Category Archives: fine arts

Mani Rao’s innovative Sanskrit translations

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How can you translate writing that’s densely allusive if you expect few of your readers to recognize the allusions? How can you translate poetry–or any other formally complex writing–into a totally different language while conveying some of the experience of the original form? And how can you translate passages from a language that has one kind of grammatical structure into an entirely different one?

One option is to translate loosely into a poem that works in your own language, sacrificing accuracy for experience. An alternative is to translate into literal prose and provide many footnotes or other explanations. That gives your readers some of the information they need, but it offers a very different experience from reading the original poem.

For instance, consider these two translations of the first stanza of a Sanskrit classic, The Meghaduta or Cloud Messenger by Kalidasa. First, H.H. Wilson (1786-1860) offers a loose translation into Victorian rhymed couplets. 

Spoiled from his glories, severed from his wife,
A banished Yaksha passed his lonely life:
Doomed, by his lord's stern sentence to sustain,
Twelve tedious months of solitude and pain.
To these drear hills, through circling days confined,
In dull, unvaried grief the god repined...

In contrast, E.H. Rick Jarrow (2021) translates “scrupulously and thoroughly,” avoiding constructions that would sound “choppy” in English but striving to convey each name and idea from the original text

A Yaksha, banished in grievous exile from his beloved for a year,
his power eclipsed by the curse of his Lord for having swerved from his duty,
made his dwelling among the hermitages of Ramagiri
whose waters were hallowed by the ablutions of Janaka's daughter
and whose trees were rich with shade.

“Drear hills” may convey some of the mood of the poem but gives us no sense of the importance of the particular hills where the Yaksha has to live. Jarrow’s “The hermitages of Ramagiri whose waters were hallowed by the ablutions of Janaka’s daughter” incorporates more information but sends us to notes if we want to make sense of the references. Both translations are poems, but Wilson’s is rhymed and metered in a way that is typical of Victorian verse and perhaps honors the formal regularity of the Sanskrit.

Both translations have merit, but I am excited by the innovative approach of Mani Rao (2014). Here is how she renders the same first stanza:

Some yaksha who made a mistake was cursed by his master: 
Suffer! 
One entire year 

   An ordinary yaksha 
   Not a hero 

   When even a season’s separation’s unbearable 
   Imagine six 

   What mistake 
   Kalidasa does not specify 
   Some lapse of duty 
   Same word for ‘duty’ and ‘right’ 

   Has the hero lost the reader’s heart
    In the very first line? 

Heavy the pangs of separation from his beloved 
His prowess gone like a sun that’s set 
   Year-long night 

He lived in hermitages on a mountain 
named after Rama 

Groves cool, waters pure 
Sita once bathed here 

    Remember Rama remembered Sita 
    Remember messenger Hanuman 
    Flying like a cloud 
    Why hermitages, in the plural? 
    More than exiled. Unsettled.

The plain text is her translation of the original poem into free English verse. The italicized text is her own commentary, also in verse. It’s as if we were listening to someone–or perhaps a chorus–recite the poem while another person interjected comments and questions from the side.

Rao’s additions are not exhaustively explanatory. For instance, she does not retell the story of Rama remembering the absent Sita, which is an allusion at the beginning of the Meghaduta. I do not know that story–but I can look it up once someone mentions the names. The explanation, being a poem itself, is marked by explicit emotion, irony, misdirection, and other literary features.

Rao’s approach may have precedents. (I would not necessarily know.) I have appreciated how Anne Carson supplies prefaces to her Greek translations that are themselves poems. For instance:

                      i wish i were two dogs then 
                             i could play with me 
         (translator’s note on euripides’ bakkhai) 

Dionysos is god 
of the beginning 
before the beginning.

What makes 
beginnings special? 
Think of 

your first sip of wine
from a really good bottle.
[...]

I see great potential in this general approach of using verse to convey context for verse.

Sources: The Megha d?ta or Cloud Messenger: A Poem in the Sanskrit Language
by K?lid?sa, translated by Horace Hayman Wilson, revised edition (London: R. Watts, 1843). E. H. Rick Jarow, The Cloud of Longing: A New Translation and Eco-Aesthetic Study of Kalidasa’s Meghaduta (Oxford University Press 2021); Mani Rao, Kalidasa for the 21st Century (New Delhi: Aleph Book Company, 2014); Anne Carson, Euripides: Bakkhai (New Directions, 2017). See also: The Kural; translations from Kuruntokai; there are tears of things.

Gillray and Blake

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During the “Age of Revolution,” London was a hub of rapid technological, aesthetic, and economic change in the marketplace for political communications, foreshadowing our current experiences with digital media and propaganda.

