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Les Murray and the Task of the Translator [And] the Raft Helen Lambert University of Wollongong

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Les Murray and the Task of the Translator [And] the Raft Helen Lambert University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2007 Les Murray and the task of the translator [and] The raft Helen Lambert University of Wollongong Recommended Citation Lambert, Helen, Les Murray and the task of the translator [and] The ar ft, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 2007. http://ro.uow.edu.au/theses/1754 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. Les Murray and the Task of the Translator Submitted in partial fulfilment of the requirements for the award of the degree Doctor of Philosophy from University of Wollongong by Helen Lambert, BCA Faculty of Creative Arts 2007 Les Murray and the Task of the Translator Helen Lambert Certification This is to certify that: this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Faculty of Creative Arts, University of Wollongong, comprises my original work, unless otherwise referenced or acknowledged. The thesis has not been submitted for qualifications at any other academic institution. Helen Lambert Date: 2 Les Murray and the Task of the Translator Helen Lambert Contents Introduction Part One: The Task of the Translator 1. The Question of Translation Critique of the Mimetic Theory 1.1 History of Translation: Luther, Dryden and Sidney 1.2 2. The Question of the Original The Aura of Translatability 2.1 3. The Question of History Life and Survival 3.1 The Survival of Life 3.2 Transformation and Renewal 3.3 The Language of Truth 3.4 Freedom, Fidelity and Literality 3.5 4. The Interlinear Version Translating the Last Paragraph 4.1 The Limit of Translatability 4.2 5. The Question of the Task The Task of the Translator 5.1 The (German) Language Forest 5.2 The Poetic Task 5.3 Translating the Title 5.4 Der Aufgabe der Aufgabe (The Task of the Task) 5.5 Part Two: Translations from the Human World 6. The Question of the Human World Murray, the Translator 6.1 3 Les Murray and the Task of the Translator Helen Lambert The Otherworld of Translation 6.2 Poetry, in the Name of Translation 6.3 The Ultima Ratio: F.G. Jünger and the Limits of Humanity 6.4 The Translator’s Choice: Reading Murray’s ‘Ultima Ratio’ 6.5 The Home Suite 6.6 Part Three: Translations from the Natural World 7. The Question of the Natural World Name and Namelessness 7.1 In Nature’s Name 7.2 Translating ‘Presence’ 7.3 Denatured English 7.4 8. Incomplete ‘Presence’ The Fragments of a Broken Vessel 8.1 Doubles, Layers, Pairs 8.2 The Depersonalised Pronoun 8.3 Animal Testimonies 8.4 The Masses 8.5 Regarding the Object 8.6 9. Unnatural Histories Evolution, History, Ancestral Memory 9.1 Life’s Volume 9.2 10. Between Nature and Humanity: An account of Loss The Inner Fox, an anti-bestiary 10.1 The Agreement 10.2 The Stone: Responsibility and the Law 10.3 Forgetting 10.4 11. The Australian Language Forest Strine: Australian English 11.1 Eating up the Country: Murray’s Dreamtime 11.2 4 Les Murray and the Task of the Translator Helen Lambert Ambivalent Unity: The Strangler Fig and The Cockspur 11.3 Bush Continental slowness: The Echidna 11.4 The Lyre of Australia 11.5 12. Literality On Monstrosity, Expressionlessness, the Nocturnal Day 12.1 A few last words: On the Task of Translating Presence 12.2 Conclusion Notes Bibliography 5 Les Murray and the Task of the Translator Helen Lambert Acknowledgements I am grateful to the University of Wollongong for their financial support, in the form of a University Postgraduate Award (UPA), which greatly assisted the writing of the thesis. I would also like to thank the University for leave to travel abroad and conduct research in Berlin, Germany, and for being granted the greatest possible freedom throughout my PhD candidature. I am indebted to my two supervisors, Dr. Anthony Macris and Dr. Merlinda Bobis, and to Olena Cullen, who provided generous assistance throughout. Additional thanks to the staff at the Research Office, including Julie King and Marie Buchanan, Dr. Marianne Tilch from the Heinrich Heine Institute in Düsseldorf, Dr. Thomas Schneider, Les Murray, and to A.H. as always. 6 Les Murray and the Task of the Translator Helen Lambert Abstract This PhD comprises two components: a scholarly thesis and a poetic work. The thesis, Les Murray and the Task of the Translator, explores the question of translation in the poetry of Les Murray, specifically with regards to his neglected book, Translations from the Natural World. I argue that Murray, in attempting to translate the natural world into human speech, demonstrates that poetry is translation, that is, ‘bringing the other to presence through language.’ The poet’s task is that of the translator. But what is translation? In order to investigate this question—and indeed, that which constitutes the ‘task’ of the translator—I turn to Walter Benjamin’s seminal essay, ‘The Task of the Translator’, as a methodological frame for interpreting Murray’s poetry. In Benjamin’s essay, literal translation (however impossible) shows itself to be the only ‘just’ sort of translation. With this in mind, I then return to Murray in order to show that Translations from the Natural World attempts to embody this specific form of ‘impossible justice’. Thus if poetry is translation, but translation is impossible, then poetry is impossible as well. The poetry portion of the PhD comprises a book length twelve-tone poem, entitled The Raft. Formally, the poem attempts a ‘translation’ of Schönberg’s twelve-tone theory of musical composition. For dodecaphony, all twelve tones of the octave (rather than the eight tones of the traditional chromatic scale) are sounded before repetition. The result is a new, democratic harmony: each tone is given equal importance, regardless of key. The task of The Raft is to translate (however impossibly) the twelve tones of the musical octave poetically. Interpreting tone as voice—The Raft serialises and permutates twelve voices or tones over twelve moments, in order to move poetry to a harmonic form that is not simply lyrical, epical, or dramatic, but tonal—a raft of voices, each with their own ‘pitch’, and each sounding off in accordance with the rules of twelve tone, for the duration of the work. The narrative retells the famous story of ‘The Raft of the 7 Les Murray and the Task of the Translator Helen Lambert Medusa’, in which over one-hundred people perished off the coast of Senegal in 1816. The Raft begins as the unlucky ship passengers (those with little money or education) find themselves consigned to a raft built from the remains of the sinking Medusa. Their provisions are running out, and their chance of survival has just been cut. 8 Les Murray and the Task of the Translator Helen Lambert Introduction Yet, human, with unresting thought tormented, turned away from these presences, from converse sought/ with deserts, flowers, stones, and trees— Roland Robinson.1 The work that follows seeks to raise the question: What is translation? What does it mean to claim that poetry is translation? In order to begin responding to these questions, I turn to Les Murray’s collection, Translations from the Natural World (hereafter Translations), a text that explicitly seeks converse with nature: deserts, flowers, stones, and trees. It is a difficult book and the poet’s most experimental; and striking because in the centre of the collection, between two slim chapters on human subjects and concerns, Murray turns abruptly away from the human world in order to take up that which Walter Benjamin names ‘the task of the translator’, to give voice to the things and creatures of nature; to translate ‘from the natural world’. Each poem within the collection is presented as a translation—not of a foreign language into English, but of the foreignness of nature. Poetry is Translation The first claim is strange: for poetry and translation are generally understood to be two separate and distinguishable tasks. But are the two tasks so very different? Traditionally, poetry is seen as an act of originality, of making or poiesis. This originality is manifest in the poem itself, not only because the poem is original, but 1 Roland Robinson, ‘I Had No Human Speech’, Fivefathers, ed. Les Murray (Manchester: Carcanet Press, 1994) p. 69. 9 Les Murray and the Task of the Translator Helen Lambert because in the poem, language is given a different arrangement, a new life. Translation is understood, however, to be a handmaid to poetry—for it attempts to render the originality of the original poem in a foreign language. And because the translation depends upon the original poem, it is seen as secondary, interpretative, inauthentic. For Murray, however, poetry and translation are inseparable: they are as two sides of a coin, whose difference lies in perspective. The translator negotiates the differences between two languages; the poet translates the foreignness within a ‘familiar’ language. In Translations, Murray sets up two different ‘worlds’ or languages: the human world and the natural world. Poetry is not absent, but rather it is understood as an act of translation; and the title, Translations, reminds us of this truth: for it is the translator rather than the poet, who has access to the natural world; and nature, not poetry, is the original work, and the source of Murray’s translations. Thus, translation, an act that was thought to be second-hand, now shows itself to take priority over poetry.2 If we claim poetry as a form of translation, then there are consequences.
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