Very often, we attempt to translate lines and lyrics of literature from one language to another. However, and our language teachers relentlessly try to convince us this, nothing can be perfectly translated. It can be impossible to flawlessly transcend language borders. Nonetheless, literature is a beacon for culture and ideology, and therefore it is not only impossible but also imperative that we translate novels and novellas in order to gain an understanding of global perspectives and ideas. In an article by MentalFloss.com, we are given just a few examples of untranslatable words...
1. Mamihlapinatapai (Yaghan language of Tierra del Fuego)
This word captures that special look shared between two people, when both are wishing that the other would do something that they both want, but neither want to do.
2. Backpfeifengesicht (German)
A face badly in need of a fist.
3. Mencolek (Indonesian)
You know that old trick where you tap someone lightly on the opposite shoulder from behind to fool them? The Indonesians have a word for it.
You know that old trick where you tap someone lightly on the opposite shoulder from behind to fool them? The Indonesians have a word for it.
This word is the hopeful declaration that you will die before someone you love deeply, because you cannot stand to live without them. Literally, may you bury me.
And many more.
And now, Franz Kafka.
Kafka, a renowned 20th century absurdist, told a tale of a man unexpectedly transformed into a giant insect called Metamorphosis where this man, Gregor Samsa, must learn to adjust to his new identity and face the disgrace his family feels for him. In this novella, there are several controversially translated lines.
1. "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect."
Diction: The term "awoke" gives more context to the linguistics because it is less familiar to the reader than "woke." It is a more dated, whimsical term. The word "gigantic" is a dramatic term and more powerful than "big." "Transformed" suggests that he was completely altered and is more akin to "metamorphosis" than "changed" is. Lastly, "insect" has a connotation that makes the reader squirm, but is also more clinical.
Syntax: The sentence is given a straightforward structure. There are no dramatic pauses with commas or other punctuation. The words hold all the meaning.
Imagery/Details: He is specifically placed in his bed. In my mind, my bed is a safe, relaxing place, so this detail could play off of this idea that your home and your bed are safe places and this would make the scene even more unsettling. The timeline of this scene is ambiguous, he just wakes up "one morning."
Structure: The structure of this sentence is simple and direct.
Other: "As" is a very interesting word for Kafka to use to begin this sentence. It makes me imagine that Samsa is not fully awake yet before he is hit with the realization that he is "transformed in his bed into a gigantic insect."
Diction: Omitting "as" makes this sentence even more direct. "Uneasy" is a light-weighted, but uncomfortable term here. It is not as strong as "troubled." Lastly, "changed" is a more subtle term than "transformed," and feels less drastic.
Syntax: This sentence is even more straightforward than the last without the "as." The lack of punctuation also perpetuates the lack of drama present in the first translation.
Imagery/Details: "One morning" is still a very vague timeline and allows the reader to imagine which day it is.
Structure: This sentence is simple and direct just like the last one.
Other: I don't notice anything else.
3. "When Gregor Samsa awoke from troubled dreams one morning he found he had been transformed in his bed into an enormous bug.
Diction: "When" stamps the exact moment that Samsa woke up as the exact moment that he found out he had transformed into a bug. "Troubled" is much more unsettling than "uneasy," and slightly suggests a troubled mind versus simply a bad night's sleep. "Enormous" and "gigantic" are very similar in their intensity and both give me the creeps since they're referring to insects. "Bug" is less gross than "insect."
Syntax: This translator used tenses like "awoke" and "found he had been" which drew out the sentence and provided more pent-up drama.
Imagery/Details: "In his bed" appears again to give the reader a sense of safety that is to be intruded.
Structure: There is still no punctuation in this sentence to give pauses or breaths, but this sentence is more drawn-out because of the translator's use of tense in "he had been."
Other: "When " and "in his bed" provide more of a setting than the previous translation.
Diction: "Upon awakening" is even more dramatic and whimsical than "awoke." "Agitated" is much more powerful than "uneasy" and suggests that Samsa is annoyed rather than disturbed. "Monstrous vermin" is strong, grotesque diction for Samsa's new form.
Syntax: "Upon awakening" is a dramatic tense in this scene. He did not simply wake up, he was awakened.
Imagery/Details: He is still specifically "in his bed," in a safe place.
Structure: This sentence is full of structure! It is introduced by "one morning" and "upon awakening" is placed in such a way that you can imagine Samsa waking up and discovering that his is a large insect simultaneously. "In his bed" becomes more apparent and more incredulous by this translator's use of commas.
Other: This sentence is so much more emotional and drastic that it does not necessarily reflect typical absurdist conventions.
In each translation, the author's diction piled on meaning. In the first translation, "insect" is used instead of "bug" to have a more detached, clinical view of the issue at hand. This suggests to the reader that Samsa's character is not easily caught by surprise (one might say he has... unagi), and that he is not easily overpowered by emotion. On the other hand, in the last translation, the translator instead said "monstrous vermin" which gives the reader an exactly opposite impression. Now, Samsa is disgusted and incredulous, not cool and collected. The translators also use syntax and structure to impose meaning. This is clearly evident when comparing translation #2 and translation #4. In #2, there is a clear, direct, and simple sentence structure and an utter lack of punctuation and therefore a lack of dramatic pauses. And yet, #4 is littered with commas and incredulous pauses to emphasize the scene's outlandishness. Both of these techniques hold weight within the translations, and both contribute to the overall meaning and impression of this sentence.
This exercise has clearly shown me the difficulties of translating text. Although I knew before that translations cannot always carry over the true intended meaning, I now know how a text can be interpreted in two completely different ways. I see how translation #2 essentially portrays absurdity, but also how translation #4 strays away from simplicity and dabbles in drama. The tones range from mildly confused to full-on flabbergasted based on the diction used in different translations. All in all, I am actually starting to agree with the idea that the translator should have a personal or literary connection to the original author, because while words may be translatable, intrinsic meaning may not always follow suit.
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