Eugene Onegin: Translation By Douglas R. Hofstadter

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9780465020935: Eugene Onegin: Translation By Douglas R. Hofstadter

Sparked by reading Jim Falen's beautiful English version of Eugene Onegin (published in 1992), Douglas Hofstadter presents a more liberal, distinctly American, colloquial version of the Alexander Pushkin classic. Hofstadter's version is entirely in so-called Onegin stanzas” a unique sonnet form devised by Pushkin with a very intricate rhythmic and rhyming pattern. There is also a preface in Onegin stanzas, in which Hofstadter talks about Pushkin, his novel in verse, its form and content, the challenges of translating it into English and his deep admiration for Falen's version.This work will correspond with Pushkin's 200th anniversary; thus, it should be a timely and well accepted literary gem.

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Review:

The supreme poet of the Russian language, Aleksandr Sergeyevich Pushkin has had a checkered existence in English. His prose, to be sure, has presented his translators with a less formidable set of hurdles. But Pushkin composed his masterpiece, Eugene Onegin, in a 14-line stanza of his own invention, with a slippery rhyme scheme and treacherously foursquare meter (i.e., iambic tetrameter, which tends to sound slightly singsong to English speakers). This has forced most of his translators--from Walter Arndt to James Falen to Charles Johnston--to shortchange form in favor of content. Vladimir Nabokov probably pushed this tendency as far as it could go, transforming Pushkin's poetry into perversely lumpy paragraphs (and enveloping the slim pickings of his translation in a jumbo-sized commentary). But nobody has managed to produce even a halfway-definitive version of Eugene Onegin.

Now Douglas Hofstadter, who's best known for Gödel, Escher, Bach, has taken a shot at it. Certainly he's no stranger to translation theory--his 1997 book, Le Ton Beau de Marot, was a brilliant and unbuttoned meditation on the translator's art, with numerous detours into the hinterlands of cognitive science. Theory and practice are two different matters, however, as Hofstadter is quick to admit: "The thought seemed quite ridiculous: me, with such sparse knowledge of Russian, hoping to clamber up this formidable Everest of translation, a book often said to be next to untranslatable, and square at the center of the inner circle of Russian literature!" Clamber he did, however--and the result is a charming if uneven version of the poem, more beholden to Cole Porter and Ogden Nash than the poet's 19th-century peers. Several of Hofstadter's slangier couplets might have Nabokov spinning in his grave: "Did thus our party boy exhaust / Himself at games, at zero cost?" Still, he manages some of Pushkin's loop-the-loops very nicely:

The air grew warm as days went flying,
And winter knew to call it quits.
Eugene gave up his versifying,
But not the ghost, and not his wits.
He's lent new life by buds aborning,
And first thing on some clear spring morning
He leaves his cloistered, small château
Where, marmot-like, he'd braved the snow.
Clearly Hofstadter's take on the poem goes heavy on the sizzle and fails to capture much of Pushkin's elegant gravity. Still, it's a welcome addition to the ranks, a handsome present to the poet on the occasion of his 200th birthday--and, rather winningly, a linguistic labor of love. --William Davies

About the Author:

In addition to Gdel, Escher, Bach, which won both the Pulitzer Prize and the American Book Award, Douglas R. Hofstadter is the author of several books, including Le Ton beau de Marot and Metamagical Themas. He is College Professor of Cognitive Science and Computer Science as well as the Director for the Center for Research on Concepts and Cognition at Indiana University in Bloomington.

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