Horace: Ode 1.13

When I was considering which poem to translate for the Times Stephen Spender Prize (for poetry in translation), this particular Horace Ode caught my eye, as it captures the almost maddening effect of romantic jealousy.

The original Latin text of Horace’s Ode 1.13 can be accessed here (link to the Perseus Digital Library).

My translation:

Ah, Lydia! Bile floods
Harsh within my angry heart
When you praise Telephus’ neck and arms,
Rosy, supple

I feel my mind slip
And, on my paling face, tears slide
Down my cheeks discreetly; inside, fires
Blaze, slow,

Burning. I see you,
Shoulders white bruised black in drunken
Brawls; the brutal youth has scarred
Your lips.

If ever you’ll listen,
Hear this: don’t hope that kisses sweet
Can flourish in love’s dew, amid wounds
Cruel, savage.

But you’ll be thrice-blessed – more –
If held in love’s unbroken bonds
Enduring, untouched by strife, until
Your last days.

Horace’s Ode 1.13 struck me as a simple yet emotive attempt to convey the feelings of a jealous lover. The structure of the poem – initially outlining the feelings of the poet, then exploring the infidelity of his lover and finally delivering a warning to her – is simple, yet carries emotional depth and power.

A common problem in translating Latin to English is conveying the concision of the Latin language. Latin’s case structure allows it to express meaning in few words; attempting to convey this in English can create problems with producing a tight metre, as words must be added to cover the full breadth of the original meaning. I chose to avoid this problem by moving away from the metre of the Latin, producing a translation which, although separated into stanzas of equal length, resembles free verse in the structure of the lines. I tried to give each stanza more emotional power by condensing the final line into two or three words.

I have sacrificed some elements of literal translation in order to produce a translation which conveyed the subtle emotional variations in the original. Omitting “memorem dente” leaves more emphasis on the harsh ugliness of “scarred”. I chose to translate “iecur” as “heart” in order to increase the emotional power of the translation. I also decided in effect to reorder the first four lines, in order to emphasise the narrator’s physical reaction (“fervens difficili bile tumet iecur”). An area of the poem which I felt was open to the translator’s interpretation was “nec color / certa sede manet”. I decided to translate this as “my paling face”, considering this justified in view of the striking contrast with the fires (“ignibus”) blazing within the narrator. I coined the neologism “paling” as a more surprising word to convey the poet’s heartbreak.


Return to an old friend: Catullus 3

Why have I entitled this post “Return to an old friend”? Essentially, I have previously attempted to translate Catullus 3 (while this blog was still in its infancy) but never quite managed to produce a translation with which I was completely satisfied. When I tried to produce a rhyme scheme, I ended up with a stiff, contrived metre with little emotional effect. I also never really managed to find the right register – not helped by my habit of including somewhat archaic English. However, more recently I created this new translation, which I felt was more satisfactory, though certainly not perfect.

Below is the text of Catullus 3 (taken from the Perseus Digital Library: http://www.perseus.tufts.edu/hopper/text?doc=Catul.+3&fromdoc=Perseus%3Atext%3A1999.02.0003)

Lugete, o Veneres Cupidinesque
et quantum est hominum venustiorum!
passer mortuus est meae puellae,
passer, deliciae meae puellae,
quem plus illa oculis suis amabat;
nam mellitus erat, suamque norat
ipsa tam bene quam puella matrem,
nec sese a gremio illius movebat,
sed circumsiliens modo huc modo illuc
ad solam dominam usque pipiabat.
qui nunc it per iter tenebricosum
illuc unde negant redire quemquam.
at vobis male sit, malae tenebrae
Orci, quae omnia bella devoratis;
tam bellum mihi passerem abstulistis.
o factum male! o miselle passer!
tua nunc opera meae puellae
flendo turgiduli rubent ocelli.

My translation:

Weep, Venuses! Weep, Cupids too!
You men who claim to be sympathetic – weep!
My girl’s sparrow is dead – that sparrow,
Belonging to my darling girl,
Whom she loved more than her own eyes:
For he was sweet – sweet as honey – and he knew her
Just as well as a girl knows her mother;
Nor did he ever flit away from her lap – he hopped around,
Now here,
Now there,
Chirping ceaselessly, to his mistress alone.

