Impetus
Often the translator concentrates on
the poem itself and disregards the process of writing the poet had
gone through. Of course, most of the process is even more hidden from
us than it was from the author himself. Yet the impetus (not the
reason or the goal) is always visible. What made the poet even
consider writing is always plain in the original poem, but might be
missing in the translation. This gives translations a certain vacuous
air of mystery praised by some, but I think better done without. Not
infrequently a poet feels like writing a poem because a certain
precious find visits his mind which is always playing with words. For
example, one fine afternoon it occurred to Mandelshtam that there is
very little difference between Russian words "brendy" and
"bredni" , furthermore, one can lead to the other. This made
him play a game leading to the creation of:
Ya skazhu tebe s poslednei
Priamotoi:
Vsio lish bredni, sherry-brendy,
Angel moi!
Therefore no meaning-based translation
of the word "bredni" will work on the level of the poem as a
whole, no matter how adequately it works locally and texturally,
unless similarity of words or something else translates the impetus
(or creates a new one). A translator would be justified in changing
the meaning to preserve the impetus, or its existence. Thus, "All
goes badly, sherry-brandy" or "All is dandy,
sherry-brandy" are better translations in this sense than a more
true to meaning "All is but ravings, sherry-brandy". The
first two utterances, though decidedly silly, could conceivably give
someone the impetus to write something, while the third, perhaps more
reasonable, could never do so, and anyone choosing this path would end
up with readers wondering: "Why would anyone want to write
this?" This issue exists in most poems, though often the poetic
impetus is harder to identify and easier to translate than in the
given example. This mainly occurs in poems whose reason to exist is
partially semantic and partially phonetic, like Pushkin's
Druzia moi, prekrasen nash soyuz,
On kak dusha nerazdelim I vechen.
motivated by a mixture of the powerful
image of the soul being indivisible and eternal at the same time, and
the sound of "nerazdelim I vechen", the phonetic and the
semantic aspects of the phrase combining with extraordinary sweetness
both within the modality and across it.
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