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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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Travels with Epicurus

EpicurusI’m sure it’s not just me who feels this way, but these days I find increasing wisdom and solace in the words of the classical authors: Seneca, Cicero, Epicurus, Marcus Aurelius, Horace, Aristotle, Heraclitus, Epictetus, Diogenes, Plato. The writers of classical Greece and Rome mostly attract my attention right now, although I have also read many classical Chinese, Indian, Hebrew and Japanese philosophers and poets. Wisdom can be found everywhere.

It never ceases to amaze me how human emotions, perceptions and sensations have not changed over the millennia, almost in opposition to our rapidly and vastly changing technologies. Not merely in some rarefied philosophical sense, some intellectual perspective, but in everyday things: our passions, our politics, our tastes, our life and loves; the ancients knew and understood us, although Instagram and Snapchat may have baffled them.

Nor have we changed much if at all in our quest for answers to the “Big Questions” – the question of evil, of free will, how should we behave and be governed, of why anything exists, our search for meaning, for understanding, to grapple with suffering, longing and whatever future awaits us at death. Yes, some have found answers in religion and faith, but mostly these questions remain hanging. And there’e the always-dangling end-of-life question: what matters? All questions that can keep a person awake at night.

For some writers, some or even all of those questions are a philosophical dead end. A forum for word games and semantic exercises, but not solutions. Instead they focus on how we ought to live. Be here now, as Baba Ram Das famously wrote. Bring to your life a sense of belonging to the world, an earthly mindfulness to your daily life. Consider what happens today, not in the afterlife. This is what originally attracted me to Buddhism. But it also attracts me to several classical philosophers, more lately than in my past. And Epicurus is one of them.

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Jordan Peterson’s 12 Rules

12 RulesFor LifeI really wanted to read this book objectively, separating it from the media hype and social media torrents of opinion and abuse that often accompany its author, Jordan Peterson. I wanted to consider it in the company of the vast number of already-published self-help or philosophical books, and the historical context in which they exist.

Sadly, I was unable to do so for one simple reason: there’s too much Jordan Peterson in it. You have to wade through far too much of him to get to the rules. He meanders quite a bit, mostly to ramble on about himself. The rules are, themselves, rather diluted by his presence.

Jordan Peterson is undoubtedly a smart, well-educated man and a reasonably good writer, but sometimes he comes across as a pompous, supercilious git. And that obfuscates the intended message, at least for me.

Peterson is, like I said, a smart man. I cannot dispute his statements on psychology or human development because he knows more about it than most of us. And he references several of his statements with citations to such awe-inspiring academic documents as “Allostasis and allostatic load implications for neuropsychopharmacology,” “Tool use induces morphological updating of the body schema” and “Dimension models of personality: The five-factor model and the DSM-5.” Who am I to argue with these sources?

For those of us on a less-lofty plane, he also references the Bible, poems of W.B. Yeats, Solzhenitsyn’s Gulag Archipelago, Lao Tse’s Tao teh ching and the Guardian newspaper. Whew. Something I can read and maybe understand. But these references don’t cover the voluminous number of claims and statements in the book. It’s full of pithy epigrams and aphorisms.

There are only 220 noted sources and no separate bibliography. Peterson makes a lot of statements that, without being referenced to a citation, are either vague generalities or simply opinions. For example:

Eco-activists, even more idealistic in their viewpoint, envision nature as harmoniously balanced and perfect, absent the disruptions and depredations of mankind. (p13-14)

I don’t know which “eco-activists” he spoke to, but that sort of romanticized, even naive (if not downright puerile) view of eco-activism doesn’t match any viewpoints I’ve heard or read from anyone who might fit that description.  And you can read a lot of them online. David Suzuki, for example, arguably Canada’s most well-known environmental activist, doesn’t say anything of the sort. His own website neatly defines his views:

We are interconnected with nature, and with each other. What we do to the planet and its living creatures, we do to ourselves.

I’ll chalk this one up as an opinion, and a politically-biased one at that. The Catholic World Report noted in its review:

Peterson wades into a muck of assertions without argument; disconnected similes and examples that insult reason; arbitrary and happenstance judgments; and implications that are dangerous in their banality.