James Gillray has been called the father of the political cartoon. As Clare Bucknell notes, he and William Blake, the visionary Romantic artist and poet, studied academic drawing and painting at the Royal Academy Schools in Somerset House around 1778. Later, Blake demonstrably borrowed from specific prints by Gillray (Marcus Wood, 1990). They were both part of the same London scene of artistic and technical experimentation, mass publishing, and political debate and censorship that Esther Chadwick, among others, explores. Their similarities and differences are interesting to trace.

The first illustration with this post offers a taste of Gillray. With the French Revolution at full tilt and a rebellion brewing in Ireland, the Prime Minister, William Pitt, called up the militia. The leader of the opposition, Charles James Fox, accused Pitt of stoking fear to confuse and oppress the people. Gillray depicts Pitt atop a coastal fort, clinging to the personification of England, John Bull, who is depicted as a yokel with symbols of both the French Revolution and the British monarchy attached to his hat.

James Gillray, John Bull bother’d:-or-the geese alarming the Capitol (1792) Copyright British Museum. Creative Commons

Watching geese through binoculars, Pitt cries, “There, John! – there! there they are! – I see them – get your Arms ready, John! – they’re Rising & coming upon us from all parts.” He claims he sees French revolutionary mobs, “the Scotch [who] have caught the Itch too; and the Wild-Irish have begun to pull off their Breeches!” He issues panicked orders to address the crisis: “down with the Book-stalls! – blow up the Gin-shops! – cut off the Printers Ears!”

John Bull answers, “Wounds, Measter, you frighten a poor honest simple Fellow out of his wits! – Gin-Shops & Printers-Ears! – & Bloody-Clubs & Lord Mayors! – and Wild-Irishmen without Breeches, & Sans-Culottes! Lord have mercy upon our Wives & Daughters! – And yet, I’ll be shot, if I can see any thing myself, but a few Geese, gabbling together – But Lord help my silly head, how should, such a Clod-pole as I, be able to see any thing Right?”

The gabbling geese might be a metaphor for the “public sphere” of political debate, treated as powerless. This is a satire of conservative nationalism and propaganda, by an artist who was equally adept at mocking radical ideas–and who accepted money to design cartoons for and against both parties at various times.

And here is an image by Blake from just about the same moment.

William Blake, Plate from Marriage of Heaven and Hell (1793), depicting Nebuchadnezzar, via Wikimedia Commons

The Devil has just said, “I tell you, no virtue can exist without breaking these ten commandments. Jesus was all virtue, and acted from impulse, not from rules.” The text in the image reads, “When he had so spoken, I beheld the Angel, who stretched out his arms embracing the flame of fire, and he was consumed, and arose as Elijah.”

Blake appends a “Note.—This Angel, who is now become a Devil, is my particular friend; we often read the Bible together in its infernal or diabolical sense, which the world shall have if they behave well. I have also the Bible of Hell, which the world shall have whether they will or no. One law for the lion and ox is Oppression.” The next section is entitled “A SONG OF LIBERTY” and offers numbered points, beginning:

  1. The Eternal Female groan’d; it was heard over all the earth:
  2. Albion’s coast is sick silent; the American meadows faint.
  3. Shadows of prophecy shiver along by the lakes and the rivers, and mutter across the ocean. France, rend down thy dungeon!

It’s likely that Blake really did experience a devil as his particular friend and read the Bible with him; mystical experiences influenced him as strongly as partisan cash motivated GIilray. Here Blake sings the very song that terrifies Pitt, the song of radical liberation.

Both Gillray and Blake incorporate their own handwritten text into their etchings or engravings. In both cases, the dialogue is fevered, histrionic. Neither has patience for the stuffed shirts of their day or any allegiance to “rules,” whether artistic, social, or sexual.

(Supposedly, Gillray and his business and personal partner, Hannah Humphrey, were on their way to church to be married when he remarked, “This is a foolish affair, methinks, Miss Humphrey. We live very comfortably together; we had better let well alone.” Blake and his spouse were once found stark naked in their garden, doing a dramatic reading of Paradise Lost.)

Those are similarities, but Blake was intensely earnest, whereas Gillray seems to have been a manic cynic (unless he was a canny subversive). I’d love to know what they said to each other when they were studying drawing and history-painting under Sir Joshua Reynolds.

See also: the role of communications in the French Revolution

the Synagogue of Water in Ubeda

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Ubeda is an astonishingly lovely Spanish town. Its harmonious renaissance buildings of honey-colored stone perch on a cliff over the Valley of the Guadalquivir. During the first half of the 16th century, local agriculture boomed and the gentry chose to build palacios in town and endow churches and public buildings. They had the benefit of a talented architect who was up-to-date in Italian Mannerism, one Andres de Vandelvira. Then the market fell and the town’s population shrank. In the 1910s, the great poet Antonio Machado found the area deeply depressed:

But what vitality for a dying people? With two thirds of our territory uncultivated, the greatest number of desperate emigrants from Europe, minimal population, are we still talking about confidence in our vitality, in our prolific strength and in our future? Isn’t it absurd to talk about trust? Our starting point must be a “desperate insubordination.”

