{"id":216,"date":"2011-08-08T18:25:35","date_gmt":"2011-08-08T22:25:35","guid":{"rendered":"http:\/\/www.eriksopera.com\/?p=216"},"modified":"2019-01-29T00:40:05","modified_gmt":"2019-01-29T00:40:05","slug":"comparing-translations","status":"publish","type":"post","link":"https:\/\/www.cathydraig.com\/eriksopera\/2011\/08\/08\/comparing-translations\/","title":{"rendered":"Comparing Translations"},"content":{"rendered":"
\n

I received an e-mail from a reader who pointed out that I had not yet posted my comparison of the translations. Oops! So, I took some time and formally wrote up my thoughts on the matter. The first chart below gives an overall view of the translations, while the second chart compares some passages side by side.<\/p>\n

*Please note: This\u00a0 post was originally written in 2011, before the translation by David Coward was published in 2012. Therefore, that translation is not included in the analysis below.*<\/em><\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n
Translation<\/strong><\/td>\nYear<\/strong><\/td>\nTone\/Flow of Wording<\/strong><\/td>\nNotes<\/strong><\/td>\n<\/tr>\n
\n\"\"Original translation by Alexander Teixeira de Mattos –> TdM; This is the standard version you’ll find everywhere.<\/td>\n1911<\/td>\nOverall easy to read, with a slightly formal tone, and more dated word choice. Due to this being an abridged translation, at times the flow is choppy with a lot of ellipses (the \u2026)<\/td>\nAfter having read the unabridged translations I must say that this translation is my least favorite. In fact, I only quote it when I do to either show a comparison, or because this one is in the public domain and I would not run into copyright violations. Yet, this is the translation that got me interested in the book, and it is better than not reading it. However, if you are interested in reading the book for the first time, or reading it again, I say leave this one on the shelf (or at the store) and pick up one of the translations below. Not only does it leave out some important details, like some dates (as well as whole paragraphs and chapters), the ellipses remove a lot of the emotion of the characters, and overall feel of the story.<\/td>\n<\/tr>\n
\"\"
\nNew translation by Lowell Bair –> LB<\/td>\n		1990<\/td>\nVery easy to read, with a nice flow to the text. Word choice is much more modern and understandable.<\/td>\nThis was the first published unabridged translation, and until I found this one, I didn’t even realize that the version I had previously read was abridged. I loved this translation and how it opened up the story. I have since found this to be true of all the unabridged versions. The modern wording does help this translation to flow smoothly and is much more pleasant to read than the choppiness of the TdM translation.<\/td>\n<\/tr>\n
\n

\"\"<\/p>\n

The Essential Phantom of the Opera by Leonard Wolf –> LW<\/p>\n<\/td>\n

1996<\/td>\nMr. Wolf also uses a somewhat dated word choice, although it it doesn’t jump out as much as the term \u201cpopinjay\u201d does in TdM. (See passage below.) His text doesn’t flow quite as well, probably because he wrote the closest to a literal translation as any of them.<\/td>\n\n

Mr. Wolf includes a lengthy introduction in which he discusses Gaston Leroux’s life, career, and how his novels fit into the time period. He also discusses how PTO specifically fits into Gothic writing.<\/p>\n

At least I think that’s what the whole introduction covers. I must be honest when I say that even though I have tried more than once, I just can’t get through this introduction. It’s boring \u2013 no other way to say it.<\/p>\n

However, the footnotes in this version are quite interesting. There are times when I wish he had footnoted a passage he did not, but overall, I found the footnotes to add to the story. Another note: I suggest you read this one if you can get a copy of it, but not as your first introduction to the unabridged versions. The footnotes, while very interesting and informative, can be distracting. If you are familiar with the story, this is not a problem. But, if you aren’t, then you may loose the flow of the text and therefore not get as much enjoyment out of the story itself.\u00a0<\/p>\n<\/td>\n<\/tr>\n

\"\"
\nAdapted by Jean-Marc & Randy Lofficier –>RL<\/td>\n		2004<\/td>\nWord choice is contemporary with no odd terms jumping out at you (aside from translation differences as noted in my comments to the side). As with LB, the translation flows and is easy to read.<\/td>\n\n

Oh, what can I say about this translation? The pictures\/artwork are pretty cool. The translation itself leaves much to be desired. The authors decided that Christine was 17, because they didn’t like the line: \u201cAll friends of the Opera knew that her heart had remained as pure as at the age of fifteen\u2026\u201d [Note: From LB; this is in a passage that is cut out of the TdM version.<\/em>] Apparently they took that to mean that she was in her teens, not that she was as innocent as if she was still a teen. Big difference, but annoying in translation.<\/p>\n

