Ryan and Don Roger

15

Translation Theory
(revised 3 May 2026)

            In DQI, IX, Cervantes, in his role of first-person narrator, goes to the Alcana in Toledo, where he discovers an Arabic manuscript containing the adventures of Don Quixote. The first eight chapters of our novel contain no mention of a translator. Suddenly one appears. The narrator buys the manuscript, finds a translator, takes the translator to his house, and in six weeks receives a translation, from Arabic into Spanish, of the novel. Question – does the translation contain Chapters 1-8, already written by Cervantes, or not? Alas, we do not know. Is the translation accurate? We do not know that either, for the original Arabic manuscript is a literary illusion and does not exist.

            However, we do know that Cervantes writes that ‘reading a translation is like looking at the reverse side of a tapestry’. Speaking of the Italian poet, Boiardo, the priest, in DQI, 6, says “If I find him here speaking in any language but his own I shall show him no respect. But if he speaks his own tongue, I will wear him next to my heart.” The priest continues, “That is what happens with all authors who translate poetry into other languages. However much care they take, and however much skill they show, they can never make their translations as good as the original.”

            Of course, with no original for the Quixote, there can be no translation theory. So, let us try to construct one. In the course of my own work, I have studied various translations of Quevedo’s poem Miré los muros de la patria mía. I will use them to see how translations can function, and what happens when we look at the reverse side of the tapestry. First, Quevedo’s poem in the original Spanish. Then a direct, line by line translation of it, for those who do not read Spanish.

Miré los muros de la patria mía,
si un tiempo fuertes, ya desmoronados,
de la carrera de la edad cansados,
por quien caduca ya su valentía.

Salíme al campo, vi que el sol bebía
los arroyos del yelo desatados,
y del monte quejosos los ganados,
que con sus sombras hurtó su luz al día.

Entré en mi casa; vi que, amancillada,
de anciana habitación era despojos;
mi báculo más corvo y menos fuerte;

vencida de la edad sentí mi espada.
Y no hallé cosa en que poner los ojos
que no fuese recuerdo de la muerte.

            I looked at the walls of my fatherland, (line 1) if once strong, now crumbling, (line 2) from the passing of age tired, (line 3) which wears out their bravery. (line 4) I went out to the field, saw that the sun was drinking (line 5) the streams from the ice untied, (line 6) and of the hill complaining the herds, (line 7) whose shadows stole the light of day. (line 8) I entered my house; I saw that, stained, (line 9) of an ancient habitation it was the spoils; (line 10) my cane more curved and less strong; (line 11) conquered by age I sensed my sword. (line 12) And I didn’t find a thing on which to turn my eyes (line 13) that was not a reminder of death. (line 14).

            This very literal translation, with all its inaccuracies and its inability to express the hidden cultural depths of the original, is totally unpoetic and inadequate, compared to the genius of the original version. Other prose translations have been offered by J. M. Cohen and Elías Rivers, and they are much more accurate – and much better (!), than mine.

            Brave poetic translations, also at times somewhat distant from the original, have been published by Robert Lowell, David Gitlitz, and Griswald Morley / Charles Cobb revising the version of John Masefield. Alas, I do not have permission to replicate their versions. However, I called the translations ‘inadequate’, but they aren’t really they are just the best we can do. Robert Lowell, himself an outstanding poet, gave us much more than a translation. He gave us what I like to think of as a recreation, a new poem based upon the old original. Translations and re-creations, two very different kettles of fish! I offer you here two of my own efforts at recreating the poem!

1

I looked at the defenses of my native land:
empty silos, bombs and rockets melted down.
“Put your faith,” the TV said, “in diplomacy,
not in the metal walls of flying ships.” I went

outside. Cattle were lowing against the falling
temperature, tails to the wind. Steam
rose from their flanks, then was scattered
like an overnight dream of ghosts. Inside,

on the sink, a shrivelled tea bag, dried up stains;
my trusty coffee pot, rusty on the stove,
was chipped and raw at the rim. I took

my shot gun in my hand. Its crooked barrels
served me as a walking-stick. As I limped
around, my mother’s photo spoke to me of death.

2
I’ve got something to say, so here’s what I’ll do
I’ll write it out in rap with a rhythm just for you.
I once saw a town with a very small wall
that’s so fallen down it’s no wall at all.
It’s old and it’s rotten and it cannot last
like a runner on the track who’s run too fast
at the start of the race, and he’s run out of breath,
so he’s hit that wall, and he feels like death.
And there’s cattle lowing and the sun’s in the sky
but it’s winter time, so the sun’s not high,
and the shadows are long, and the wind’s getting cold,
and it’s all about a man who’s growing old.
He looks around his house and all he sees
are dead people’s faces and living memories.
He’s trapped on the ground floor, can’t climb stairs,
everything he touches he’ll leave to his heirs.
There’s a pain in his side, and he can’t catch his breath,
and all that he sees, reminds him of death!

            A rap sonnet (14 lines) containing nine pairs of rhymed couplets (18 lines)? The good Don Francisco de Quevedo will be turning in his grave and his still-warm ashes will once again be burning with love for Lisi and the joy of being alive, in one form or another, in spite of the River Styx, which the flame of his love could swim and not be lost forever.

            So, when looking at translation theory, what can we set down? First, it is very difficult to capture the full cultural meaning of the original because each word has an associative field that differs in each language. The associative field is the word itself, with all its secondary meanings and concepts. Mi espada / my sword is an excellent example. Quevedo, in spite of his infirmities, was a master swordsman. His sword remained unconquered, save by age itself. We no longer walk around with swords sheathed at our sides. The meaning, therefore, in all its sadness and profundity, cannot be captured by our translation skills. The words just do not have the weight.

            The grammatical structures, inversion of words, for example, cannot easily be reproduced in English translation.  Line 3 – from the passing of age tired – just doesn’t sound right. And yet, it is curiously accurate – but not English. Oh dear. Line 6 – the streams from the ice untied – Line 7 – of the hill complaining the herds – Line 10 – of an ancient habitation it was the spoils – no, sorry, these inversions just do not function in English.

            In addition, the rhythm and the syllable count of each line of the original is lost in translation. Whatever you say about it, the rhythm of my rap sonnet emphasizes the importance of beat and tempo. Great fun to read aloud, and when reading it to an audience, watch their faces and then their feet. I have actually seen some listeners tap-dancing during my reading! And the scowls of those who cannot believe the impertinence of a translator who translates into rap music the classical lines of a poetic genius. Finally, the rhyme scheme will almost always defeat the would-be translator who approaches it as a target, while never quite mastering the reproductive technique, other than approximation. The structure of Quevedo’s original rhyme scheme is 14 hendecasyllabic (eleven syllable) lines rhyming abba / abba / cde / cde.  This is all very difficult to reproduce in English with its eternal iambic pentameter. Therefore, we must be satisfied, like it or not, with the reverse side of the tapestry, as Cervantes calls it.