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El Diario De Alice James EL DIARIO DE ALICE JAMES Edición de JOSEPH LEON EDEL Traducción y notas de EVA RODRÍGUEZ-HALFFTER PRE-TEXTOS • FUNDACIÓN ONCE COLECCIÓN LETRAS DIFERENTES Título de la edición original en lengua inglesa: The Diary of Alice James (Northeastern University, 1999) Diseño gráfico: Pre-Textos (S. G. E.) © Joseph Leon Edel, 1964; actualmente en propiedad de Deborah A. Edel. Todos los derechos reservados © de la traducción: Eva Rodríguez-Halffter © De esta edición: Fundación ONCE y Editorial Pre-Textos, 2003 Ilustración cubierta: Pre-Textos (S. G. E.) ISBN: 84-8191-537-8 Depósito legal: V.4498-2003 Impresión: Guada Impresores S. L. - Tel. 96 151 90 60 Montcabrer, 26 - Aldaia (Valencia) ÍNDICE NOTA DE LA TRADUCTORA . 7 CRONOLOGÍA . 11 L EON E DEL: PREFACIO A LA EDICIÓN DE 1964 . 15 L EON E DEL: RETRATO DE ALICE JAMES (1964) . 23 EL DIARIO DE ALICE JAMES LEAMINGTON, 1889-1890 . 49 SOUTH KENSINGTON, 1890-1891 . 171 KENSINGTON, 1891-1892 . 221 ÍNDICE ONOMÁSTICO . 281 NOTA DE LA TRADUCTORA El lector español del Diario de Alice James quizá considere que hay en él pasajes oscuros que exigirían aclaración o, incluso, merecerían mejor traducción, pues no es infrecuente hacer res- ponsable al traductor de lo que son, esencialmente, rasgos de esti- lo o sencillamente escritura defectuosa de un autor. Ríos de tinta podrían escribirse sobre esta cuestión, pero no es éste el lugar para hacerlo ni esta nota tiene esa intención. Los pasajes oscuros lo son en ambos idiomas, inglés y español. En el Prefacio a la edi- ción de 1964, Leon Edel hace un comentario breve que apunta en este sentido. Cualquier diario, por su carácter mismo de documento pri- vado, al menos en teoría, es susceptible de contener alusiones, observaciones o referencias que tienen sentido para el autor pero cuyo significado se pierde para el lector ajeno al entorno perso- nal o social del autor. Este obstáculo para la correcta compren- sión de un diario suele paliarse con notas aclaratorias a pie de página que informan, ilustran o iluminan los puntos que así lo requieran. En el caso del Diario de Alice James, las contadas notas incluidas por Katharine Loring para la primera impresión y las añadidas por Leon Edel para esta edición hacen referencia en primer lugar a nombres propios citados en el texto, y en segundo lugar a algunos acontecimientos señalados de la época o de la vida de Alice. Pero hay comentarios sobre hechos cotidianos de carácter público o privado que, sin embargo, quedan sin mayor explicación; hay también alusiones a personas, lugares, costum- 7 bres, instituciones, publicaciones, obras y personajes literarios que, siendo más o menos familiares al lector inglés, son totalmen- te ajenos al entorno cultural español. En estos casos se ha añadi- do una nota de traductor donde parecía exigirlo la inteligibilidad del texto. Pero no se limitan a esto las dificultades. La redacción misma del Diario muestra en algunos puntos problemas de compren- sión: hay giros lingüísticos caídos en desuso cuyo significado no es fácilmente encontrable, formaciones sintácticas poco usuales o complicadas; hay sobre todo formas de expresión que son propias de Alice James, un modo elíptico de aludir a hechos o personas, que en ocasiones sólo permite conjeturar sobre su sentido y, con- secuentemente, sobre su traducción. Véase como muestra, aun- que podrían citarse muchos más, este fragmento que habla de su recuerdo de una institutriz, sobre cuyo contenido no hay explica- ción antecedente ni aclaración posterior alguna: M[ademois]elle Cusin’s bonnet is equally vivid, but a more mixed delight. In the grey dusk of our P. M. walks we discovered an artist, but the pangs of parturition were most severe, for the millinery point of view of Neufchâtel and that of the Edgeware Road had not only to be revealed, but reconciled one to the other, by me, aged seven. (p. 46) Para este tipo de problema he recurrido, tras las obligadas consultas a libros de referencia y diccionarios, en última instan- cia, a angloparlantes cualificados, con resultados que, corrobo- rando mi impresión o corrigiéndola, han hecho posible una traducción, al menos así confío, acertada. Pero sólo yo soy res- ponsable de los posibles errores. Otra fuente de dificultades también relacionada con la redac- ción del Diario es que a una sintaxis en ocasiones complicada hay que añadir un uso de la puntuación, por así decirlo, caprichoso –“idiosincrático”,dice Leon Edel–. A este respecto sí hay una acla- 8 ración en el Prefacio, en el sentido de que es la puntuación lo único que se ha retocado ligeramente en el Diario. Si sus editores han creído necesarios estos retoques debía ser aún más singular de lo que aparece en su estado actual. Y aquí viene al caso una aclaración que tiene que ver directamente con