FIDEO: Her Gyfieithu / Translation Challenge

Cynhaliwyd seremoni i gyflwyno Gwobr yr Her Gyfieithu yng Nghanolfan S4C yr Egin yng Nghaerfyrddin ar 10 Tachwedd 2018. Llongyfarchiadau mawr i Llewelyn Hopwood, enillydd yr Her Gyfieithu eleni. Gallwch ddarllen y cyfieithiad buddugol isod, a beirniadaeth Ned Thomas yma, a gweld rhagor o luniau o’r seremoni yma.

A ceremony to present the Translation Challenge Award was held in Canolfan S4C yr Egin in Carmarthen on 10 November 2018. Congratulations to Llewelyn Hopwood, the winner of the 2018 Her Gyfieithu. More information about the winning translation below, and more photos from the ceremony here.

Llewelyn Hopwood announced the winner of the 2018 Her Gyfieithu

Originally from Carmarthen, Llewelyn Hopwood currently reads modern languages at Jesus College, Oxford. He receives a £100 cash prize donated by Mercator International and a beautiful Her Gyfieithu staff, carved by Elis Gwyn Jones and and sponsored by Cymdeithas Cyfieithwyr Cymru. His winning translation will also be published by Welsh-language literary magazine, O’r Pedwar Gwynt.

• Cyfieithad buddugol Llewelyn Hopwood a’r gerdd wreiddiol 
• Datganiad i’r wasg: Cyhoeddi enw’r enillydd
• Beirniadaeth Ned Thomas

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Bob blwyddyn mae Wales PEN Cymru  yn cydweithio gyda Cyfnewidfa Lên Cymru a Chymdeithas Cyfieithwyr Cymru i gynnal yr Her Gyfieithu a osodir i geisio ysgogi a meithrin cyfieithu creadigol a llenyddol i’r Gymraeg.  Cefnogir yr Her eleni hefyd gan gylchgrawn llyfrau Cymru, O’r Pedwar Gwynt.

Dewisir darn o waith sydd ag iddo berthnasedd i sefyllfa neu argyfwng penodol yn y byd ac sydd a wnelo rhyddid mynegiant a hawliau ieithyddol, yn unol ag amcanion PEN Cymru a PEN Rhyngwladol.

Eleni cerdd o Gatalunya yw’r darn gosod, gan y bardd Laia Martinez i Lopez (neu Laia Malo) sydd hefyd yn gyfieithydd o’r Rwsieg ac yn gerddor yn y band electronig Jansky [ https://jansky.bandcamp.com ]. Cyhoeddwyd y gerdd ddideitl hon yn ei phumed cyfrol o farddoniaeth sef Venus volta (Lleonard Muntaner Editor, 2018), ond fe ymddangosodd yn gyntaf ar 3 Tachwedd 2017 yn y papur newydd digidol Vilaweb [https://www.vilaweb.cat/noticies/390685/] fel rhan o gyfres o gerddi ‘Proclames de Llibertat’ (Datganiadau Rhyddid) yn cyflwyno ymateb beirdd i’r sefyllfa yng Nghatalwnia.

Cyflwynir gwobr o £100 gan Mercator Rhyngwladol a’r Ffon Farddol o law Elis Gwyn ac a noddir gan Gymdeithas Cyfieithwyr Cymru.  Y beirniad eleni yw Ned Thomas. Y dyddiad cau ar gyfer cystadlu yw 10fed o fis Gorffennaf 2018 ac fe gyhoeddir enw’r enillydd ddydd Iau 9fed Awst yn yr Eisteddfod Genedlaethol mewn digwyddiad arbennig.

Er nad yw’r unigolion sydd yn medru’r Gymraeg a’r Gatalaneg – ac yn medru cyfieithu barddoniaeth yn niferus – roeddem am osod her eleni i gyfieithu rhwng y Gymraeg a iaith nad yw’n cael ei dysgu’n eang yng Nghymru. Gan mai iaith sydd yn deillio o’r Lladin yw’r Gatalaneg, mae modd defnyddio gwybodaeth o ieithoedd mwy cyffredin, Ffrangeg a Sbaeneg, ynghyd ag Eidaleg a Phortiwgaleg i fedru cyrraedd a deall y testun. Elfen graidd o’r Her Gyfieithu yw cyrraedd dealltwriaeth o gerdd mewn un iaith a chyfleu hynny mewn iaith arall.

