At the end, the groups will converge for the last leg entering Rome. Journalists and bloggers will travel five paths in central Italy: From November 21th to November 24th, To live a direct experience for those who will let the world know about the Wonder Walks, the wonderful places that host them and the genuine welcome typical of these places. We present to the market a great Italian tourist product: Via di Francesco North. Via Francesco di Romagna. Via di Francesco South.
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Join to the Newsletter. II, and to the heroine Marula vol. The irst one has been particularly praised by Renier for her knowledge of Greek and Latin. As she usually does, she relates an anecdote linked to this lady which tends to point out her love for Venice. Her appreciation of Venetian ladies, not to forget her fellow country women, is also interesting. On the subject of Marula, the pres- ence of a female hero, is not the only point of interest but most of all, the narration of another anecdote, this time connected to a wedding.
Praised by her general because of her great courage displayed, she is offered to choose one of the most valorous soldiers to be her husband. If it does not appear to be the main topic in Coriolanus, even though present in the couple Coriolanus - Virgilia, marriage is a topic of some importance in Othello and Macbeth.
But it is not just the presence of women in her text that shows her concerns. Actually, scattered in all the volumes there are hints suggesting the author to be a woman. In this regard, what is par- ticularly interesting is her consideration of female writing in the third volume. She recollected the documentations and wrote an account of them that she sent to the prince. She also apologizes to her readers because of the possible repetitions they will ind in it, the events she told being for the most part considered in her essay vol. What it is of interests here, is not just the presence of women again in the narra- tion, as with the anecdote about Caterina Quirini vol.
III, — , but what she wrote in the letter to the prince attached to her short essay. She justiies the presence of the letter with her desire of re- porting the one the prince wrote in answer to her. In fact, she refers to that and due to the questions the prince addressed to her, she asked for help from a friend, the count Carli Rubbi.
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It is thanks to her assumed humility that she can offer her reasons for writing. With a botanical metaphor, she associates scholars to imposing oaks and sensible women to humble violets. She goes on explaining: Would it be audacity, if, under the appearance of a slender lower, I aspire to awake sweet sensations in the heart of such a great Prince, through the reading of a report completely different in its kind from the irst one?
III, As a matter of fact, she knows she cannot put herself in competi- tion with male scholars due to the difference in education imparted to men and women. Notwithstanding this, she asserts her right to write as a single and unique person, as a woman, particularly, whose writing must be different from the one of any other writer and of a male writer. It is the difference she considers, and the difference in reading too. A difference that she feels worthy of being noticed and which can actually allow every woman to write and every text to be read as unique.
To conclude, it is important to notice the presence of a few little translations inside the very essay. As noted, the Italian text is already a translation from French and a very literal one3. Writing irst in a foreign language, she used a quite simple style which she adopted also in translation, to avoid possible confusion. But what must be stressed is the presence of a few passages translated from Latin that make their appearance every now and then.
It is impossible to state with absolute certainty her knowledge of Latin. Actually, at the time of her Shakespearian translations, it was the very presence of quotations from Plutarch that cast a shadow over the authorship of the texts. On that occasion, it was possible to clear her from the accusation of not being the translator, thanks to one of her notes where she stated she read Plutarch in translation. This time she presents different passages from Latin, in different parts of her essay, stating only on one occasion that she was quoting the Italian translation of one of her friends.
In particular, the irst translation is a letter by Petrarch, in the irst volume. The other translated passages appear in the second volume, where again she says she is offering a literal translation from Latin. Finally the last translation is in the ifth volume. Alessandra Calvani 25 Firstly, it could be argued from these translated passages, that she is addressing herself to a female public, as the knowledge of Latin was taken for granted as far as men were concerned.
This inference is conirmed by her last translation, offered to her public with the certainty they will be especially welcomed by women vol. But they would need too many pages. I hope that the examples offered here illustrated the point clearly enough. Calvani, Translating in a female voice, in Translation Jour- nal, vol.
Cesarotti , Epistolario scelto, Venezia: Cesarotti , Saggi sulla ilosoia delle lingue e del gusto, Pisa: Tipograia di Giuseppe Staide. Edizioni di Storia e Letteratura. Stabilimento Tipograico di P. Montagu , Saggio sugli scritti e sul genio di Shakespeare paragonato ai poeti drammatici greci e francesi con alcune considera- zioni intorno alle false critiche del Sig. Calvani, Translating in a female voice, in Translation Journal, vol.
