Showing posts with label epics. Show all posts
Showing posts with label epics. Show all posts

Bhagavad Gita: A New Translation Review

Bhagavad Gita: A New Translation
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I really like Stephen Mitchell's work, but it's important to know what you're getting.
What you're ordinarily _not_ getting is a straight-up translation of the source text; you're getting Mitchell's attempt to render the source text into a fine English poem that expresses the spiritual insights he wants it to express. (Examples: his excellent interpretive renderings of the Psalms and the Tao Te Ching. They are excellent interpretive renderings; they are _not_ translations.)
Even when the translation _is_ straightforward, he tends to chop the text to bits and just keep the parts he agrees with. (Examples: his translation of the book of Genesis, which includes the entire text but relegates the "spiritually suspect" parts to an appendix, and his rendering of the book of Job, which includes some terrific translation but omits the speech of Elihu and the poem in praise of wisdom.)
And now he's done the Bhagavad Gita. Has he translated it, or has he interpretively rendered it?
Well, the first point to make is that he _has_ included the entire text and limited himself to offering commentary on the parts he doesn't agree with. (Incidentally, I tend to disagree with the same parts and I understand that there have been Hindu scholars who have at least raised the same questions that Mitchell does.) This point alone means that Mitchell's Gita is a landmark: he hasn't chopped up the text in order to leave out the "spiritually inferior" portions.
So how good is his translation? Well, Mitchell says his own Sanskrit is "rudimentary," but that doesn't mean (as some reviewers seem to think) that he doesn't know any at all. (This is a bit different from his Tao Te Ching, in which he admits that he just doesn't read Chinese.) And this _is_ called a "new translation" rather than a "new interpretation."
But I don't know any Sanskrit at all, so I've just done some short comparisons with other translations. Based on spot-checks against the versions of Barbara Stoller Miller and Juan Mascaro, it looks to me as though Mitchell has stayed pretty close to the source. This is of course not an expert opinion of any kind and I'm prepared to be corrected by anyone who knows better. (And it may not even be much of a test, as Miller's translation in particular was one of the handful Mitchell consulted in preparing his own.)
Either way, what Mitchell is up to here is what he's up to nearly everywhere: he uses the traditional text as a medium to convey his own spiritual insights. And it's pretty clear from the get-go that he regards Lao-Tzu (i.e., _his_ Lao-Tzu) as spiritually superior to the author(s) of the Gita. Some readers may well agree with this evaluation (and I may be one of them; you guess). But all readers should be aware that Mitchell isn't trying to present a reverent discussion of the teachings of the Gita; he's sifting through it to see what parts of it measure up to his own Buddhist-Taoist-Jewish insights.
I am _not_ criticizing this enterprise; far from it. I tend to agree with many of Mitchell's insights, I really really really enjoy his poetic renderings, and on the whole I even admire his chutzpah (although in other books I've seen reason to criticize some of his scholarship). And in the present work he does, for example, raise (and to some extent answer) deep questions about the limits of nonviolence.
But, y'know, caveat emptor and all that. If you buy this book, buy it as Stephen Mitchell's work, not as an introduction to Hinduism through one of its central sacred texts. It's not really fair to describe this as a "boutique" Gita, but on the other hand it _is_ primarily a vehicle for Mitchell himself. I think that, like all of Mitchell's stuff, it's well worth reading and owning, but it depends on what you're looking for.

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The Grail: From Celtic Myth to Christian Symbol Review

The Grail: From Celtic Myth to Christian Symbol
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After "From Ritual To Romance" caused a sensation (positive and otherwise) among grail scholars in the early part of the 20th century, much scholarship relating to Arthurian myth relates to the discourse over its origins. In "The Grail: From Celtic Myth to Christian Symbol," Roger Loomis convincingly argues (as the title might suggest) that the idea of the Holy Grail has its roots not in apocryphal Christian eschatology but in the Celtic myths of the British Isles. From the knights of the round table to Indiana Jones to Heinrich Himmler and everyone in between, the Grail has been a much sought-after artifact. The only question is "what is it?"
According to Loomis, the Holy Grail is not the cup from which Jesus drank at the Last Supper, but rather a mistranslation of the archaic compound word "sankgreal," meaning "royal blood" rather than "holy grail." This will sound familiar to anyone familiar with the novel "the Da Vinci Code," but this is more or less where the similarities end. Loomis does not view the Grail as an essentially literal object and says that it refers to a mythical bloodline. He further objects to the characterization of the grail as a cup, showing that before it was identified as a chalice, it had previously been portrayed as a flat dish and even a rock (!). He says that myth of the Fisher King lay in Celtic mythology and that Christian symbolism was later attached to it when the Grail myth hit continental Europe from a French monk and scholar living in Wales. The concept of the grail as an ever-replenishing source of sustenance is based on another linguistic misinterpretation that has an archaic Welsh word for "cup" being mistranslated into French as "body," as in the body of Christ (i.e. a communion wafer). Loomis illuminates a consistent series of parallels between the circumstances of Arthurian legend and Celtic myth and shows how overlapping stories in the former are based on archetypal forms from the latter.
Why 4/5? While Loomis presents a compelling theory, it is complex and at times difficult to follow despite Loomis' effort to make his book as accessible as possible to the average reader. Likewise, there is a fair amount of redundancy in this book that might turn some people off. Finally, the theory is so complex and each part is so dependent on the assumption before it that if one aspect is successfully refuted, the whole theory would be in jeopardy. Still, it's a fine book that advances an intriguing hypothesis about one of Western Civilization's most enduring symbols and deserves a thorough examination.

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The medieval legend of the Grail, a tale about the search for supreme mystical experience, has never ceased to intrigue writers and scholars by its wildly variegated forms: the settings have ranged from Britain to the Punjab to the Temple of Zeus at Dodona; the Grail itself has been described as the chalice used by Christ at the Last Supper, a stone with miraculous youth-preserving virtues, a vessel containing a man's head swimming in blood; the Grail has been kept in a castle by a beautiful damsel, seen floating through the air in Arthur's palace, and used as a talisman in the East to distinguish the chaste from the unchaste. In his classic exploration of the obscurities and contradictions in the major versions of this legend, Roger Sherman Loomis shows how the Grail, once a Celtic vessel of plenty, evolved into the Christian Grail with miraculous powers. Loomis bases his argument on historical examples involving the major motifs and characters in the legends, beginning with the Arthurian legend recounted in the 1180 French poem by Chrtien de Troyes. The principal texts fall into two classes: those that relate the adventures of the knights in King Arthur's time and those that account for the Grail's removal from the Holy Land to Britain. Written with verve and wit, Loomis's book builds suspense as he proceeds from one puzzle to the next in revealing the meaning behind the Grail and its legends.


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