Gall ymgeiswyr fwrw ati i greu cyfieithiad mewn unrhyw ffordd a ddymunant, gan ddefnyddio adnoddau arlein neu mewn print, gan gynnwys cydweithio gyda phobl eraill. Noder mai un wobr o ganpunt ac un Ffon yr Her Gyfieithu fydd, waeth faint o bobl fydd wedi cyfrannu at yr ymgais!

Rhaid cystadlu drwy wefan Wales Pen Cymru a chodir ffi o £6 am bob ymgais. Caniateir i gystadleuwyr gyflwyno mwy nac un ymgais wrth dalu’r nifer priodol o ffioedd ymgeisio, a dylid cyflwyno pob cais dan ffugenw gwahanol.

Os y bydd teilyngdod, fe gyhoeddir y cyfieithiad buddugol ynghyd a’r feirniadaeth ar wefan O’r Pedwar Gwynt ar y dydd.

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Winner of Translation Challenge 2017 announced at Hay Festival

Dr Şebnem Susam-Saraeva, Senior Lecturer in Translation Studies at the University of Edinburgh, was announced the winner of this year’s competition (English section) and of the prize of £250, at the Wales PEN Cymru event in Hay Festival on May 30th, 2017.

The Translation Challenge is organized jointly by Wales PEN Cymru and Wales Literature Exchange, and is sponsored by Swansea University’s College of Arts and the Humanities.

The challenge this year was to translate the poem, b a h ç e d e ö l ü m,  by the Turkish writer, küçük İskender, into English. The judge, Caroline Stockford, said: “İskender is a difficult poet to translate. Not only does he enjoy using wordplay and hidden meaning, it is not always easy to capture his spirit in the poems. However, the winning translation was a clear choice. It had a ‘clean feel’ to it. There was an ease to the language, its construction and layout which I think belied a lot of work underneath. The use of line breaks that differed from the original work made the poem more dramatic and easier to understand in English.”

A poem in Turkish was chosen for the Translation Challenge 2017 because Wales PEN Cymru has focused much of its activity this year on Turkey and has been highlighting the current abuse of human and linguistic rights in that country. Wales PEN Cymru has been supporting Turkish writers and journalists who are currently suffering persecution and judge of the competition, Caroline Stockford, has been regularly visiting Turkey to be an observer at trials of Turkish journalists.

Sally Baker, Director of Wales PEN Cymru, said: ” Our organisation has the support of language and linguistic rights at its core and so I am delighted that again this year we have been able to work alongside our partners, Wales Literature Exchange, to promote the important role of translators in helping to nurture international relations and to make literature travel, and to demonstrate the importance and difficulty of creative translation.”

The winning translation:

death on the patio

In the garden

of my humble, decorous and worldly-wise abode

under a string of cheap colourful light-bulbs

we’ve gathered for one last time

a couple of friends around the wooden table

decked out with rakı, pilaki, feta and sarma

The evening breeze slips the hide of a gazelle onto our voices

It is no more the nouns

but adjectives that confidently dominate the hours

 

Too grown up to speak of lovers

fed up too with debating the affairs of the country

we lift our gaze to the darkening skies

and talk about our bodies ready to set sail for the void

Death has become close kin to us all

can drop by at any time

that’s why we glance at the single empty chair

wondering whose will brazenly turn up next

Glasses will be knocked over then, plates will shatter

First a maddening rush, then a dense silence

In fear and pain, we’ll all be standing

except one

the chosen, lying on the patio

 

A funny fervour folds upon us

once drifters, unable to thread a needle

keen to thread a short life through this wide world

 

Dr Şebnem Susam-Saraeva

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b a h ç e d e ö l ü m

Renkli, ucuz ampullerle aydınlatılmış bahçesinde

küçük, terbiyeli, tecrübeli evimin

Tahta masada rakı, pilaki, beyaz peynir ve sarma

üç beş dost son bir sohbet yapıyoruz

Akşamın rüzgârı ceylan derisi kaplıyor sesimize

İsimlerden çok, sıfatlar hakim artık saatlere kendinden emin

Aşklardan bahsetmeyecek kadar büyüdük

Memleketten de bıktık bu sofralarda

Kararan göğe doğru kaldırıp başımızı

boşluğa yelken açan bedenlerimizden konuşuyoruz

Ölüm hepimiz için artık yakın bir akraba

her an çıkıp gelebilir

Herkes yanımızdaki tek boş iskemleye bakıyor o yüzden

Acaba hangimizinki damlayacak birazdan yüzsüzce ve

devrilecek kadehler, düşüp kırılacak tabaklar gürültüyle

Önce deli eden bir telaş, ardından kesif bir sessizlik

Bir eksik, hepimiz ayakta olacağız korkuyla, acıyla

O bahçede yerde yatan ise içimizden seçilmiş bir kişi

Biz, iğnenin deliğinden ip geçiremeyen eski serserilerde

Tuhaf bir heves, koskoca dünyadan kısa bir hayat geçirme işi

küçük İskender
from ‘Mayıs giremez’