But am I other or thyself? Her main research interests focus on literary translation from English into Italian , the translation of language varieties, the literature of the American South. She has published a number of translations in Italian journals and magazines. This paper focuses on two different tendencies in the Italian translations of African American English, namely stereotypical rendering and standardization of language varieties.
Even if they start from different perspectives and eventually come to opposite conclusions, both scholars testify to the impossibility of creating a stylistically accurate and not stereotypical Italian translation of African American Language and implicitly suggest normalization of language varieties as the only possible alternative to stereotypes.
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A broader overview of the theoretical debate on the translation of dialects also highlights the limits of standardizing language varieties and casts doubt on the alleged beneicial effects of the normalizing practices. African American English in Italy: Many Italian scholars acknowledge that there are stereotypi- cal linguistic features in early Italian translations and dubbing of AAE -- such as the use of ininitive verb forms for conjugated ones and the replacement of unvoiced consonants with voiced ones.
Most linguistic features employed in early Italian translations of AAE implicitly stand for the incorrect expressions of those who cannot speak properly. An example is the overuse of ininitive verbs—a feature associated by Italian linguists with second-lan- guage acquisition2.
Yet AAE, as it has been clearly shown by many different scholars, is a language variety that has its own grammar and can successfully fulill any communicative purpose Labov; Rickford; Green; Wolfram; Smitherman. Thus, translating AAE into Italian by means of this feature assimilates it erroneously to the language of North African second-language learners. Italian dubbing strategies have changed over the years follow- ing the changing status of African American characters in movies. Chiara Martini 29 Starting from the Sixties, stereotypical features began to disappear, especially in movies that focus on racial issues: In Roberto De Leonardis was appointed as director for a new version of Via col vento dubbing, which eliminated all grammatical stereotypes in African American speech but received very little attention from the public; the same had happened four years before in the Disney movie Song of the South I racconti dello zio Tom, irst Italian dubbing in , second version in , both directed by Roberto de Leonardis which was re-dubbed in by the same De Leonardis because of similar concerns about the rendering of African American English.
In recent years Italian scholars Taylor; Malinverno; Pavesi; Zanotti have pointed out an opposite tendency toward normalization of linguistic variation in dubbing. Literary translations of AAE seem to have followed a less lin- ear path. Despite well-grounded objections, the overuse of ininitive verb forms and replacement of unvoiced vowels with voiced ones appear even in recent translations of African American English. It is possible to hypothesize that Cesare Pavese used these features in his translation of Moby Dick because at that time writers were not fully aware of the sociolinguistic implications of this grammatical choice.
Sembra, lo so, una parodia del Broken English, rotto, spezzato, informe, elementare. As I have previously pointed out, similar strategies are frequently employed also in Italian dubbing. Chiara Martini 31 2. Theory and Practice of Translating Dialects5: From a theoretical standpoint some scholars underline the limitations that such a task necessarily imposes and consequently deny any real relevance to the topic: Halliday, or translation scholars like Peter Newmark, as underlined by Federici in his introduction to Translating Dialects and Languages of Minorities.
For most translators, the standard variety becomes a language, a sort of sociolinguistic dogma, which puts them in the hierarchies of language and social success. Given that the standard variety is a property which has passed the market test, any translator may be left with no choice but to conform to the belief that the standard variety is the crucial medium of survival in the publishing market and for personal success When translators do not attempt to force the norms, they are conservative in respecting the target language expectations and avoid challenging it with non-standard variants […].
When trans- lators try to reveal the differences in the source language, such as in The Simpsons dubbed into Italian, which uses target language dialects ad absurdum see Dore , they are experimental. An idiom characterizes a society, and when you ignore the idiom, you are very likely ignoring the whole social fabric that could make a meaningful character. Language is one of the most powerful tools the author masters in order to represent social differences.
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All of her characters show linguistic features that can be ascribed either to Southern American English or to AAE or to both: Problems in relations between different classes are represented through dialogues illed with misunderstandings, especially between white and black people: Words are seldom able to establish a real relation among human beings who belong to dif- ferent social classes; rather different ways of speaking symbolize separated worlds and identities that cannot meet.
