unambiguous event can be easily conveyed because it contains a limited amount of information. On the other hand, an ambiguous event, while more difficult to convey because it contains more information, can also be a compact and efficient vehicle for conveying that load of information, a realization which poets have long relied.
In order to circumvent and circumscribe informational entropy, machine translation initially sought a mono-language identified as a “new Tower of Anti-Babel,” whose desideratum seems closer to an Ante-Babel, that mythical period before linguistic plurality. Reaching this desired mono-language meant more than a simple unified linguistic experience; it also promised to eliminate equivocation and ambiguity. This natural generative language (NLG) becomes the code into which all languages can be re-encrypted. Moreover, each utterance in this language would point to a single, predictive meaning.
By integrating statistical models into their algorithms, more recent forms of machine translation would seem to have abandoned the formulaic substitutions based on dictionary definitions and syntactic rule books. And yet, as I discovered when I typed in, word-by-word, Catullus’s Poem 101, I initially received a predictably awkward rendition of the poem’s lines. Halfway through, however, those lines disappeared and were replaced by a crafted translation of the lines. I haven’t yet found their source—a 100% match did not appear when I googled the translated lines—but they are not the same as the one provided by the initial algorithm. Instead, they reach into the internet, filching how others (most likely humans) have translated those lines. What I was given felt closer to the results that would have been provided by the person hidden inside Benjamin’s deceptive chess-playing machine.
The quest for reliable machine translation seems partially propelled by fear of the fallible, “wrongly” biased translator. As Slater discusses, however, even the most mechanized translation devises embed the biases of their designers. And the latest translation software that relies on human translators cannot escape the preferences of certain powerful groups of translators.
Of course, these “failures” are not really failures, for all they do highlight what makes language such a fascinating and endless source of study: its essential aleatory nature that allows it to convey information both compactly and expansively, efficiently and gloriously inefficiently.
For these reasons, I’m enthralled by the parlour game of translation tag that retranslates translations through google translator. Here, I begin with a Modern English translation of the first four lines and then retranslate it into Afrikaans, Albanian, Amharic, Arabic, and Armenian. For Afrikaans, I provide only the translator’s rendition into Afrikaans and then back translated into ModEnglish. For the other four, I first provide the translation from ModEnglish into the receiving language and then the back translation into (just as I did with Afrikaans). Beneath that is the translation from the language just above it and its back translation into ModEnglish. Thus, the third entry under Albanian is the translation from Afrikaans (rather than from ModEnglish), and the fourth entry is the back translation into ModEnglish.
When April’s gentle rains have pierced the drought of March right to the root, and bathed each sprout through every vein with liquid of such power.
Wanneer sagte reën April se die droogte van Maart reg deurboor om die wortel en gebaai elke spruit deur elke aar met vloeibare van so ‘n mag.
When pierced soft rain, April’s drought from March right around the root and bathed every stream through each ear with liquid of such power.
Kur shirat e butë të prillit kanë shpuar thatësirë e marsit të drejte në rrënjë, dhe bathed çdo dal nëpër çdo mënyrë me të lëngshme e fuqi të tillë.
When soft April rains have drilled the March drought right at the root, and bathed every pack in any way with such force liquid.
Kur shpuar shi të butë, thatësira prillit nga mars djathtë rreth rrënjës dhe i larë çdo rrjedhë nëpërmjet çdo vesh me lëng e fuqi të tillë.
When perforated soft rain, drought from March to April, right around the roots and wash each flow through each ear with such force juice.
Right around the roots, from March to April, soft rain, drought surgery to power wash with juice in each ear through each flow.
عندما الأمطار لطيف في ابريل نيسان قد اخترقت الجفاف من حق مارس إلى الجذر، واستحم كل برعم من خلال كل عرق مع السائل من هذه السلطة
When the rain really nice in April, has penetrated the drought of March to the right of the root, and bathed each bud through every race with the liquid from this authority
الحق حول جذور، في الفترة من مارس إلى أبريل المطر الناعمة، جراحة الجفاف لغسل السلطة مع عصير في كل أذن من خلال كل التدفق.
Right around the roots, in the period from March to April of soft rain, drought surgery to wash power with juice in each ear through the whole flow.
Երբ ապրիլյան Նուրբ անձրեւները պիրսինգով երաշտի մարտի իրավունքի արմատի, եւ bathed յուրաքանչյուրը բողբոջել միջոցով ամեն երակային հեղուկ նման իշխանության.
When drought root March April Gentle rains pierced right through every vein and bathed each sprout like fluid power.
Ճիշտ է շուրջ արմատներին, ի մարտից մինչեւ ապրիլ փափուկ անձրեւի, երաշտը վիրահատություն է լվանում իշխանությունը հյութի յուրաքանչյուր ականջին ամբողջ հոսքը:
Right around the roots, from March to April in the soft rain, drought surgery to power wash the entire flow of juice in each ear.
I’m not certain why Amharic, the ancient Ethiopian language, would be the one to introduce such modern notions as surgery and power washing, but am certain that the insights gained through such a game are limited. Obtaining the insights revealed by translation requires a deeper knowledge of language than currently available via machine translation.
Earlier this year, we began a delightful correspondence with Lian Zhang, a graduate student of Dr. Minghan Xiao, professor of English and American literature in Hunan Normal University. Lian’s extensive research on Chaucer’s Chinese reception has opened up many exciting new avenues of interpretation, but for now Lian has agreed to share a tantalizing tidbit: the myriad choices (and dilemmas) facing a translator needing to render Chaucer’s name in Chinese.
We think you will enjoy this small yet fascinating window into the complexities of translating Chaucer’s Middle English text into Chinese.
