I cannot shake the feeling that this poem, about the experience of having one's work translated, was written specifically so as to be untranslatable. Or, at least, to demonstrate untranslatability. Either that or Preil was unaware what irony a translator would find in the fact that the word used for "translation" in the title, targúm can signify either translation generally, or, as a religious technical term, the exegetical rendering of Hebrew scripture into Aramaic, and in this latter sense has something of the interpretative and the hermeneutical to it. By contrast, the poem's last words are Å iËúr Betirgúm "Lesson in Translation" identical to the title except for one vowel. Here, the word used for translation, tirgúm, only refers to rendering text or speech into another language, and has no technical scriptural meaning. There are several instances of wordplay of various kinds throughout the poem. I doubt whether it will do the reader much good for me to note each and every one of them.
Lesson in TranslationBy Gabriel Preil
Translated by A.Z. Foreman
Click to hear me recite the original Hebrew
My interpreter tried to bring to lightThe states that went unstated,The methods of design and indirection,The compulsion to explore, reach and arrive,(Once even reading something in my face.)
Above all else she thought to plowthe specific subsoil, to identifythe bristle of roots, the burning morn of making.There were moments when an image drew herin, like trees in the morning singing their birds,or the incidental orchestrating itself,a delicate length of irony, a longing.
The original, one may assume, is still the original,She did not transmute it into her own possessionOr something else and other of mine.She seems to have held the lines with honor as usual,Their fidelity flowing from autumn to fall.
That said, I question how even so careful, cool a textCan be turned mournful, defeating all peace of mine.Had I learned a lesson in translation?
The Original:
ש×ִעוּר בְּתַרְגוּ×
הַמְתַרְגֶּמֶת × Ö´×¡Ö¼Ö°×ªÖ¸×” לַחֳשֹׂף
×“Ö¼Ö°×‘Ö¸×¨Ö´×™× ×©×Ö¶×œÖ¼Ö¹× × Ö¶×ֶמְרוּ
×ֶת ×Ö¸×¤Ö°× ×•Ö¹×ª הַמְכֻוָּן וְהַהַסְוָ×ָה
×ֶת כֹּרַח הַגִּש×Ö¼×•Ö¼×©× ×•Ö°×”Ö·×”Ö·×’Ö¼Ö¸×¢Ö¸×”
(×¤Ö¼Ö·×¢Ö·× ×§Ö¸×¨Ö°×ָה מָה ×‘Ö¼Ö°×¤Ö¸× Ö·×™)
יוֹתֵר מִכֹּל חָש×ְבָה לַחֲרֹש×
בַּתַּש×ְתִּית הַמְיַחֶדֶת, לְזַהוֹת
זִיפֵי ש×ָרָש×Ö´×™×, כְּוִיַּת הָעִצּוּב.
הָיוּ ×¨Ö°×’Ö¸×¢Ö´×™× ×©Ö¶× Ö¼Ö´×žÖ°×©×ְכָה לִדמּוּי כְּמוֹ
עֲצֵי בֹּקֶר ש×Ö¸×¨Ö´×™× ×¦Ö´×¤Ö¼Ö³×¨Ö´×™×
לַמִּקְרִי הַמְתַזְמֵר כְּמֵ×ֵלָיו
×Ö´×™×¨×•Ö¹× Ö°×™Ö¸×” דַקָּה, כִּסּוּפי×.
הַמָּקוֹר, ×ֶפְש×ָר ×œÖ°×”Ö·× Ö¼×™×—Ö·, ×¢×•Ö¹×“Ö¶× Ö¼×•Ö¼ מָקוֹר
×—Ö´×™× ×œÖ¹× ×”Ö¸×¤Ö°×›Ö¸×” ×וֹתוֹ לַ×ֲחֻזָּתָהּ
×וֹ לִכְלִי ש×Ö¶× Ö´×™, ×ַחֵר, ש×ֶלִּי.
כָּל בַּיִת ש×ֶבַּש×ִּיר, × Ö´×“Ö°×žÖ¶×”, מוּגָן — כָּרָגִיל
בֵּין סְתָו לִסְתָו מְפַכָּה ×Ö²×žÖ´× ×•Ö¼×ª×•Ö¹.
×¢Ö´× ×–Ö¹×ת ×Ö²× Ö´×™ ש×וֹ×ֵל ×ֵיךְ טֶקְסְט קָרִיר–זָהִיר
×’Ö¼Ö·× ×”×•Ö¼× × Ö·×¢Ö²×©×‚Ö¸×” עָצוּב, מֵבִיס ×ֶת הַש×ַּלְוָה.
לָמַדְתִּי ש×ִעוּר בְּתִרְגּוּ×?
Romanization:Å iËúr BetargúmHamtargémet nistá laḥasófDvarÃm Å¡eló ne'emrú,Et ofnót hamxuván vehahasva'áEt koráḥ hagišúš vehahagaËá(páËam kar'á ma befanáy)Yotér mikol ḥaÅ¡va laḥaróšBataÅ¡tÃt hamyaḥédet, lezahótZiféy Å¡oraÅ¡Ãm, keviyát haËitsúv.Hayú regaËÃm Å¡enimÅ¡exá ledimúy kmoËatséy bóker Å¡arÃm tsiporÃmLamikrà hamtazmér.Ironiá daká, kisufÃm.Hamakór, efÅ¡ar lahanÃaḥ Ëodénu makórHi lo hafxá otó la'aḥuzatáo lixli Å¡enÃ, aḥér, Å¡elÃ.Kol báyit Å¡ebaÅ¡Ãr, nidmé, mugán – karagÃlbeyn stav listav mefaka aminutóËim zot ani Å¡o'él eyx tekst karir-zahÃrgam hu naËasá Ëatsúv mevÃs et haÅ¡alvá.Lamadeti Å¡iËúr betirgúm?
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