Are you really my friend?

There was something that Albert Camus, the Algerian-French philosopher, once wrote that has continued to inspire me since I first read it, so many years ago: “Don’t walk in front of me… I may not follow. Don’t walk behind me… I may not lead. Walk beside me… just be my friend

Friendship is a magical thing that is hard to define; it is like St. Thomas Aquinas’ view of Time: you know what it is until someone asks. Poets, perhaps, with their metaphors come closest to capturing it -Shakespeare for example:

Those friends thou hast, and their adoption tried,
Grapple them unto thy soul with hoops of steel.

Or, the wisdom of Rumi, a 13th century Persian poet: ‘Friend, our closeness is this: anywhere you put your foot, feel me in the firmness under you.’

And even the humour of Oscar Wilde:A good friend will always stab you in the front‘.

And yet, despite the feeling that its essence remains just at the tip of our tongues, there has always been an abiding faith in friendships, a trust that, to paraphrase Abraham Lincoln, ‘I destroy my enemies when I make them my friends’. In more modern times, however, the concept of ‘friend’ has undergone a not-so-subtle shift -everything from ‘friending’ people on social media, to online bullying, to trolling individuals for their putative beliefs, to unintended disclosure of confidences in internet postings.

So should a friend always bear his friend’s infirmities, as Cassius asked Brutus, in Shakespeare’s Julius Caesar? There was a time when the answer seemed obvious; now I am not so sure.

Quite by chance, I came across an essay by Leah Plunkett, an associate dean at the University of New Hampshire’s Franklin Pierce School of Law which raised the question of whether friendship should be policed. Whether it should remain a simple state of loyalty or, if declared, entail a legal obligation -like, say, marriage.   https://aeon.co/ideas/friendship-is-about-loyalty-not-laws-should-it-be-policed

The concept caught me totally by surprise. ‘Friendship is the most lawless of our close relationships,’ she writes. Somehow, the idea that there might even be a need of a legal framework for friendship seemed dystopian to me, so I read on.

‘Friends are tied to each other through emotions, customs and norms – not through a legally defined relationship, such as marriage or parenting, that imposes obligations. Anybody can become friends, we believe…  But with the advent of the digital domain, friendship has become more fraught. Online and off, we can share information about our friends without their permission and without legal restriction (except for slander and libel).’ But, of course, that means that ‘Information shared between friends can wind up being seen by people outside the friendship network who are not the intended audience…  confidences can inadvertently find their way to the public domain; all it takes is one careless email or the wrong privacy setting on a Facebook post.’

And there may even be legal consequences to what we or our friends have posted. ‘Digital social networks are already used to detain people trying to cross into the United States when statements by friends in their network are deemed by border agents to be suspicious or threatening.’ And, although most of us are aware that most social media platforms are collecting and selling our information, ‘Fewer recognise the third-party companies typically behind the scenes of our interactions, often using our information in unknown and uncontrollable ways in pursuit of their own goals.’

And yet, ‘Amid all this chaos, friendship itself remains unregulated. You don’t need a licence to become someone’s friend, like you do to get married. You don’t assume legal obligations when you become someone’s friend, like you do when you have a child. You don’t enter into any sort of contract, written or implied, like you do when you buy something.’ There’s no legal definition of ‘friend’, either.

But, Plunkett has an interesting idea: some U.S. states (like New Hampshire, her own) have definitions of bullying: the state’s Pupil Safety and Violence Prevention Act (2000) for students in primary and secondary school defines what bullying would entail. She wonders if it might be possible to apply its converse to define friendship. So, instead of saying you can’t harm somebody, a friend should need to support a peer or their property; cause emotional comfort, and so on. And, ‘To engage in cyberfriendship, this behaviour would need to take place electronically.’ Interesting idea.

But, although promoting friendship -online or in person- is worthwhile, one clearly has to be careful about how rigorously it is applied. ‘If you could be punished for not being a friend rather than for being a bully, that would undermine the lawlessness that makes friendship so generative.’

And Plunkett feels one has to be particularly careful about this lawlessness. ‘As friendship becomes less lawless, [and] more guarded by cybersurveillance… it might also become less about loyalty, affinity and trust, and more about strategy, currency and a prisoner’s dilemma of sorts (‘I won’t reveal what I know about you if you don’t reveal it about me’).’

It seems to me, she is correct in suggesting that we would be unwise to imprison friendship in too tight a definition -we might find ourselves confined to stocks for punishment and public humiliation like misbehaving villagers in the 16th and 17th centuries.  So, ‘Let’s keep paying our respects to those bonds of friendship that are lawless at heart, opening new frontiers within ourselves.’

And listen to the words of poets like Kahlil Gibran:

When your friend speaks his mind you fear not the “nay” in your own mind, nor do you withhold the “ay.”
And when he is silent your heart ceases not to listen to his heart;
For without words, in friendship, all thoughts, all desires, all expectations are born and shared, with joy that is unacclaimed.
When you part from your friend, you grieve not;
For that which you love most in him may be clearer in his absence, as the mountain to the climber is clearer from the plain.
And let there be no purpose in friendship save the deepening of the spirit.
For love that seeks aught but the disclosure of its own mystery is not love but a net cast forth: and only the unprofitable is caught
.’

If only…

Is the thing translated still the thing?