CLICK LINK BELOW to listen to the poet reading the poem:

Iskender bahçede ölüm

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The Judge’s Comment:

küçük İskender has an almost stuccato rhythm to his poetry and I can always hear his deep voice tapping its way, with careful annunciation, through the lines of his poems. Death in the Garden is no different.  Iskender writes in a free verse style but pays attention in a numerical fashion, he told me, to sounds that will occur in different lines. His lines are long and descriptive and he approaches this poem, about a group of friends gathered around a table in a garden where lies one of their acquaintances lies dead, with cinematic detail.

I chose this poem because of its sombre and topical qualities.  The descriptions of the food on the table I thought would be most difficult to render in English.  A choice has to be made whether to ‘Anglicise’ the wrapped vine leaves or to leave the original terms in italics. The winning poem dealt with this deftly, making use of italics and using the Greek word ‘feta’ for the white cheese in question, as this is already part of the English lexicon.

Several of the entries had basic translation errors in them which put them out of contention.  Having said that, I enjoyed some of the freedom of expression used by these competitors and it was a lesson to me to experiment with a freer version of every poem I translate; to ‘go off across country’ with the translation as Sasha Dugdale once put it on an Arvon and BCLT Translation Summer School.

There were three poems that stood out, but the winning poem was a clear choice.  The use of line breaks that differed from the original work made the poem more dramatic and easier to understand in English. Although I thought that there was an overuse of alliteration in the first line of the final stanza, I particularly liked the last line of the winning translation, in which the analogy of the previous line, concerning needle and thread, was continued through to the end.

‘A funny fervour folds upon us

once drifters, unable to thread a needle

keen to thread a short life through this wide world’

Iskender is a difficult poet to translate.  Not only does he enjoy using wordplay and hidden meaning, it is not always easy to capture his spirit in the poems.  A line of Iskender’s poetry can contain what looks like a throwaway phrase alongside one so insightful it arrests you, in the best possible way. The winning translation contained no errors and had a ‘clean feel’ to it.  There was an ease to the language, its construction and layout that I think belies a lot of work underneath it.

Caroline Stockford, May 2017.

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HER GYFIEITHU 2017

Her Gyfieithu 2017 : cyfieithu yn torri tir newydd?

Yn y gorffennol buom yn cynnig heriau cyfieithu i’r Gymraeg o ieithoedd y mae pobl yn debygol o’u medru neu fan leiaf wedi dod ar eu traws trwy’r system addysg. Eleni, dewiswyd cerdd mewn Tyrceg ac rydym am herio beirdd a chyfieithwyr Cymraeg, gyda chymorth ieithoedd pontio, recordiadau, ffrindiau a chydnabod sy’n siarad Tyrceg, (unrhyw sut fodd!) i roi i ni gyfieithiad i’r Gymraeg o’r gerdd hyfryd hon:

 

YAŞAMAYA DAİR
1

Yaşamak şakaya gelmez,

büyük bir ciddiyetle yaşayacaksın

bir sincap gibi mesela,

yani, yaşamanın dışında ve ötesinde hiçbir şey beklemeden,

yani bütün işin gücün yaşamak olacak.

Yaşamayı ciddiye alacaksın,

yani o derecede, öylesine ki,

mesela, kolların bağlı arkadan, sırtın duvarda,

yahut kocaman gözlüklerin,

beyaz gömleğinle bir laboratuvarda

insanlar için ölebileceksin,

hem de yüzünü bile görmediğin insanlar için,

hem de hiç kimse seni buna zorlamamışken,

hem de en güzel en gerçek şeyin

yaşamak olduğunu bildiğin halde.

Yani, öylesine ciddiye alacaksın ki yaşamayı,

yetmişinde bile, mesela, zeytin dikeceksin,

hem de öyle çocuklara falan kalır diye değil,

ölmekten korktuğun halde ölüme inanmadığın için,

yaşamak yanı ağır bastığından.

1947

2

Diyelim ki, ağır ameliyatlık hastayız,

yani, beyaz masadan,

bir daha kalkmamak ihtimali de var.

