Reading is translating and translating is reading, as many theoreticians have stated. Hubert Nyssen [3] , in , stated it was the best:. The second factor, the changes in the translating norms in France between the s and the early 21 st century, is an exterior one. He mentions nine reviews in It is, however, the first translation, since the previous texts were not complete translations and had been quite forgotten. It is an abridged work pages, whereas the original is about pages long.
Forgues in February In letter May-June , Giono, , p. This would seem to indicate that both Moby-Dick and Melville were unknown to many French readers except to scholars of British and American literature.
It was thus part of the movement that engendered the growing interest of French readers and publishers for American literature in the immediate post-war period. The sudden taste for American authors was also of benefit to Melville, and many of his other novels were translated after Moby-Dick : The Encantadas and Bartleby , trans. Pierre Leyris , Omoo , trans. Olivier Carvin , Mardi , trans. Charles Cestre , The Confidence-Man , trans. Henri Thomas , Benito Cereno , trans.
Pierre Leyris , White-Jacket , trans. Charles Cestre. However, neither Jean Giono nor Lucien Jacques played a part in that translation wave; their translation adventure started and ended with Moby-Dick. It has become a well-known work in French literature and, in spite of later re-translations, is still considered the canonical French version of Moby-Dick.
Indeed many changes have been introduced into the translation. Although it looks like an unabridged version, many segments have been omitted and the French text is therefore shorter than the original. The omissions are never conspicuous as they affect some repetitions of words and tend to simplify long sentences see the examples illustrating this translating strategy in the following part [8].
The French text concentrates on the sea adventure and offers an extremely enjoyable if simpler read compared to the complexities mentioned by the numerous stylistic studies of Moby-Dick , which is acknowledged to be a bulky, polymorphous and polyphonic novel.
We gain an insight into the type of reader Giono was through a wealth of documents he left letters, diaries, notes, notebooks, manuscripts. Some of them are still unpublished and kept in Manosque by the Association des Amis de Jean Giono [9]. The exact date when Giono started reading Moby-Dick is still subject to debate; it is believed to be somewhere between and Giono read widely and on different occasions he stressed the pleasure he derived from touching and carrying books.
In fact, the sense of deprivation he experienced was not because he missed reading stories he said he spent his moments of confinement making up stories in his head. It was mostly due to the lack of physical contact with books as shown in the anecdote he tells a few pages later. When finally allowed to join the other prisoners in the main unit of the prison he was offered a book by a fellow inmate.
Although he could not read the book because it was too dark in his cell and many pages were missing, he described the intense pleasure he derived from simply touching the object:.
That the same physical pleasure was derived from reading or simply touching Moby-Dick is obvious in this remark:. Moby-Dick was his outdoor book which he enjoyed carrying around for two reasons:.
It is obvious though that Giono was fascinated by the novel. He even came to consider Melville as an alter ego he could identify with in Pour saluer Melville [11]. For Giono the experience of reading the novel was a privilege; and he felt compelled to share the privilege with others, who could not read it in English, first with his friend, Lucien Jacques, then with the readers of Les Cahiers du Contadour , a literary magazine he had created with Lucien Jacques.
Eight issues of this publication appeared between the summer of and the winter of The decision to translate Moby-Dick was first and foremost an act of friendship and of sharing:. The most striking stylistic traits of Moby-Dick can be summarised thus: lengthy periodic sentences, long enumerations, redundancies, numerous adjectives, symmetrical patterns, metaphorical density, complex vocabulary, technical jargon, biblical and Shakespearian mannerisms.
Many long circumlocutions mimicking the circumnavigation of the ship and her captain are simplified or reorganised. Many long periodic sentences, whose rhythm is conveyed through repetitions and semi-colons are split into two or three separate sentences. Translations of "Why Does My Heart Afrikaans HuntingWhales. Armenian Alexander Listengort. Croatian someone Dutch Dero Dero. French Jethro Paris.
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