Showing posts with label Translation. Show all posts
Showing posts with label Translation. Show all posts

Sunday, September 14, 2014

Meno, and too little too soon?

            Commentators on Plato like to have a one-word "This is what X is about," where "X" is Phaedrus, Gorgias, Theaetetus, etc.  Granted, Plato generally does a good job of maintaining his focus within a piece (far better than I do, anyway), but once you combine the oversimplification of "Plato's Republic is about justice," with the problems and complexities of translation, the statements start to feel more and more meaningless.
            So:  Plato's Meno.  Wikipedia-the-all-knowing says it's about virtue.
            Firstly — and I will try to be brief, because this is something of a side note — the Meno is not about anything anyone in the Anglophone world would ever call "virtue."  I touched on it here, but virtue is an unfortunate translation of the Greek arête.  To give an idea of what an ancient Greek might have thought of when they heard the word arête, we need only ask Meno himself, as Socrates did:
SOCRATES:  But Meno, by the gods, what do you yourself say that virtue is?...
MENO:  It is not hard to tell you, Socrates.  First, if you want the virtue of a man, it is easy to say that a man's virtue consists of being able to manage public affairs and in so doing to benefit his friends and harm his enemies and to be careful that no harm comes to himself; if you want the virtue of a woman, it is not difficult to describe:  she must manage the home well, preserve its possessions, and be submissive to her husband.  (Meno, 71d-72a)
Meno goes on to talk about the virtue of a child, an elderly man, and a slave.
            While I will grant that we have another, less morally-tuned, use of the word "virtue" (we speak of "the virtues of diplomacy," "the virtues of sound urban planning," etc), for one thing, it's not a use you hear too often anymore.  And for another, it still wouldn't work in this context.  The "virtues of" use speaks as though virtues were benefits, or good things about the practices in question. Meno is clearly speaking not of practices, but of people, and the people are subjects acting out their arête; it is not something about them, the way their robes might have been blue.
            So from the first pages of the dialogue, the use of the word virtue to translate arête — when virtue, in my ears, sounds something like moral goodness or righteousness — seems dubious at best.
            Philip Vassallo in Philosophy Now* suggests that a better word might be "valor."  I would agree if arête only applied to men.  But as Meno himself demonstrates, it does not.  (While I may personally love the notion of a valorous housewife, it sounds too comic.  And a valorous slave, who would presumably demonstrate his or her valor by submitting to whatever work or punishments meted out to them with all appropriate resignation, sounds awful.)
            Another possible translation of arête is excellence, and I think this is decent.  It allows us the flexibility to use arête in a manner in line with what Meno — in this dialogue, the representative of the classic/Homeric understanding of social values — points towards:  the most perfect expression of carrying out one's life's work.  This also allows us to hear/read Meno's definitions of the arêtes/excellences/ways of excellence in a way that avoids reading him as a prefigure of Nietzsche, or as simply another Thrasymachus.
            Okay.  Side note over.
            Back to this question:  what is Plato's Meno about?
            And then this:  what responses present themselves?
            As for the first question, I do not think the dialogue centers on arête — no matter how we translate that word — at all.  The central questions (according to Terra Leigh), in the order in which they are discussed, are the following:
  • Can excellence be taught?
  • What is excellence?
  • Meno's paradox:  how can one search for what one does not know, as it will (presumably) be unrecognizable since you haven't yet found it or known it?
  • Is excellence a kind of knowledge?
  • Can excellence be taught? Part II
Each section dealing with these questions of course brings up many others (How do we learn?  Why do some kinds of knowledge seem to be "discovered," as though they had always been lying about somewhere in the recesses of our brains?), but these are the big umbrella topics.  In terms of sheer time spent on each, the question of "What is excellence/arête?" gets about eleven pages in my copy.  The question the dialogue opens with, however — "Can excellence/arête be taught?" — gets double that.
            Obviously it would behoove one to know what X is when discussing whether or not X is teach-able.  Socrates/Plato know this, and so spend a respectable amount of time discussing what the hell arête even is.  And Socrates' conclusion — that virtue may be more like a kind of divine inspiration that some lucky folk receive from the gods — whether ironic or not, is a way of circumventing the question of how to know what arête is.
            But my larger point is this:  Plato, here, seems primarily concerned with whether or not arête/human excellence can be taught.  He is trying to get at how to pass on individual qualities which will benefit both the individuals concerned and the larger society.