Confucius says: “If terminology is not corrected, then what is said cannot be followed. If what is said cannot be followed, then work cannot be accomplished” (名不正，则言不顺；言不顺，则事不成). Chinese people attach great importance to their names. A Chinese name suggests both family inheritance and good wishes for the person. The surname is put first to show respect for ancestors, and the given name is after the surname and generally indicates family’s expectations. Take Bai Juyi (白居易) (772-846 AD), a great poet in the Tang Dynasty, for example. “Bai” is his surname, and “Juyi” means living an easy and comfortable life, a simple and sincere hope from his family. What is different from the western tradition is that Chinese rarely name their children after their ancestors or relatives. The given names of the ancestors would always be taboo words for the descendents. Du Fu (杜甫) (712-770 AD), the Poet Sage (诗圣) in the Tang Dynasty, for instance, wrote poetry for over thirty years and never used the word “xian” (闲), meaning free and casual, a very poetic word in Chinese, simply because it is his father’s given name. Du has also been reputed as never mentioning Chinese flowering crabapple (海棠), a plant often praised in classical Chinese poems, as it relates to his mother’s maiden name. In addition to a surname and a given name, Du also had a style name “zi mei” (字“子美”), and an assumed name “Shaoling Farmer” (号“少陵野老”). While a style name is usually given by the family when the person is young and generally indicates family’s good wishes, an assumed name is more often decided by the person himself.
With such a rich history of naming culture behind, Chinese scholars would take translations of Chaucer’s name seriously. The name “Chaucer” has been translated into many versions, either a Chinese full name (with both a Chinese surname and a given name) or just a given name or an assumed name with all good meanings. Chaucer was named as “shao sou” (邵叟), “que sou” (却叟), “chuo sai” (绰塞), “qiao sai” (乔塞), “sao sai” (骚塞), “chao sai” (巢塞), etc, and all of these translations just deal with his surname “Chaucer”. One version including his full name is very auspicious as “qiao sai ji fu lai” (乔塞·极福来), which sounds close to the full name “Geoffrey Chaucer” and means “supreme blessing for Chaucer”. Yet a mistake occurs here, as the given name and the surname are put in the opposite order in the translation. The most commonly used translation for his full name to this day is “jie fu li qiao sou” (杰弗里·乔叟). The above mentioned name “sao sai” (骚塞) is also interesting, as “sao” refers to poets or literary men in classical Chinese, and likely originates from Li Sao (离骚) by Qu Yuan (屈原) (340-278 BC), one of the greatest patriotic poets in ancient China. Thus this name not only has a similar pronunciation but also suggests Chaucer’s literary achievements in history.
In 1913, Sun Yuxiu first introduced Chaucer into China, and translated his name as “xiao su” (孝素), two Chinese words with very good meanings. “Xiao” means filial piety, which is regarded as the most important of all virtues in traditional Chinese culture. “Su” suggests simple, plainness, and quietness. The two Chinese words combined sounds like the surname “Chaucer” in pronunciation, but this combination is more like a Chinese given name, or a style name.
From 1916 to 1925, Lin Shu and Chen Jialin published translations of nine of Chaucer’s Canterbury tales. In the translation for the Wife of Bath’s tale, Chaucer’s name was introduced as “cao xi er” (曹西尔). “Cao” sounds like “Chau-” in Chinese, and is a typical Chinese surname. This surname dates back to the days of the legendary Huangdi Emperor in the third millennium BC, and even today millions of Chinese people still bear this surname. “Xi” means west, an emphasis on Chaucer’s origin, and “er” could be taken as a mood auxiliary word in classical Chinese. Thus Chaucer got a full Chinese name here, with a Chinese surname and a given name indicating the poet’s origin.
Chaucer’s name was more commonly recognized in China as “qiao sou” (乔叟). “Qiao”, a Chinese surname, sounds like “Chau-” in pronunciation, whileas “sou” sounds like “-cer” and means an old and wise man in Chinese, an image close to Chaucer’s portrait we have nowadays. This name is like an assumed name of the poet, as it suggests his profession or social status. It is through Fang Zhong’s influential translation of Chaucer’s works that this name has been made widely known in China. It is also the commonly used name by Taiwanese scholars.
Another Chinese name for Chaucer worth noting is “zhao sou” (赵叟), used by a couple of contemporary Chinese scholars. “Zhao”, or “Chiu” in Hong Kong, “Chao” or “Chau” in Taiwanese phonetics, sounds like “Chau-” in Chinese, and “sou” seconds what the word in “qiao sou” means. Moreover, “zhao” was the surname of the emperors of the Song Dynasty (960-1279 AD) in China, thus the so-called surname of the state, and the most respectable surname for this period. Even today, “zhao” is among one of the most borne surnames in China. The Chinese emperors in ancient time would grant his loyal servants or brave soldiers the surname of the state, and the one who received this huge and rare honor would abandon his original surname. Chaucer, who also lived in the medieval world, would have found it a wonderful experience if he knew he was granted with the Song emperors’ surname.
Chaucer’s life stretched over sixty years, from the end of the Yuan Dynasty (1271-1368 AD) to the beginning of the Ming Dynasty (1368-1644 AD) in Chinese history. While the Yuan Dynasty was ruled by Mongolia Chinese and it is a little bit difficult to match their long Mongolian surname with Chaucer, I find the Ming emperors’ Han Chinese surname, “Zhu” (朱), or “Chu” in both Hong Kong and Taiwanese phonetics, a more suitable match, and we could only imagine how glad Chaucer would be as he is granted with an emperor’s surname of his living days.