The following examples show some of the corrections that the editor makes to the translation of African American speech: Tutti Rac- conti 4 Restoring of correct syntactical structures in place of sub- standard or only uncommon ones: If this is the case, a problematic lexical choice still remains unaccounted for. In this regard the edition does not show any difference from the one and preserves the identical vocabulary of ethnicity, as in the following examples: The Negro had stopped what he was doing and watched him.
Complete Stories Il negro aveva smesso di lavorare ed era rimasto a guardarlo. Vita Tutti Racconti […] and eventually she had to stay in bed […], with only a colored woman to wait on her. Scholars like Schiavi propose the existence of such standardization paradigm in Italian literary translation from English Not only did prestigious translations show it -- such as the Mondadori edition of the Sound and the Fury translated by Vincenzo Mantovani, later repub- lished by Einaudi — but also innumerable recent ones: These examples show once more how grammar — through lexicon in this case — can convey inadequate translations and representations of a different culture.
As we have tried to show so far, Italian translations of African American language display many erroneous linguistic habits, which are still dificult to eradicate. Armstrong, Nigel and Federico M. Translating Voices Translating Regions. Anna Giacalone Ramat, and Giuliano Bernini. Conside- razioni sulla nozione di standard in linguistica e sociolinguistica. Standard e non standard tra scelta e norma: Woolard, and Paul V. Oxford University Press, The case of Turkish translations.
Translating Dialects and Languages of Minori- ties: Challenges and Solutions, Bern: La rappresentazione del diverso in italiano e nei dialetti. Federici, Federico M, ed. Translating Dialects and Languages of Minorities: Fitzgerald Sally, and Woods Ralph C. Print Green, Lisa J.
ITALIAN WONDER WAYS
Cambridge University Press, Linguistic Studies of Text and Discourse. London and New York: Language in the Inner City: Studies in the Black English Vernacular. University of Pennsylvania Press, Il fascino nel tradurre: The Tusks of the Tran- slator in a China Shop. Farrar, Straus and Giroux, Njegosh, Tatiana Petrovich, and Anna Scacchi, eds. La lingua del colore tra Stati uniti e Italia. Ombre corte Edizioni, African American Vernacular English: Features, Evolution, Educational Implications.
Le traduzioni italiane di William Faulkner: Istituto Veneto di Scienza, Lettere ed Arti: Word from the Mother: Language and African Americans. Giuliano Bernini, and Vermondo Brugnatelli. Questions regarding Translation and Dubbing. Wolfram, Wolt, and Natalie Schilling-Estes. Eerdmans Publishing Company, A History of Translation.
Challenges for the 21st th Century: Papers from the 24 AIA Conference. For an analysis of the overuse of Italian ininitive verbs among second-language learners see Bani. Yet I had to resort at that time, and I would do the same today, to the overused stereotype of those who speak in inini- tives and mangle sounds and words. I chose the stereotype in order to preserve the contrast, rather than leveling and losing the distance between the two languages. The second one, entitled Tutti i racconti and published in , collects all the short stories belonging to the American edition The Complete stories My citations from Tutti racconti refer to the edition.
Omboni refers to this choice in an undated letter addressed to one of her editors Guido Davico Bonino at Einaudi publishing house. A general amnesty allowed him to return to Italy in where he began a career as a journalist and political commentator. Giulio Camber Barni Born in Trieste, he studied law and philosophy in Vienna before being drafted into the Austrian army on the outbreak of war. Along with a friend, he deserted and volunteered for the Italian infantry.
He rose through the ranks to become a captain, was twice decorated for gallantry and survived a gas attack. After a career as a lawyer, he was called up again in and served as a major in the Frontier Guard in Albania, only to die there after falling from a horse. He then studied law, but very soon became a popular and proliic novelist, journalist and essayist. He wrote one novel based on his war experiences Giorni di guerra and published two collections of poetry, Poesie and Bassa marea Clemente Rebora Having studied for a degree in literature at the Accademia scientiico-letterario in Milan, he became a teacher and began con- tributing poems to the leading Florentine literary journal La Voce.
Having already done his national military service, at the outbreak of war he was called up as an infantry lieutenant and suffered a serious head injury from an Austrian shell. He spent the next three years in military hospitals recovering from the physical and psychological shock, but was able to resume his teaching career until a religious crisis in He destroyed all his books and papers in the following year and eventually took holy orders as a Rosminian priest. He continued writing poetry in a religious vein and two editions of his collected works Le poesie were published in and In he irst joined the Italian Red Cross, then served as an infantryman from Alongside of his work as a classics teacher and translator of the classics, he was a noted amateur botanist, especially of lichens.
