Don Quixote times three

Don QuixotesAt roughly the same time Shakespeare was writing and performing King Lear, Measure for Measure, Othello and Macbeth (1604-1605), Miguel de Cervantes Saavedra was publishing the first part (52 chapters) of his satiric novel, Don Quixote, or more properly titled (in English), The Ingenious Gentleman Sir Quixote of La Mancha. The second part (another 74 chapters) was published in 1615, roughly two years after Shakespeare’s final play, The Two Noble Kinsmen (co-written with John Fletcher).

While it was probably always intended as a single novel, the decade of time between the publication of the two parts has suggested to some scholars it is really two novels (although Part 2 starts only a month after the events that close Part 1). And perhaps it should be marketed as such; the fat combined volume could easily deter readers. I know, I know: there are people who are deterred from reading by any document regardless of its length, and not just local politicians.

Both Cervantes and Shakespeare died in April, 1616, Cervantes a mere day before the Bard, a notable coincidence. Four hundred years later, their contributions to literature and culture still affect us. I heard a local resident comment on “tilting at windmills” only last week. And I still find references to Sancho Panzo in my online reading.

Don Quixote is considered the first “modern” novel. I suppose that means it was not a morality tale, a Christian allegory or written as an ethical training guide to nobility. But also it’s because of the narrative thread and the complexity of the characters.

It achieved international fame almost immediately – the first part was translated into English in 1612 and has been translated many times since. The most recent translation was 2012 (Gerald J Davis). In my own library, I have three translations: John Ormsby (1885, my edition was published 2015), J. M. Cohen (1951, in Penguin books 1985) and Edith Grossman (2003 – which achieved bestseller status that year, remarkable for a book 400 years old). A fourth, translated by Montgomery (2006) is on order.
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Cicero, Seneca and Confucius

As I wrote in my last post, I have been reading a lot of the classic philosophers of late, particularly the Stoics. And I’ve been going further afield.

My classical readings have included a lot of Seneca and Cicero of late (plus Epictetus and Marcus Aurelius), as well as interpretations of same. While Seneca was a confirmed Stoic, Cicero seems sympathetic if not entirely convinced, and may have had strong sympathies for the Epicureans as well. 

My reading also includes what I’ve found is the best single book explaining Confucius and his views: Confucius and Confucianism: The Essentials, by Lee Dian Rainey (Wiley, 2010). If you want to understand the most important philosopher and political commentator in China’s history, this is the place to start. This book has shown me some common threads between the Stoics and the Confucian philosophers, and highlighted shared themes in the Analects. I’m also reading a translation of The Analects by Annping Chin (Penguin, 2014), which is not only in clear, modern English, but is accompanied by very useful explanatory notes. Both books I highly recommend.

(N.B. I’ve been engaged in an email correspondence with Prof. Rainey about source material, translations, and other issues. She has been most gracious and patient in responding to my layperson’s comments and questions I’ll come back to her.)

I suppose I’m looking for a sort of universal field theory for philosophy to help me sort them out, establish the common ground, and then find my own balance within this eclectic melange. While I currently lean toward the Stoics, I like to look outside the confines of Western thought in my humble effort to develop a synthesis of ideals and views that makes personal sense both intellectually and emotionally.

Not an easy task, I admit, since despite some parallel concepts, East and West were (are) separated by great gulfs of spirituality, governance, language, and culture that affect the interpretation and understanding. Language in particular is challenging since everything I read is a translation and the meaning is highly dependent on the translator’s choice of words and phrases to convey the original ideas (you have probably read my earlier comments on translation as an art).*

Still, the journey is the thing, isn’t it? And, of course, the reading to get there is enjoyable, as reading to learn always is. I’ve found a lot of seriously relevant material, some of which also parallels what I’ve learned in my studies of, and on-again-off-again practice of, Buddhism. So there are connections here; I just need to sort them out.
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Gilgamesh four thousand years later

GilgameshGilgamesh continues to enthrall us, even after more than 100 years of translations and interpretations. The story continues to be told and retold and even re-imagined. There’s even a children’s version of the tale.

You can read a version here, in PDF format or an online version here.Translations and transliterations (if you know your Akkadian…) are here. There was likely an oral version shared even before writing was invented – if you really want to know what that might have sounded like, listen to some modern recordings of old Babylonian poetry here.

Gilgamesh is not simply humankind’s earliest written legend – it’s also a powerful story that tells us about what it means to be human, to be part of a greater community. It’s about growing up, about friendship, fear, loss, death, sex, magic, faith, pride, finding wisdom and the meaning of life.

Several texts of the Gilgamesh epic have been found, all of them fragmentary, so part of the retelling is collecting the pieces and assembling them into a whole. They are also in other languages including Elamite and Hurrian. It is also a personal tale based on a man many archaeologists believe to have been real: the King of the city-state of Uruk,* some time between 2750 and 2500 BCE.

While the story itself dates back to the late third millennium BCE, the earliest tablets – Sumerian versions of the epic – date come from the city of Ur around 2150-2000 BCE. The Akkadian version is from about 1900 BCE.

