Showing posts with label Virgil. Show all posts
Showing posts with label Virgil. Show all posts

Saturday, April 14, 2018

Lipogrammatical translation


Down To What’s Low, Canto 1

Just halfway through my own trip in our living
Provisional, short world, I found that I
Had lost my path in dark woods, unforgiving.

It is so hard a thing that I must sigh
If I would say how brutal was that wood,
To think on which will always horrify.

If anything, it’s only dying could
Outdo that acrid wood’s malignity.
But I will turn from horror, towards that good

Which also on that pathway, luckily,
I found, though I can’t say what hid all truth
Away in total blank stupidity.

I cannot work out how it was, in sooth,
That in that  gloom awaking, full of stupor,
I’d lost that saving road I took in youth.

I got at last to what you’d call a croup or
Boundary of that dark and dismal hollow,
A bank of rocks which from a mountain do pour,

To that bluff’s scapula my look did follow
Upwards still that guiding morning glow,
Bright from that star so holy to Apollo.

Thus did that anxious horror, which had so
Brought churning with it, all that awful night,
To my soul’s pool, diminish, calm its flow.

And as a man who pants hard, still in sight
Of billows which, almost, brought him to sink,
From land looks back on that main, full of fright,

So did my spirit, panicking, still think
On that grim pass no mortal human can
Go out of without passing living’s brink. 

At last my body pausing for a span
Until invigoration from that stop
Could now allow it motion, though no plan

Could show it how to go, with constant prop
On foot in back and downwards, sought to gain,
By climbing always upwards, that mount’s top.  

And lo! A cougar stood stock still, though plain
Its quick and light agility.  No turning
Could pass it by.  Upon its skin a rain

Of spots, which I, that bright and airy morning
(As sun and star-companions Loving God 
Had first spun, still did spin) saw as adorning

That cat, a sign of succor I might laud,
During that blissful dawn, but not so bright
That I did not start shaking, on that road,

At what was now arising in my sight:
A lion, drawn up high, intimidating,
So much that air and I, both full of fright,

About how it its stomach might start sating,
Must stop — for what? A wolf, and I was pavid,
So skinny was it, though anticipating

It would sup soon on anything, for avid
It was for food: though lank it was full too:
That wolf so ruinous to man was gravid!

And I was too — with fright! I could not do
What I was hoping for — to climb that hill.
Alas, I found no pathway round nor through.

And as a man who’d got just what his will
Saw as most worth wishing of all things,
Now gasps on losing it, a poignant thrill

Of brutal pain, transfixing with its stings
From that wolf, did I sob at, and I shrank
Darkwards, away from Sol’s loud blazonings.

Back did I go, back to that lowland dank;
Abruptly in my sight shows up a man,
Who, dumb so long, I thought would sound as blank,

As our surround was. Straight to him I ran,
Still crying “Pity!” to him, “Man or shadow
Of a man!”  “Not a man, but Mantuan,  

By birth” was his account, “Born Sub Julio,
But it was good Augustus, though his gods
Did not say truth nor know your Christian Trio,

Who was my king.  My song got many nods,
All praising it as Roman history,
From Trojan loss to gain, against all odds, 

From burning Ilion to victory.
But why do you avoid that joyous mountain,
As though to climb you’d no ability?” 

“Now art thou Virgil? That riparian fountain,”
All blushingly I said, within his sight,
“Of words that all who follow find a sound in

Which our own songs would sing with.  If I might,
I’ll say how much I honor you, what study
I sanctify with loving to your light.

But now look on that animal so bloody,
To you I turn for aid, to you I’m flying.
O horror!” “You must go this path, though muddy,”

Did Virgil say, to try to hush my crying,
“If you would from this dark wood find a way.
For past that wolf can no amount of trying

Attain that goal; whoso will try will pay
With his annihilation; hungrily,
Voraciously that wolf puts him away.

Marrying many animals bodily,
It looks to go on doing so, until
A Grayhound, coming with finality,

Shall bring its pain to culmination, kill
That awful wolf, who did not pity show.  
That hound, consuming not, such is its will,

Things of this world, but only what would go
With wisdom — loving all morality —
In fabrics of Franciscan monks will know

His nation.  Savior of low Italy,
That hound: our land for which Camilla, dying
A maid, and Nisus, and his loving ally

And Turnus, all lay down for good.  Now plying
Its way through any town that it might harry,
That wolf cannot avoid damnation, buying,

Through vicious rivalry, its day to tarry,
So soon to finish. So I think it right
That I conduct you, and that you stay wary.

As onwards through this aways-lasting night
You go, with sounds of always-lasting sorrow
Imploring total dying, not this blight.

But going through, I’ll bring you tomorrow
To souls who though in pain stay happy with it,
Hoping to pay back soon what sin did borrow

And climb salvation’s mount to that first orbit,
To which I must not go. But if you will
You’ll find at that hill’s top a worthy spirit,

Which I am not, as I did not fulfill
Writs laid down by that all-causing King,
Combatting what was law. His codicil

About my task thus says: I may not bring
A pilgrim to his city.  Though his might’s
Ubiquitous, from that city starts its ring

Circling all worlds.  O, happy, any sights
Of Him; most so, who in that city strong
Find bright salvation in its million lights.” 

And I to him: “I pray, by your high song — 
And by that God you did not know, I pray—
That you will as conductor, for as long

As you can do so, bring us on that way
Of pain, at last to portals which saints hallow,
And far from this soil’s sorrow.” With no stay

On did Virgil go, downwards did I follow.