Duymamak mümkün değilse de biraz erken gitmenin kederini

biz yine de güleceğiz anlatılan Bektaşi fıkrasına,

hava yağmurlu mu, diye bakacağız pencereden,

yahut da sabırsızlıkla bekleyeceğiz

en son ajans haberlerini.

Diyelim ki, dövüşülmeye deşer bir şeyler için,

diyelim ki, cephedeyiz.

Daha orda ilk hücumda, daha o gün

yüzükoyun kapaklanıp ölmek de mümkün.

Tuhaf bir hınçla bileceğiz bunu,

fakat yine de çıldırasıya merak edeceğiz

belki yıllarca sürecek olan savaşın sonunu.

Diyelim ki hapisteyiz,

yaşımız da elliye yakın,

daha da on sekiz sene olsun açılmasına demir kapının.

Yine de dışarıyla birlikte yaşayacağız,

insanları, hayvanları, kavgası ve rüzgarıyla

yani, duvarın ardındaki dışarıyla.

Yani, nasıl ve nerede olursak olalım

hiç ölünmeyecekmiş gibi yaşanacak…

1948

3

Bu dünya soğuyacak,

yıldızların arasında bir yıldız,

hem de en ufacıklarından,

mavi kadifede bir yaldız zerresi yani,

yani bu koskocaman dünyamız.

Bu dünya soğuyacak günün birinde,

hatta bir buz yığını

yahut ölü bir bulut gibi de değil,

boş bir ceviz gibi yuvarlanacak

zifiri karanlıkta uçsuz bucaksız.

Şimdiden çekilecek acısı bunun,

duyulacak mahzunluğu şimdiden.

Böylesine sevilecek bu dünya

“Yaşadım” diyebilmen için…

Nazım HİKMET

Gwrandewch ar Iskender yn darllen y gerdd gan Nazım Hikmet

 

Gwaith Nâzım Hikmet (1902–1963) yw Her Gyfieithu 2017, un o feirdd amlycaf Twrci’r ugeinfed ganrif, ac un a garcharwyd am ei ddaliadau gwleidyddol. Mae ei waith wedi ei gyfieithu i dros 50 o ieithoedd, ond nid, hyd yma, i’r Gymraeg.

Y GYSTADLEUAETH
Fel rhan o’r adnoddau sydd ar gael i’r cystadleuwyr , mae cyfieithiadau i’r Saesneg, Ffrangeg, Eidaleg, Catalaneg a dau gyfieithiad gwahanol i’r Sbaeneg. Mae’n siŵr fod rhagor o gyfieithiadau i ieithoedd eraill ar gael ar-lein ynghyd â rhagor o fersiynau i’r ieithoedd hyn. Rydym wedi cynnwys dolen at fideo o’r bardd yn darllen ei gerdd yn y Twrceg, yn ogystal â nodiadau am yr awdur ac ar nodweddion yr iaith a’i barddoniaeth.

Er ein bod yn arbrofi gyda’r gystadleuaeth, dull ceidwadol a thraddodiadol fydd i’r beirniadu, gyda’r beirniad, Caroline Stockford, yn meddu ar y Gymraeg a’r Twrceg ac â phrofiad sylweddol o gyfieithu creadigol.

Drwy ddethol gwaith ble bydd y cyfieithu yn debygol iawn o ddigwydd drwy ieithoedd pont neu gyd-weithio, ein bwriad yw holi a yw’r dulliau amgen hyn yn gallu arwain at gyfieithu llwyddiannus?

Mae Cyfnewidfa Lên Cymru, a’i sefydliad chwaer Llenyddiaeth Ar Draws Ffiniau, wedi cynnal gweithdai cyfieithu niferus dros y blynyddoedd, gan gynnig cyfle i awduron gydweithio a chyfieithu gwaith ei gilydd. Dyma agor fersiwn o’r gweithdy cyfieithu i gynulleidfa ehangach.

Mae’n gyfle hefyd i ystyried sut mae adeiladu a chryfhau’r pontydd cyfieithu rhwng y Gymraeg a rhai o ieithoedd y byd, boed niferus neu ychydig eu siaradwyr, ieithoedd sydd y tu hwnt i gwricwla ysgolion.

Darllenwch ragor yn O’r Pedwar Gwynt.