The Gilgamesh story is the earliest work of literature known, and was so popular it spread throughout the great Mesopotamian civilizations of Sumeria, Babylon, Akkad and others. The great epic was still being repeated and written down on clay tablets during the Hittite rule a thousand years later. That alone shows the power of its storytelling.

Some parts – like the Flood myth – even made their way into the Bible, albeit wrapped in a different religious blanket.Four thousand years later, this story still captures our imagination.
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Malory then and now

Caxton's MaloryI recently started reading Malory in the original – that is, the language that Caxton printed in. Not the typeface Caxton used, since that would be harder to read, but rendered in a modern serif face. Caxton initially used black letter type (aka gothic) – pretty much all the early printers used it, although each printer had his own dies and styles. However, he did move to a more easily-read, more-rounded typeface by around 1490, a few years after he printed Malory’s book. Still, the early typefaces used in all incunabula take a bit more mental effort to decipher because they are not as familiar to us as our modern letter forms and often the type is set more densely than we would today, often without the same punctuation and the paragraph breaks we use today.

Malory’s themes are remarkably modern: heroism, faith, love, sex, betrayal, scheming,  politics, war… the stuff of life. Change from swords to light sabres and you’d have a scifi novel or space opera; to six-shooters and you’d have a western. That’s one of the reasons to read him: to remind ourselves that while technology advances, humans are still motivated by the same emotions and behaviour that have been around since the Stone Age.

I’m quite enjoying the reading, especially when it makes me stop and think about a word that has caused me to stumble. Not to mention the story is one I know well, and have read in many forms and seen in movies, too. Perhaps the best known and most readable of the works he inspired is T.H. White’s Once and Future King, which I’ve read at least twice. It’s one of the few books that have moved me to tears.

William Caxton was, as you know, England’s first printer, but he was also a translator and editor with a passion for sharing what he considered the greatest English literature. And he was also England’s first retail bookseller. The first book he printed at his Westminster press, was Chaucer’s Canterbury Tales, in 1476. In all, he printed more than 100 books.

He printed Malory’s famous work, Le Morte d’Arthur (aka Le Morte Darthur) in 1485, and of that first printing only two copies survive. Malory’s story proved a bestseller, and created a passion among readers for the Arthurian Romances and the tales of the Knights of the Round Table that continues today. It influenced later writers like Tennyson, Twain, T.H. White and Steinbeck (and, yes, Monty Python…).

There were five editions printed before 1500. Caxton’s successor, Wynkyn de Worde, reprinted Le Morte D’Arthur in the first illustrated edition, 1498. That’s a beautiful work even today.
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Reading The Histories

Greek hoplitesI hadn’t always wanted to read Herodotus. He has a mixed reputation among historians, often cited as an unreliable source, gossip monger or simply as a fantasist. Sure, he’s the “father of history” as Cicero called him (or at least of historical writing) and penned the earliest surviving work of non-fiction, but he often doesn’t get the respect that, say, Thucydides gets for his efforts (dry as they might be at times). Herodotus has even been called the ‘father of lies‘ by some modern historians.

Steve Donoghue noted:

Herodotus’s widely acknowledged vulnerability has always been his affection for thomata, the amazing marvel-stories that fill his account and are so scorned by Thucydides.

Yet, you cannot dismiss him lightly. Twenty-five hundred later, his voice still rings out: The Histories is an entertaining, sprawling masterpiece that is referred to and remarked on even today. As Edward Gibbon – the author of the great Decline and Fall of the Roman Empire, wrote,

Herodotus sometimes writes for children, and sometimes for philosophers.

I had downloaded Dan Carlin’s lengthy, three-part podcast series on the Persian Empire and its wars with Greece (King of Kings at Hard Core History; great, rambling stuff by the way) for a drive to and from Windsor, last month. I found his enthusiasm for Herodotus was contagious. I decided to buy a copy to see for myself. But which one?

Here’s the problem: translation. Which one(s) to choose of the dozen or more available? I say ones because I am often as likely to buy more than one translation of any work simply to compare them. And yes, I did buy two versions of The Histories (see below).

Almost everything I read written prior to about 1550 is a translation. Greek, Latin, Italian, French, Egyptian, Aramaic, Hebrew, Sumerian, Chinese… languages which I don’t speak. Which means I have to depend on the accuracy and style of the translator. And these past few years, I’ve been reading a lot more material from the classical era (i.e. Greek and Roman). So translation is a very important topic for me.

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Translating Montaigne

MontaigneWith two printed versions of Montaigne’s essays (translations by Donald Frame and M. A. Screech) and a couple of online editions available to me, I thought I might offer some examples of how individual translations have captured Montaigne’s writing and let you judge which you think is clearer and crisper for reading today.

I chose, somewhat at random, some lines from Book 1, Essay 50: Of Democritus and Heraclitus. It’s a reasonably short piece. I will give it in its entirety once, then offer selected sentences as marked in bold, below, from other translations for comparison. (You can read some commentary on this essay here).