Now he drifts away, down that path of shadows.
They say he’ll never return – that nobody returns
From the dark shadows of Hell – a curse upon them!
A curse upon those shades,
Who devour all beautiful things,

And who took away such a beautiful bird from me.
Oh, evil deed! Poor bird!
It’s because of them that my girl’s eyes
Grow red, and swell,

This translation continues my recent experiment with a comparatively loose, free metre and varied line lengths. This is perhaps harder to justify here than with my previous translation of Ovid’s Fasti 295-310. Catullus 3 is what would today be called a solemn elegy, commemorating the death of a beloved pet, and therefore perhaps calls for a more solemn, steady metre. However, I think it possible to justify my interpretation. This poem, as well as commemorating the death of the sparrow, describes the grief felt both by the poet and by the sparrow’s owner (who can be identified with Catullus’ mistress, Lesbia) strong emotions such as grief can arguably be expressed using a fluctuating, varying metre, while the frequent caesuras and breaks in the syntax in my translation are also mimetic of the pain caused by grief.

I should admit that I took liberties with the original poem at some points. Perhaps the most controversial aspect of my translation would be my treatment of the second line: “quantum est hominum venustiorum” I rendered as “You men who claim to be sympathetic”, and added an emphatic third repetition of “weep!” (forming a tricolon in the translation, whereas the original poem only includes one “lugete”). Not only does my translation turn “venustiorum” into “sympathetic” (in itself a controversial rendering, losing the intriguing double meaning of “men of Venus”/”men of charm”); it also adds an ironic twist to these words, implying that it expects them to prove their sympathetic characters by weeping. The reason I liked this interpretation was that it added an edge of bitterness to the tone of my translation from the beginning: a bitterness that recurs when the poet curses “malae tenebrae / Orci”.

Unfortunately, just as I was unable to capture the double meaning of “venustiorum”, my translation also loses the possible double meaning of “solam”, which seems to me both to refer to the sparrow’s special love for his mistress (he chirps only to her), and to foreshadow the loneliness of the girl after the sparrow’s death. I feel that using the word “alone” (as other translators have done), is probably the best way to capture both these meanings in English. Of course, I may well be reading too much into the original Latin – perhaps this double meaning is not actually present in the original!

Ovid: Fasti 295-310: a translation

National Poetry Day UK 2012 takes place on Thursday 4th October.


And the theme for this year’s National Poetry Day is “stars”. So I began searching for a piece of Classical poetry, relating to this theme, which I could translate. My eye at last settled on a section from Ovid’s Fasti (295-310 – original text taken from the Perseus Digital Library):

Quis vetat et stellas, ut quaeque oriturque caditque,
dicere? promissi pars fuit ista mei.
felices animae, quibus haec cognoscere primis
inque domus superas scandere cura fuit!
credibile est illos pariter vitiisque locisque
altius humanis exeruisse caput.
non Venus et vinum sublimia pectora fregit
officiumque fori militiaeve labor;
nec levis ambitio perfusaque gloria fuco
magnarumque fames sollicitavit opum.
admovere oculis distantia sidera nostris
aetheraque ingenio supposuere suo.
sic petitur caelum: non ut ferat Ossan Olympus,
summaque Peliacus sidera tangat apex.
nos quoque sub ducibus caelum metabimur illis
ponemusque suos ad vaga signa dies.

And my translation, as follows:

Let me tell you about the stars – as I promised –
Their rise,
And their fall.
Fortunate spirits, who first dared to aspire
To higher places:
Higher than faults, higher than base human frailties
They raised their heads.
Greater beings, untouched by wine, by love,
By soldiers’ struggles –
Common concerns! –
Nor drenched by the sweat of baser goals, nor attracted
By the lure of glory, of wealth…

To our poor eyes they brought the distant stars;
The heavens set beneath their power.
For thus the sky is touched.

No longer must great mountains stretch
To touch their peaks to the bright, distant stars:
Like trailblazers long past, I too shall chart
And to their places I shall bind the stars.

Structurally, my translation is perhaps only loosely linked to the original text. I chose to write in a free metre, varying line length to play with emphasis. Arguably, I have lost the regular metre of Ovid’s original elegiac couplets as a result. I feel, however, that such a poem in English does not necessarily call for a regular metre, since part of the theme hints at surpassing the monotonous regularity of daily life.