 

Y Bardd

Nâzım Hikmet
1902–1963

Ganwyd Nâzım Hikmet Ran yn Salonica yn Ymerodraeth yr Otomaniaid, sef heddiw Thesalonica, Gwlad Groeg. Roedd ei dad yn gweithio i Wasanaeth Tramor yr Ymerodraeth honno, roedd ei fam yn artist a’i daid yn fardd. Wedi’r Rhyfel Byd Cyntaf, gadawodd Hikmet i astudio ym Mhrifysgol Moscow. Tra roedd yn Rwsia, daeth yn Farcsydd, safbwynt gwleidyddol a fu’n bwysig iddo – ar lefel bersonol ac ar lefel wleidyddol – ar hyd ei oes. Wedi iddo ddychwelyd i Dwrci ym 1924, bu’n weithgar gyda chylchgronau llenyddol adain chwith. Cafodd ei arestio am ei weithredoedd gwleidyddol ac fe ddihangodd i Rwsia gan ddychwelyd i Dwrci yn 1928. Dros y degawd nesaf, cyfansoddodd lawer o’i farddoniaeth gan gynnwys y gerdd Memleketimden insan manzaraları (“Portreadau o Bobl fy Ngwlad”), nofel fydryddol o 20,000 o linellau a gyhoeddwyd yn 1936. Mae ei waith cynnar yn tueddu i fod yn wladgarol ac mewn mesurau cydnabyddedig, ond o’r 1930au ymlaen, trodd Hikmet fwyfwy tuag at draddodiadau gwerin gan wrthod rhai ffurfiau barddonol yn ei gerddi.

Ym 1951, gadawodd Hikmet Dwrci ar ôl cyfnod hir yn y carchar am ei weithredoedd gwleidyddol. Treuliodd weddill ei fywyd yn byw ac yn ysgrifennu yn yr Undeb Sofietaidd ac yn Nwyrain Ewrop. Bu farw o drawiad ar y galon ym Moscow ym 1963, a hyd at 1965 gwaharddwyd ei waith yn Nhwrci.

Heddiw, fe’i hystyrir yn un o brif feirdd Twrci, yn enwog am ei gerddi gwleidyddol a’i ddramâu. Mae ei farddoniaeth wedi ei gyfieithu i dros hanner cant o ieithoedd.

Y Beirniad
Caroline Stockford

 

 

 

 

 

Mae Caroline Stockford yn fardd, cyfieithydd a dramodydd ac yn byw yn Aberystwyth. Derbyniodd ei MA yn Hanes yr Iaith Dwrceg o SOAS, Prifysgol Llundain yn 2000. Mae Caroline yn cyfieithu llenyddiaeth a barddoniaeth Dwrceg ac wedi cymryd rhan yng Ngweithdy Cunda ar gyfer Cyfieithwyr Llenyddiaeth Dwrceg ers 2013. Yn 2014, ymddangosodd Caroline yng Ngŵyl Barddoniaeth Rhyngwladol Eskişehir ac mae hi wedi cynnal nifer o seminarau yn Nhwrci am gyfieithiadau barddoniaeth Cymraeg-Twrceg. Mae ei cherddi wedi cael eu cyhoeddi yn ‘Into the Void’ 2017, ‘Sharp as Lemons’ a ‘Make time for Aberystwyth’ ac mae hi wedi darllen yn Stanza, Radnor Fringe ac mewn digwyddiadau geiriau llafar yng Nghymru. Mae ei cherddi yn Nhwrceg wedi ymddango yng nghylchgrawn barddoniaeth deufisol ‘Gard Şiir Dergisi’. Yn ogystal â hyn, mae hi wedi ysgrifennu ar gyfer cylchgrawn barddoniaeth Şiirden, a hi yw Cadeirydd Pwyllgor Cyfieithu, Hawliau Ieithyddol a Llenorion Wales PEN Cymru.

Cyfieithiadau o YAŞAMAYA DAİR gan Nazım HİKMET

SAESNEG

I

Living is no laughing matter:

you must live with great seriousness

like a squirrel, for example—

I mean without looking for something beyond and above living,

I mean living must be your whole occupation.

Living is no laughing matter:

you must take it seriously,

so much so and to such a degree

that, for example, your hands tied behind your back,

your back to the wall,

or else in a laboratory

in your white coat and safety glasses,

you can die for people—

even for people whose faces you’ve never seen,

even though you know living

is the most real, the most beautiful thing.

I mean, you must take living so seriously

that even at seventy, for example, you’ll plant olive trees—

and not for your children, either,

but because although you fear death you don’t believe it,

because living, I mean, weighs heavier.

II

 

Let’s say we’re seriously ill, need surgery—

which is to say we might not get up

from the white table.

Even though it’s impossible not to feel sad

about going a little too soon,

we’ll still laugh at the jokes being told,

we’ll look out the window to see if it’s raining,

or still wait anxiously

for the latest newscast. . .

Let’s say we’re at the front—

for something worth fighting for, say.

