THE CONTEXT Interna onal, Peer Reviewed & Indexed Journal of Arts & Humani es UGC Approved Journal: S. No. 42344 Volume 4 Issue 1, July 2017 ResearcherID: K-3783-2017 Guest Editor: Dr. Vinita Basantani Chief Editor: Mr. Kumar Wani Parbhani 431 401. MS India.
THE CONTEXT Quarterly journal of Arts & Humanities UGC Approved Journal: S. No. 42344 Publication details and instructions for authors: http://www.magnuspublishing.com This is an Open Access Journal distributed under the terms of the Creative Commons Attribution License: CC BY-NC-ND 4.0 Cultural and Semantic Problems in Translating Vachanas of Dasimayya from Kannada into English S. B. Biradar Dept. of English SVM College, ILKAL Published online: 01 July 2017 Article Number: TCissn.2349-4948/4.1a113 2017 Author(s); licensee Magnus Publishing. The Electronic Archived Version (EAV) and permanent URL of this article is: http://www.magnuspublishing.com/thecontext/2349-4948-113.pdf Abstract The aim of this paper is to explore the cultural and semantic problems in translating Vachanas of Dasimayya from Kannada into English. It tries to make an assessment of the nature and the quality of translation on the basis of culture and semantics. It also tries to find out any methods and principles to be followed in the process of translation. Keywords: Vachana, Kannada, translation, Culture, Semantics Page 10
Cultural and Semantic Problems in Translating Vachanas of Dasimayya from Kannada into English S. B. Biradar A teacher of an English Medium School in Indian context was instructing his students on the campus as a part of punishment go and rotate the building three times. He was trying to communicate the late-comers the importance of time and discipline. He merely replaces his native cultural items with a similar set of English items. Many expressions such as will you hang that map or else I ll hang myself why are you looking at the monkeys outside when I am in the class? and You, three of you stand together separately. These expressions appear eccentric and unconventional. The above examples illustrate that Translation is not a mere exchange of items from source language text to target language text. It is much more than that. Translation operates at many levels and it involves the understanding of many socio-cultural, linguistic and literary factors. Translation can be defined as an activity which is a consistent challenge to ascertain uniformity between the source language text and the target language text. The entire exercise of uniformity of equivalence does not end with the vocabulary or linguistic and socio-cultural aspects of the source text. The semantic value, emotions, feelings and style of the source text remain the fundamental criterion for translation. Translation is highly interesting and challenging phenomenon though it is complex and interdisciplinary in nature. Hence, translation is a significant rung towards dissemination of a text into other languages and culture. Translation gains a very significant position in the global context due to proximity of the world communities in relation to trade, swap of technology, mutual relations and cultural exchanges. The Indian sub-continent with many states bears unique identity of many languages, cultures and literatures. English operates as the lingua-franca of India in spite of Hindi as the official language of the nation. The mobility of people and tremendous interaction in the national and transnational scenario emphasizes the need of translation. According to A.S. Dasan, Translation is viewed today as fundamental to our understanding of other ages, other civilization and marginalized cultures and identities. It is an ideal way of sustaining and promoting cross-cultural communication (Dasan, 2). The texts written during the 11 th and 12 th century have to be translated for the present-day readers. In such a case the translator has to encounter the problem of translating across the culture, semantics and time. Poetic translation is much debated topic. Translating a poetic text into a target language is not mere paraphrasing or substitution of words and syntax because undeniably the poetry of the source text has various implications. Retaining the essence of the original is the crux of this process. Equivalents used have to establish Page 11
the semantic and cultural value emanated by the source text. It always poses many problems pertaining to its meaning, structure, style, technique and cultural variation. The translator has to see through the emotive meaning and suggestiveness implied in the poem. He needs to consider the structure and expressions of the source text. In this way translation becomes an act of establishing equivalence in all respects so that the same outcome that the source text produce on its readers could be produced by the target text on its readers. The major question remained unanswered whether the poem can be translated while retaining the originality of the source text. In this context Robert Frost while addressing the untranslatability of poetic text posited Poetry is what gets lost in translation (Tomlinson, viii). But few scholars anticipate for the translatability of poetry. They express success of translation lies in the skills of translator. Hence, there is every possibility of rendering a text into target language on the bases of cultural, linguistics and semantics strategies. The entire production of English literature is an outcome of translation justifies the translatability of poetry. The chief and