Poetry, translation, and everything that is lost in between – an analysis of the inadequacies in the process of translating poems into other languages

As a literary form, poetry transcends mere communication; it is an art form that encapsulates the essence of language, culture, and the human experience. Whether translation can truly capture the richness of poetry has engaged scholars, linguists, and poets for centuries. This article explores the complexities of translating poetry, drawing from examples in English, Hindi, Sanskrit, and other languages to argue that while translation can provide a glimpse into the original work, it often falls short of fully embodying the multifaceted nature of poetic expression.

The Nature of Poetry

Poetry is not merely about words; it’s about rhythm, sound, imagery, and the cultural context within which it is written. Each language has its own phonetic, syntactic, and semantic structures, which contribute uniquely to the poetic experience. For instance, the use of ‘raga’ in Hindi poetry or the intricate meters of Sanskrit like ‘Anushtubh’ are not just stylistic choices but are deeply embedded in the cultural and historical fabric of the language.

The Challenge of Translation

1. Rhythm and Meter: One of the most immediate challenges is maintaining the original rhythm and meter. English poetry often relies on iambic pentameter or free verse, which might have little equivalents in languages like Sanskrit, where the ‘chhandas’ (meters) are based on syllable length rather than stress. Translating a poem while preserving its rhythm often requires significant word choice or structure alterations, which can dilute the original intent.
2. Cultural Nuances: Poetry is steeped in cultural references, idioms, and historical contexts that might not translate directly. For example, translating Mirabai’s ‘bhakti’ (devotional) poetry into English involves translating words and conveying her devotion to Krishna’s cultural and religious significance, which might be alien to non-Hindu readers.
3. Sound and Phonetics: The sound of a poem, its alliteration, assonance, and rhyme, are crucial for its effect. English poetry’s rhyme often doesn’t find a straightforward parallel in languages like Hindi or Sanskrit, where the sound of words plays a different role. Translating “The Rime of the Ancient Mariner” by Coleridge into Hindi, for instance, would necessitate finding phonetic equivalents that carry similar emotional weight, which is daunting.
4. Imagery and Symbolism: Poetry often uses culturally specific symbols. The lotus in Sanskrit poetry symbolises purity and enlightenment, a concept that might not resonate similarly in Western literature, where different symbols are employed.

Case Studies

• From Sanskrit to English: Consider the translation of Kalidasa’s “Meghadūta.” The original uses intricate metaphors and similes deeply rooted in Indian mythology and nature. Translating these into English involves not just linguistic translation but also a cultural translation to make the imagery accessible to a Western audience.
• Hindi to English: Kabir’s poetry challenges translators with its mystic and often rebellious tone. The simplicity of his language in Hindi, which carries profound philosophical depth, is complicated to replicate in English without losing some of its directness or mystic aura.

Theoretical Perspectives

• Walter Benjamin’s “The Task of the Translator” argues that translation is not about conveying meaning but about revealing the essence of the original in a new linguistic form. However, he also acknowledges that this essence might be altered or lost.
• Roman Jakobson’s Categories of Translation: Jakobson’s theory includes intralingual, interlingual, and intersemiotic translation. Poetry often requires all three, especially when cultural symbols and sounds are involved, making the task even more complex.

Elaboration on Key Points Regarding Poetry Translation

We Can Translate Only Words, Not Emotions:

• The Essence of Emotion: Emotions in poetry are conveyed through words, rhythm, tone, and the very sound of the language. For instance, the melancholy in a poem by Edgar Allan Poe is not merely in the words but in the cadence, the choice of sounds, and the way the lines flow. When translated, these emotional nuances can be lost because the phonetic structure of languages varies significantly. The emotional resonance of “Nevermore” in “The Raven” might not carry the same weight in another language due to differences in phonetic impact and cultural associations with the word.
• Cultural Expressions of Emotion: Emotions are culturally expressed and perceived. What might evoke sadness in one culture might evoke nostalgia or humour in another. Translating these emotions requires linguistic translation and understanding how emotions are culturally encoded.

We Can Never Fully Translate Culture Into Another Language:

• Cultural Specificity: Culture is embedded in language through idioms, proverbs, and everyday expressions. For example, translating the concept of “saudade” from Portuguese, which encompasses a deep sense of longing or nostalgia, into English loses its depth because English lacks a direct equivalent.
• Historical Context: Poetry often references historical events, myths, or cultural practices unique to the language’s origin. Translating these without explanation or adaptation can disconnect the reader from the poem’s intended cultural context.
• Symbolism and Ritual: Poetic symbols, like the cherry blossoms in Japanese poetry, carry layers of meaning related to the transient nature of life. Translating these symbols requires finding an equivalent and conveying the cultural significance, which might not exist in the target language.

We Cannot Translate Civilisational Consciousness Into a Different Language:

• Civilizational Consciousness: This refers to the collective consciousness shaped by centuries of history, philosophy, religion, and societal evolution. For instance, translating the Bhagavad Gita from Sanskrit into English involves translating words and philosophical concepts like “dharma,” which has no direct English equivalent due to its multifaceted nature encompassing duty, morality, and cosmic order.
• Philosophical Depth: Each civilisation has developed unique philosophical systems. Translating these into another language often simplifies or alters them, causing them to lose their original depth. For example, Hindu philosophy’s concept of “moksha” is deeply rooted in a specific worldview that might not resonate in a culture with different metaphysical beliefs.

Translation, at Its Best, Can Only Be the First Hurdle Crossed:

• Need for Cultural Literacy: To truly understand poetry from another culture, one needs more than just the translation. Knowledge of that culture’s mythology, spiritual philosophies, worldly beliefs, and traditional practices is crucial. For example, understanding the layers of meaning in the “Epic of Gilgamesh” requires familiarity with ancient Mesopotamian culture, their gods, and their view of the afterlife.
• Intertextuality: Poetry often references other works or cultural artefacts within its language. Without understanding these intertextual references, the depth of the poem is lost. A reader unfamiliar with the Ramayana might miss the layers of allusion in a poem referencing Rama or Sita.
• Linguistic Nuances: Even with cultural knowledge, the nuances of language play a significant role. The way a poem sounds, its rhythm and even its script (like the visual beauty of Arabic calligraphy in poetry) are integral to its experience, aspects that translation cannot fully capture.

While translation is a vital bridge for cross-cultural understanding, it remains an approximation. The genuine appreciation of poetry from another culture requires a deep dive into the culture itself, learning its language, and understanding its historical and philosophical underpinnings. This journey beyond translation enriches one’s understanding and highlights the unique, untranslatable beauty of each language’s poetic tradition.

Conclusion

While translation can offer a pathway to understanding poetry from different cultures, it often does so at the cost of some of the original’s richness. The emotional, intellectual, cultural, and civilisational layers of poetry are so intertwined with the language in which they are written that any translation, no matter how skilled, will inevitably be an interpretation rather than a replication. This isn’t to say that translation is futile; instead, it highlights the unique beauty of each language and its poetry, suggesting that to appreciate poetry truly, one should endeavour to learn the original language or at least approach translations with an awareness of their limitations.

In sum, while translation can serve as a bridge, it is a bridge with its architecture, not a mirror reflection of the original. Poetry’s essence and soul often remain partially untranslatable, leaving a gap between the original and its translated form that can only be bridged by cultural immersion and linguistic mastery.

Alka for Desi Readers