There, in the first offensive, on that very day,

we might fall on our face, dead.

We’ll know this with a curious anger,

but we’ll still worry ourselves to death

about the outcome of the war, which could last years.

Let’s say we’re in prison

and close to fifty,

and we have eighteen more years, say,

before the iron doors will open.

We’ll still live with the outside,

with its people and animals, struggle and wind—

I mean with the outside beyond the walls.

I mean, however and wherever we are,

we must live as if we will never die.

III

 

This earth will grow cold,

a star among stars

and one of the smallest,

a gilded mote on blue velvet—

I mean this, our great earth.

This earth will grow cold one day,

not like a block of ice

or a dead cloud even

but like an empty walnut it will roll along

in pitch-black space . . .

You must grieve for this right now

—you have to feel this sorrow now—

for the world must be loved this much

if you’re going to say “I lived”. . .

From Poems of Nazim Hikmet, translated by Randy Blasing and Mutlu Konuk, published by Persea Books. Copyright © 1994 by Randy Blasing and Mutlu Konuk.

FFRANGEG
Sur la Vie

La vie n’est pas une plaisanterie

Tu la prendras au sérieux,

Comme le fait un écureuil, par exemple,

Sans rien attendre du dehors et d’au-delà

Tu n’auras rien d’autre à faire que de vivre.

La vie n’est pas une plaisanterie,

Tu la prendras au sérieux,

Mais au sérieux à tel point,

Qu’adossé au mur, par exemple, les mains liées

Ou dans un laboratoire,

En chemise blanche avec de grandes lunettes,

Tu mourras pour que vivent les hommes,

Les hommes dont tu n’auras même pas vu le visage,

Et tu mourras tout en sachant

Que rien n’est plus beau, que rien n’est plus vrai que la vie.

Tu la prendras au sérieux

Mais au sérieux à tel point

Qu’à soixante-dix ans, par exemple, tu planteras des oliviers

Non pas pour qu’ils restent à tes enfants

Mais parce que tu ne croiras pas à la mort,

Tout en la redoutant

mais parce que la vie pèsera plus lourd dans la balance

Source “Nazim Hikmet Anthologie poétique” éditions Temps Actuels – traduit par Hasan Gureh

CATALANEG
SOBRE LA VIDA
Cyfieithydd anhysbys

Poca broma amb la vida
Te l’has de prendre molt seriosament
Com ho fa un esquirol, per exemple
Sense esperar res de fora o de més enllà
No has de tenir cap altra cosa a fer excepte viure

Poca broma amb la vida
Te l’has de prendre molt seriosament
Però seriosament fins a l’extrem
Que, per exemple, amb les mans lligades contra el paredó
O en un laboratori
En camisa blanca i amb unes grans ulleres
Has d’estar disposat a morir perquè visquen els homes
Els homes a qui mai no els hauràs vist el rostre
I a morir tot sabent
Que no hi ha res més bell ni més ver que la vida
Te l’has de prendre molt seriosament
Però seriosament fins a l’extrem
Que, per exemple, als setanta anys plantaràs oliveres
No perquè hagen de ser per als teus fills
Ni perquè, tot i témer-la, no creuràs en la mort
Sinó perquè no tens cap altra cosa a fer excepte viure.

 

EIDALEG
NAZIM HIKMET
Cyfieithydd anhysbys.

Alla vita
La vita non è uno scherzo.
Prendila sul serio
come fa lo scoiattolo, ad esempio,
senza aspettarti nulla
dal di fuori o nell’al di là.
Non avrai altro da fare che vivere.

La vita non é uno scherzo.
Prendila sul serio
ma sul serio a tal punto
che messo contro un muro, ad esempio, le mani legate,
o dentro un laboratorio
col camice bianco e grandi occhiali,
tu muoia affinché vivano gli uomini
gli uomini di cui non conoscerai la faccia,
e morrai sapendo
che nulla é più bello, più vero della vita.

Prendila sul serio
ma sul serio a tal punto
che a settant’anni, ad esempio, pianterai degli ulivi
non perché restino ai tuoi figli
ma perché non crederai alla morte
pur temendola,
e la vita peserà di più sulla bilancia

 

SBAENEG
Sobre la vida

No es chacota la vida.
La tomarás en serio,
como lo hace la ardilla, por ejemplo,
sin esperar ayuda ni de aquí ni de allá.
Tu más serio quehacer será vivir.