They also mess with the grasshopper. Most of the time, they change it to \u201cfrog\u201d, but then there is at least one time when they apparently missed the reference, and then translate it as \u201clocust.\u201d Meh, I don’t much like \u201clocust\u201d since everyone else translates as \u201cgrasshopper\u201d but at least it’s close. But \u201cfrog\u201d? Don’t agree with that at all. I don’t like that they arbitrarily changed the text, instead of just translating it.<\/p>\n

In the end, even with these discrepancies, I still like the translation better than the TdM. I wouldn’t recommend it over the other three unabridged translations, but if you only have this and the TdM, go for this one.<\/p>\n<\/td>\n<\/tr>\n

\"\"
\nMireille Ribi\u00e8re (Translator) –>MR<\/td>\n		2009<\/td>\nThis too is a contemporary translation with a very nice flow to the story. However, I think MR did the best job of creating a modern translation with word choice that makes it easier to picture what is happening.<\/td>\n\n

This translation is my favorite overall, and is the one I recommend as the one to read. Of interesting note: Ms. Ribiere is European and therefore her words are spelled the European way. I also believe that the word \u201ccoxcomb\u201d is a British word.<\/p>\n

*Note: This edition was revised to add footnotes\/annotations in 2012. The image is from the original edition without any annotations.*<\/em><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

When it comes to comparing the translations of Phantom of the Opera, one of my favorite passages to see the difference is when Raoul goes to see madame Valerius. While I won’t reproduce the entire passage, I’ll pull out the various lines that give a good representation of the different ways in which the translators approach the text.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n
TdM<\/td>\nLB<\/td>\nLW<\/td>\nRL<\/td>\nMR<\/td>\n<\/tr>\n
Raoul left the building a prey to the gloomiest thoughts. He resolved, come what might, to go enquire at Mama Valerius.\u2026<\/p>\n

 <\/p>\n<\/td>\n

Christine’s absence did not seem natural to Raoul. [Note: This line is not in the TdM translation.<\/em>] He left the Opera, absorbed in somber thoughts, and decided that come what might, he would go to Mama Valerius and ask for news of Christine.\u2026\u00a0<\/td>\nThe whole affair seemed unnatural to Raoul, who left the Opera prey to very dark thoughts. He decided that, at all events, he would go to Madame Valerius’ home for news.\u2026<\/p>\n

