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Um Der Metrik Willen. Einige Beobachtungen Zu Den Trochäischen Versübersetzungen Des Kalevala

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Um Der Metrik Willen. Einige Beobachtungen Zu Den Trochäischen Versübersetzungen Des Kalevala Um der Metrik willen Einige Beobachtungen zu den trochäischen Versübersetzungen des Kalevala Von Marja Järventausta (Köln) 1. Einleitung Das finnische Nationalepos Kalevala ist mehrmals ins Deutsche über- setzt worden. Die meisten Übersetzungen – angefangen von Anton Schief- ner (1852) bis Lore und Hans Fromm (1967)1 – sind traditionskonforme Versübersetzungen, die sich wegen metrischer Treue bemüht haben, das Kalevala in vierhebigen Trochäen zu verdeutschen. Aber es gibt auch eine weniger bekannte trochäisch-daktylische Verdeutschung von Hermann Paul (1885/1886) sowie eine neuere Übersetzung in freien Versen von Gis- bert Jänicke (2004). Die Schiefnersche Übersetzung ist mehrmals über- arbeitet worden (Buber 1914 u. 1921/1922, Welding 1948 u. 1964, Steinitz 1968), und es gibt eine ganze Anzahl von Teilübersetzungen einzelner Ge- sänge und Gesangzyklen sowie Nacherzählungen in Prosa. Die deutschen Kalevala-Übersetzungen, die alle auf der erweiterten zweiten Auflage aus dem Jahr 1849, dem sogenannten Neuen Kalevala, ba- sieren, sind in der Forschung aus unterschiedlichen Perspektiven behandelt worden. In eingehenden Besprechungen einzelner Übersetzungen werden mitunter prinzipielle Probleme des metrischen Übersetzens diskutiert (z.B. Ahlqvist 1853, Schellbach 1969a), in Arbeiten mit Überblickscharakter werden meist in chronologischer Abfolge die Übersetzungen, ihre Entste- hungsgeschichte und ihr Verhältnis zueinander erläutert (z.B. Setälä 1910, Jänicke 1991, 20–32, Voßschmidt 2012). Mit der deutschen Kalevala-Re- zeption haben sich viele Forscher auseinandergesetzt, u.a. Fromm (1980) und Schellbach-Kopra (2002), vor allem aber Liisa Voßschmidt, die meh- 1 Im Folgenden wird auf die Übersetzung mit „Fromm & Fromm“ verwiesen, auch wenn es naheliegend ist, dass Lore Fromm den wesentlichen Beitrag zu ihrer Entstehung geleistet hat. Dafür spräche nicht nur die Reihenfolge der Namen auf dem Titelblatt, son- dern auch eine Formulierung in einem Verlagsdokument: „[…] daß sich die Übersetzerin [!] dann und wann an den Text der Schiefner-Buberschen Ausgabe gehalten habe“ (zitiert nach Voßschmidt 2001, 242). Das Nachwort der Übersetzung wird Hans Fromm allein zu- geschrieben. UAJb N. F. 26 (2016) 2 Marja Järventausta rere Arbeiten zur Rezeptionsgeschichte des Kalevala verfasst hat (Voß- schmidt 1989, 2001, 2004a, 2012 sowie Laukkanen 2015). Laurila (2012, s. auch Voßschmidt 2008) hat Paratexte der deutschen Übersetzungen unter- sucht, die nicht nur rezeptionsgeschichtlich interessant sind, sondern oft auch aufschlussreiche Informationen über die Intentionen und Vorgehens- weisen der Übersetzer enthalten. Die Probleme des Kalevalametrums und seiner Wiedergabe im Deutschen sind am ausführlichsten von Jänicke (1991, 132–146) besprochen worden, einen guten Überblick über das Met- rum und die beiden wichtigen Stilmittel des Kalevala, Alliteration und Pa- rallelismus, gibt Schellbach-Kopra (1991). In diesem Beitrag werden die trochäischen Versübersetzungen von Schiefner (1852) und