In terms of rhyme scheme, the 6th syllable of the first six-syllable line of the verse rhymes with the 6th syllable of the second eight-syllable line the 8th syllable of the second line of the verse rhymes with the 6th syllable of the third line of the verse, and so on. Lục-bát is the Sino-Vietnamese expression for ‘6-8’, which means that the lục-bát meter consists of a (theoretically unlimited) alternating sequence of lines of 6 and 8 syllables or words. It is the meter of nursery songs, folk songs, but also of the “Truyện Nôm”, the verse novel or epic poem, and thus the most originary and important meter of classical Vietnamese poetry. The original Vietnamese version is written in a meter called lục-bát, which dates back to the 15th century. In this case, there is neither a fixed number of accents nor a (fixed) rhyme scheme. This ratio applies to the entire adaptation: The 3,254 verse lines of the original yielded a whopping 9,384 lines of verse in the German version!Īnother formal difference: The German version is entirely written in iambic meter – a verse meter of Greek origin that consists of a short (unaccented) syllable followed by another (accented) syllable. © Goethe-Institut HanoiBy contrast, the German text consists of 16 lines, almost three times as long as the original. Having noted this, let’s now turn to Irene and Franz Faber’s German translation. Let me start off by pointing out that Huỳnh Sanh Thông’s English version – which, by the way, is considered the most influential lyrical adaptation of “Truyện Kiều” in the English-speaking world – is basically a linear translation that retains the original number of lines. © Goethe-Institut HanoiWhat is the first thing we notice? Both the Vietnamese and the English version each consist of six lines. The next figure shows the original Vietnamese text version according to Đào Duy Anh in the left column, and the English version by Huỳnh Sanh Thông on the right. It is the first six lines of verse, or prologue of the work. Let us now turn to the text excerpt I will use to illustrate Irene and Franz Faber’s translation process and methods. Nonetheless, Nguyễn Văn Vĩnh’s work is of decisive importance as it facilitated linguistic and intercultural understanding, especially for Irene Faber, who did the lion’s share of the enormous amount of philological research work that went into the seven-and-a-half-year project. We know that the Fabers also consulted additional secondary sources and that Irene Faber learned Vietnamese specifically to be able to translate from the original text wherever possible. Thus, Nguyễn Văn Vĩnh’s work fulfils a double function: It is a Vietnamese-language primary text as well as a foreign-language reference text and quasi-reference work. And finally, the fourth, and usually also longest section consists of French-language footnotes and comments on the above translations. The third part is a word-for-word translation from Vietnamese into French. 3 - 4.) The second part contains the corresponding (italicized) French translations. from this book, shown above, shows its basic structure: The first, uppermost part contains the text excerpts from the original, in this case the two verses “Trải qua một cuộc bể dâu - Những điều trông thấy mà đau đớn long” (v. We know that the bilingual Vietnamese-French KIÊU edition by Nguyễn Văn Vĩnh (Les Éditions VINHBAO - HOANHSON, 1951), gifted personally to Franz Faber by President Ho Chi Minh during Faber’s first stay in Vietnam from late 1954 to early 1955, was Irene and Franz Faber’s most important source-language text as they wrote their German adaptation “Das Mädchen Kiều.”. How Irene and Franz Faber went about translating “A Girl Named Kiều” into a German lyrical adaptation, using the example of the prologue. Übersetzungsprozess von Irene und Franz Faber
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