 <\/p>\n<\/td>\n

The whole business seemed rather odd and Raoul left the Opera feeling even more depressed. He decided that whatever embarrassment it might cause, he had no choice but to call on her at the home of Madame Valerius.\u2026
\n\u00a0<\/td>\n		There was something odd about all this. Raoul’s mind was besieged by gloomy thoughts as he left the Opera House. He resolved, come what may, to find out more by visiting the good Madame Valerius.\u2026\u00a0<\/td>\n<\/tr>\n
This last sentence sounded very gloomily in the young man’s ears.\u2026 The Viscount dropped into a chair. Really?\u2026\u00a0<\/td>\nTo Raoul, this last sentence had an ominous ring.\u2026 Overcome with dismay, Raoul sank into a chair.\u2026\u00a0<\/td>\nThat last sentence had an ominous ring to it.\u2026 Dismayed, the Viscount de Chagny sank into a chair.\u2026\u00a0<\/td>\nThis last sentence sounded rather ominous to the young man’s ears.\u2026 Appalled, the Viscount collapsed into a chair. Could it be?\u2026<\/td>\nThis last sentence sounded quite ominous to him.\u2026 The Viscount dropped into a chair in dismay. Really?\u2026
\n\u00a0<\/td>\n<\/tr>\n
“Is Christine engaged to be married?” asked the wretched Raoul, in a choking voice.\u2026\u00a0<\/td>\n“Is she engaged?” Raoul asked miserably, in a choked voice.\u2026
\n\u00a0<\/td>\n		“Is Christine engaged?” asked Raoul in a strangled voice.\u2026
\n\u00a0<\/td>\n		“Is she engaged?” The unfortunate Raoul asked, in a choking voice.\u2026
\n\u00a0<\/td>\n		“What? Is Christine engaged to be married?” gasped the distressed young man.\u2026
\n\u00a0<\/td>\n<\/tr>\n
“Yes, yes,” echoed Raoul, submissively, “it’s quite natural.”\u2026\u00a0<\/td>\n“Yes, yes, he agreed,” almost a whisper, “It’s only natural.”\u2026<\/td>\n“Yes. Yes,” Raoul agreed, almost under his breath. “It’s only natural.”\u2026
\n\u00a0<\/td>\n		“Yes, yes,” echoed Raoul\u00a0 breathlessly, “it’s quite natural.”\u2026\u00a0<\/td>\n“Yes, yes,” Raoul acquiesced in a whisper, “it’s only natural.”\u2026
\n\u00a0<\/td>\n<\/tr>\n
The Viscount threw up his arms with a gesture of despair.\u2026\u00a0<\/td>\nHe raised his arms in a broad gesture of despair, then wearily let them fall.\u2026
\n\u00a0<\/td>\n		The Viscount raised his arms in a gesture of immense despair, then let them fall again, despondently.\u2026\u00a0<\/td>\nThe Viscount threw his arms in the air in a great gesture of angry despair, then, feeling crushed, he let them fall back to his sides.\u2026\u00a0<\/td>\nThe Viscount threw up his arms in utter despair and let them drop with a moan.\u2026\u00a0<\/td>\n<\/tr>\n
He walked home to his brother’s house in a pitiful state. He could have struck himself, banged his head against the walls! To think that he had believed in her innocence, in her purity! The Angel Of Music! He know him now! He saw him! It was, no doubt, some frightful tenor, a good looking popinjay, who mouthed and simpered as he sang! He thought himself as absurd and wretched as could be. Oh, what a miserable little insignificant, silly young man was M le Viscount de Chagny, thought Raoul, furiously! And she, what a bold and damnably sly creature!\u00a0<\/td>\nHe walked to was brother’s house in a pitiful state. He felt like punishing himself, banging his head against a wall! How could he have believed in her innocence and purity? How could he have tried, even for an instant, to explain everything by her naivet\u00e9, simplicity, an immaculate candor? The Spirit Of Music! He knew him now! He could see him! He was undoubtedly some idiotic tenor who sang with a silly, affected smile. Raoul felt thoroughly ridiculous and miserable. “What a wretched, little, insignificant, asinine young man you are, Viscount de Chagny!” He furiously told himself. As for Christine, she was a brazen, satanically deceitful creature.<\/td>\nIn a pitiful state, he walked home to his brother’s house. He would have liked to punish himself, to bang his head against the wall. How could he have believed in so much innocence, so much purity? He had tried for a moment to explain everything by Christine’s naivet\u00e9, by her simplicity of spirit and spotless candor. The Guardian Spirit Of Music! He knew him now. He saw him. He was, beyond a doubt, some dreadful tenor who sang as he simpered. Raoul thought himself as humiliated and as unhappy as it was possible to be. Angrily, he thought, “Oh what a miserable, small, insignificant, silly young man is the Viscount de Chagny.” As for her, what an audacious and devilishly cunning creature she was.<\/td>\nHe walked home to his brother’s house in a pitiful state. He could have struck himself, banged his head against the walls! To have believe in such innocence, such purity! He had tried to make sense of it because of her naivet\u00e9, her simple faith, her immaculate candor\u2026 But the Angel Of Music! He knew who he was now! He could almost see him! He was undoubtedly some handsome tenor, a good looking ruffian who leered as he sang! He felt he had reached the point where he was as ridiculous and miserable as he could possibly be. “Oh what a wretched, insignificant, silly young man the Viscount de Chagny had become!” thought Raoul, enraged. And what a brazen and damnably cunning creature Christine had become!<\/td>\nHe made his way back to his brother’s house on foot and in a wretched state. He was so angry with himself that he wanted to smash his head against a wall! To think that he had believed in her innocence, in her purity! That he had tried for a moment to explain everything by her naivet\u00e9, her simplicity of mind that her extreme candor. The Spirit Of Music! He knew him now! He saw him! Surely was some minor singer at the Opera, some good looking Lothario, some coxcomb all smiles and sweet talk. He felt ridiculous and pitiable. Ah what a wretched, insignificant and foolish young man you are, Viscount de Chagny! he raged to himself. As for Christine, what a brazen, devilishly cunning creature!<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

I hope you can see from the comparison above how an unabridged translation add an emotional flavor to the story that is missing from the abridged version. You can also get a good idea of the stylistic differences in the translations.<\/p>\n

Bottom line: I recommend that you read the Mireille Ribi\u00e8re translation, even though you will probably have to order it through Amazon. If that’s not possible, then the original translation is adequate, but know that you are missing quite a bit of the story with this translation.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

I received an e-mail from a reader who pointed out that I had not yet posted my comparison of the translations. Oops! So, I took some time and formally wrote up my thoughts on the matter. The first chart below gives an overall view of the translations, while the second chart compares some passages side …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-216","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-comparisons","7":"anons"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/posts\/216","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/comments?post=216"}],"version-history":[{"count":3,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/posts\/216\/revisions"}],"predecessor-version":[{"id":480,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/posts\/216\/revisions\/480"}],"wp:attachment":[{"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/media?parent=216"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/categories?post=216"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cathydraig.com\/eriksopera\/wp-json\/wp\/v2\/tags?post=216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}