No es chacota la vida.
La tomarás en serio,
pero en serio a tal punto
que, puesto contra un muro, por ejemplo,
con las manos atadas,
o en un laboratorio,
de guardapolvo blanco y con grandes anteojos,
tú morirás porque vivan los hombres,
aun aquellos hombres
cuyo rostro ni siquiera conoces.
Y morirás sabiendo, ya sin ninguna duda,
que nada es más hermoso, más cierto que la vida.

La tomarás en serio,
pero en serio a tal punto
que a los setenta años, por ejemplo,
plantarás olivares,
no para que les queden a tus hijos,
sino porque, aunque temas a la muerte,
ya no creerás en ella,
puesto que en tu balanza
la vida habrá pesado mucho más.
Cyfieithydd anhysbys.

 

Cyflwyniad byr i’r iaith: Twrceg¹

Honnir fod tua 35 o wahanol fathau o ieithoedd Twrcaidd² yn cael eu siarad yn Nghanolbarth Asia, Siberia, Tsieina a’r Dwyrain Canol.

Fel arfer nodir fod Twrceg yn perthyn i grŵp ieithoedd Altäig³, ar enwyd ar ôl mynyddoedd yr Altai⁴ a chyn-gartref y Twrciaid cynnar cyn iddyn nhw fudo i Anatolia o tua 1071 ymlaen. Mae rhai ysgolheigion yn gwrthod y grŵp ieithyddol hwn – yr Altäig – a ystyrir i fod yn cynnwys ieithoedd Twrcaidd⁵, Mongolaidd⁶, Twngwsaidd⁷ a Chorëeg⁸.

Am flynyddoedd lawer, tybid fod Twrceg yn rhan o’r teulu Wral-Altäig⁹, ond noda Johanna Laakso o Adran Astudiaethau Ffinno-Wgriaidd¹⁰, Prifysgol Fienna¹¹, wrth drafod y ddamcaniaeth gynnar fod Twrceg, Ffinneg¹² a Hwngareg yn perthyn:

The Ural-Altaic hypothesis still survives in some parts of the world as a common belief that “Finnish and Turkish are related”. However, as pointed out earlier, the structural similarities between Finnish (or other Finno-Ugrian languages) and Turkish (or other Turkic or “Altaic” languages) are of a typological character: these languages belong to the same type. The basic vocabulary in these languages is quite different and does not allow for the reconstruction of a common proto-language. (Although not genetically related, Turkish does have some connections with the Finno-Ugrian languages. Some FU languages spoken in Central Russia and Western Siberia have been influenced by the neighbouring Turkic languages, and Hungarian has many layers of loanwords adopted from different Turkic-speaking tribes.)

Mae 8 llafariad yn yr iaith Twrceg, a ddosberthir i ddau grŵp: llafariaid ôl¹³ a llafariaid blaen¹⁴. Mae llafariaid ôl yn cael eu lleisio’n isel, a llafariaid blaen yn cael eu lleisio’n uchel. Nid yw geiriau Twrceg yn cynnwys cymysgedd o lafariaid ôl a llafariaid blaen. Rhaid i lafariaid sydd yn cael eu hychwanegu ar ddiwedd geiriau Twrceg, fel ôl-ddodiaid, gytuno gyda’r llafariad flaenorol.

Llafariaid ôl: a ı o u Llafariaid blaen: e i ö ü

Cytseiniaid: b, c, ç, d, f, g, ğ, h, j, k, l, m, n, p, r, s, ş, t, v, y, z.

Mae morffoleg Twrceg yn gyflynol¹⁵, sydd yn golygu fod ôl-ddodiaid yn cael eu hychwanegu i ddynodi person, lleoliad ac amser. Felly er mwyn dweud, ‘rydym ni wrth y bwrdd’:

‘masadayız‘

(masa – bwrdd) (da – wrth) (y – lleddfiad rhwng dwy lafariad) (ız – person cyntaf lluosog, ni)

Mae’n rhaid i bob llafariad gytuno gyda’i rhagflaenydd ac mae thai llafariaid yn cael eu hymestyn drwy ğ dawel. Effaith hyn yw creu iaith sydd yn llifo’n soniarus ac yn llawn harmoni, a dyna un o’r rhesymau pam rydw i’n credu fod Cymraeg a Twrceg yn paru’n dda fel ieithoedd cyfieithu. Mae gan y ddwy iaith reolau – fel treigladau – sydd yn hwyluso’r harmoni seiniau’r iaith.