leading concern of the translator is to establish the aspect of semantics. Thus, theory of translation is inherently related to the theory of meaning since the essence of translation is supposed to be the retention of meaning across languages. Meaning of a word is established by its reference and designation of that word stands for. All the meanings of word emerge from its culture and implicate its cultural norms. Culture and semantics are key principles of translations. Culture is a particular society or civilization especially considered in relation to the customs, ideas, social behaviour, and beliefs which shapes the minds of individual. Each culture has its own idiosyncrasies which evoke a mixed response in one from a different cultural background. Translator has to forge a workable synthesis between the source language text and that of the target language text. Culture and semantics pose many problems in translation process. This process of equivalence is not a smooth one and it, more often than not, results in failure and appears alien. Hence, Catford posits that an SL text has an SL meaning and TL text has a TL meaning (Catford, 35). The seamless and perfect equivalent of features between two linguistic items is infrequent. Before considering the translations it is necessary to give a brief account of Kannada literature, Vachana genre and Dasimmayya s life. Kannada literature of 11 th and 12 th century remains as a glorious landmark in the history of Kannada literature. It reflects the socio-cultural religious and literary revolution. A new literary genre, Vachana (an equivalent of epigram/ short saying) is emerged out of this revolution. Vachana is written in accordance with certain cultural norms. It is an outcome of a thought process over the problems of life and social evils. It is a concoction of unique poetic value, pragmatic principles and nobility of thought. According to Chandrashekharayya Vacanas, a form of literature in Kannada, are termed as cryptic sayings or musings. They also are described as pithy sayings couched in thoughts and actions sublime, emotions and experience divine (Chandrashekharaih, 1). Writers of Vachana use simple language and experiences of everyday life, rejects superstitions and social evils, search for truth and salvation, try to bring harmony in utterance and Page 12
practice, make self-introspection, and close with the name of their worshiping god. They are the proponents of many innovative ideas, concepts and systems. Their vision is highly democratic, rational and pragmatic. Dasimayya (980-1040) is recognized as the first Vachana writer. According to the noted literary works of Kannada Basava Purana, and Channabasav Purana, Jedar (weaver) Dasimayya, is one of the earliest writers of Vachanas. Dasimayya is born at Mudnur village of Surpur Taluk in Gulbarga District of Karnataka state. Mudnur is a religious center and is described the South Varanasi in the inscription of Gopalswamy temple. Mudnur village is known for the great Ramnath temple. According to the Ancient Poetics, Dasimayya is born to the religious parents Kalikal Dand Ramayya and Shankari. P.G. Halakatti, an authority on Vacahana literature determines the period of Dasimayya around 1015-1042. The noted writer L. Basavaraj opines that Dasimayya s life span is 1015-1040. Govind Pai opines that his life could be around 980-1030. The life span of Dasimayya remains a debatable issue. However most of the scholars accepted the life span of Dasimayya around (980-1040). Dasimayya is a staunch follower of god Ramnath. He concludes his Vachanas with the proper name of Ramnath. Out of his 190 Vachanas, 176 are available and published by government of Karnataka under the banner of Pustak Pradhikar. His Vachanas are marked with conversational idiom, the freshness of images and free expression. He is not only a great Vachana writer, but one who opened an altogether new trend in Kannada literature. His Vachanas reflect the cotemporary essence of 11 th century life. They are written to eradicate the social evils of his times. The social conditions of 11 th century were highly obnoxious because of rigid and unscientific norms of life. He composed Vachanas for the purpose of reformation. Let us consider the translations of Dasimayya in the backdrop of above discourse and find whether these translations could stand in good comparison to the original. For this purpose a few Vachanas of Dasimayya are chosen and compared with their translations done by A.K. Ramanujan and Chandrashekharaiah respectively. At every step these texts are compared, features discussed and the translation procedures discerned. Finally based on this type of analysis aspects of poetic translation from Kannada to English are defined. Agni Sudalallade Suliyalariyadu Vayu Sulivudallade Sudalariyadu Aa Agni Vayuv Kudillade Adiyidlariyadu E Pariyante Narararivare Kriya Jnana bhedav? Ramnath The present Vachana describes the associative nature of fire, air, action and knowledge. Each element of the nature has a unique quality. The feature of fire is to burn and the feature of air is to drift. Fire cannot travel without the support of the air. Air does not have the innate quality of burning; it needs the help of fire. Both depend on each other. The combination of the two elements makes them to move further and yields better result. Likewise, human beings need to understand the concept of togetherness and interdependence. Each human has a unique quality. They can blossom by coming together. They need action and knowledge for life. Human beings can acquire the Page 13