He continued to write poetry and also published a many works of prose. Ardengo Sofici After studying painting at the Florence Academy, Sofici spent seven years in Paris , mixing with the artists and writers of the day, including Picasso, Braque and Apollinaire. Called up in , Sofici served in the infantry and wrote about his experiences not only in his poetry but in two memoirs Kobilek and La ritirata del Friuli Carlo Stuparich Born in Trieste, then still part of the Austro-Hungarian Empire, Stuparich was an irredentista who believed that the great port should return to Italy.
Although he had moved to Florence to study in and joined the literary circle around La Voce, he quickly volunteered for military service against the Habsburgs and was commissioned as a lieutenant in the famous Sardinian Grenadiers. Unfortunately cut off during an attack, and having lost all his men, he took his own life rather than surrender to the enemy as an Austrian citizen, he would have been condemned to death as a traitor. He was thus receptive to Futurism, which he tried to introduce to Sicily with his own short lived literary journal, La Balza.
Like many other young Italians, he was inluenced by patri- otism to volunteer for active service against Austria-Hungary and served as an infantry lieutenant. He was wounded and on conva- lescence in Syracuse wrote a prose-poetry diary in French. At the end of the war, he lost interest in the avant-garde and turned to dialect poetry and the study of Sicilian culture. After many years as a schoolteacher he became a professor of Sicilian culture and language at the University of Messina. Giuseppe Ungaretti Born — like Marinetti — in Alexandria, Egypt, and educated in French there, he went to Paris in intending to study law at the Sorbonne.
He met the leading French and Italian writers and painters in Paris and also the Florentine Futurists, who invited him to contribute to Lacerba. On the outbreak of war he moved to Milan and was drafted into the infantry as a private, ighting on the Austrian and later French fronts. The poetry he wrote in the trenches was irst published as Il porto sepolto and later ampliied in Allegria di naufragi in In it he proclaimed a new dawn in aesthetics for the new century, praising the virtues of the technological age, which he saw as a potential for spiritual renewal.
It caused a sensa- tion throughout Europe. Marinetti was perhaps a little late in his praise of machines, which had been around for well over a century, but it was the irst time an aesthetic movement had lauded the speed, mobility and sheer power of the very latest in industrial in- novations and proclaimed them almost as moral virtues to enhance the soul of man and save it from its comfortable bourgeois sloth.
This idealism had a darker side. Marinetti also saw war as a source of renewal: Noi vogliamo gloriicare la guerra — sola igiene del mondo We want to glorify war — the only source of health in the world. In ive years time the poet was able to see for himself what a healthy effect war had on the world. But Marinetti was an un- daunted and enthusiastic combatant, twice decorated for bravery. Unfortunately, after the war his militarism and patriotism led him into Fascism. Many Italians had gone to war against Austria-Hungary because of Hab- sburg rule over Italian speaking territories on the Adriatic coast, which they thought should be under Italian rule.
Like Marinetti, Ungaretti had been born in Egypt, educated in French there, and was drawn to Paris as an ar- tistic centre before the war broke out. This too was a familiar model for young Italian writers and artists who were ardent promoters of the latest French movements, most notably Cubism. In Florence, Giuseppe Prezzolini had founded the cultural and political review La Voce in order to disseminate the latest movements from Paris, although not — at irst — the Futurism of Marinetti.
Sofici later joined with writer Giovanni Papini to found the more radical Lacerba which was ultimately to champion Futurism, although it was wary of and contested the theatrical antics of Marinetti and his follow- ers in Milan. This was the situation then in These were granted Italy by the Treaty of London the following year, inducing it to declare war on Austro- Hungary and a wave of patriotic idealism swept many young men into combat.
Austro-Hungarian forces held the higher ground and for the Italians it was literally an uphill battle. That is, when movement was possible. The many fronts in this war Asiago, Carso, Isonzo saw the stalemate of trench warfare very much the same as in France and Flanders, with the exception that trenches in the mountains had to be hewn out of stone and ice and armaments hauled up by mule or manpower alone.
It will subvert syntax, use surreal imagery and manipulate voice as some of these poems show. But the experience of war tempered many poets to react against avant-gardism. The selection offered here is taken from shorter works and showcases poets who may be less familiar than the famous names of Ungaretti, Umberto Saba and Eugenio Montale, the latter two also writing poetry during the war.
