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File Size: 3192 KB
Print Length: 353 pages
Page Numbers Source ISBN: 1681370301
Publisher: NYRB Classics; Reissue edition (January 10, 2017)
Publication Date: January 10, 2017
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B01D7CEGNO
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Paul Blackburn was the best poet-translator of the troubadours in the 20th century.Yes, I know that Ezra Pound worked in the 20th century. But he translated only a few troubadours, and many of those translations date early in his career. They have not aged well. If you're interested in Arnaut Daniel, you should read Pound's later translations; a great technician himself, Pound kept worrying his translations of Arnaut for years and they are intriguing and appealing little pieces of poetry, even if the English is slightly recherché. Pound's albas (dawn songs) are lovely, too. But forget about everything else.Blackburn knew Pound, but he was a better reader of the original texts and a gifted poet in his own right--with a less formal, more muscular style that does not sound dated, even though he did these translations in the 1950s. Over the last few years, I've compared a number of translations of individual poems in this volume, and Blackburn consistently captures elements of the original lyric that other translators (even in scholarly, philological publications) do not, while producing a *poem* in English. He was a scholar, but he wore his learning lightly, and his translations have exhilarating energy. They take what was fresh and new when the troubadours invented it, and make it fresh and new all over again.But Proensa is not a survey volume. Blackburn translated the troubadours he liked. He also had a sense of which poetic voices suited his own. (It is *not* true that all troubadour lyric is alike; styles and subject matter differ.) You get a complete set of the lyrics by the "first troubadour," Guilhem IX, the by turns funny, facetious, or downright rude duke of Aquitaine:"I'm going to make a vers boys, ...good enough?But I witless, and it most mad and allmixed up, mesclatz, jumbled from youth and love and joy..."You get a very good selection of the brilliant early Gascon troubadour, railer against bad morals, and ruminator on the value of difficult poetry, Marcabru:"No doubt at all,I'll take him on as critic,who'll call the meaning, in my song,of each word,who's analytic, whocan see the structure of the vers unfold.I know it'll sound absurd, butI'm often doubtful and go wrong myselfin the explication of an obscure word."A few of the most famous love poets are hardly represented (Jaufre Rudel, Bernart de Ventadorn, Arnaut Daniel). Arnaut, of course, had been Pound's obsession, and Blackburn probably didn't see the need. Blackburn also seems to have known his limits: he lacked the silkiness required to capture the diaphanous love songs of Jaufre or Bernart. But then we get a good selection of the superb but under-appreciated love lyricist Peire Vidal:"Long I looked for what I did not need, thenI unclenched my handand there, that sunlight lay on it,how I do not know."Peire is followed in this volume by the equally superb but often misunderstood singer of war Bertran de Born. Pound had translated Bertran and written more poems inspired by his persona, but he reduced Bertran to a caricature, which made him trivial, whereas Blackburn captures the internal tensions in the lyric, giving Bertran back his power:"Spring is a juice, a rejoicing, forcingleaves out, flowers up.I like the noise of birds who maketheir singing ring in the woods,and see tentson the meadows raised,and pavilions raised,and a very hellish delight to seearmored horses and armed knights rangingdown the field."Bertran de Born and Paul Blackburn. A marriage made in heaven.As for the overrated Giraud de Bornelh, Blackburn comments: "I found him generally dull, windy, and a master of the cliché. No piece of his I tried would turn into anything resembling an interesting poem in English. Let his reputation rest on Pound's version of the Reis glorios: it's better than he deserves."And that is a taste of Blackburn's explanatory notes, which are more fun to read than most. Blackburn left them incomplete; the scholar George Economou, no mean stylist himself, has rounded them out and added a brief, sympathetic introduction.We're all fortunate that New York Review Books Classics has decided to republish this book, in paperback, at an excellent price. The University of California Press perpetrated a crime against literature when they allowed the collection to go out of print.If you enjoy this book and want to read more troubadours translated by poets, the University of Chicago Press has put together a wonderful anthology of translations by Ezra Pound, W. D. Snodgrass, and Robert Kehew, "Lark in the Morning." (There you'll find less Guilhem IX and Marcabru, but more Bernart de Ventadorn and Arnaut Daniel.) Another anthology of lovely translations, wider-ranging than either "Proensa" or "Lark in the Morning," but with a less complete representation of the lyrics of any individual troubadour, is William D. and Frances Freeman Paden's "Troubadour Poems from the South of France," published by D. S. Brewer and now (thankfully) available in paperback at a reasonable price. For a volume devoted to the women troubadours, with good historical material and accurate translations that read smoothly although they do not rise to the highest level of poetry in English, see Bruckner, Shepard, and White's "Songs of the Women Troubadours." And for an introduction to every aspect of troubadour lyric (origins, language, versification, manuscripts, etc.), see Akehurst and Davis's "Handbook of the Troubadours." For recordings of the original songs: Ensemble Beatus ("Trobar" and "L'Orient des Troubadours"), Camerata Mediterranea ("Lo Gai saber" and "Le Fou sur le pont"), and Sequentia ("Dante and the Troubadours").
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