Admittedly, some aspects of my translation are not necessarily seen in the original. I translate the very first sentence only loosely, since I felt that a literal translation would produce a defiant, almost abrasive tone. Instead, with my translation I tried to introduce a more lyrical, gentle tone from the very beginning. Later, “the sweat of baser goals” was a metaphor I added, aiming to outline more emphatically the contrast between those who chart the stars and the rest of humanity. “Ossan Olympus / summaque Peliacus” are summarised as “great mountains”: I felt that using the original names of these mountains might seem overly archaic, while a reference to Mt. Everest or equivalent would seem contrived. That said, my translation loses the tricolon produced by the use of the mountains’ names in the original Latin.

Any comments, suggestions or criticism welcome!

Turning Horace into a sonnet

A little while ago, a visitor to this blog requested a Horace Ode. Here is Ode 1.11, which I have just translated: I decided to translate it into the form of a sonnet (the rhyme scheme below is that of a Shakespearean sonnet). This Ode is, I think it is safe to say, fairly well-known; in particular the expression “carpe diem” which is most often, as below, translated “seize the day”.

The original Latin of Ode 1.11 (from the Perseus Digital Library) can be accessed here: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%253Atext%253A1999.02.0024%253Abook%253D1%253Apoem%253D11

My translation:

May you not have asked to see
(For knowing this is evil true)
What end the gods have planned for me;
What fate, Leuconoe, they grant you.
Far best to bear whate’er takes place,
Not try the maths of Babylon.
More winters yet you could embrace;
Or Jupiter might give only one
Which drives the waves on the pumiced shore.
Be wise, strain wines: with this short time
Forget the prayers that hope for more.
Jealous life is no longer in its prime.
But for now, you must seize the day;
Trust not the time that flies away.

The most obvious question that can be asked of this translation is: why did I choose a sonnet? Producing a sonnet is an exciting technical challenge: in this case, I wanted to see if the message contained in a poem of only eight lines could be expanded into the fourteen-line structure of a sonnet. I very often try to impose a rhyme-scheme or similar structure onto translated Classical poetry: although technically more complex, this sonnet is not such an unusual concept for me to use.

Clearly I made some concessions in creating a reasonable translation within this structure. I added “true” in the second line, with no real justification other than creating a rhyme with “you”. Translating “finem” separately as “end” and “fate” perhaps makes this word work a little too hard. Another potentially slightly tenuous translation is “pluris” rendered as “more” (it seemed metrically neater, although admittedly less accurate, than “many”). As well as omitting “Tyrrhenum”, I do not feel I quite managed to convey the power of the image of winter “quae nunc oppositis debilitat pumicibus mare”. Later, the original Latin created an emphatic juxtaposition with the enjambment of “spatio brevi / spem longam”: I did my best to replicate this by placing “short time” at the end of its line, but the full effect of the original enjambment proved difficult to reproduce. Finally, I think the metre of my translation (it starts in a fairly regular iambic tetrameter) falls apart a little towards the end.

However, I do not want this to turn into a catalogue of everything that is wrong with my translation! I feel pleased that I managed to turn this Ode into a reasonable attempt at a sonnet. My translation contains two recognisable quatrains in the first eight lines. Although it does not quite fit the traditional Shakespearean change in theme at the third quatrain, the words “Be wise, strain wines” later seem to signal a change in overall tone of the poem, which allows it to fit loosely into this format.

More Catullus: 70

Another foray into translating Catullus. The original Latin of Catullus 70 (from the Perseus Digital Library) is here:

nulli se dicit mulier mea nubere malle
quam mihi, non si se Iuppiter ipse petat.
dicit: sed mulier cupido quod dicit amanti
in vento et rapida scribere oportet aqua.

And my translation:

My lady says that she’d prefer
To wed no other man than me,
Were Jupiter himself to woo.

She says; but what a lady says
To ardent lovers, should be writ
In the wind and flowing wave.