Antologia dei poeti italiani nella Prima guerra mondiale a cura di Andrea Cortellessa Mondadori, which gives details of irst publication and irst collections of the poems. Nei boschi di freschi nocciuoli La mitragliatrice canta, Le pallottole che siorano la nostra guancia Hanno il suono di un bacio lungo e ine che voli. A machine gun sings in the neighbouring woods of fresh hazelnuts.
The bullets that graze our cheeks have the sound of a long delicate kiss lying by. Were it not for the appalling overwhelming stench of these enemy corpses we could light up our cigarettes and pipes in the this trench turning to mush in the sun and, as soldiers more than brothers to each other, calmly wait for death, which perhaps will not dare to touch [us, young and good looking as we are.
The air is as riddled as a piece of lace with the gunshots of men withdrawn into the trenches like snails in their shells. It seems that a whole host of breathless stone-cutters is striking the basalt pavement of my streets and I listen to them half asleep seeing nothing. Have mercy on us survivors who hear your death rattle and still the hour never comes, the death throes quicken, but you can let go and comfort be yours in the madness that leaves no one insane. Meanwhile the moment brings pause, the brain sleeps and you leave us in peace — thank you, brother. In that soft whiteness of broidery and lace the pupils become animated by dreams: Ed i soldati scrutarono le stelle e il irmamento, pesarono respirando il fremito del vento.
But on the 9th you could see a ring gleaming around the moon: The soldiers and the oficers who had waited 30 days for the offensive looked at one another and wanted to embrace. At dawn on the 10th it began to rain.
Nei campi vi sono segnati ventagli, dove spuntano le piumetti del grano. Gli uomini accanto hanno orecchi di ma- dreperla. Una fanfara, e i cavalli vanno a passo di musica come portassero le cavallerizze per la sabbia del circo. La strada galoppa il mio passo. Dovunque sono nate le violette. Intravvedo la dolcezza della sua carne rosa- celeste.
In the ields patches sprout with little feathers of grain. On the ground, light is relected from the mirror of the sun in waves that break up on the last snows left on the moun- tains. The men nearby have ears of mother of pearl. A peak opens up in the distance, the air rings with the C note of the earth.
The road gal- lops to my steps. Everywhere violets are born. I glimpse the sweetness of its rose and sky blue lesh. This spring is all the more gentle seen through a shattered wall. The gap frames me with its harsh jagged edges of stone, the soft colour of nascent things. Quasi a credere stenti che vivi. I boschi, le quote della vittoria, gli urli, il sole, il sangue dei [morti, Io stesso, il mondo, E questi gialli limoni Che guardo amorosamente risplendere Sul mio comodino di ferro, vicino al guanciale. It is hard to believe they Are still alive in the breeze.
Rain sounds like the lullaby Of a sad little girl; And the earth is a cradle Where I see a body curl. You can sleep for weeks on end; The body we had demobbed Still inds it hard to believe in this happiness: Clear pause, melting pot of multiple senses, Here everything converges in an inexpressible oneness; Mysteriously I feel a golden time start to low Where everything is equal: The woods, the odds on victory, the cries, the sun, the blood [of the corpses, Myself, the world, And these yellow lemons I look at lovingly, gleaming On the black iron bedside locker beside my pillow.
It cheats the earth. Although out of my mind, I cannot weep. Perhaps someone can do it, or the mud. But, man, if you return, Do not speak of war To those who do not know; Do not speak of it where men And life still understand it. And if you can return, Take hold of a woman And one night, after being seized by kisses, Whisper to her that nothing in the world Can redeem what is lost Here of us, the putrefying corpses. Bring a lump to her throat so that it chokes her: And if she loves you, You will come to learn this Later in life, or may be never.
Povere le mosche senza fortuna! E ognuno guarda sereno come se fosse straniero al giuoco. Everything seems like summer, life crouching in the sun waiting for dusk. Still many soldiers in line behind the embankment. Contemplation of the still air, and within it the stillness of appearances. It leaves men thinking: The six poems translated here are from a new work in progress: Hahn, a poet, essayist, and translator, has published ive volumes of his own poetry, most recently All Clear South Carolina and No Messages Notre Dame.
