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Download Download Studia Metrica et Poetica 2.1, 2015, 34–57 Lost and found in translation: the case of alliteration Mihhail Lotman, Maria-Kristiina Lotman*1 Abstract. Th e paper examines the transmission of alliteration in Estonian and Rus- sian translated verse. Th e main focus is on the translation of alliterative epic, on the one hand, and more recent literary alliteration, on the other hand. Various alliterative techniques in diff erent genres are observed, as well as various strategies in convey- ing alliteration: rejection of alliteration, transmission of alliteration, compensatory translation, for example, with functional equivalent and eventually, saturation with alliteration, to signal alliteration in a tradition without corresponding framework. Key words: alliteration, metrics, parallelism, poetry translation, sound repetitions Introductory remarks An important issue in poetry translation is the transmission of alliteration. Th e diffi culty lies not only in linguistic diff erences (for instance, vocalic and conso- nantal languages, languages with fi xed and variable stress, languages with and without quantity contrast), but also in diff erent poetry traditions: the forms and treatments of alliteration may be rather diff erent in various poetic systems. Alliteration is a widely spread phenomenon in diff erent verse cultures, yet already the term itself is ambiguous and comprises phenomena distinct in principle. In the broadest meaning, alliteration is a form of instrumentation which lies in the repetition of sounds, while these sounds are not necessarily just consonants. In a more narrow sense, we are dealing with the repetition of consonants, with further diff erentiation depending on if this repetition has a purely euphonic or also a metrical role. In this sense, the most rigorous alliteration is the repetition of consonants in the so-called alliterative verse, of which the most well-described is the Germanic verse, but the alliterative verse has also been discussed in correlation with diff erent Uralic languages. * Authors’ addresses: Mihhail Lotman, Department of Semiotics, University of Tartu, Jakobi 2, 51014 Tartu, Estonia, e-mail: [email protected]; Maria-Kristiina Lotman, Department of Classical Philology, University of Tartu, Ülikooli 17, 51014 Tartu, Estonia. E-mail: [email protected]. doi: dx.doi.org/10.12697/smp.2015.2.1.02 Lost and found in translation: the case of alliteration 35 Th e following typology can be off ered proceeding from the strictness of the function of alliteration in verse: 1. Alliteration which marks strong metrical positions within the verse line. Such is alliteration in Germanic alliterative verse, where diff erent models of alliteration are represented, but in every hemistich (German Kurzzeile) at least one alliterative word is present, while the most common model is where two alliterating words are in the fi rst half verse, one in another, that is, aa/a (see, for instance, Smirnitskaya 1994, Terasawa 2011). Conditionally, we will call such alliteration “the Germanic type”. 2. Alliteration in the Finnic folk verse (Estonian regisong, Finnish kaleva- lamitta), where alliteration is mandatory (Finnish) or almost mandatory (Estonian), but its positions in verse are not fi xed. In Estonian, such allit- eration is usually called the initial rhyme (algriim; in Finnish tradition, alkusointu). Diff erently from the fi rst type, this alliteration is not related to the internal structure of verse, but characterises verse as a whole. Conditionally, we will call such alliteration technique “the Finnic type”. See also Laugaste 1962, 1969; Leino 1970; Kuusi 1953, Roper 2009, Frog, Stepanova 2011. 3. In diff erent Altaic languages alliteration connects the beginnings of verse, and is called vertical alliteration or line-initial alliteration (Zhirmunsky 1968: 36; see also Petrov 1990). Such alliteration has a function similar to that of rhyme, yet it does not mark the end of a verse line, but its beginning. Vertical alliteration can connect two consecutive verses, but such sequence can also be formed with tens of verses. Conditionally, we will call such alliteration “the Altaic type”. 4. A consonantal repetition of sounds, which does not necessarily have a metrical role, is also called alliteration. Conditionally, we will call it mod- ern alliteration. Here we would like to emphasise the conventionality of these designations. For instance, if we call this type modern, it means that it is the most common type of alliteration in a particular verse culture, but not that it evolved only recently. Th e same type of alliteration can be seen also in most diff erent archaic cultures. See, for instance, Ellinger 1938, Langer 1978. In our paper we will bring some examples of alliteration technique, focusing mainly on the fi rst and the fourth types; however, in relation with Kalevala and its translation, we will put emphasis on the second type, too. As for the third type, here we have not conducted a special analysis and we would want 36 Mihhail Lotman, Maria-Kristiina