Traducción: Textos Poéticos

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Traducción: Textos Poéticos Tomás Ramos Orea TRADUCCIÓN: TEXTOS POÉTICOS (INGLÉS-ESPAÑOL) Principios, posibilidades, consideraciones teóricas, resultados prácticos. Madrid 2010 - 1 - UNDER MILK WOOD (EN EL JOVEN BOSQUE) A Play for Voices By DYLAN THOMAS Traducción (con la colaboración de Elwyn L. Thomas), estudio preliminar y notas de TOMÁS RAMOS OREA Queen’s University KINGSTON, ONTARIO, CANADA, 1971 - 2 - - 3 - DYLAN THOMAS Y UNDER MILK WOOD De todos los poetas de habla inglesa del siglo XX, quizá sea Dylan Thomas el que más apasionadas reacciones ha provocado. A partir de su muerte en noviembre de 1953, y centrando de momento el tema en España, una invasión de estudiosos se afanó diligentemente en adueñarse de todos los campos posibles de la obra del bardo. No faltaron las consabidas traducciones mediocres, ninguna de las cuales superaba a las que ya M. Manent había publicado en 1948. Hasta yo mismo, en mis estudios de Filología inglesa en la Universidad Central de Madrid, pude probar mis fuerzas en idéntica labor, llegando al resultado concreto de incluir en mi tesis de licenciatura en 1959 el poema “Especially When The October Wind”, con traducción y notas; todo ello –ya que no venía al caso– con una evidente despreocupación del aparato bibliográfico que ya se decía circular entre los llamados especialistas. Sistemáticamente se hizo mención, poco menos que exclusiva, de su obra estrictamente poética, manejada con cierta comodidad a raíz de la aparición de sus Collected Poems en 1952. A la luz de todo lo escrito, y del panorama que de un creador como Dylan pueden dejar las hordas de la erudición, fue casi milagroso el que mi interés se despertara del lado de su obra radiofónica, única parcela que felizmente se hallaba casi virgen en España. Mi entusiasmo específico por UMW fue coincidencial. Ocurrió durante mi estancia en Inglaterra de 1959 a 1960 como profesor auxiliar de español en la Grammar School de Market Harborough (Leicester). Allí entablé amistad con Mr Elwyn Thomas, galés, poeta asimismo y conocedor a fondo de la obra de Dylan. Elwyn fue quien me propuso trabajar conjuntamente en la traducción de UMW, cumbre –según él– de toda la producción de Dylan. Sin duda que el encontrarme con este entusiasta y culto galés fue la clave providencial que me impulsó a trabajar en el magno proyecto. Su ayuda consistiría, obvio es el decirlo, en desentrañarme el sentido de los puntos de difícil comprensión. Casi un año de labor febril y descorazonadora fue la consecuencia de nuestro empeño. Un trabajo donde se necesitaba repetir veces y veces la traducción de una misma frase, compararla, pesarla, escucharla desde todas las perspectivas posibles; luego, encajarla en el texto y dejarla dormir durante cierto tiempo. Un trabajo incapaz de sostenerse a ritmo continuo, ya que el vértigo verbal que se produce al contacto de UMW obligaba a menudo al infeliz traductor a tener que parar todo y serenarse. La versión que ahora presentamos bien puede considerarse como la tercera, después de haber repasado y corregido algunos detalles en la que creíamos segunda y definitiva. - 4 - Casi cada palabra de UMW tiene un sentido insospechable. El pensamiento es galés, si bien con grafía inglesa, algo así como una “aljamía conceptual británica”. La ingente y a veces diabólica personalidad de Dylan se escondía detrás de muchas frases con su bagaje de intenciones chocantes, con la mágica complicación de su potencia imaginativa. Para qué insistir. Por simple curiosidad se puede hacer la sencilla prueba de preguntar a cualquier británico de intelectualidad media el alcance de tales expresiones de Dylan. Muchas de las contestaciones se basan únicamente en la consideración de si eso pueda o no llamarse inglés. Tal fue la envergadura del proyecto que se llevó a cabo. Una penosísima y emocionante pesadilla, agudizada, por si fuera poco, por la lucha inevitable contra el tiempo, ya que yo tenía que regresar a España en julio de 1960, quedando por tanto privado de la ayuda directa de Elwyn. La traducción de UMW requirió toda nuestra mejor voluntad. Para intentar salir airosos de semejante prueba necesitábamos una honda familiarización con el medio en que el autor creó su obra. No había, pues, más remedio que atacar el tema por su misma raíz. Salimos para Laugharne, en el País de Gales, un día de noviembre de 1959. Laugharne, prácticamente la patria chica de Dylan, es un pueblecito de mar que se asoma a los estrechos de Irlanda y de Calais, dotado por tanto de gran flexibilidad geográfica. Aunque luego hable de ello, me interesa adelantar que, por haber desarrollado una buena industria turística en torno a los recuerdos y a las obras de Dylan, las actitudes de muchos de sus habitantes están como doradas por una especie de falsía, de amor extraño hacia el poeta y de