First up: William Hazlitt’s 1877 updating of Charles Cotton’s 1685 translation (public domain, available on Here is the entire essay:

The judgment is an utensil proper for all subjects, and will have an oar in everything: which is the reason, that in these Essays I take hold of all occasions where, though it happen to be a subject I do not very well understand, I try, however, sounding it at a distance, and finding it too deep for my stature, I keep me on the shore; and this knowledge that a man can proceed no further, is one effect of its virtue, yes, one of those of which it is most proud. One while in an idle and frivolous subject, I try to find out matter whereof to compose a body, and then to prop and support it; another while, I employ it in a noble subject, one that has been tossed and tumbled by a thousand hands, wherein a man can scarce possibly introduce anything of his own, the way being so beaten on every side that he must of necessity walk in the steps of another: in such a case, ’tis the work of the judgment to take the way that seems best, and of a thousand paths, to determine that this or that is the best. I leave the choice of my arguments to fortune, and take that she first presents to me; they are all alike to me, I never design to go through any of them; for I never see all of anything: neither do they who so largely promise to show it others. Of a hundred members and faces that everything has, I take one, onewhile to look it over only, another while to ripple up the skin, and sometimes to pinch it to the bones: I give a stab, not so wide but as deep as I can, and am for the most part tempted to take it in hand by some new light I discover in it. Did I know myself less, I might perhaps venture to handle something or other to the bottom, and to be deceived in my own inability; but sprinkling here one word and there another, patterns cut from several pieces and scattered without design and without engaging myself too far, I am not responsible for them, or obliged to keep close to my subject, without varying at my own liberty and pleasure, and giving up myself to doubt and uncertainty, and to my own governing method, ignorance.
All motion discovers us: the very same soul of Caesar, that made itself so conspicuous in marshalling and commanding the battle of Pharsalia, was also seen as solicitous and busy in the softer affairs of love and leisure. A man makes a judgment of a horse, not only by seeing him when he is showing off his paces, but by his very walk, nay, and by seeing him stand in the stable.
Amongst the functions of the soul, there are some of a lower and meaner form; he who does not see her in those inferior offices as well as in those of nobler note, never fully discovers her; and, peradventure, she is best shown where she moves her simpler pace. The winds of passions take most hold of her in her highest flights; and the rather by reason that she wholly applies herself to, and exercises her whole virtue upon, every particular subject, and never handles more than one thing at a time, and that not according to it, but according to herself. Things in respect to themselves have, peradventure, their weight, measures, and conditions; but when we once take them into us, the soul forms them as she pleases. Death is terrible to Cicero, coveted by Cato, indifferent to Socrates. Health, conscience, authority, knowledge, riches, beauty, and their contraries, all strip themselves at their entering into us, and receive a new robe, and of another fashion, from the soul; and of what colour, brown, bright, green, dark, and of what quality, sharp, sweet, deep, or superficial, as best pleases each of them, for they are not agreed upon any common standard of forms, rules, or proceedings; every one is a queen in her own dominions. Let us, therefore, no more excuse ourselves upon the external qualities of things; it belongs to us to give ourselves an account of them. Our good or ill has no other dependence but on ourselves. ‘Tis there that our offerings and our vows are due, and not to fortune she has no power over our manners; on the contrary, they draw and make her follow in their train, and cast her in their own mould. Why should not I judge of Alexander at table, ranting and drinking at the prodigious rate he sometimes used to do?
Or, if he played at chess? what string of his soul was not touched by this idle and childish game? I hate and avoid it, because it is not play enough, that it is too grave and serious a diversion, and I am ashamed to lay out as much thought and study upon it as would serve to much better uses. He did not more pump his brains about his glorious expedition into the Indies, nor than another in unravelling a passage upon which depends the safety of mankind. To what a degree does this ridiculous diversion molest the soul, when all her faculties are summoned together upon this trivial account! and how fair an opportunity she herein gives every one to know and to make a right judgment of himself? I do not more thoroughly sift myself in any other posture than this: what passion are we exempted from in it? Anger, spite, malice, impatience, and a vehement desire of getting the better in a concern wherein it were more excusable to be ambitious of being overcome; for to be eminent, to excel above the common rate in frivolous things, nowise befits a man of honour. What I say in this example may be said in all others. Every particle, every employment of man manifests him equally with any other.
Democritus and Heraclitus were two philosophers, of whom the first, finding human condition ridiculous and vain, never appeared abroad but with a jeering and laughing countenance; whereas Heraclitus commiserating that same condition of ours, appeared always with a sorrowful look, and tears in his eyes:

“Alter ridebat, quoties a limine moverat unum Protuleratque pedem; flebat contrarius alter.”
[“The one always, as often as he had stepped one pace from his threshold, laughed, the other always wept.”—Juvenal, Sat., x. 28.]
[Or, as Voltaire: “Life is a comedy to those who think; a tragedy to those who feel.” D.W.]

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