When I was a student at University, translated Japanese Haiku poetry was all the rage; it seemed to capture the Zeitgeist of the generation to which I had been assigned. I was swept along with others by the simple nature images, but -much like the sonnet, I suppose- I failed to realize how highly structured it was. In fact, I can’t really remember all of its complex requirements -but maybe that’s the beauty of its seeming simplicity in English. However, the contracted translation of the Japanese word –haikai no ku, meaning ‘light verse’- belies the difficulty in translating the poetry into a foreign language while still conserving its structure, its meaning, and also its beauty.

It seems to me that the ability to preserve these things in translation while still engaging the interest of the reader requires no less genius than that of its original creator. While, both in poetry as well as in the narrative of story, the ideas of the authors, and their images, plots and metaphors are an intrinsic part of the whole, sometimes the concepts are difficult to convey to a foreign culture. So, what to do with them to maintain the thrust of the original while not altering the charm? And when does the translation actually become a different work of art and suggest the need for a different attribution?

Given my longstanding  love for poetry and literature, I have often wondered whether I could truly understand the poetry of, say, Rumi who wrote mainly in Persian but also in Turkish, Greek and Arabic; or maybe, the more contemporary Rilke’s German language poetry. I speak none of those languages, nor do I pretend to understand the Umwelten of their times, so how do I know what it is that attracts me, apart from the beauty of their translations? Is it merely the universality of their themes, and perhaps my mistaken interpretations of the images and metaphors, or is there something else that seeps through, thanks to -or perhaps in spite of- the necessary rewording?

Since those heady days in university, I have read many attempts to explain, and even to justify, various methods of translation, and they all seem to adhere to one or both of the only two available procedures: paraphrasing, or metaphrasing (translating word for word). And no matter which is used, I have to wonder if the product is always the poor cousin of the original.

In one of the seminars from university, I remember learning that as far back as St. Augustine and St. Jerome, there was disagreement about how to translate the Bible -Augustine favoured metaphrasis, whereas Jerome felt that there was ‘a grace of something well said’. Jerome’s appealing phrase has stayed with me all these years. Evidently, the problem of translation goes even further back in history though, and yet the best method of preserving the author’s intention is still no closer to being resolved.

In my abiding hope for answers, I still continue to search. One such more recent forage led me to an essay in the online publication Aeon by the American translator and author Mark Polizzotti (who, among other honours, is a Chevalier of the Ordre des Arts et des Lettres, the recipient of a 2016 American Academy of Arts and Letters award for literature, and a publisher and editor-in-chief at the Metropolitan Museum of Art in New York). https://aeon.co/essays/is-the-translator-a-servant-of-the-text-or-an-original-artist

He writes, ‘as the need for global communication grows by proverbial leaps, the efficiency of machine-based translation starts looking rather attractive. In this regard, a ‘good’ translation might simply be one that conveys the requisite bytes of information in the shortest time. But translation is about more than data transmission, and its success is not always easy to quantify. This becomes particularly true in the literary sphere: concerned with delivering artistic effect more than facts simple and straight.’

So, ‘We might think that the very indeterminacy of literary translation would earn it more leeway, or more acceptance.’ And yet, ‘many sophisticated readers view translation as no more than a stopgap… it would be disingenuous to claim that the reader of a translation is truly experiencing, in all its aspects, the foreign-language work it represents, or that in reading any text transposed from one language into another there isn’t a degree of difference (which is not the same as loss). The heart of the matter lies in whether we conceive of a translation as a practical outcome, with qualities of its own that complement or even enhance the original, or as an unattainable ideal, whose best chance for relative legitimacy is to trace that original as closely as possible.’

Polizzotti goes on to catalogue various approaches and views of translation and then suggests what I, at least, would consider the best way to think of translation and the obvious need it attempts to fulfil: ‘If instead we take translators as artists in their own right, in partnership with (rather than servitude to) their source authors; if we think of translation as a dynamic process, a privileged form of reading that can illuminate the original and transfer its energy into a new context, then the act of representing a literary work in another language and culture becomes something altogether more meaningful. It provides a new way of looking at a text, and through that text, a world. In the best of cases, it allows for the emergence of an entirely new literary work, at once dependent on and independent of the one that prompted it – a work that neither subserviently follows the original nor competes with it, but rather that adds something of worth and of its own to the sum total of global literatures. This does not mean taking undue liberties with the original; rather, it means honouring that original by marshalling all of one’s talent and all of one’s inventiveness to render it felicitously in another language.

‘To present a work as aptly as possible, to recreate it in all its beauty and ugliness, grandeur and pettiness, takes sensitivity, empathy, flexibility, knowledge, attention, caring and tact. And, perhaps most of all, it takes respect for one’s own work, the belief that one’s translation is worth judging on its own merits (or flaws), and that, if done well, it can stand shoulder to shoulder with the original that inspired it.’

Polizzotti has nailed it. There’s a spirit inherent in good translation -one that inspires a confidence that the original intent of the author is appropriately, and befittingly displayed.

One of the reasons I was drawn to Polizzotti’s essay was a recent book I read (in translation): The Elegance of the Hedgehog, by Muriel Barbery and translated from the original French by Alison Anderson. So seamless was the narrative, and so apt were the translated dialogues, I have to confess that I had difficulty believing the book had not originally been written in English. And as it stands, it is one of the most rewarding books I have experienced in years. I’m sure that Ms Barbery is well content with Anderson’s translation, not the least because their efforts earned it accolades from various critics, including a posting on the New York Times best-seller list.

It seems to me that one could not expect more from a translator than that.