sentimentalismo a todo lo que hizo en vida. Esto choca con el hecho de que al principio de su carrera Dylan tuvo que salir de Gales y marchar a Londres, donde se le pudiera comprender algo mejor. Laugharne no hizo más que negarle y escarnecerle. Así es de pintoresco el carácter inglés predominante y así se justifican los virajes de 180 grados de sus afectos cuando hay dinero por medio. Es hasta entristecedor escuchar las apologías apasionadas que hace la gente de Dylan, sobre todo precisamente en los sitios donde se venden sus obras completas, en una gama variada de ofertas para todos los gustos y para todos los bolsillos. Al entrar en el País de Gales me pareció que la bruma iba envolviendo con especial insistencia los paisajes que todavía estaban por descubrir. La proximidad de la antigua morada del poeta era algo que nos calaba, a través de los ojos del alma, con la fantasía que siempre precede a todo lo desconocido. Al llegar a Laugharne, medio desorientados, preguntamos al primer hombre que vimos en la calle por el cementerio con los restos del poeta. Con signos visibles de emoción y conciencia del momento intensamente lírico que todos vivíamos, caminamos por una senda sencilla que nos llevó a la misma sepultura. Allí estaba, solitario, entre unos montones de tierra mal apisonada, aquella gigantesca fuerza creadora, venido todo a nada, cruel paradoja. Empezó a hacerse tarde. El plomo del cielo nos pesaba algo más a cada uno, y salimos del cementerio. Así, fuimos recorriendo el paseo costero que conduce a la casa-estudio donde el poeta se pasaba encerrado gran parte del tiempo. - 5 - A partir de entonces se pudo comenzar a comprobar el juego, el prodigioso sistema de imágenes que incluyó la obra de Dylan. Esa “heron priested shore” es, efectivamente, certísima. En el trozo de ensenada en que Laugharne se recuesta, los pajarracos de que habla Dylan, con una como corbata blanca y negra, graznan y se destornillan en chillidos. Y allí enfrente la célebre “fern hill”. Es verdad. Ligeramente a la derecha del estudio se ve la colina, macizamente sencilla, con la perpetua escama de helechos que le da un tono rojizo a veces. Y sobre todo, guardando algo de inexplicablemente lírico para el visitante. En Laugharne, decíamos, la obra de Dylan, como la de tantos otros, ha alcanzado tardíamente los honores del reconocimiento general. Sus libros se venden en cualquier tienda o bazar de estos típicos de pueblo, donde uno puede ver los poemas junto a las escobas y las patatas. Sí, además del trato cruel que el mundo suele dar a los poetas por el hecho de serlo, todavía es posible verles más escarnecidos a la hora de la muerte si resulta que pueden dar algún provecho económico. Restos de recuerdos arruinados, junto con las flamantes obras completas del vate, todo en un confuso montón de escepticismo, de tributo a destiempo, de adulación retorcida y tardío arrepentimiento. La reacción póstuma ante la obra de Dylan es un fenómeno que muy bien pueda ilustrar, si bien amargamente, el sentido de su estancia en Gales. Dylan cantó a Laugharne, al tiempo que contó las inmundicias y debilidades de la ciudad ante un público embotado del todo e inepto para captar entonces las excelencias del poeta, la piedra que ya comenzaba a levantar en el edificio de su compromiso con la posteridad y la gloria. Es hasta gracioso ahora observar la impertinencia de ciertos tenderos al hablar de Dylan con una suficiencia mitad servil, mitad halagadora y desafiante. Al principio, muy pocos creían en él. Sí, ante el brutal resultado de los hechos y ante el alud imparable de la fama que ha anegado a Laugharne, sus moradores se sienten como contritos y despistados, preguntándose qué participación digna se pueden ahora asignar en la memoria del poeta. Dylan Thomas, en UMW, nos ha historiado para siempre de manera magistral y caricaturesca la vida de una ciudad durante veinticuatro horas, haciendo una perfecta disección de las capas más reveladoras y significativas del temperamento de una fracción del pueblo británico. Los más entusiastas del bardo parecer ser los de la famosa taberna del “Sailors Arms”, sitio obligado de nuestra visita, donde Dylan pasaba días y noches enteras consumiendo incontables pintas de cerveza “calenturria y delgadita”. La dueña del establecimiento es sin duda la Mary Ann Sailors del libro, y el hombrón que despacha no es ni más ni menos que el Sinbad Sailors de las travesuras de UMW. En casi todas las paredes hay alguna fotografía de Dylan, creo que siempre de las más favorecidas. En el curso de unos pocos años podemos ver cómo el volumen del poeta fue creciendo alarmantemente. Ya en una de estas fotos, sacada a sus veintiún años y con la que luego sería su mujer, Caitlin, se pueden ver en su cara los primeros signos de estrago que la pasión por la cerveza le habría de causar.
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