            When I first realized how much of his time he spends thinking about the teachability of excellence, initially I thought he was barking up the wrong tree.  Because Plato seems to think of teaching as what Socrates does:  one person, who has more wisdom, and another, who has less, conversing, while knowledge is either passed between them or "awoken" by the activity of dialogue.  While I think this can be a decent method for informational transfer, I do not think it works too well for moral transfer.  And when I say "moral," I don't mean something like "ethical behavior," or "knowledge of ethics."  I mean it in the old sense of character, temperament, or possibly even mood.  I mean something like the shape and texture of human persons or souls.  The shape and texture of a person — not some quantity of informational material — will determine what choices they make in life, and in a sense will determine how much or how little they achieve arête.  And the shape and texture of a person will be influenced and generated primarily by their entire environment, not some one individual.
            It may well be that Plato does believe, in writing the Meno, that if arête is teach-able, its teaching will happen in the kind of scenario he presents Socrates in.  I do not mean that Plato — or Socrates for that matter — believed that Socrates had a lot of really good information to pass on, kind of like knowledge of geometric theorems, and that teaching arête or hosion or dike or whatever would transpire the same way teaching Chvátal's Art Gallery Theorem would transpire.  Because of course, that isn't what Socrates is doing.  Still, Plato does seem to place a lot of faith in Socrates' methods, and I for one think they would do fuck-all for a society trying to teach its young arête or any number of moral sentiments.  In this particular dialogue, I get the distinct impression that Plato believes that if arête is teach-able, then Socrates' methods would be the ones to achieve that.
            One can ask "Can arête be taught?"  But while, in the Meno, Socrates does realize this begs the question, "What is arête/excellence?" he doesn't seem to realize it begs the question, "What is teaching?"  This is a central problem for Plato's entire project.
            Like so many of the dialogues, this one ends in aporia.  I.e., there isn't a satisfactory answer, unless you consider this satisfying:  "Can excellence be taught?"  "Umm...  I'm not sure.  I guess not...?"  But upon finishing Meno, and feeling frustrated because Plato's notion of what teaching excellence would look like, I suddenly realized something.  Plato himself accounted for the generation and shaping influence of environment in his later work, Republic.
            I'm not sure whether I will ever write a full blog post on Republic.  It's crazy long and I'm not exactly in love with it.  I think the most interesting aspect of it is its psychology, which is possibly the main point anyway, but it's hard to not read Republic as a political treatise since that is both how it is traditionally read and what is floating around on the surface and easy to catch.  Also, there are enough books and articles and probably now blog posts on it to make me feel less an intrepid explorer, and more an unpaid intern.
            But perhaps I can avoid the question of whether or not to write a blog post focusing exclusively on Republic by discussing it here.  In Republic — which most scholars agree to be a later dialogue than Meno — Plato argues that in order for an entire society to function well, and in order for all of the members to be as perfectly just and good as is possible, all of the various groups and parts of the system must accept their proper roles and perform them to the best of their ability.  While it could well be argued that such a proposal is a neat and tidy way of keeping the lower classes from getting too uppity and too big for their britches, so to speak, it is at the very least an acknowledgment that all humans live in an ecology of ethics and that if the ecosystem is sick, so will their individual systems (i.e., people) and sub-group systems.  And, in turn, if individual systems are sick, such persons cannot help but affect the entire system by pulling unduly in some areas, while going slack in others that need tension.
            I think it bears pointing out here that while Plato's central concern in Republic, which is justice or even righteousness, these can not be equated to what he is after in Meno.  Again, read any translation of Meno I've ever come across and arête will be translated virtue.  This may sound like "justice," but I do want to clarify that Plato is technically talking about the nurturance of two different qualities.  Just for accuracy's sake.
            Still, I would at least put excellence and justice in the category of moral character.  And in Republic, Plato seems to taken into account the ecology and complexity of influences on human development, and how systemic the influences upon the development of moral character are.  One may not be able to tell another person "How to be moral/good/just/pious/whatever" in the same way one could teach them to grow bacterial cultures or knit a blanket.  But if we can take into account the whole system in which humans grow, we may be at least able to have a meaningful conversation about whether or not arête can in fact be taught.