knowledge and further implement their action. Knowledge has to be properly used and incorporated in carrying out action. Let us consider whether the translation holds the essence of the original in the following versions. A.K. Ramanujan s version Fire can burn but cannot move. Wind can move but cannot burn. Till fire joins wind it cannot take a step. Do men know it s like that with knowing and doing? A.K. Ramanujan does not follow structural order in his translation. He breaks the entire Vachana into three couplets and a concluding triplet. The first line of source text is divided into two lines though it is not necessary. Fire can burn/ but cannot move in this expression he uses but in his translation, whereas the source text does not intend this sense. (Agni Sudalallade Suliyalariyadu). Similarly he uses but while translating budging quality of air (Wind can move/ but cannot burn). The comparison is extended to knowledge and action. Ramnujan uses the term doing which culturally implies different meaning whereas action is supposed to be the apt code. The concluding triplet Do men know/ it s like that/ with knowing and doing? semantically creates problem and ambiguity. The source text ends with the worshipping god Ramnath. It is hall mark of every Vachana of Daimayya. But Ramanujan does not include in his translation. The entire Vachana is a literal translation. Chandrashekharaiah s version The fire that burns knows not movement. The wind that moves knows not burning. And that fire unless aided by the wind just cannot move about. Like this, do the ignorant know the relation between action and knowledge, Ramanath. Chandrashekharaiah also does not follow any structure in his translation. The codes used in the target language such as And, just, about, unless, like this create an impediment in the flow of emotive nature as far as the source language text is concerned. The subtle quality hidden in the air and fire is compared to action and knowledge but this is eventually not clear in this translation. Of course, the attribute of fire is to burn but the expression the fire that burns does not hold the proper cultural and semantic expression. Movement used in the first line fail to imply the meaning of drifting quality. He tries to notice the relation between action and knowledge whereas the source text implies the subtle difference in the action and knowledge. Page 14
Accha Shivakyange hottare amavase; Matta madhyhna sankranti Matte astamana paurname hunnime Bhktana maneya angalave Varanasi kana! Ramnath Every day is highly auspicious to the true devotee. True devotee finds pious new moon day, full moon day and sankranti every day. Therefore, a true devotee never bother about the almanac and auspicious days. It appears to be the practice of Veerashaivism, but it has a revolutionary thought. During those days, the priests have exploited the people with their almanac. The innocents were exploited with the auspicious and inauspicious emotions filled by these priests in their mind. They have controlled their life with these issues. They instruct each and every aspect of the birth of the child till its death and even aftermath of death. Apart from this, the purchase of lands and houses, the inauguration of the house and buildings etc. have also been instructed by these priests through their almanac. These priests earn a lot of money by their instructions to the common people. The Vachana writers have propagated their philosophy of truth and scientific attitude. They try to enlighten the ignorant people through their Vachanas. This is a true witness of revolutionary thought advocated by Dasimayya. A.K. Ramnujan s version. To the utterly at-one with Siva there s no dawn, no new moon, no noonday nor equinoxes, nor sunsets, nor full moons; his front yard is the true Benares, O Ramanatha In this translation also A.K. Ramanujan does not follow the structure of the source language. To the utterly at-one with Siva is a literal translation but the source text implies true devotee. Codes used such as new moon, Sankranti, and sunset fail to carry implicit cultural semantics. He uses negatives to evoke the positive quality of these cultural items. The source text implies the early morning it is the auspicious new moon day, scorching hot mid-day is sankranthi and the twilight is pious full moon day for a true devotee. The scorching hot mid-day of the source text is translated as a pale noonday and equinoxes. Sankranthi is translated merely as equinoxes which do not render the suggestibility of mellowness of Sankranthi. He addresses O Ramanatha in the concluding line. O is essentially not a part of the source language. The entire Vachana fails to bring out the essence of the source text. Page 15
