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New Poems (1907-1908) represented a departure for Rilke from the traditional German lyric poetry of which he was then considered a master. Apparent in these poems is the influence of Rodin -- for whom Rilke had worked -- as well as other visual artists, including Hokusai, Cezanne, Van Gogh, and Picasso. In this collection, Rilke forced his language to extremes of subtlety and refinement that only now, in Stephen Cohn's translations, is being captured properly in English.
- Sales Rank: #3715889 in Books
- Brand: Brand: Northwestern University Press
- Published on: 1998-05-27
- Original language: English
- Number of items: 1
- Dimensions: 7.75" h x 1.00" w x 5.13" l, .74 pounds
- Binding: Paperback
- 296 pages
- Used Book in Good Condition
Amazon.com Review
This stunning version of Rainer Maria Rilke's New Poems disproves Robert Frost's dictum that poetry is "what gets lost in translation." On the contrary, Stephen Cohn's keen ear and flair for the iambic line keep the poet's virtues very much intact. And unlike most previous translators, Cohn seldom allows meaning to triumph over music. In "The Panther," for instance, he deploys assonance, alliteration, and surprising rhythms to convey the pain of an animal's entrapment: The bars which pass and strike across his gaze
have stunned his sight: the eyes have lost their hold.
To him it seems there are a thousand bars,
a thousand bars and nothing else. No world.
In the second quatrain, his meter effectively mimics the motion of the beast "pacing out that mean, constricted ground." And in the final strophe, the translator evokes the look of the caged beast whose eye "slides open to admit some thing outside; / an image runs through each expectant limb / and penetrates his heart, and dies." Cohn's straightforward use of dies seems particularly on the mark: out of its element, an animal somehow ceases to exist--at least in Rilke's poetic menagerie.
In "The Parrot House," Rilke paints a memorable picture of displacement, describing those birds who balance "on perches that silently rock with their yearning." Cohn's translations, too, have taken leave of their origins. Remaining Rilke's at their core, these poems nonetheless sing in their reincarnated forms. --Martha Silano
Language Notes
Text: German (translation)
Original Language: English
Most helpful customer reviews
10 of 11 people found the following review helpful.
Do you want to read Rilke or Cohn?
By Incantessimo
Rilke has been attaining great popularity in the English speaking world, and for good reason. His lyric imagination and the beauty of his thought appeal immediately to the reader -- there is little that is 'inaccessible' about this poetry. 'New Poems', which appeared in 1907, may be his finest work. It was written while Rilke was heavily under the influence of Rodin, living in Paris, and it shows what poetic genius can accomplish when finally brought in contact with rigor.
The poems are therefore highly recommended. The only question is: which translation? This depends on one's taste and how you are going to use the German original alongside the English translation.
Cohn's translation falls on the very liberal side. He offends Nabokov's idea that all translations should be as literal as possible. The problem with liberal translations like Cohn's is that the more they diverge from the original in an attempt to get at the real 'sense' or 'feel' of the poem, the more they become just one more interpretation. And maybe you would have had a different one? Even, dare I say, a better one? They also pit the translator against the poet in a sense, and unless it is the rare case where the translator is a better poet than the poet being translated, this is not a good idea...
Just one example. The second stanza of Cohn's translation of "The Panther" (maybe Rilke's most famous poem, and very difficult to translate well) includes the line "pacing out that mean, constricted ground." Readers will search in vain for any of these words (much less the phrase) in the original German. Edward Snow provides a much better (and more literal) translation as:
"The supple pace of powerful, soft strides, turning in the very smallest circle, is like a dance of strength around a center in which a great will stands numbed."
Ah, that is Rilke. His ideas are so beautiful, that I want a translation that preserves that beauty, instead of turning it into something else. "New Poems" is always simple, and no translator should stuff in verbal acrobatics to accomplish what Rilke does so easily. Thus, I have to recommend Snow's translation over Cohn's. However, if you want something flashy, go for it!
0 of 1 people found the following review helpful.
Translation for those with an ear
By fennario
I have to say a few words about the brilliant artistry of Stephen Cohn's translation. It is true that his renderings are not as literal as Edward Snow's (and I admire Snow), but they're almost always a higher order of poetry -- and in that way they are more profoundly faithful to Rilke's originals, since Rilke's _Neue Gedichte_ are very great poems. Cohn is also more deeply rooted in German himself and almost never gets the tricky nuances or historical references wrong, whereas Snow has needed several reprints to get all those details up to speed (Snow's versions change, sometimes a lot, between different printings of what are supposedly the "same" book).
If you DO read German easily, and if you love Rilke, Cohn's translation is essential -- it will give you these poems all over again to marvel at in English. Snow's versions are very good too, but more workmanlike. I value both, but I read Cohn to savor and ponder, and Snow to see how he construed a difficult passage. The New Poems do contain many enigmatic moments, and all decent translators are valuable guides through these.
If you don't know any German at all, and just want to know why the New Poems are every bit the equal of (e.g.) the Duino Elegies (though very different), then Cohn again is probably the better choice. His poems are alive with verbal echoes and architectonic magic (as Rilke's are), and you won't be bothered by noticing the lines that don't map the German exactly on to the English.
If you have a moderate acquaintance with German and are seeking a "trot" to help you with Rilke's German originals, or if you are just too disturbed by the thought of a non-literal translation, by all means stick with Snow (still other translators, like MD Herter-Norton, are even more literal -- tin-eared, but literal -- but have not translated the whole of the New Poems). Snow is not tin-eared at all, and you will get a very respectable sense of the New Poems from him. He really is good.
But if you really, really know the German poems intimately, and study Cohn's English, you will see how deeply Cohn has understood Rilke's thought, and how much force he has bent to conveying it. His departures from literal renditions aren't willful or haphazard: wherever a literal rendition would jolt the rhythm, erase rhyme or euphony or wordplay, or collapse the delicate architecture of the poem (and if you don't know, literal translations inevitably do all those things ALL THE TIME), he devises a new image or phrase that will do a similar thing in English to what Rilke's line does, and will sound infinitely better and be far more effective and moving than a literal rendition. The resulting translations testify to an amazing gift for sympathetic re-creation and a rather miraculous affinity with Rilke's genius, not least since Rilke himself was as sensitive to such subtleties as any poet you can think of.
I don't write many reviews, but this is territory I know; and I was unhappy seeing Cohn's astounding labor of love and skill not getting its due in others' remarks.
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