Translating Ch’unhyangga: The Problems and a Strategy
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No national literary tradition can expect to gain recognition, much less respect, from other cultures without conveying to them a tangible sense of the "greatness" of those works forming its classical canon, which can never be achieved without a convincing and solid translation of the original. Ch’unhyangga, the p’ansori version of Ch’unhyangjŏn, whose importance and value few Koreans would contend, still waits to be given that favor of proper English translation, which, above all, has to do justice to its unique musical complexity. This essay locates some of the problems and suggests a possible strategy. Current translation theories promote a "cultural" approach, which liberating as it is, places, if anything, greater weight on the need to transmit through translation the cultural capital the original work enjoys. Ch’unhyangga in mere prose rendering, therefore, can never present to the English reader what makes the work great or special, namely its versatile rhythm and melodic expressiveness. Despite the obvious gap between the two literary norms of English and Korean verse, making careful use of English prosody to yield a certain metrical musicality in the translated text would be the first and crucial step. Taking cue from the relatively simpler and more readily identifiable problems in the case of translating sijo, we honor the emphasis placed on caesura and hemistich by Richard Rutt and Marshall R. Pihl, but we also suggest a greater prosodic dynamism can be pursued in translating p’ansori into English. The relatively serene chinyangjo parts, for instance, can be matched with iambic meter, while the more agitated chungchungmori can invite a lavish use of the triple-time meters of anapestic or dactylic. Through such means, the charming, lively world of p’ansori such as Ch’unhyangga can hope to be properly shared by the English-speaking readers of the world.
Abstract
No national literary tradition can expect to gain recognition, much less respect, from other cultures without conveying to them a tangible sense of the "greatness" of those works forming its classical canon, which can never be achieved without a convincing and solid translation of the original. Ch’unhyangga, the p’ansori version of Ch’unhyangjŏn, whose importance and value few Koreans would contend, still waits to be given that favor of proper English translation, which, above all, has to do justice to its unique musical complexity. This essay locates some of the problems and suggests a possible strategy. Current translation theories promote a "cultural" approach, which liberating as it is, places, if anything, greater weight on the need to transmit through translation the cultural capital the original work enjoys. Ch’unhyangga in mere prose rendering, therefore, can never present to the English reader what makes the work great or special, namely its versatile rhythm and melodic expressiveness. Despite the obvious gap between the two literary norms of English and Korean verse, making careful use of English prosody to yield a certain metrical musicality in the translated text would be the first and crucial step. Taking cue from the relatively simpler and more readily identifiable problems in the case of translating sijo, we honor the emphasis placed on caesura and hemistich by Richard Rutt and Marshall R. Pihl, but we also suggest a greater prosodic dynamism can be pursued in translating p’ansori into English. The relatively serene chinyangjo parts, for instance, can be matched with iambic meter, while the more agitated chungchungmori can invite a lavish use of the triple-time meters of anapestic or dactylic. Through such means, the charming, lively world of p’ansori such as Ch’unhyangga can hope to be properly shared by the English-speaking readers of the world.
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