[Jennifer Reeser]

Return of the Diplomat

Joaquim Du Bellay

To soft-soap a creditor for an extension,
To chat up a banker and radiate cheer,
Not to speak freely, the way we do here,
To weigh up for ages each subject you mention:

Not to risk sickness through bingeing and drinking,
Not to spend money without machination,
Not to give strangers too much information,
And not to let everyone know what you’re thinking:

To understand attitude, know who wants what,
To appreciate just how much freedom you’ve got
While ensuring that nobody takes it away:

To live among others, while taking their measure:
And that, dear Morel (though it gives me no pleasure),
Is all that Rome taught me in my three-year stay.



From Les Regrets

Flatter un créditeur, pour son terme allonger,
Courtiser un banquier, donner bonne espérance,
Ne suivre en son parler la liberté de France,
Et pour répondre un mot, un quart d'heure y songer :

Ne gâter sa santé par trop boire et manger,
Ne faire sans propos une folle dépense,
Ne dire à tous venants tout cela que l'on pense,
Et d'un maigre discours gouverner l'étranger :

Connaître les humeurs, connaître qui demande,
Et d'autant que l'on a la liberté plus grande,
D'autant plus se garder que l'on ne soit repris :

Vivre avecques chacun, de chacun faire compte :
Voilà, mon cher Morel (dont je rougis de honte),
Tout le bien qu'en trois ans à Rome j'ai appris.


From the sonnet sequence The Regrets

To flatter a creditor to extend his term,
To court a banker, to give good hope,
Not to follow in his speech the freedom of France,
And to answer a word, a quarter of an hour to think about it:

Not to spoil his health through too much to eat and drink,
Not to make without cause a spending spree,
Not to say to all comers all that we think,
And by lean discourse control the stranger

To know mood, to know who is asking
And especially as one has greater freedom,
to be especially careful that one is not taken:

To live with everyone, to take account of everyone:
Voilà! my dear Morel (of which I blush with shame)
All the good that I learned in three years in Rome.

[Jennifer Reeser]

French Operative Nine, salut.

Refreshing to see such a clever, vaudeville offering. I like the “ch” repetitions in line 2. Combined with the slang usages of “soft-soap” and “chat-up,” the tone is even funnier. “Machination” is precarious; I would suggest something else. Maybe, “without reservation”? That end rhyme is one of the easiest in the English language – another reason this succeeds as light verse, the easy rhymes – so there are lots of options. The comic tone sputters with “To appreciate…” I would suggest something like, “And mostly, to know how much freedom you’ve got.” It comes closer to Bellay’s text, but maintains the translator’s tone. The close here does not quite equal that penetrating dryness of the original, with its incomparable "Voila," and Bellay's elimination of the verb, to drive that last line home. This tone is substantially more slapstick, thus, mine a moot point; however, I might suggest, as the literal meaning of "voila" is "see there," not "and that:"

There you are, dear Morel, (though it gives me no pleasure):
All that Rome taught me in my three year stay.

Rarely can a translator successfully go so over the top, – but I think this does so with style.

007

[Spindleshanks]

This has reset the bar, to my mind. Excellent rendition, high level of integrity to the metre and rhyme scheme. I think I can guess the translator, given its distinctive insouciance. Bravo.

[Adam Elgar]

Wonderful. Tone pitch perfect, the truest kind of fidelity.

[Shaun J. Russell]

I'm not the best judge of translations, and therefore haven't commented on the other offerings as yet, but this one is purely fantastic. My only nit would be the slant rhyme of what/got, but it's a very minor nit. This is the kind of translation that makes me want to look more into the translated poet...which is perhaps one of the best things one can say about a translator.

Bravissimo.

[Maryann Corbett]

This is a poem I've tackled, and I like this take better than my own. Very nice.

[Spindleshanks]

Interesting observation, Shaun, on the "slant", which in my part of the world is true. Makes me wonder if my guess at the identity of the translator is off the mark.

[Brian Allgar]

Enjoyable.

I agree with Peter; in England, 'what/got' is not a slant rhyme, but a proper one.

[Catherine Chandler]

Best so far. Kudos to the translator.

[Susan McLean]

I think that this is excellent overall, though it gets off to a slightly rough start in the first line, which I could not scan properly until the second line clearly established the meter. Forcing a stress on a "for" is a weakness. It might pass well enough after the meter has become clear, but not right at the start. "Machination" also struck the wrong note for me. But I enjoyed the wit and the bouncy meter, and I think that it captures the essence of du Bellay's poem.

Susan