Too long, much too long, which follows, preparing for listing on Babelio, trying to be concise (I know ...) after potting a random windy in the sweetness of the court, instead of attacking me in the pile of ironing .
Florence Trocmé Poezibao and are growing resistant to the crime which I fortunately most time, I merely breathe the words she speaks. But stayed off to http://poezibao.typepad.com/poezibao/2011/02/inter-de-pascal-quignard-par-florence-trocmé.html and, after resisting a, I just ordered "Inter," the book by Benedict Gorrillot built around "Inter aeris fagos" Pascal Quignard.
three parts, and a short appendix:
1 to 1 long and beautiful letter to Pascal Quignard Gorrillot Benedict, in response to a question he could not respond verbally quickly: the history of Latin poem - its state by writing it - and the first translation by Emmanuel Hocquard in agreement with him, and then a commentary, at once meditative and precise, which I reviewed at the end as an eighth version.
2 - the Latin poem of 1976 (which I read first, trying to grasp with my scraps of Latin supernatant of forty years of neglect, to smell, to approach with small incursions into the Gaffiot online and it was both frustrating - but for sure that I shall soon interpretations - and actually not that far from the earthquake, a word that most easily floated, text - with this question about the fact that saltus if not moved) and the Seven translations collected, solicited for certain, Bénédicte Gorrillot (his version), translations should be interpreted, passage through the poetic voice of each
3 to 1 beautiful (yet)-reflection theory Bénédicte Gorrillot on translation, preceded by the story of the birth of this book
Annex: Short biographies of the authors: Peter Alfieri, Eric Clemens, Deguy Michel, Bénédicte Gorrillot, Emmanuel Hocquard, Christian Prigent, and of course Jude Stefan Pascal Quignard.
Cite as Catherine Flohr, editor attentive, and the beauty of the book as object.
Reading not so demanding it, spellbound.
And little regret, just the pleasure of regret, not seeing, not likely ever see "those little books separate deus ( Inter aeria fagos finally appears with the translation of Emmanuel Hocquard, In the air between the branches of beech, spring 1979), covers pale and distinct .. juxtaposed in a white cardboard box. They are really beautiful. "And more, six boards Adami.
"It's so rare in the West, large calligraphy. "A callifrafia writes Adami went ricerca nella memoria del Latin Rimasto occhi del Ostri, scrivere del moderno, del tratto inciso" A calligraphy, he writes, looking for the Latin which our eyes, which our modern language, even in features of the letters we write on paper, keeps the memory without knowing " Quignard and then gives an example of what can be translated.
Under the text, confusion, and Ovid, and the translator Jerome and his lion, and tear that who gave milk and language.
"That was the purpose of my" cut up ". It was torn. The song finally hailed something. Of course, fashions were different, overlapping rhythms, expectations had their depths but suddenly it parted. That write. It is ecstatic. "
" Go back to step forward. We must return to the stage before "life" means we must return to the savage, the bare, the rudiment at rudis, to aparlance, silence in the shade. We must return to Step before "in the language" means we must return to Latin. Because we can not help in distress than retrace his steps .. "
This, in the text of Benedict Gorrillot, which is abstract (a bit dry, it lacks the unfolding) of the intention of the book:
" INTER privileges the human subject on the results - in other words consciousness and translating the utterance of the statement translated. Indeed, men mark the Latin language Pascal Quignard and language translating (French inherited from their fathers) with their inimitable counterpoint accents (dots, breathing, syntax, vocabulary). As Henry points out Meschonnic "the great transformer of translation is not the meaning ... It's the rhythm ... organization as a speech by a subject and movement of speech in writing, prosody personal "
And I know I'm too long, so just the beginning, in its different versions, because, after read one evening, the poem and letter, and have remained there to enjoy and let it do its work, the next day after reading the poems respecting their entirety, and the text in translation, I came to this comparison by blocks, between Latin and each of the interpretations. With regret, then, betrayal Blogger imposed upon me by refusing to respect the arrangement of words on the page taken by each.
TERROR. Dico lacrimas and irascens "Saltus! "
(In Saltibus NON-SILENS
consortium, not mounds.) - Pascal Quignard
Terror - I cry
tears of rage
wasteland!
- in silence or idle
or crash - Pierre Alféri
Terror. Tell
tears and anger:
"dance! "
( by leaps. Neither silence
or tumult.) - Eric Clemens
terror. And I said
in tears and anger amount
'projections! "
(through the cracks. No silence
no heckling) - Michel Deguy
TERROR PLATE EARTH.
tears I cried on edge:
"The hello in the woods in the wild gorge! "
In the wild gorges, this is NOT
SILENCE, nor the tumult. - Bénédicte Gorrillot
Being about fear. (I spoke in tears. With
Wrath. " Out! Without the language! ")
Farther than the end of the field.
(In the forest. No silence.
No uproar.) - Emmanuel Hocquard
Terror. I say
(tears, rage)
"the open! "
(in the open. Silence: no
tumult: no) - Christian Prigent
Terror. I say
crying & encoléré
"Forest"!
(not in Forest Silence
not the Uproar)
terror - Stefan Jude
" In Saltibus, in what is still trodden by man, in what is neither forest nor field nor jungle, the silence is no indéfriché prehuman yet .... Also it takes a city to a jungle appears as its other, so must a language for that silence appears as its other. No silence in the pre-human and no more tumult. Fear pure desert light, light distress the first day. "Pascal Quignard in the letter
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