W. B. Yeats as Translator: Form, Function, and Fidelity in The Two Sophoclean Plays (for the late Professor Daniel Albright)
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This essay analyses the strategies and choices underlying William Butler Yeats’s versions of Sophocles’s two classic tragedies, King Oedipus and Oedipus at Colonus. Reference is made to German hermeneutics and the contemporary translation theories of scholars such as Lawrence Venuti, Peter Robinson and Matthew Reynolds, in order to elucidate how Yeats negotiated between fidelity and more free and self-conscious appropriation of the Greek originals. The Abbey theatre’s use of classic, foreign plays as part of its repertoire is also addressed as a significant context for understanding the function of these versions. It is especially relevant for Yeats’s work on King Oedipus — his more independent rendering of Oedipus at Colonus is shown to be affected by the example of his friend and collaborator, Ezra Pound. Detailed inspection of the latter text demonstrates how there are major departures from the wording of Richard Jebb’s translations, which typically provide the point of departure for Yeats’s versions. The final part of the essay looks at how the use of metaphors concerning monstrosity and the underworld demonstrate a subtle link between what Yeats wrote in these versions and how he wrote them (i.e., their form).
Abstract
This essay analyses the strategies and choices underlying William Butler Yeats’s versions of Sophocles’s two classic tragedies, King Oedipus and Oedipus at Colonus. Reference is made to German hermeneutics and the contemporary translation theories of scholars such as Lawrence Venuti, Peter Robinson and Matthew Reynolds, in order to elucidate how Yeats negotiated between fidelity and more free and self-conscious appropriation of the Greek originals. The Abbey theatre’s use of classic, foreign plays as part of its repertoire is also addressed as a significant context for understanding the function of these versions. It is especially relevant for Yeats’s work on King Oedipus — his more independent rendering of Oedipus at Colonus is shown to be affected by the example of his friend and collaborator, Ezra Pound. Detailed inspection of the latter text demonstrates how there are major departures from the wording of Richard Jebb’s translations, which typically provide the point of departure for Yeats’s versions. The final part of the essay looks at how the use of metaphors concerning monstrosity and the underworld demonstrate a subtle link between what Yeats wrote in these versions and how he wrote them (i.e., their form).
참고문헌 (24)
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