Depopulation at least preserved the renaissance architecture, and now Ubeda and the neighboring town of Baeza appear prosperous.

In 2007, a local entrepreneur, Fernando Crespo, was planning to develop three connected properties when he discovered the remains of a medieval synagogue dispersed through these buildings. One of the facades still bears the insignia of the town’s inquisitor–a man whose job would have included persecuting people of Jewish descent. Crespo financed the recovery of the original synagogue, including a two-story prayer hall with a women’s gallery and a ritual bathing area that fills naturally with clean water. It makes a beautiful and moving sight.

In the local newspaper in 2011, Alberto Roman Vilchez reported that “several experts questioned whether, at this time, it can be said that the so-called Sinagoga del Agua de Ubeda is a synagogue or another type of monument.” Among the critics was Francisca Hornos, director of the Museo Provincial de Jaen, who acknowledged that the law permits anyone to say what they want about their own property, “but the typological and formal analysis of an archaeological, ethnological or artistic heritage should not be done after the fact. … Where is the archaeological excavation that was done there? Who did it? Where is the inventory of this excavation?” An archaeologist named Vicente Barba Colmenero took the view that archaeology must proceed according to “proper procedures, “with public disclosure.” Without a proper process, the building “cannot be called a synagogue.”

To this day, the amount of scholarly writing seems a bit sparse, and it’s perhaps unusual that the archaeology was conducted by the private owner, who now manages the site as a museum. However, in 2011, Pablo Jesus Lorite Cruz published a piece on the “Location and Authenticity of the Synagogue of Ubeda.” He emphasized that the upper balcony is consistent with a women’s gallery, the basement is consistent with a ritual bath, and the immediate district could well have been populated by Jews before 1492. He wrote that he had consulted documentation and a “technical architecture report defended at the Polytechnic University of Madrid on the primary building, currently in press.” He concluded, “In our humble opinion there is no doubt that what was truly discovered in Ubeda is a synagogue that in a short period of time time will reveal new ideas, hypotheses and even theses about the Jewish heritage and especially that of the city of Ubeda.”

I have not been able to find the technical report that Lorite mentioned, but Andres Domingo Lopez published a 2013 monograph on The Synagogue of the Hills: History of the Jews in Ubeda, which treats the building as a synagogue.

Apparently, a very long-standing Jewish community built a handsome temple near the city’s main square in Islamic times, and when the main Christian persecution began in 1492, this synagogue either gradually dissolved into secular buildings or was intentionally hidden in the hope that Jews might one day return. Although I wish the scholarly evidence were somewhat more transparent and robust, I was grateful to have been able to visit this place.

MacNeice on other people

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Canto xvii of Louis MacNeice’s Autumn Journey (1939) opens with luxurious experiences, such as watching a morning scene over breakfast and lying in a bath “under / Ascending scrolls of steam,” feeling “the ego merge as the pores open … And the body purrs like a cat.” He writes these passages in the first person plural, and it’s not clear whether he’s alone or with someone at the breakfast table and in the bath. In any case, these moments end; we must leave them. It is a mistake to pursue “the luxury life.”

And Plato was right to define the bodily pleasures 
As the pouring water into a hungry sieve* 
But wrong to ignore the rhythm which the intercrossing
Coloured waters permanently give. 

And Aristotle was right to posit the Alter Ego**
But wrong to make it only a halfway house: 
Who could expect – or want – to be spiritually self-supporting, 
Eternal self-abuse?

Why not admit that other people are always 
Organic to the self, that a monologue 
Is the death of language and that a single lion 
Is less himself, or alive, than a dog and another dog?

Louis MacNeice, Autumn Journal: A Poem (1939), Faber & Faber, Kindle Edition.

*referring to Plato, Gorgias 493c (Lamb trans.): “and the soul of the thoughtless he likened to a sieve, as being perforated, since it is unable to hold anything by reason of its unbelief and forgetfulness.” Socrates continues: this metaphor “is bordering pretty well on the absurd; but still it sets forth what I wish to impress upon you, if I somehow can, in order to induce you to make a change, and instead of a life of insatiate licentiousness to choose an orderly one that is set up and contented with what it happens to have got.”

**Aristotle, Nic. Eth. 1169b (Rackham trans.) “People say that the supremely happy are self-sufficing, and so have no need of friends: for they have the good things of life already, and therefore, being complete in themselves, require nothing further; whereas the function of a friend, who is a second self, is to supply things we cannot procure for ourselves.”