In terms of content, a link between this poem and Catullus 72 (translated earlier on this blog) can clearly be seen. Both portray the poet’s changing attitude towards his love (referred to in 72 as “Lesbia”), although this is less explicit in 70: they begin with Lesbia’s assurances of her faith to the poet, and then demonstrate how the poet has begun to mistrust her. Both employ the image of Jupiter as a rival to the poet for her affection. This similarity extends also to structural features: both poems seem to fall naturally into two halves, highlighting fundamental changes in the poet’s opinion of his love.

In terms of technical achievement, I am rather pleased with my translation: it reads very smoothly in iambic tetrameter (with the final line varying only slightly from this metre). However, it seems to me that certain aspects of the original Latin have been lost. I could find no way of replicating the emphatic “nulli” at the beginning of the first line, without compromising the evenness of my English translation.

I think I am justified in extending the translation, transforming a four-line poem into two verses of three lines each. I do not feel that the original poem is fast-paced; instead, I think that it is a reflective, thoughtful poem, which can best be conveyed with a slow pace. The original Latin contains emphatic enjambments: “malle / quam mihi” and “amanti / in vento”. Adding more lines will inevitably change the number of enjambments present, but I endeavoured to maintain their nature: “prefer / to wed” and “writ / in the wind” have a similar effect to the enjambments in the original Latin.

The style of my translation can be described as archaic, almost Shakespearean. Words that stand out as examples are “wed”, “woo”, “writ” and possibly “ardent”. I felt that this creates a more wistful, nostalgic tone. Because, in our imagination, such words are often linked to courtly love and romance, I am suggesting that the poet is longing for a time when he trusted what his love said to him.

Catullus 72

Well, I did warn you that most of my blog posts would be literature-based!

But before I start…

Very possibly the cutest book I have ever seen. (Apologies for the low image quality)

Recently, I have been translating more Classical poetry, with a focus on the poetry of Catullus. One poem which I particularly enjoyed was Catullus 72, but before I produce my effort to translate it, I will outline my philosophy regarding the translation of Classical poetry. I have always approached this area with perhaps a little more freedom and creativity than a purist would approve of. My usual objective is to try to elucidate the poet’s emotions, and focus on conveying them, using as far as possible equivalent vocabulary and structures to those used by the poet. Essentially I think that, if anything will be “lost in translation”, it should be the vocabulary and structures – not the emotion they contain.

 Original Latin (Perseus Digital Library): http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0003%3Apoem%3D72

My translation:

Once, Lesbia, you used to say
‘Twas only I that knew you.
Instead of me, you would not choose
Jupiter to possess you.
Back then, not as the mob prizes
Their girls did I adore you:
Instead, as fathers sons-in-law
And sons, I found I loved you.
But now I know you. Though I burn
More powerfully for you,
Yet, to me, much cheaper now
And far less worthy are you.
How can this be, you ask? Such injury
To one who loves you
Drives him to love you more, but be
No longer a friend to you.

Catullus 72 is characterised by fascinating dichotomies: present emotion is set against past feeling, and carnal love juxtaposed with affectionate friendship and familial love. I think that my translation is for the most part successful at drawing this out. Rendering the imperfect “dicebas” as “you used to say” underlines this word as a reference to the distant past; meanwhile, my placement of “Once” at the beginning of the poem replicates the effect that “dicebas” has in the equivalent position in the original. Later, “Back then” again serves to reproduce the position and effect of a past-tense verb. An important creative decision I took in the first half of the poem was to add “I found”, which is not in the original. This adds what is almost a note of surprise to the revelation of Catullus’ feelings for Lesbia. I also decided to turn Catullus’ use of his own name (in line 1) into simply “I”, which I felt was needed in an English translation to convey adequately its personal nature.

While the first half of Catullus’ poem seems to flow smoothly, the second half – which shifts abruptly to the present tense – is fragmented by caesuras in the 5th and 7th lines, conveying Catullus’ confusion and pain. Adding “But” to the very beginning of the second half was my way of conveying the force which “nunc” carries, itself placed at the beginning of its line: this is vital for emphasising the division between the two halves.