Lotman to only point out some problems, since in a way it is the most enigmatic type of alliteration. It can be clearly seen in a printed text, but it evolved in oral performance, while in literary poetry it appears mainly as imitations. At the same time, this technique is quite widespread in diff erent languages of the Altaic language family. In such a large geographical area, and in the case of such cultures, it is oft en problematic to establish their actual contact, not to speak of derivation from one and the same source. Nevertheless, we would like to draw attention to one circumstance related to vertical alliteration; it is present in cultures which have or have had a practice of throat singing, while this singing technique is connected to epic verse with vertical alliteration. In some Tungusic languages, this technique has been called toyuk and is not as much connected with epic, but with greeting songs. In Turkic people, begin- ning with Yakuts in North-East, ending with Kyrgyz people in the South-East, it is called kai (qaï), and kai singers are called kaichi. Just like toyuk, kai is prevailingly 8-syllabic and alliterative (compare also Levin, Edgerton 1999 and Harvilahti 2000). Let us off er a few examples. Th e fi rst is from a modern Evenki poem, which imitates the archaic style; compare the beginning of the chain consisting of twenty nine verses: 2 Evenks’ toyuk To Tuymaada toyuk-singers 1 Transliteration Туймаадам туонатыгар Tuymaadam tuonatıgar Тойук тўмсўў дьонноро, Toyuk tўmsўў dʹonnoro, Туойан ыллаан ааЇабыт. Tuoyan ıllaan aaЇabıt. Тойук, ўμкўў дьонноро, Toyuk, ўμkўў dʹonnoro, Томтор, кырдал сирдэргэ Tomtor, kırdal sirderge ТоіуоруЇан тураммыт, ToіuoruЇan turammıt, Тумул, алаас аайытын, Tumul, alaas aayıtın, Тохтоон тойук туойабыт. Tohtoon toyuk tuoyabıt. We were not able to fi nd a poetic translation of it, but the content is as follows: in the happy valley of Tuymaada toyuk has united us all, on every hill, on every meadow we have gathered to sing toyuk. Th e second example is from the introduction (zhomok bashy) to Kyrgyz Epic of Manas: 2 Here and henceforth, alliterations are marked with italics, rhymes and epiphoras are underlined. Lost and found in translation: the case of alliteration 37 Kyrgyz Epic of Manas Transliteration Жармы төгүн, жармы чын, Jarmı tögün, jarmı çın, Жарандардын көөнү үчүн. Jarandardın köönü üçün. Жабыратып айтабыз, Jabıratıp aytabız, Жолборс Манас жөнү үчүн. Jolbors Manas jönü üçün. Көбү төгүн, көбү чын, Köbü tögün, köbü çın, Көпчүлүктүн көөнү үчүн, Köpçülüktün köönü üçün, Күпүлдөтүп айтабыз. Küpüldötüp aytabız. Көк жал эрдин жөнү үчүн. Kök jal erdin jönü üçün. Жанында болгон киши жок, Janında bolgon kişi jok, Деги жалганы менен иши жок. Degi jalganı menen işi jok. Diff erently from toyuk, Manas is characterised not just with vertical allitera- tion, but with grammatical rhyme together with the syntactic parallelism. In Russian translations, one translator has conveyed just the resonance of the ending, while the vertical alliteration is absent, the other, on the contrary, has conveyed the vertical alliteration without the resonance of the endings. First, the version by Mar Baidjiev, who has focused on end rhymes (although these too are rather episodic). Kyrgyz Epic of Manas, translated by Mar Baidjiev Transliteration А самым младшим был Ногой. A samym mladshim byl Nogoj. Усен, Орозду, Бай, Usen, Orozdu, Baj, Жакып – от Ногой-хана сыновья. Zhakyp – ot Nogoj-hana synov’ja. Могучим ханом был Ногой. Moguchim hanom byl Nogoj. За свой народ и край родной Za svoj narod i kraj rodnoj Не раз вступал в кровавый бой. Ne raz vstupal v krovavyj boj. Китайцам и монголам он Kitajcam i mongolam on В набегах учинял разгром. V nabegah uchinjal razgrom. Diff erently from Baidjiev, Lev Penkovsky aims to convey vertical alliteration, the most important feature of instrumentation here: Kyrgyz Epic of Manas, Transliteration translated by Lev Penkovsky Кучами золото мы гребли, Kuchami zoloto my grebli, Куньи шапки были на нас, Kun’i shapki byli na nas, Кушак из шёлка носили мы, Kushak iz sholka nosili my, Кушали вкусные курдюки, Kushali vkusnye kurdjuki, Кумыс ведь пили мы — что ни день. Kumys ved’ pili my — chto ni den’. 38 Mihhail Lotman, Maria-Kristiina Lotman Th ere has been much discussion regarding the relations of alliteration with other prosodic elements both from the aspect of versifi cation and structure of language. Victor Zhirmunsky, who studied the folk poetry of diff erent Altaic nations, noted the regularity how alliteration is related to syntactic parallel- ism, and that corresponding languages have a weak dynamic accent, which is usually fi xed to the end of a word or a syntagm (Zhirmunsky 1964, 1968, 1974; Stebleva 1965, 1971; correlations between parallelism and alliteration can be observed in other traditions as well, for instance, Finnic, compare Steinitz 1934). As for European, fi rst of all, Germanic verse, it is, to the contrary, usually associated with strong dynamic accent, which is typically on the initial syllable of the word.
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