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"Persian poetry Translations into German."
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'Was bedeutet die Bewegung?': Authorship as Movement in Goethe's West-östlicher Divan
In his collection of poems, West-östlicher Divan (West-Eastern Divan), Goethe develops a novel concept of mobile authorship, which opposes the notion of a fixed, unified, and authoritative authorial voice. The poems in this collection thematize movement between East and West, and further envision this movement as a dialogue between poets, Persian and German, separated by time and space. While the untethering of words, or poetic voice, from the poet's physical body sets in motion the creative process that drives the collection, the ideal of poetic movement as an exchange among equals is not always realized: Goethe's authorial collaboration with Marianne von Willemer, including her authorship of certain poems of the Divan, remained unacknowledged and largely unknown until after his death. The poems of the Divan reflect on this tension between the poetic ideal of free movement as equal exchange and the threat of constraint or appropriation connected to the notion of mobile authorship.
Journal Article
“The battle trumpet blown!” : Whitman’s Persian Imitations in Drum Taps
While Walt Whitman’s thematic use of the Orient continues to receive critical attention based on his explicit foreign references, aside from observations of specific Persian signifiers in “A Persian Lesson,” his engagement with the poetry of Iran has remained especially speculative and therefore analogical, with studies like J. R. LeMaster and Sabahat Jahan’s Walt Whitman and the Persian Poets showing how his mystical relation to his own religious influences tends to resemble the Sufism of Rumi and Hafez. A new discovery emerging from an examination of his personal copy of William Alger’s The Poetry of the East along with his reading of Emerson’s essay “Persian Poetry,” however, reveal a rather subtle yet sustained attempt to directly imitate the foreign verse throughout much of Drum-Taps. That his reliance upon identifiable foreign models to depict what he deemed his nation’s most significant historical moment further coincides with a dramatic shift in style of writing calls for closer comparative analysis of how and why he came to mimic translations of this poetry. Such a reading suggests that compared with previous Orientalist studies, Whitman appears even more personally invested in Persian verse, using it to surrender the distinct Romantic individuality of his earlier poems for the greater spiritual preservation of his conflicted nation.
Journal Article
American Romanticism, Again
Romanticists themselves may admit that their original canon was framed by a Paris editor and swiftly republished in Philadephia (and so, as Meredith McGill points out, was transatlantic from the start), or that expressive poetics actually derived from the Orientalist Sir William Jones's Sanskrit and Persian translations (and so, as Aamir Mufti points out, was Orientalized from the start), or that the historical coincidence of the emergence of Romanticism and the middle of the Middle Passage was no coincidence (and so, as Edouard Glissant and many others have pointed out, was invested in the emergence of the worst forms of modernity from the start), but those admissions have not made much difference in the way we tell the story of Romanticism and almost no difference in the way we conduct the business of the profession of literary studies.4 When we do speak of American Romanticism, we tend to mean Transcendentalism, and by Transcendentalism, we tend to mean Emerson and the writers in conversation with his heady mixture of German philosophy, British poetics, and American pragmatism:
Journal Article
Persian Ear Rings and 'Fragments of a Vessel': Transformation and Fidelity in Hammer-Purgstall's Translation of Two Ghazals by Hafiz
The ideal literary translation, as it has been articulated by various thinkers in early nineteenth century, including Wilhelm von Humboldt, Friedrich Schleiermacher, and Goethe, strives to retain the 'otherness' or 'foreignness' of the 'original' text. This article examines the practice of such a theoretical paradigm based on the translation of two ghazals of the fourteenth-century Persian poet Hafiz by the nineteenth-century Austrian diplomat-scholar Joseph Freiherr von Hammer-Purgstall. The article offers an elaborate analysis of both adaptation and transformation of formal and semantic aspects of textual transfer. Walter Benjamin's notion of 'mode of signification' constitutes the conceptual framework for evaluating the relationship between the Persian poems and their German translation as to determine tendencies of 'fidelity' and transformation. In considering instances of formal adaptation in translation, the article shows how translation affords the possibility of new compositional forms and plays a significant role both in increasing the expressivity of language and flexibility of thought.
Journal Article
Salomon Gessner and Collins’s Oriental Eclogues
This essay contributes to the study of the reception of William Collins’s poems on the continent in the 18th century and introduces a little known German translation of Collins’s
Oriental Eclogues
by the Swiss poet, bookseller and engraver, Salomon Gessner. While focusing on the ways in which Gessner renders Collins’s eclogues into German, I shall contextualise the translation in terms of Gessner’s own theory of the idyll. It is through this reading of Collins as a writer of idylls, rather than as the author of the odes for which he was celebrated by the Romantics, that Gessner popularised the poet in Germany and Switzerland.
Journal Article
TRANSCENDING BABEL IN THE CULTURAL TRANSLATION OF FRIEDRICH RÜCKERT (1788–1866)
A tension between cosmopolitanism and nationalism characterizes the career of the poet–philologist Friedrich Rückert. The German orientalist and mentor to Paul de Lagarde translated remarkable quantities of Sanskrit, Farsi, and Arabic verse, while earning popular acclaim for his Biedermeier celebrations of the German Heimat. The contradiction in these scholarly pursuits can be reconciled by examining the intersection of the local, national, and global in Rückert's conception of language. In the German Pietist tradition, national tongues embodied both the divine word of God and the particular historical circumstances of speakers. Through feats of translation Rückert expected to transform German into a universal language of spiritual reconciliation, thereby transcending Babel and distinguishing the German nation as a chosen people. This article investigates the process of cultural translation through which Rückert made “world poetry” intelligible to a German audience, arguing that cosmopolitanism underlay a German claim to cultural dominance in post-Napoleonic Europe.
Journal Article
Crescentia's Oriental Relatives: The \Tale of the Pious Man and His Chaste Wife\ in the \Arabian Nights\ and the Sources of Crescentia in Near Eastern Narrative Tradition
The “Tale of the Pious Man and His Chaste Wife“ is both ancient and widespread in international tradition. So far, the oldest version of the tale that has been found is documented in the German Kaiserchronik, dating from the twelfth century. Consequently, previous scholarship has tended to argue for the tales Western origin. By drawing on a variety of Arabic and Persian sources, this essay proves to the contrary that the tale originated from Near Eastern literatures and probably goes back ultimately to a Jewish source.
Journal Article
An Ancient Newcomer to Modern Culture
In 1916 the poet Rilke pronounced Gilgamesh \"stupendous angehaier\\l ... the greatest thing that can happen to a person,\" Having used this quotation as an epigraph to The Burial Book, Damrosch notes in his epilogue that Gi/giiiiit's/i today has not only become \"a staple text in American world literature courses,\" but is read globally in Arabic, Chinese, French, German, Japanese, Persian, Spanish, and numerous other translations, inspiring writers to explore \"issues of tyranny and justice, love and death, and art and immortality,\" as exemplified by the experimental \"Gilgamesh Theatre Group\" of New York City (founded 1 992), and by several novels of strikingly different provenances. In what space allows, let us touch upon some of the most salient aspects of Gilgamesh interpretation and reception that go unnoted in The Buried Book.\\n Not surprisingly, especially given the importance of symbol-laden dreams in Gilgamesh (which predict the arrival of Enkidu in Uruk and, later, his death), the psychoanalyst C. G. Jung trolled the epic assiduously, fishing up symbols of the libido (Gilgamesh himself), of desire for the mother (Gilgamesh's encounter with the goddess Ishtar), of the disjunction of the conscious from the unconscious (the gods' depriving Gilgamesh of everKisting life), and so forth.
Journal Article