el quehacer del tra- ductor. En primer lugar he tenido en cuenta las normas y usos de la puntuación en la lengua escrita española e inglesa. Siempre con la salvedad de que la puntuación es, en medida considerable, cuestión bastante subjetiva, se puede decir que hay variaciones en el uso que se hace de ella en ambas lenguas. Pero después de dejar margen para estas diferencias, la puntuación del Diario seguía siendo poco habitual y algunos pasajes han requerido varias lec- turas para advertir con claridad su sentido. Por esta razón, he intentado reflejar esta peculiaridad estilística en la traducción con una puntuación a su vez algo singular, aunque he evitado, o eso espero, que llegara a serlo hasta el extremo de hacer el texto incomprensible. Mucho se ha debatido y se sigue debatiendo sobre el deber del traductor en general, y del que se enfrenta a este tipo de proble- mas, en particular. ¿Debe enmendar? ¿Debe ajustar su traducción a la norma sintáctica o gramatical cuando la norma se ha trans- gredido en el original? ¿Debe “embellecer”? Ortega y Gasset, en “Miseria y esplendor de la traducción”,afirma que ante un “texto rebelde” el traductor que mete “al escritor traducido en la prisión del lenguaje normal... le traicionará”.Pese a ello, y comprensible- mente, muchos traductores, a sabiendas de que se les achacará a ellos cualquier error en el texto traducido, optan por enmendar y corregir. En este caso, yo he preferido conservar el sabor personal y el carácter propio del diario, y para hacerlo me amparo en otros dos autores que, a mi juicio, han pensado muy seriamente sobre la traducción. Vladimir Nabokov, en el Prefacio a su traducción de Un héroe de nuestro tiempo de Mijaíl Lérmontov, dice lo siguiente: “En mi esfuerzo para traducir a Lérmontov, he sacrificado con gusto a la 9 exigencia de exactitud una serie de cosas importantes: el buen gusto, la dicción nítida y hasta la gramática (cuando aparece algún solecismo característico en el texto ruso). El lector inglés debe ser consciente de que el estilo prosístico de Lérmontov en ruso es poco elegante; es seco y deslucido… Su ruso es, en ocasio- nes, casi tan tosco como el francés de Stendhal”. En las palabras de Nabokov hay una frase que está, a mi pare- cer, en el núcleo de toda labor de traducción: “la exigencia de exactitud”.Y para definir ese concepto de exactitud traductora, nadie mejor que George Steiner, quizá el máximo teórico actual de la traducción. En su colección de ensayos reunidos en el volu- men Pasión intacta, hay uno de 1982 titulado “Un arte exacto” que trata sobre la traducción. En éste encontramos lo siguiente: “el traductor… es fiel a su texto… sólo en la medida en que se esfuerza para restaurar el equilibrio de fuerzas, de presencia inte- gral” que estaba allí previamente. Y termina diciendo que la tra- ducción debe ser “un arte exacto: exacto por su ideal de precisión, exigente por su rigor moral y técnico. El traductor convertirá así su esfuerzo en una paradoja de eco creativo, de reflejo metamórfi- co.”Yo he procurado responder a esta exigencia; el lector juzgará el resultado. 10 CRONOLOGÍA 7 de agosto de 1848 Nace Alice James (AJ), quinto vástago de la familia James. Sus hermanos son William (11 de enero de 1842), Henry (15 de abril de 1843), Garth Wilkinson (21 de julio de 1845), y Robertson (29 de agosto de 1864). La familia reside en el número 58 de West 14 Street, en Nueva York. Junio de 1855 La familia se traslada en barco a Europa, donde vive en Ginebra, Londres, París y Boulogne. Diciembre de 1857- Octubre de 1859 La familia regresa a Estados Unidos fijando su residencia en Newport (Rhode Island). AJ asiste a la escuela de Miss Hunter. Octubre de 1859 La familia vuelve a Europa, estableciéndose en Ginebra; regresa a Newport en septiem- bre de 1860. 1861-1862 AJ se presenta voluntaria para la Asociación de Ayuda Femenina. 1864 La familia se traslada a Boston. AJ asiste a la Escuela de Miss Clapp. 11 1866 La familia se traslada a Cambridge (Massa- chusetts). Noviembre de 1866 AJ viaja a Nueva York (con la tía Kate) para recibir tratamiento del doctor Charles Tay- lor (ejercicio terapéutico); regresa en mayo de 1867. Otoño de 1867 AJ se incorpora al grupo la Abeja. Principios de 1868 Colapso nervioso y físico. 1868 AJ y Mary James se afilian a la Sociedad Humanitaria Femenina de Cambridge. Verano de 1869 Vacaciones en familia en Pomfret, Connec- ticut. Verano de 1870 Vacaciones en familia en Pomfret, Connec- ticut. Mayo de 1872 AJ va a Europa (con la tía Kate y el tío Hen- ry); vuelve en octubre de 1872. 1873 AJ conoce a Katharine Peabody Loring (KPL). Invierno de 1873 Repetición del colapso nervioso y físico. Verano de 1874 AJ y la tía Kate pasan las vacaciones en Breadloaf Inn, Ripton (Vermont), donde AJ aprende a montar a caballo.
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