What else was I missing? Maybe I just like history a tad more than semantics.įor my (all intents and purposes) real review of Sappho, see here. Having read other books on Sappho's poetry I was surprised to see what poems received notes and others being left with nothing-I felt weirdy smart having a background on a few of the poems and felt almost cheated that Carson had nothing to say about it. Carson, a poet influenced by authors as diverse as Sappho, Euripides, Emily Brontë, Gertrude Stein and Virginia Woolf, is known both for innovative translations of ancient texts and for her. I'm afraid to say this translation has almost left me a little sad, seeing the proof of how little we have of Sappho's writing left and the obvious flowery Barnard interpretation that I came to love and revere so much. I see the allure for the more academically minded for having a side-by-side translation and many notes on her processes, but as a casual reader, I'm glad I read and loved Mary Barnard's translation first. The rating is for Anne Carson's translation method rather than the poetry-the many brackets left me with a headache I suppose it just is not my style. I read this out of curiosity after reading Mary Barnard's translation a few months ago. The reader just has to imagine the accompaniment. " Carson's saying, in effect, there are no missing words it's all there in the music.
59, where she's thrown all the Greek away but "for.
You see this in her refraining from translating every word, i.e., reducing some relatively wordy fragments to one or two simple evocative nouns. I believe Carson has indeed deliberately taken this approach. both for the ancient editions of Sapphos poems, and for the testimony. Taking this approach as a reader, I found the resulting experience very natural, musical, and lifelike, and the missing words no problem (it's as if they're not missing at all, but just unable to be made out at present because of distance and/or local acoustic conditions). Anne Carson and Ellen Greene offer disparate theories of the erotics at work in. What's great about that is that the fragmentary poems (i.e., all but one or two) can be "heard" as if from a distance, say, from across a courtyard or several rooms away, so it's as if because of acoustics you can only pick up a few words. My reading experience of it was to hear the poems as sung to imaginary lyre accompaniment. Carson's Sappho is to my mind very, very brilliant.
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