*  I have refrained from including the link above because I see that the article is now available to subscribers only (an honor which I cannot claim, as $32 comes dearly these days).  But if you would like to look at the delectable teaser, which I'm sure will lead you to locate an extra $32 in your budget this month**, you can see it here:  Aren't Philosophers Rich Enough Already Why Do They Need My $32?

**  I have recently discovered that, as a person who religiously keeps a budget and knows exactly how much I spend on everything every single month, I am part of a group constituting less than 10% of the American population.  Which is to say, if you are, as seems likely, part of the 90% of normal people, you could simply spend the $32 and it would probably come off just fine.***

***  I apologize (but not really, of course) for all the dependent clauses.  I have just finished yet another British murder mystery, and Albert Campion is loping through my head.

Friday, February 14, 2014

I did mean to leave Facebook...

            ...but I didn't intend to take such a long break from the blog.  Wow.  I apologize for the almost-two-month-long break.  In my defense, it happened because I wanted my next post to be about free will, and I was fairly certain that I could wrap that up in about two weeks.
            But it turns out free will is a very complicated topic!  Who knew?
            And so, two months later, I still don't have the essay to end all essays on free will.  I am drafting something, but I also came across a bizarre little fun fact about the history of philosophy, so I thought I would share that with you for now.

            Free will is officially filed under the term "metaphysics," at least that's according to the Internet Encyclopedia of Philosophy.  Which I guess makes sense.  Free will and its questions — whether or not we have it, and what it might even be — seem like they have to do with what we are, and the qualities of various things which exist in the world:  what is a human as distinct from, say, a squirrel, and why does it sound true to say that I as a human have free will, while the dainty-fingered squirrel does not?  Metaphysics is one category amongst several others within the domain of academic philosophy.  Others are epistemology (theories of knowledge and knowing), ethics, aesthetics, and various political and socioeconomic philosophical topics.
            When I was at university, it was in vogue to refer to self-conscious art pieces as "Meta."  As in, "Fellini is so Meta."  If anyone had bothered to ask me what the hell I meant, I would have said that "'Meta' is Ancient Greek for 'over, or above,' or something like that," and Meta art was art where the creator was reflecting on themselves qua artists.  So, taking Fellini as an example, when Guido is suffering from artist's block and keeps reflecting on memories that sound an awful lot like Fellini's own personal autobiography, it's Meta.  We could call Meta self-consciousness, though that term has an unfortunately negative connotation; it sounds like Fellini was shy over a bad hair day or something.  Other great film examples are Adaptation and Barton Fink.
            So we went with Meta.
            μετάφυσικά
            :  metaphysics

            Only I have just discovered that I have been using the prefix "meta" wrong this whole time.

            Meta (μετά), as with many words in many languages, can mean several different things.  According to Wikipedia, it can mean "beyond," "upon," or "after."  If you just type "translate μετά" into Google, you get "after."
            Enter the Stanford Encyclopedia of Philosophy.
            One day I was just minding own business reading an essay on Plato's Middle Period Metaphysics and Epistemology, when I came across the following:
"In a collection of [Aristotle's] works, the most detailed treatise on the general topic of things that are comes after a treatise on natural things, ta phusika (from which English derives 'physics').  Since the Greek for 'after' is meta, this treatise is titled 'Metaphysics'."
            Did you catch that?  The "meta" in "metaphysics" doesn't modify "physics" in the almost spatial sense I meant it in.  It's a purely historical/chronological sense.  It seems to me that my friends and I were using the term to mean "beyond" or "upon."  "Meta" as Aristotle's editor used it could be re-applied to mean something like Metacolonialism:  "All the world is living after colonialism."  Or my new coinage, "Metabach."  As in, "We're all just living after Bach."  'Cause we are.
            I confess to having been the teensiest bit upset by this.  I like words, and I take a certain amount of pride in using them with a higher-than-average accuracy rate.  The salvation of my wounded ego, however, comes in the form of ambiguity.  Turns out, everyone uses the word confusedly!  The Stanford Encyclopedia of Philosophy has this to say in their article on metaphysics:
The word ‘metaphysics’ is notoriously hard to define. Twentieth-century coinages like ‘meta-language’ and ‘metaphilosophy’ encourage the impression that metaphysics is a study that somehow “goes beyond” physics, a study devoted to matters that transcend the mundane concerns of Newton and Einstein and Heisenberg. This impression is mistaken. The word ‘metaphysics’ is derived from a collective title of the fourteen books by Aristotle that we currently think of as making up “Aristotle's Metaphysics.” Aristotle himself did not know the word. (He had four names for the branch of philosophy that is the subject-matter of Metaphysics: ‘first philosophy’, ‘first science’, ‘wisdom’, and ‘theology’.) At least one hundred years after Aristotle's death, an editor of his works (in all probability, Andronicus of Rhodes) entitled those fourteen books “Ta meta ta phusika”—“the after the physicals” or “the ones after the physical ones”—, the “physical ones” being the books contained in what we now call Aristotle's Physics. The title was probably meant to warn students of Aristotle's philosophy that they should attempt Metaphysics only after they had mastered “the physical ones,” the books about nature or the natural world—that is to say, about change, for change is the defining feature of the natural world.
            So there you are.  Your fun history of philosophy fact for the day.  If you now realize that you have also been using the term "Meta" inappropriately, I think we may all console ourselves thusly:  nothing in Fellini or Joyce could have possibly come before a bloody thing.  But then again, neither could anything.  (Sooo deep, I know.)
            Happy Valentine's Day!

