En la nova numero de la Esperanto-eldono de Le Monde Diplomatique—taŭge la 1-a de majo—estas artikolo de Sylvie LAURENT pri la usona kanzonisto Woody Guthrie: Guthrie, la heroldo kun gitaro.
Akompanas la tekston mia traduko de ne-kanzona poemo de Guthrie: “Voĉo” (Voice) (<—ligo al mia retejo), pri kiu mi jam blogis. Miareteje oni trovos ankaŭ sonregistraĵon de mia deklamo de la poemo en Esperanto kaj la angla.
My justification for writing about Borges on this blog is his tangential connection with artificial languages and their philosophical ramifications, that is, when not referencing the translation or appearance of Borges in Esperanto. Borges wrote about the philosophical language of John Wilkins, and there is his phenomenal story "The Congress." Otherwise, I would write about Borges in English elsewhere. But there is one more related aspect, taking off from the history of philosophical languages, the ars combinatoria or art of combinations. I write about this topic on this blog and refer elsewhere where my ideas are elaborated. Here is my latest post on my Studies in a Dying Culture blog:
Stanislaw Lem on Jorge Luis Borges (Borges 16)
Lem admires Borges but finds him limited to constructing heretical versions of the intellectual heritage of the past. “The author therefore has the courage to deal with the most valuable goals of mankind just as mankind himself does. The only difference is that Borges continues these combinatory operations to their utmost logical conclusions.”
For the sake of completeness, here are the other Borges posts on that blog:
Little Tiny, Common Objects, & Jorge Luis Borges
Borges Revisited (14)
And here again is my overall guide to my work on Borges:
Jorge
Luis Borges: Selected Study Materials on the Web
As both Borges and Lem have been translated into Esperanto, perhaps Lem's essay on Borges should also be translated into Esperanto. And perhaps also some of what I've been writing in English.
Jen la enhavo el eks-retpaĝo de Don Harlow. Mi ĝustigis la retligoj al la aktualaj retlokoj. La aktuala retejo de Harlow enhavas pli da tradukoj el usona literaturo. — RD
Sometime circa 1970 I went through the textbook Esperanto: A New Approach (2nd ed.; Bruselo: Heroldo de Esperanto, 1969) by the renowned Esperantist poet William Auld. (I was later to take a course from him in Barrie, Ontario in the summer of 1975.) I think I loaned the book out to someone in 1976 and it was never returned. What a shame, because I think it was a good textbook. What I do remember is two translations, which were presented as challenges to the reader. I don't think I could equal either translation presented.
One is an Esperanto translation of Shakespeare's famed Sonnet 18 done by Reto Rossetti: Soneto 18. Rossetti is a master. The translation is beautiful. At the time I preferred it to the original, perhaps because the language seemed more natural to me than Shakespearean English. But this was never my favorite love poem anyway. No matter, such judgments are subjective. If you can read the Esperanto translation, enjoy. Oddly, I still know by heart a sizable chunk of this translation after some four decades.
The other translation is an English rendition of an Esperanto original, Somernokto by Kálmán Kalocsay, rendered by William Auld himself: Night of Summer. It is an excellent translation, and you can get a glimpse of the kind of lyrical poetry that was characteristic in the Esperanto world in this time period, which was in reality a highly unromantic, gloomy political period. Kalocsay almost single-handedly developed Esperanto's poetics between the world wars.
A.Z. Foreman, who translates to and from more languages than I can keep track of, has also translated poems from Esperanto, and from Kalocsay in particular. You can read his translation of this poem, Summer Night, and on the same web page you can read the Esperanto original and hear Foreman reciting the Esperanto original. You can also compare this translation with an earlier translation by Foreman on the Noxalio blog.
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