La fantasia e la voce Maledetta, luttuosa fantasia che esige un cuore mite e anche feroce Fingi di averlo e levamela via: Cretino E mi fai saltellare sui ginocchi dicendo: Trotta, trotta cavallino; poi mani nelle mani, occhi negli occhi… Ti siedo sopra il cazzo. Cetriolo Prendilo in mano. Mettitelo sopra, struscialo come fosse un cetriolo; usa me solo, lascia che ti copra tutta la vita in un minuto solo.
Parole Ora lo sai: Devi imparare a amarmi a modo mio. Fantasy and Voice This is a doomed and mournful fantasy, seeking a heart both ierce and sweet. Then fake the feeling—free me from the dream: I want your voice to enwrap me. Moron You make me hop up on your lap, you say, Giddy-up, giddy-up little horsy, gazing in my eyes and clutching my hands. Sit on my stick, you say. Cucumber Hold it up, squeeze it in your hand, rub it like a cucumber; lose yourself in me, and let this instant be all you ever remember.
Words I need words: Learn to love me my way. The sick mind insists on it. He holds a Ph. Giancarlo Pontiggia Milano, ha pubblicato due raccolte poetiche Con parole remote, ; Bosco del tempo, , tre volumi di saggi Contro il Romanticismo. Esercizi di resistenza e di passione, ; Selve letterarie, ; Lo stadio di Nemea, e un testo tea- trale Stazioni, Note on the translation Anne Schmid, a classical singer based in Switzerland, contacted me in the summer of to ask if I might be interested in help- ing her with a recording project she was working on at the time.
Her aim was to craft an "Arcadian soundscape" by incorporating baroque cantatas, for instance, with other musical forms and poetic texts. The "Arcadian" poems were provided by Giancarlo Pontig- gia, who also wrote a sort of poetic essay regarding the presence of Arcadian themes in his works and practice, "La mia Arcadia. To build the brief essay and accompanying translation into a fuller segment for Journal of Italian Translation, I contacted Pontiggia to ask if I might translate some of his poems properly-so-called as well, texts that might comfortably reside with his essay.
He very generously passed along a suite of poems that had never before been published, gathered under the title Le muraglie del mondo. If my translations are sonorous at all, or incisive at all, or illu- mined at all, or even remotely worthy of Arcadia-infused pursuits, it is because my source materials and primary purposes of transla- tion were so inspiring and inspired, enlightening and enlightened. La suggestione del mito arcadico nasce da questa intuizione: Se devo restare alla pura presenza del termine, tre volte: He knows quite well that poetry is something that requires places of secrecy and suspense, gardens of the soul where common percep- tions are inverted through lipped perspectives.
The locus of the Arcadian myth is one of poetic autonomasia, an interior landscape where every word deines its own metaphorical parameters, its own imaginable cor- respondences, its own initiatory rites. Every poet has a personal Arcadia, one that is likely, if not necessarily informed by places of origin and primary encounters with the world—a place that can be both fascinating and disturb- ing, that can stun and surprise with the force of an unexpected apparition.
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Within such a fantastic yet very real world, we need not do anything more than write down the words that most clearly evoke how we experienced it, words that acted almost as mes- senger gods to convey intuited truths, and that continue to work within us as remembrances of things greater than we are. Con parole remote With Remote Words is the book in which I tried to draw a map of such secrets buried deep in a primitive, ancestral world: To what extent is Arcadia present in my poetry?
Regarding the term itself, it appears three times. I protagonisti, un vi- andante e un musico, dibattono sulla forma del tempo e sul senso della vita, mentre il vecchio millennio cede il passo al nuovo: Come nella prima ecloga virgiliana, due uomini si confrontano sui temi del destino e della storia da due fronti opposti, ma egualmente veri. Here the protagonists, a wayfarer and a musician, engage in a lively discussion of time and the meaning of life as the old millennium gives way to the new one: Thus does Arcadia reveal itself to be, once more, that which it has always been: His verse translations, mainly from Italian and Latin, have appeared in his books and in journals such as Prairie Schooner, The Formalist, and the new renaissance.
Ezra Pound was born in Hailey, Idaho, but grew up in the suburbs of Philadelphia and became an early expatriate, living for extended periods in London, Paris, Rapallo, and Venice. One of the greatest twentieth-century poets, he was also a wide- ranging translator, theorist of Imagism and Vorticism, impresario of Modernism, trenchant literary critic, and indefatigable trumpeter of the genius of friends such as James Joyce and T. A series of speeches he made over Rome Radio during the war set the stage for his outdoor coninement in a steel cage at a U.