Sunday, October 13, 2013

an experiment

The following was an experiment/mash-up using the very, very strange and wonderful poetry of Friedrich Hölderlin, including some of the original German.  All of the words are Hölderlin's, or from the English translation by Michael Hamburger.


Fragments of the Fragments of the Later Version of Patmos, by Friedrich Hölderlin

Voll Güt' ist; keiner aber fasset
Allein Gott.

Most kind is; but no one by himself
Can grasp God.

In gloomy places dwell
The eagles, over
The chasm walk the sons
On bridges lightly built.
Give us innocent water,
O pinions give us, with minds
To cross over and to return.

So I spoke when
a Genius carried me
From my own house. There clothed themselves,
Like men,
The shadowy wood
homeland;
So, fresh,
golden haze
Quickly
fragrant,

Now, Asia burst into flower for me,
drowsy almost with flowers the garden,

O Insel des Lichts!
land of eyes,
More athletic
In ruin.
The hand of the Lord.
Rein aber bestand
Auf ungebundnem Boden Johannes.

von Cana.
A little while I shall stay, he said.
the Baptist's head,
Just picked, like script
on the platter. Like fire
Are voices of God. Yet it is hard
In great events to preserve what is great.

Johannes. Christus.
But that's
Impossible.
And now
I wish to sing.
Werden Träume. Fall on the heart
Like error, and killing, if one does not

Consider what they are and understand.
the Lord
Pronounced death, for never
He could find words enough
To say about kindness. Sein Licht war

Tod.
Alles ist gut. Thereupon he died.
as when
A century bends, thoughtfully.

The evening had come. For to
Be pure is a skill.
But much is to be avoided. Too much
Of love
Is dangerous.
und der Heimath.
beside them
Walked, like a plague, the loved one's shadow.
mightily trembled
The house and God's thunder-storms rolled
Distantly rumbling,


Wednesday, July 18, 2012

darkness visible: an homage to a phrase, and the art of translation

            I'm guessing that I'm not the only writer who feels this way, but I like to imagine that words and language have a sort of life and intelligence of their own.  That words contemplate, breed, die, ache, and chat over tea (or scream recriminations at one another).

            Darkness visible.
            Beautiful phrase, even though (or because?) it refuses to articulate its meaning on casual encounter.

            In the midst of this and other such savoury conversation, they quitted the tent, to examine some snares they had laid; in which amusement the day soon elapsed, and was succeeded by the night, which did not appear so serene and composed as it might have been expected at that season of the year, which was midsummer, but along with it came a certain darkness visible, which greatly assisted the design of the duke and dutchess.  (Don Quixote, Miguel de Cervantes, trans. Tobias Smollett.  Modern Library 2001 edition, p. 809.)

            I first met the words in the 1989 memoir by William Styron.  Darkness Visible: a Memoir of Madness.  In the book, Styron carefully and hideously details his descent into depression, and what he found lurking in the pit.
            Strange to meet the phrase in a 17th century Spanish novel.  For a moment, I wondered if it had come into English from Spanish, through the Quixote.
            But then I remembered, some long-ago-learned detail:  the phrase "darkness visible" entered the English language with Milton.  Note that in the following quote, the "he" is Satan:

            At once as far as Angel's ken he views
            The dismal Situation waste and wild,
            A Dungeon horrible, on all sides round
            As one great Furnace flam'd, yet from those flames
            No light, but rather darkness visible
            Serv'd only to discover sights of woe,
            Regions of sorrow, doleful shades, where peace
            And rest can never dwell, hope never comes
            That comes to all; but torture without end
            Still urges, and a fiery Deluge, fed
            With ever-burning Sulphur unconsum'd.  (Paradise Lost, John Milton.  Book I, lines 59-69)

            But Milton's poem was published in 1667, over fifty years after the second half of the Quixote.
            Enter the translator, Tobias Smollett.
            It suddenly dawned on me that Smollett, translating Cervantes' novel almost 150 years after it was published in Spanish, and nearly 100 years after Milton's poem, chose this phrase as his translation of an entirely different phrase in Spanish (would that I could read Spanish and locate that phrase).  In his book Is that a Fish in Your Ear?, David Bellos states, "all utterances have innumerably acceptable translations."  This of course does not mean that any translation of a given utterance is acceptable, but it does mean that the ways an "utterance of more than trivial length has no one translation."
            In the scene following, Don Quixote and Sancho meet "Merlin," as well as several other "inchanters," and a Dulcinea who is actually a young, attractive man in drag.  All being pulled along on a cart by oxen with candles made to look as though they are growing out of their horns.  It strikes me that the Pythons might have read Cervantes.
            If words have a life and intelligence of their own, then I think here Smollett's words are undoubtedly poking at Milton's, and saying something along the lines of, "Hey!  Don't take yourself so seriously!"