See also: the sublime and other people; the sublime is social–with notes on Wordsworth’s Lines Above Tintern Abbey.

there are tears of things

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One of the most famous–and notoriously ambiguous–phrases in all of Latin literature is Virgil’s “sunt lacrimae rerum” (Aeneid 1, 462). In his response to the Covid pandemic, Pope Francis interprets the phrase in an environmentalist spirit:

If everything is connected, it is hard to imagine that this global disaster is unrelated to our way of approaching reality, our claim to be absolute masters of our own lives and of all that exists. I do not want to speak of divine retribution, nor would it be sufficient to say that the harm we do to nature is itself the punishment for our offences. The world is itself crying out in rebellion. We are reminded of the well-known verse of the poet Virgil that evokes the “tears of things”, the misfortunes of life and history

(Pope Francis, 2020, 33)

Others have equated the phrase with the Japanese motto mono no aware, which Dennis Washburn defines as “an intuitive sensitivity toward the sublime, sad beauty that inheres in mutable nature and transitory human existence” (Washburn, 2016). In turn, mono no aware can express the First Noble Truth of Buddhism–the essential pervasiveness of suffering (Saito 1997)–or it can be an alternative to that view, a way of collecting and relishing representations of impermanence and loss.

Very literally, Virgil’s three words mean “there are tears of things,” but that statement makes little sense in English and requires expansion–using other meanings of the Latin nouns and/or additional connectives. English translators have proposed phrases as various as “The world is a world of tears (Fagles) or “They weep here / For how the world goes” (Fitzgerald), or even “The universe has sympathy for us” (Stewart, 1971, p. 119).

Gawin Douglas was the first to translate The Aeneid into a relative of modern English (Renaissance Scots), producing a version that Ezra Pound particularly appreciated. Douglas wrote:

Thir lamentabyll takynnys [condition] passit befor
Our mortal myndis aucht to compassioun steir.

The context is important for understanding these words’ sense. The Aeneid begins in medias res with Aeneas, the sole important survivor of defeated Troy, trying to sail from there to Italy. The goddess Juno, who hates him and all Trojans, arranges for a terrible storm to scatter his ships and maroon him on the coast of Libya. Aeneas’ mother, Minerva, appears in the guise of a hunter and directs him to Carthage, which is under construction. He wanders into a temple of Juno, where the art illustrates the Trojan War, depicting Aeneas’ comrades, his enemies, and even himself in battle. Since this is Juno’s temple, we might guess that the paintings are supposed to celebrate Aeneas’ defeat. However, the sight gives him hope–the text says–and he blurts out:

"Sunt hic etiam sua praemia laudi;
sunt lacrimae rerum et mentem mortalia tangunt.
Solve metus; feret haec aliquam tibi fama salutem." 

"Even here praiseworthy deeds have their rewards;
There are tears of things, and mortal matters impress the mind.
Let fear go; this fame will also bring you some benefit."

Aeneas sees his own story as depicted by human artists, provoking thoughts of loss and sorrow but also pride. He utters a concise but mystifying phrase that pairs the words for “tears” and “things.” I imagine a companion following up with questions:

Do you mean that things are intrinsically or fundamentally sad?

– Yes, that is what I feel right now.

Or that these paintings are objects that make people cry?

– That too.

Are you somehow happy to see these sad events depicted?

– I suppose so.

Yet they make you sad?

– That is what I am happy about.

Do you want people who hear about your suffering to be sad?

– Yes, but I want them to relish that sadness.

In the end, I don’t think the original poem really provides a basis for interpreting the phrase as a statement of existential wisdom, comparable to mono no aware or to modern environmentalism. I suspect Aeneas is mostly interested in being depicted heroically in art. “This fame will bring you benefit” is his main point. However, the words “sunt lacrimae rerum” jump out of their context and can translate ideas from remote traditions.

Sources: Pope Francis, Fratelli Tutti: Encyclical Letter on Fraternity and Social Friendship, English version (Libreria Editrice Vaticana, 2020); Dennis Washburn, introduction to Murasaki Shikibu, The Tale of Genji (W. W. Norton & Company, 2016); Saito, Yuriko. “The Japanese Aesthetics of Imperfection and Insufficiency.” The Journal of Aesthetics and Art Criticism, vol. 55, no. 4, 1997, pp. 377–85; Douglas J. Stewart, “Sunt Lacrimae Rerum.” The Classical Journal, vol. 67, no. 2, 1971, pp. 116–22; Gawin Douglas, The Aeneid translated into Scottish Verse. See also David Wharton, “Sunt lacrimae rerum: an exploration in meaning.” Classical Journal 103.3 (2008): 259-279. And see: Nostalgia for Now; Arachne; The Wedding of Peleus and Thetis; The Laughter of the Gods; and compassion, not sympathy (on Seneca).