Elizabeths Hospital in Washington, DC, from which he was released in Pound believed this portion of the epic, sometimes styled the Nekuia, or Book of the Dead, was the oldest stratum of the poem and thus con- stituted a it opening to his own long poem on the vicissitudes of human civilization. Just as Divus and the Cretan brought the riches of ancient Greek literature to Renaissance readers who knew Latin but needed a handy trot to puzzle out the Greek, so in his introductory canto Pound makes accessible to modern readers of English a slice of cultural history that now must almost always be approached via translation or not all—and this, with varying degrees of success, is the chief project of the page museum- and anthology-like poem that follows.
A Note on the Translation Pound translated the bulk of Canto I into an English exhibit- ing an archaic cast in vocabulary and diction. The ocean lowing backward, came we then to the place Aforesaid by Circe. Here did they rites, Perimedes and Eurylochus, And drawing sword from my hip I dug the ell-square pitkin; Poured we libations unto each the dead, First mead and then sweet wine, water mixed with [white lour.
Qui eseguirono riti, Perimede ed Euriloco, E sguainando la spada dal ianco Scavai il fossetto di un cubito quadro; Libagioni versammo ad ognun dei morti, Idromele e poi vino dolce, acqua mista con farina [bianca. Poi pregai molte preghiere ai teschi infermi: Che tornato in Itaca, dei buoi migliori Sacriicherei, cumulando beni sulla pira, Una pecora solo per Tiresia, nera e da campano.
But irst Elpenor came, our friend Elpenor, Unburied, cast on the wide earth, Limbs that we left in the house of Circe, Unwept, unwrapped in sepulchre, since toils urged other. And I cried in hurried speech: And he sailed, by Sirens and thence outward and away And unto Circe. E gridai con parole precipiti: Dormii nella magione di [Circe. Paolo Valesio is the author, among various other works, of seventeen books of poetry.
He is currently engaged in the parallel writing of a trilogy of journal-novels whose text by now runs to more than 20, manuscript pages. The poems of Spoleto, though sustained by description and narrative and set on the very real stage of the Umbrian city, seem nonetheless to take place in the mind. A walking exegesis, of sorts — at every encounter, every scene and object, the poet cocks his head and considers its symbolic resonance.
And where all is performance, all is interpretable. How will the exactitude be preserved? Which meanings will be sacriiced in the exchange? I thank Paolo Valesio for the challenge, and for his careful sugges- tions and explanations in the course of translating these works. A Spoleto non passeggiavano, ma si trasferivano: Queste che nelle pagine verranno sono le scene di Spoleto su cui ancora medita, che ancora non ha afferrato.
In Spoleto, they did not stroll, they ushered themselves from one strange occasion to another. Every nook a barren stage, still fresh with the litting ghosts of actors ghosts of ghosts who, in their leeing, left behind— on the stones and planks scattered through the city—the kernels of a mystery whose shells he could not crack; the fruit totters in his palm, in his gaze, impenetrable. What follows in these pages are scenes from Spoleto still ixed in his mind, still ungrasped. She says to him: Spoleto was where Francis grew ill, where he rose up and resumed his walk to Assisi— in Spoleto, he returned to his calling.
And I, his unworthy follower my solitude is not sanctitude I, too, have my frail mind set on a return—but where to? Discesero poi cauti una scaletta di legno lungo il muro di sinistra coi resti di un affresco — picchiettato come gli altri in quella conchiglia di chiesa da tante piccole chiazze di lebbra bianca — in cui si mostra il santo vescovo Tommaso Beckett e la sua morte. Le sue mani risaltano guantate inanellate sottili mani gotiche estenuate con dita affusolate ed elegantemente ripiegate: Escono nella pioggia lasciandosi alle spalle il murmure delle parole antiche: Respectfully, they stammered through four lines of Latin inscribed on a scroll beside the absence of an altar.
His hands grace the foreground, gloved, bejeweled, slender, gothic hands with tapered ingers, elegantly curled: His murderers approach, head-to-toe in plated armor even their faces visored, showing only slits of eyes. They step back out into the rain, abandoning the murmur of ancient words: Explore the Home Gift Guide. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers.
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