The translations have many things in common. In fact it is difficult to find significant differences between them. Both Parkes and Del Caro decided to follow Nietzsche's paragraph structure and punctuation as closely as possible, and I think this was mostly a good decision. Perhaps Kaufmann's single most controversial decision as a translator was his radical alteration of Nietzsche's punctuation Hollingdale is much more faithful.
Kaufmann accomplished what he wanted to in his changing of Nietzsche's punctuation and paragraphing: he made TSZ more readable. But in many places he changed the meaning or emphasis of the text, at least slightly, in doing so. Del Caro is not as strict about following Nietzsche's punctuation as Parkes is, and for this reason -- and some others, which I will get to in a moment -- I found the Del Caro translation at times to be more natural in English and yet less graceful than the Parkes translation.
So, for example, Parkes writes: "These young hearts have already become old -- and not even old! Del Caro translates the same passage as: "All these young hearts have already grown old -- and not even old! Only weary, common, comfortable -- as they put it: "We have become pious again"" The Del Caro punctuation is more familiar English punctuation, but to my ear, at least, it is nicer the way Parkes does it, and his has the added virtue of following the way Nietzsche does it.
While the reader has both of those short passages fresh in his mind, it is worth remarking how similar they are -- and, if you take the trouble to go look, you will see they are also quite close to Kaufmann.
In any new translation part of the problem is finding new formulations of already translated and in both Kaufmann's and Hollingdale's cases, mostly well-translated lines. Kaufmann and Hollingdale -- and through them, Common, too -- exert a strong influence on both of these translations which, in my opinion, is a good thing. Some translations go astray by trying too hard to find a novel word or phrase, and wind up harming themselves.
Neither Del Caro nor Parkes have this problem. To confirm this view, the reader need only read the first page of Kaufmann or Hollingdale and then read the first page of Del Caro or Parkes: they are all strikingly similar, and all very nicely done.
Del Caro tends to lean a bit closer to Kaufmann than Parkes: Del Caro chooses the familiar "overman," for example, while Parkes takes a risk and goes with the clumsier but more accurate "overhuman. When I translated that word, Robert C. Hard to say which is best -- the travails of the translator. As the Parkes and the Del Caro translations are equally and almost faultlessly accurate, choosing between the two is really a matter of personal taste. For me, the Del Caro reads more easily, but is less interesting, less sparkling.
The Parkes hits both more highs and more off-key notes. Parkes seems to have put more of himself into the book. The Parkes translation strikes me as somewhat more self-consciously literary in its aspirations, and in that way it is perhaps closer to Nietzsche's tone.
He says that it is his aim to preserve the "musicality" xxxv of TSZ. Parkes explains in his note on the translation that, following Nietzsche and the Lutheran Bible, he is using an unusual amount of inversion, but sometimes it is a bit too much at least, for my ear.
Because inversion is much more natural in German than it is in English, I think Parkes sometimes makes TSZ sound a bit affected or silly, more affected or silly than even its unsympathetic critics would claim it is if they read it in German.
Parkes uses a lot of "whither"s and "verily"s and gamely tries to be faithful to the often exaggeratedly biblical language Nietzsche employed in TSZ. But again, through being too faithful to Nietzsche's language in a somewhat literally-minded way he occasionally does TSZ a disservice.
One might say that the Parkes translation shows many of Nietzsche's stylistic strengths and weaknesses -- or one might go a bit further, and say it makes the weaknesses even worse. But Parkes also hits on many beautiful lines. Saying that Zarathustra lies down "in the stillness and secrecy of the colorful grasses" , for example, is just lovely.
In fact, both translations are full of lovely lines. Here's a splendid bit of translation from Del Caro:. Up there I guarded his coffins; the musty vaults stood full of such symbols of conquest.
From glass coffins, conquered life looked out at me. Lady friends?! One very good reason to buy the Parkes translation is the endnotes which though not especially long -- there are about thirty pages of them -- are uniformly helpful and excellent.
Related articles Thus Spoke Zarathustra. Thus Spoke Zarathustra Origins. Thus Spoke Zarathustra Synopsis. Thus Spoke Zarathustra Themes. Thus Spoke Zarathustra Style. Thus Spoke Zarathustra Translations. Thus Spoke Zarathustra Musical and literary adaptations. Thus Spoke Zarathustra Selected editions.
Thus Spoke Zarathustra Commentaries. Thus Spoke Zarathustra Introductions. Thus Spoke Zarathustra Essay collections. Thus Spoke Zarathustra See also. Thus Spoke Zarathustra External links.
0コメント