My hat is off to John Ridland for his magnificent new translation of Gawain and the Green Knight!
In college I became hooked on Old and Middle English poems, so I made a gloss of Gawain in order to understand it. The dialect is that much different from Modern English, or Chaucer's English for that matter, that it seems to be a completely different language. I wish Ridland's translation had been available 50 years ago: it would have saved me a lot of time.
I have little to add to transponder's review of August 6, 2017, except this: once you've read this translation, reread it either aloud or by silently moving your lips. Odd advice, but try it.
5,0 su 5 stelleThis is a great translation, better than the original
10 dicembre 2017 - Pubblicato su Amazon.com
I've seen passages in periodicals, and I studied with Marie Boroff. I don't the think the Gawain poet was entirely metrically competent, caught halfway between Beowulf, which I translated with Alan Sullivan, and Chaucer. This is a great translation, better than the original, with its long, loping alliterative line, the bobs and wheels marvels of short line rhyming.
I've just finished reading the new John Ridland translation of Sir Gawain And The Green Knight, and it's a triumph. An often difficult yet charming and morally serious poem, it is written in a Middle English midlands dialect that is even more inaccessible for the modern speaker than is Chaucer's dialect. Not only that, the squat scribal hand is very difficult to make out: I imagine that frequent breaks must be required, even for experienced philological eyes! But back to John Ridland's translation: what's good about it?
In the first place, Ridland sees himself in this project as a translator -- and by definition he is thereby tasked with rendering accurately the poem that the late-14th-century (1370s? 1380s?) poet wrought. Just because we do not know the poet's name, it is not on that account a vehicle for the poetry version of a 'starchitect' (yes, Mr Armitage: I'm looking at you). In the second place, he strikes exactly the right balance in diction (word choice) such that the poem seems neither stilted and artificially quaint nor off-puttingly adolescent and aggressively unacademic. It is a mistake to suppose that readers cannot be taken into an enchantment that is not of their own time -- and an even worse mistake to suppose that readers don't even want that. The promise of history and of literature from the past is precisely that it shows us what is timeless and what is also, often gloriously, profoundly rooted in a time and place, simultaneously. The time-bound and the timeless: that is what the sensitive reader of any poem can be expected to want. And John Ridland, most evidently, understands that.
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