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Ÿþg O R D O N M . K E N D a L P H D T H E S TRANSLATION AS CREATIVE RETELLING : CONSTITUENTS, PATTERNING AND SHIFT IN GAVIN DOUGLAS’ ENEADOS Gordon McGregor Kendal A Thesis Submitted for the Degree of PhD at the University of St. Andrews 2008 Full metadata for this item is available in the St Andrews Digital Research Repository at: https://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/554 This item is protected by original copyright This item is licensed under a Creative Commons License i TRANSLATION AS CREATIVE RETELLING: CONSTITUENTS, PATTERNING AND SHIFT IN GAVIN DOUGLAS’ ENEADOS Gordon McGregor Kendal Degree of Doctor of Philosophy 17th June, 2008 ii ABSTRACT The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil’s Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a “text” in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil’s: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas’ way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil’s, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas’ translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil. iii DECLARATIONS I, Gordon McGregor Kendal, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2005 and as a candidate for the degree of Ph. D. in September, 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2008. date signature of candidate I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph. D. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. date signature of supervisor The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to Printed copy and electronic publication of thesis through the University of St Andrews. date signature of candidate signature of supervisor iv ACKNOWLEDGEMENTS I have been indebted in many ways in the preparation of this work, but I should like to register special gratitude to three people. First, to Dr Christopher MacLachlan for the friendly supervision - sensitive but firm - which he has provided throughout the last three years. His warm encouragement and gentle prodding, and the opportunities he has given me in discussion to see Douglas as part of a broader narrative phenomenon, have been of great help in clarifying the subject of the present Thesis. Secondly, to the late Dr Ian Robb. His Thesis on Gavin Douglas (St Andrews, 1991), which I first read some years ago, was like a cold douche and was instrumental in sending me back to the Latin and to translation theory, and in turning what had been an informal affection for Douglas’ translation, with some interest in its cultural setting, into something (I hope) more focused and critical. The position which the present Thesis takes, though, is quite different from that of Robb’s. Thirdly, to my wife Patricia: (a) for essential help in meeting the challenge of electronic submission, (b) for help in proof-reading and in collating the statistical data which lie behind the discussion, towards the end of Chapter II, of how Douglas sets the tempo of his narrative, (c) for a lifetime of conversations about things to do with language and stories and meaning, and (d) not least for her skilful housekeeping over the years, which made it possible for me to tackle this research project full-time. v LIST OF CONTENTS Chapter I ENCOUNTERING THE TEXT 1. Introductory 1 2. The text as physical 2 3. The text as filled 7 4. The text as versatile 17 5. The text as engaging 31 6. Conclusion 38 Chapter II DOUGLAS AND TIME 1. Time in Virgil 42 2. Movement in time: fast and slow 46 3. Appearance in time: how often, how long 49 4. Position in time 50 5. Processes within phenomena 57 6. Processes among and between phenomena 63 7. Narrative positioning 70 8. Chapter summaries 72 9. Discursiveness and length 73 Chapter III DOUGLAS AND SPACE 1. Geography and physical space 84 2. Immediacy and distance for the reader 91 3. Concretising scenes: amplification and rearrangement 99 4. Enlivening scenes: epithets, images and word-clusters 109 /Chapter IV vi Chapter IV DOUGLAS AND INDIVIDUALS 1. Individuality in Virgil 124 2. “Set among” 125 3. “Singled out” 138 4. “Filled in” 143 5. Conclusion, with excursus 156 Chapter V DOUGLAS AND FATE 1. Fate in Virgil 162 2. The dilemma facing Douglas 166 3. His characteristic approach 178 4. Synthesis-in-general to the rescue 194 Chapter VI EVALUATING THE TRANSLATION 1. Douglas’ “shift” 200 2. Varieties of translation 204 3. Translation: an impossible ideal? 212 4. Translation: a proper attempt? 216 5. Consanguinity 222 6. Engagement and life 229 Bibliography 236 1 CHAPTER I ENCOUNTERING THE TEXT 1. Introductory The bulk of this Thesis (Chapters II-V) will be an analysis of what Douglas makes of the Aeneid - his mixture of faithfulness and change - and what implications this has for how we are to read and assess his translation. Primarily I shall be examining how he deals with four key features radically and comprehensively present throughout the poem: time, space, individuality and fatefulness. The various ancillary remarks he offers, especially in Prologue I, about Virgil’s handiwork and about what he (Douglas) reckons he has been trying to do in translating it - and with what measure of success - are lucid and lively and they demonstrate a fair measure of learning, but they are sketchy, even commonplace, and not altogether coherent. If we expect to find in Eneados what Douglas suggests he has been trying to put there, we can seriously misjudge him. To some extent his remarks fall within Dorothy L. Sayers’ strictures about a translator who offers reflections on the nature of his task: He tackles the job in whatsoever manner seems good to him, and formulates a theory afterwards, if at all, with the twin hope of forestalling criticism, and telling the world exactly what he thinks of his rival translators.1 Still, the ancillary remarks give us a starting-point, and on closer inspection they reveal more than they say. In this Chapter I shall try to disentangle and clarify Douglas’ assumptions about two related questions which will prove to be important in the way his version of the Aeneid is shaped: what sort of entity it is that he is translating (the object of his attention), and what sort of connections exist between him 1 Dorothy L. Sayers, “The Translation of Verse”, in The Poetry of Search and the Poetry of Statement (London: Victor Gollancz, 1963), pp. 127-53 (p. 129). Encountering the Text 2 - and readers in general - and it (how it is present, and what sort of engagement there is). On closer inspection an attitude emerges from his rather haphazard remarks which - tidied up, supplemented, rendered more coherent - is close to the actual hermeneutical thrust we find in his translation. Later Chapters will I believe substantiate the tentative analysis I give here. In the following four Sections I argue that Douglas takes the Aeneid to be given in some sense as physical (object and event), to be rich in content, to be puzzling and versatile in the meanings it offers, and to require readerly engagement. 2. The text as physical Towards the close of Prologue I Douglas says that he expects there will be critics of his work, and he does not mind this: Thocht sum wald sweir that I the text haue vareit, Or that I haue this volume quyte myscareit, Or threip planlie that I com neuer neir hand it, Or that the werk is wers than evir I fand it, Or зit argew Virgile stuide wele befoir, As now war tyme to schift the wers ouer scoir; ... (II.18.25-30)2 The words he chooses here to designate what he has been working upon are revealing: “text”, “volume”, “werk” and (by familiar metonymy) “Virgile”.
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