Fromm & Fromm (1967) miteinander verglichen. Ausgehend von den Prinzipien des Kalevalametrums und seiner Sprach- spezifik im Abschnitt 2 wird im Abschnitt 3 ein Überblick über die deut- sche Übersetzungsgeschichte des Kalevala gegeben. Im 4. Abschnitt erfolgt die vergleichende Darstellung, wobei der Schwerpunkt auf den unter- schiedlichen Realisierungsmöglichkeiten der Achtsilbigkeit in beiden Über- setzungen liegt. Das Ziel ist nicht eine übersetzungswissenschaftliche Posi- tionierung zur Wiedergabe metrischer Formen oder zum Übersetzen von Nationalepen (s. Kelletat 2015), auch nicht eine systematische Überset- zungskritik, sondern der Schwerpunkt liegt auf der Erörterung sprachen- paarspezifischer Übersetzungsprobleme bei der Wiedergabe des Metrums in den beiden trochäischen Verdeutschungen des Kalevala. Die Analyse beschränkt sich auf die Gesänge XXXI–XXXVI des Neuen Kalevala (1849), die den sog. Kullervo-Zyklus bilden. 2. Das Kalevalametrum 2. 1 Grundprinzipien des metrischen Schemas Bereits Henrik Gabriel Porthan hat in seiner Abhandlung über die finni- sche Volkspoesie (1766–1778) bemerkt, dass die Verse aus vier Trochäen bestehen. Allerdings weist dieses urtypische Versmaß Besonderheiten auf, die schon in den Anfangsversen der ersten Auflage des Kalevala, des soge- nannten Alten Kalevala (1835/1836), ersichtlich sind (hauptakzentuierte Silben in Versalien, Hebungssilben unterstrichen): Altes Kalevala 1 MIEleni MInun TEkevi, 2 AIvoni Ajattelevi, 3 MIEli RUveta RUnoille, UAJb N. F. 26 (2016) Um der Metrik willen 3 4 LAAtiua LAUlamahan. 5 VEli KULta VEIKkoseni, 6 KAUnis KIEliKUMPpalini! Im Neuen Kalevala (1849) lauten die entsprechenden Verse wie folgt (Übersetzung nach Fromm & Fromm2): Neues Kalevala Fromm & Fromm 1 MIEleni MInun TEkevi, Mich verlangt in meinem Sinne, 2 AIvoni Ajattelevi, mich bewegen die Gedanken, 3 LÄHteäni LAUlamahan, an das Singen mich zu machen, 4 SAA’ani SAnelemahan. mich zum Sprechen anzuschicken. 11 VEli KULta VEIKkoSEni, Lieber Freund, du mein Gefährte, 12 KAUnis KASvinKUMPpalini! schöner Jugendspielgenosse! Schon beim ersten Blick fällt auf, dass der Wort- und Versakzent in den ersten drei Versen nicht zusammenfallen. Betrachtet man aber die Verse genauer, zeigt sich, dass in der Hebung – abgesehen vom ersten Versfuß – nur lange hauptakzentuierte Silben vorkommen. Die Grammatiker des frü- hen 19. Jahrhunderts haben den Einfluss von Akzent und Quantität auf das Versmaß noch unterschiedlich bewertet: Renvall (1819, 173–176) ging vom Akzent aus, von Becker (1824, 265–267) dagegen von der Silben- länge. Elias Lönnrot widmete im Vorwort des Alten Kalevala mehrere Seiten der Erläuterung dieses Versmaßes, das später als Kalevalaversmaß oder Ka- levalametrum bezeichnet wurde. Für Lönnrots Beobachtungen (1835/1836 [1999, 14–18]) war die Unterscheidung zwischen langen und kurzen Silben grundlegend. So ermittelt er 30 unterschiedliche Wortstrukturen je nach- dem, wie viele Silben sie enthalten, wie lang die Silben sind und was die Reihenfolge kurzer und langer Silben ist. Für die Charakterisierung des Ka- levala-Verses sind diese Wortstrukturen allerdings nicht besonders aussage- kräftig. Um die metrischen Besonderheiten des Kalevalaversmaßes zu ver- stehen, ist eine andere von Lönnrot vorgenommene Klassifizierung wesentlich wichtiger, nämlich „die Einteilung nach der Anzahl der Wörter in den Versen und nach der Reihenfolge der Wörter von verschiedener Länge“ (Sadeniemi 1951, 15). Lönnrot listet über zwanzig verschiedene 2 Den sechs Anfangsversen des Alten Kalevala entsprechen im Neuen Kalevala die Verse 1–4 und 11–12. Die Verse 1–2 sind in beiden Versionen identisch, die Verse 3–4 wurden für das Neue Kalevala modifiziert; der Vers 5 im Alten und der Vers 11 im Neuen Kalevala sind identisch, der Vers 12 im Neuen ist wiederum eine geringfügig modifizierte Version vom Vers 6 des Alten Kalevala. UAJb N. F. 26 (2016) 4 Marja Järventausta Kombinationsmöglichkeiten auf, z.B. 2222 (= ein Vers bestehend aus vier Zweisilbern), 323 (= ein Vers bestehend aus einem Drei-, einem Zwei- und einem Dreisilber) usw. Die Hälfte der von ihm angeführten Kombinatio- nen sind sog. Tonhebungsverse, in denen eine hauptakzentuierte Silbe in der Senkung steht (z.B. 323). Für Lönnrot war klar, dass diese Verse ein wichtiges stilistisches Mittel der finnischen Volkspoesie sind, und er meinte, dass der ausnahmslose Zusammenfall von Vers- und Wortakzent zu einem „weniger schönen“ Ergebnis führe ( Lönnrot 1835/1836 [1999, 22]). Welche Bedeutung die Silbenlänge für die Bildung von Tonhebungs- versen hat, streift Lönnrot nur kurz, deutet aber auf das Zusammenspiel zwischen Akzent und Silbenlänge hin. Erst die Grammatiker des späten 19. Jahrhunderts (Ahlqvist 1877, 133–140, Genetz 1881, 76) stellen einver- nehmlich fest, dass für das Kalevalaversmaß sowohl der Akzent als auch die Silbenlänge – die im Finnischen voneinander unabhängig sind – von Bedeutung sind. Matti Sadeniemi (1951) hat Lönnrots Ansatz weiterentwickelt und eine genaue metrisch-linguistische und statistische Analyse des Kalevalaversma- ßes am Beispiel authentischer Volkslieder aus Archangelsk und Ingerman- land durchgeführt. Er teilt die Kalevala-Verse in drei verschiedene Typen mit 15 Untertypen ein (S. 16–17). Sein A-Typ umfasst die Verse, „in denen die Takte3 und Versfüsse einander decken“ (z.B. 2222, 224); zu diesem Ty- pus gehören ungefähr die Hälfte der von ihm untersuchten Verse. Als B- Typ bezeichnet er die Verse, die zwei- und dreisilbige Wörter enthalten (z.B. 233, 323), und den C-Typ bilden schließlich die Verse, die aus ein-, zwei- und dreisilbigen Wörtern bestehen (z.B. 2213, 2132). Hierzu einige Beispiele (Sadeniemi 1951, 17; Silbengrenzen hinzugefügt): A 2222 Lu.van an.toi suu.ri Luo.ja 224 As.tu, les.ki, ai.tas.ta.si B 233 Kul.ki kuu.sis.sa ha.ko.na. 332 Verk.ko.ja ve.ne.hen täy.si. C 2213 Sa.nan virk.koi, noin ni.me.si. 2132 Al.la päin, pa.hoil.la mie.lin. Pentti Leino hat in seinen metrischen Untersuchungen einen weiteren, wesentlichen Beitrag zur systematischen, regelgeleiteten Beschreibung des 3 Ein Takt wird nach Sadeniemi (1951 16, Anm. 2) „von einer betonten Silbe und den ihr möglicherweise folgenden unbetonten gebildet“. UAJb N. F. 26 (2016) Um der Metrik willen 5 Kalevalaversmaßes geleistet (Leino 1974, 1982, 1986). Bevor auf seine For- schung näher eingegangen wird, seien die grundlegenden Prinzipien des Kalevalametrums noch kurz zusammengefasst (hier nach Leino 1974, 243, s. aber auch Schellbach-Kopra 1991, 135–137): 1. eine lange hauptakzentuierte Silbe tritt nur in der Hebung
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