What to me stands out the most about my translation is the hypnotic repetition of “you” at the end of every second line. I intended this to capture what I felt was the spirit of the poem: the subject matter is remorselessly focused on Catullus’ fluctuating feelings for Lesbia. Indeed, this is particularly striking during the first half of the poem, with the word “you” appearing in conjunction with words connoting powerful emotions. Examples are “knew you” (with “knew” perhaps meant in a Biblical, carnal sense, as referenced by Godwin – see my bibliography below), “possess you”, “adore you”, and the simpler and heartfelt “loved you”. Perhaps surprisingly, the recurrence of “you” required little freedom of translation: it appears so frequently in the original Latin that excessive creativity proved unnecessary.

Overall, it now occurs to me that this is not such a good example of my approach to the translation of ancient poetry! Unusually for me, I made little change to the words used by the poet, but managed to convey the emotions he felt in what I hope was an effective manner. I also took the opportunity to add a minor innovation of my own, by making every second line end with “you”.


n.b. the ideas above specifically concerning my translation of Catullus 72 are, of course, my own. I referred, however, to the book edited by John Godwin and the journal article by John T. Davis for some extra depth of analysis of the original. I have also cited the Perseus Digital Library, whence I obtained the original Latin text.

Catullus. Catullus: The Shorter Poems. Ed. John Godwin. N.p.: Aris & Phillips, 1999. Print.

Crane, Gregory R., ed. “C. Valerius Catullus, Carmina 72.” Perseus Digital Library. Tufts University, n.d. Web. 6 July 2012. <http://www.perseus.tufts.edu/hopper/&gt;. Gregory R. Crane is the general editor-in-chief of the entire Perseus website. This specific text was edited by E. T. Merrill.

Davis, John T. “Poetic Counterpoint: Catullus, 72.” American Journal of Philology 92.2 (1971): 196-201. Print.

An encounter with Theognis

Recently, I was looking through some old bookcases in my house and found this book:

This delightful little book contains a selection of Greek literature (surprisingly enough) from Homer through the three tragedians to Plotinus “the last great pagan philosopher” and many more besides.

So I was just flicking through this book when I encountered Theognis.

Honesty compels me to confess that I had never previously heard of Theognis. The only biographical information provided by this book is “Elegiac poet, of Megara. Mid sixth century B.C.” Intrigued, I quickly chose what must be described as a last resort for most aspiring scholars – a Wikipedia search. But I’m not going to provide a potted biography of Theognis here, because I can never compete with the myriad Internet-based encyclopaedias and reference sites which can do exactly that. So, back to the poetry:

At the bottom of p92 is a short poem rather enigmatically entitled “Gloom” by this edition, in a 1962 translation by Willis Barnstone:

Best of all things – is never to be born,
never to know the light of sharp sun.
But being born, then best
to pass quickly as one can through the gates of H ell ,
and there lie under the massive shield of earth

Fairly depressing, then. I liked it immediately.

It took me a little longer to locate the original Greek text. This I did with the help of the Perseus Digital Library: the above is lines 425-428 of Theognis’ work:

πάντων μὲν μὴ φῦναι ἐπιχθονίοισιν ἄριστον
μηδ᾽ ἐσιδεῖν αὐγὰς ὀξέος ἠελίου:
φύντα δ᾽ ὅπως ὤκιστα πύλας Ἀΐδαο περῆσαι
καὶ κεῖσθαι πολλὴν γῆν ἐπαμησάμενον.

And without further ado, my translation:

‘Tis best, for earthbound mortals, best of all not to be born,
And not to see the light which from the harsh bright Sun is torn.
But being alive, ‘tis best to make haste through the gates of H ell ,
For under a piled-up heap of earth forever must one dwell.

Clearly I took some liberties with the original text. The repetition of “best” in the first line essentially serves to fit in with the metre of my translation, while a small leap of the imagination was required to produce “torn” – a word which, as well as making the rhyme-scheme work, fitted in rather neatly (I felt) with the sense of pain and danger associated with the Sun in the original (“ὀξέος”), and which Barnstone conveys using “sharp”.

The use of a rhyme-scheme in itself will probably require some justification. I think that the words I have chosen to make up the rhymes express their own sharp contrasts. “Born” is usually a positive, hopeful image, which is put in a negative, unpleasant light by the rhyme with the word “torn”. Meanwhile, the location of “ H ell ” casts a shadow of suffering and misery over “dwell”. The rhymes in my English translation almost make this poem sound like an aphorism or a maxim – which fits in with the style of the rest of Theognis’ poetry.