Wednesday, May 18, 2011

How literary transference ends

Reading a great note of Jeff Nunokawa's (you may have to friend him on Facebook to read it) -- two notes, actually -- got me thinking about the moment when, seeing Beatrice's presence flame up before him, Dante attains to the full sublimity of the earthly Paradise that Eve has lost and turns to share the transport with Virgil, who's been silent these last cantos, lost in his own awe and wonder. (The higher they go in Purgatory, the more Virgil's authority reduces to his still-parental capacity to ask intelligent questions of the guides they meet and to interpret their answers, even if he can't answer those questions himself as he'd done below.)  She's not only a counter-Eve; she's a counter-Dido too, meeting him "vestita di color di fiamma viva," dressed in the color of living flame, in contrast with the flames of Dido's funeral pyre which Aeneas sees as he abandons Carthage.

This is indeed a return to Eden for Dante: Beatrice has been dead for ten years now, and it's ten years since he felt the awe that now overcomes him again in her presence.  Virgil has seen him through the lowest depths of hell and to this glory, and so now:

Tosto che ne la vista mi percosse
l'alta virtù che già m'avea trafitto
prima ch'io fuor di püerizia fosse,

volsimi a la sinistra col respitto
col quale il fantolin corre a la mamma
quando ha paura o quando elli è afflitto,

per dicere a Virgilio: 'Men che dramma
di sangue m'è rimaso che non tremi:
conosco i segni de l'antica fiamma'.

Ma Virgilio n'avea lasciati scemi
di sé, Virgilio dolcissimo patre,
Virgilio a cui per mia salute die'mi;

né quantunque perdeo l'antica matre,
valse a le guance nette di rugiada,
che, lagrimando, non tornasser atre.  (Purgatorio 30, 40-54)

----

As soon as all my sight was driven wild
by that same force which, timelessly archaic,
transfixed me then while I was yet a child,

I turned back to the left, with hopes as quick
as when a little boy runs to his mama
if he's afraid of something or is sick,

To say to Virgil, "No drop of blood is calm: a
trembling has rapt me: I see all about
the returning fire of that blazing drama."

But Virgil was not there. We were without
him now. O Virgil! sweetest father,
to whom my soul I'd trusted without doubt!

Nor could the world, recovered, our first mother
lost once in Eden keep my dew-cleansed cheeks
unstained by tears I now wept for the other.
Dante lost his mother when he was five years old, and he has already seen that Beatrice must have taken her place in his soul, especially once she too has died. But Virgil has been so tender, and it's to Virgil he turns, as to a mother, as to his childhood, away for a moment from the Godlike blaze of Beatrice.  It's to Virgil that he entrusts his own wondrous and direct acknowledgment that he recognizes the archaic feeling he'd once felt in Beatrice's presence on earth: "conosco i segni de l'antica fiamma," I recognize the signs of that ancient flame (my translation above sacrificed the directness of this line for the even more important rhyme on mama) -- words which directly translate Virgil's Dido -  "Adgnosco veteris vestigia flammae".  Her ancient flame had been for her husband Sichaeus, now dead, and now she fears (accurately) that she will betray his memory and turn from him to Aeneas.

So for a moment Virgil and Dante take on the rolls of women, of Dante's mother and of Dido, while Beatrice takes the role of Aeneas. Since Dante will follow her, he abandons Virgil, perforce, and so he disappears, another abandoning himself before he is abandoned for Beatrice's living flame.  Over now, the fictive world that returned Dante to childhood, and gave him back a mother in Virgil.

If Dante is thinking of the Aeneid he must also be thinking of the binding of Isaac, the moment John Limon aptly describes as Isaac's adulthood.  For Abraham leads him to this terrible pass, seemingly knowing what he's doing but hiding his own terror and bewilderment.  We know this because Isaac asks his what's going on:
And Isaac spake unto Abraham his father, and said, My father: and he said, Here am I, my son. And he said, Behold the fire and the wood: but where is the lamb for a burnt offering?

And Abraham said, My son, God will provide himself a lamb for a burnt offering: so they went both of them together.
He doesn't trust Isaac with (what he thinks is) the truth.  (Note that his intended lie isn't going to turn out to be the truth either, since it's a ram, not a lamb, that God provides, falsifying the inadvertent prophecy.)  But then he binds Isaac.  After this episode (as is notorious) Isaac disappears for several years, and we see him again only as an adult, after his mother dies.  The binding of Isaac is the end of his childhood: he has turned to his father in anxiety and trust, and his father has betrayed him.  God intervenes, but that's hardly recompense for the loss he indemnifies.

I don't mean to suggest the Virgil should be equated with Abraham, only to say that Dante is underlining the terrible moment when the child turns to the parent to find that the parent cannot help.  That's in Eden too.

As I say, I was thinking about this because I'd put together the moment in Dante with that in the frame to Turn of the Screw, the story of Griffin's ghost which is about
an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him.
He turns to her and she can't help him.  What scene more archaic than the child turning to a parent when haunted by ghosts? What comfort more primal than that which the parent gives? And when she can't -- that's the failure of Abraham, of Virgil, of Wordsworth in "Surprised by Joy" ("I turned to share the transport, O with whom, / But  thee, deep-buried in the silent tomb"), of the mother in Griffin's story (and of the Governess), of the father dreaming of his burning child whose story Freud reports (how often Abraham must have had this same dream, on his way to Moriah, and on his way home too!), and indeed of Gertrude, that inaugurates adulthood and its ultimate failure to be able to lay the ghosts of mortality that haunt our children.