Chandrashekharaiah s version For one who is one with siva himself No such times as morn and full-moon and new-moon. And no solstice of the sun exists. The dwelling of a devotee is verily the Varanasi, Ramanatha. The first line For one who is one with siva himself does not render the merging quality of true devotee. It is a literal translation of the source. CZÀÑ ²ªÉÊPÀåA implies the one who merges truly with god, of course one who merges with Siva is a true devotee. Hence, the code true devotee carries the cultural nuance but it is missing in the target language. Chandrashekharaiah uses negatives such as no such times and no solstice but the source text does not use negatives. Solstice also fail to evoke the sankranti atmosphere. Full moon and new moon lack the cultural semantics of the source items. Pious and religious aspect is seen in the celebration during new moon and full moon days. Dwelling does not evoke the essence of (manneya angalave) the source text because the courtyard or patio of true devotee itself is a holy place; dwelling implies the entire house. Ile nimma daan, bele nimma daan Sulidu bisuv vayu nimma daan Nimma daanavanundu anyar hogaluv Kunnigalnenembe, Ramnath The five elements the earth, the fire, the water, the air, and the sky is the source of life. The base of all these resources is lord Shiva. Therefore, the earth and the crops, the surrounding air is the gracious bounty of god. The people eat god s bounty but ignore him. The king, the subordinates such as governors of province, landlords, and wealthy people live as slaves. The true and worthy life would be justified only when the human beings worship god. He has given all the basic necessities of life; the air, the water, the fire and the sky so bountifully. This ideology propagates the democratic views during the rule of monarchy. Dasimayya challenges monarchy in the last line with a pungent tone in this Vachana. A.K. Ramnujan s version The earth is your gift, The growing grain your gift, The blowing wind your gift. What shall I call these curs Who eat out of your hand And praise everyone else? A.K. Ramanujan renders his translation in two triplets. The first line of the first triplet, he translates the earth is your gift. The code gift does not reflect the cultural semantics of the source language. Generosity is implicated in the code daan, it is very much embedded in the native code. Ramanujan s code gift does not carry the quintessence Page 16
of this native item, crop is implicated and implanted in bele of the source language but he is used it as growing grain here. Wind in the third line also fails to communicate the spirit of the original version of vayu Why should have been capitalized in your gift as your indicates god. The second triplet What shall I call these curs/ Who eat out of your hand / And praise everyone else? appears like a paraphrase of the original. The codes of source text nimma daanavanundu anyar hogaluv do not reflect the meaning of eat out of your hand, everyone else does not imply the nuance anyar of the Source language. The closing address Ramnatha is very much innate of every Vachana of Dasimayya however is not included by A.K. Ramanujan. Chandrashekharaiah s version Thine is gift of earth, Thine the food grains Thine is the sustaining air that moves! Enjoying the bounty Thou hast given What shall I say of the curs who flatter others, Ramanatha! Chandrashekharaiah tries to bring the archaic essence in his translation. Here, gift is used for daan, food grains for bele. Both codes fail to match the semantics of the source text. Sustaining air also fails to render the source. The term flatter means lavish compliments in order to further one s own interests. The source culture implies that people during his times are ignorant. Hence, instead of flatter, eulogize may be a suitable code. My version of translation tries to fill up the gaps found in these translations and semantically tries to authenticate the source language text into English translation. Fire can burn, cannot drift Air can drift, cannot burn that Fire cannot budge without air can the man apprehend the secret of knowledge and action? Ramnatha Early morning is auspicious new moon day for true devotee scorching midday is mellowness of sankranti and the sunset is pious full moon day Patio of devotee Varanasi, Ramnatha The earth and the crop Thy bounty spreading air Thy bounty eating Thy bounty eulogize others what shall I call the curs? Ramnatha Vachanas are certainly precious life blood of master spirit. They are written with highly remarkable pragmatic sense. They are emerged from the life consequences and deep rooted in the socio-cultural aspects of Kannada literary tradition. It takes a lot of toil to reach the essence of the source text. It is not impossible to translate them. But it requires total immersion of source culture, understanding of native codes and Page 17
semantics of the vocabulary. Words and syntax are certain good in themselves. A.K. Ramanujan and Chandrashekharaih try their best to bring out the original essence but in certain areas of cultural semantics they fail. Works cited Anatramu K. Jedar Dasimayya, Kannada Shitya Charitre Vol 4, Mysore: Mysore University Pub. 1977. Print. Basavaraju, L. Ed. Devar Dasimayyan Vachanagalu, Mysore: Geeta Book House Pub. 2011. Print. Bhatambra. Raghushank. Vachana Sahityad Hosa Parikalpane, Bangalore: Kannada Sahitya Parishattu. 2004. Print. Catford, J.C. A Linguistic Theory of Translation. London: Oxford University Press, 1965. Print. Chandrashekharayya, Vachanas of Devar Dasimayya: Mysore: Jagadguru Shivaratreeshwar Grnathmale, 1996. Print. Chidanand Murthy, Vachana Sahitya Bangalore: Sapna Book House. 2009. Print. Dasan, A.S. Translation as Third Language: Foregrounding Cross-Cultural Dimensions. Proceedings of the UGC National Seminar Translation and Cross Cultural Studies, August 24-25, 2013: Mahanlingpur. Print. Rado, Gyorgy. Approaching the History of Translation (13) Babel, 1967. Print. Ramanujan, A.K. Speaking of Siva. New Delhi: Penguin, 1973. Print. Tomlinson, Charles. Ed. Tr. Introduction. The Oxford Book of Verse in English Translation. Oxford: Oxford University Press. 1983. Print. Page 18