Here are some other statements I pulled at random, also not referenced to any source or publication:
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Pollan’s Food fallacies

Food Rules, by Michael Pollan“Don’t overlook the oily little fishes,” is rule 32 in Michael Pollan’s small book, “Food Rules: An Eater’s Manual” (Penguin Books, 2009). I recently acquired a copy. I’ve read Pollan’s book, The Omnivore’s Dilemma, and have his In Defence of Food on my shelves for summer reading and have two other titles by him on my wish list. I’ve enjoyed his work so far. Maybe not so much this time around.

I am skeptical about any attempt to reduce any subject to a set of basic rules because life is way too complicated for that sort of ideology. I have a particular disdain for self-help books and life-coach videos as being intellectual pablum. Pollan’s book is self-described on the back cover as “a definitive compendium of food wisdom.” Hyperbole like this always makes me cautious and raised my skeptic’s hackles.

As the New York Times points out in its review of the book, is a professor of science journalism in the USA, not a biochemist or nutritionist or even a renowned chef. But Pollan is a good writer with credentials, so I decided to give it a chance.

As someone interested in eating and food – from many aspects: historical, social, botanical, zoological, industrial, cooking and ethical among them – I am always keen to learn more and read what others say about eating. In Food Rules, Pollan offers sixty four rules with a brief explanation of each (you can read the whole list here). It’s described on the book jacket as as “indispensable handbook” full of “straightforward, memorable rules for eating wisely.”

Well, I beg to differ. Yes, it has some wisdom – especially for the junk-food-sugar-pop-and-energy-drink-pizza-and-doughnut crowd. But some of it is the same sort of ideological, anti-science claptrap you get from the Food Babe or the anti-GMO crowd. Diaphanous piffle, some of it. And way too arbitrary – at least when you read just the rule without bothering to delve into his (sometimes too brief) explanations that follow it.
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Found in translation

Into EnglishLanguage translation fascinates me. It’s a mix of language skill, art, interpretation, science and, apparently, divination. Maybe even magic.

Going from one language into another is far from a simple step of swapping words in dictionary manner – Flaubert’s le mot juste. Any fool can do that. Hell, even Google can. A single word can be a fulcrum, and the decision to use one word instead of another can utterly change the meaning. I wrote about this in The Municipal Machiavelli. The translator’s choice of even a single word – in that case the choice between the English words ruin and destruction – can alter the reader’s emotions, understanding and appreciation of a work.*

Back in the 17th century, English poet, satirist and translator John Dryden divided translations into three forms:

…metaphrase, paraphrase, and imitation. Metaphrase is literal, word-for-word translation; paraphrase follows the sense of the author, rather than his precise words; imitation departs from the original at the pleasure of the translator, and really constructs a new poem on the basis of the old. Dryden rejects the two extremes of metaphrase and imitation, and chooses the middle way of paraphrase.(Full article here)

Dryden explained his approach in his introduction to his translation of Ovid’s Epistles (1680), the work that launched his late-life career as a translator. He evidently gave the process a lot of thought:

All Translation I suppose may be reduced to these three heads.
First, that of Metaphrase, or turning an Authour word by word, and Line by Line, from one Language into another. Thus, or near this manner, was Horace his Art of Poetry translated by Ben. Johnson. The second way is that of Paraphrase, or Translation with Latitude, where the Authour is kept in view by the Translator, so as never to be lost, but his words are not so strictly follow’d as his sense, and that too is admitted to be amplyfied, but not alter’d. Such is Mr. Waller’s Translation of Virgils Fourth Aeneid. The Third way is that of Imitation, where the Translator (if now he has not lost that Name) assumes the liberty not only to vary from the words and sence, but to forsake them both as he sees occasion: and taking only some general hints from the Original, to run division on the ground-work, as he pleases. Such is Mr. Cowley’s practice in turning two Odes of Pindar, and one of Horace into English.
Concerning the first of these Methods, our Master Horace has given us this Caution, Nec verbum verbo curabis reddere, fidus
Interpres — Nor word for word too faithfully translate.

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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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