Strwythur brawddeg arferol mewn Twrceg yw Goddrych Gwrthrych Berf (neu SOV). Mae hyn yn golygu fod angen i’r cyfieithydd aros ar gyfer y ferf – sydd yn cario’r holl ôl-ddodiaid ar gyfer amser, cyflwr, lleoliad a pherson) er mwyn gwybod pwy wnaeth beth i bwy a pha bryd. Gall cryn dipyn o amser fynd heibio cyn i’r ferf gyrraedd, gan fod y Twrciaid wrth eu boddau yn plethu llinellau ar linellau o gymalau at ei gilydd cyn cyrraedd y ferf yn y pendraw.

Weithiau mae beirdd yn torri cystrawen yr iaith er mwyn creu effaith barddonol. Yn yr achosion hyn, gellir dodi Goddrych y frawddeg at ei diwedd ac fe geir cystrawen Gwrthrych Berf Goddrych (neu OVS).

Gallwn weld y cyflynol mewn Twrceg, sef ychwanegu ôl-ddodiaid, yn yr enghraifft eithafol isod, sydd yn creu gair sydd 101 o lythrennau o hyd mewn Twrceg (er mai dim ond 94 yn Gymraeg):

Llanfairpwllgwyngyllgogerychwyrndrobwyllllantyseiliogogogochlılastıramayabileceklerimizdenmişsinizdir.

a’i ystyr yw:

Mae’n ymddangos nad wyt ti yn un o’r bobl hynny na fyddwn ni byth yn medru dweud eu bod nhw yn dod o Lanfairpwllgwyngyllgogerychwyrndrobwllllantyseiliogogogoch.

Pob hwyl gyda’r Her Gyfieithu.

TRANSLATION CHALLENGE 2017

The deadline for the English language Translation Challenge 2017 has passed. The challenge was to translate the following poem by Turkish writer, küçük İskender, into English:

N.B. This is not the poem for the 2017 competition in Welsh.
Gweler isod am yr Her Gyfieithu Gymraeg

How to enter the competition?

• Your translation should be sent to Sally Baker at walespencymru@gmail.com, by midnight on the 31st of March, 2017.
• You should include your name and contact details in the email but they should not appear in the attachment which includes the translation.

Entry fee: £6.00 Payment can be made online:

• No entry will be considered until payment has been received. *Entry to the competition is free to Wales PEN Cymru members.

If you are sending your entry from Turkey then please will you contact Guray, guray@damdayiz.com at DAM http://www.damdayiz.com/anasayfa to arrange payment of the fee.  Your entry should be sent to walespencymru@gmail.com and you will need to confirm that payment has been made.

The English-language winner will be awarded a prize of £250 in a special event at the Hay Festival in May 2017. The winning translation will be published in Poetry Wales.

Background

Translation Challenge was established in 2009 by Translators’ House Wales to promote the important role of translators in helping to make literature travel, and to draw attention to literary translation as one of the creative arts.

The Poet

 

 

 

 

 

 

 

‘küçük İskender’

Derman İskender Över who goes by the pen-name of ‘küçük İskender’ was born in Istanbul on the 28th of May 1964. He studied Medicine for five years at Istanbul University’s Cerrahpaşa School of Medicine. He then studied sociology for three years at Istanbul University before leaving academic life for poetry and the cinema.

He first entered the public gaze in 1985 and was given the title ‘marginal poet’ because he was unafraid to make the darker side of life in Istanbul’s Beyoğlu district the subject of his poetry. İskender is one of Turkey’s few openly gay figures and although he was once targeted for his sexuality by a religious newspaper who were alleged to have sent a gang of men to his home to attack him physically, he has never been anything other than openly gay and proud.

He has published over 22 books of poetry and the poem ‘bahçede ölüm’ comes from 2016’s Mayıs Giremez.

İskender won the ‘Orhon Murat Arıburunu Prize’ in the year 2000 for his poetry book entitled ‘One Pair of Black Leather Gloves’. He has also published a diary, three novels, two collected works and several essays.

The poetry of küçük İskender has appeared in English Kalyna Review 2014, Turkish Poetry Today 2015, Assaracus Journal 2016, Gay and Lesbian Review Fall 2016, translated by Caroline Stockford.

He moved to the publishing house Can Yayınevi ın 2016 and released two new books, ‘Her Şey Ayrı Yazılır’, and ‘Waliz Bir’.

The Judge

Caroline Stockford

Caroline Stockford is a poet, translator and playwright living in Aberystwyth. She received her MA in the History of the Turkish Language from SOAS, London University in the History of the Turkish Language in 2000. Caroline translates Turkish literature and poetry and has participated in the Cunda Workshop for Translators of Turkish Literature since 2013. In 2014 she appeared at the Eskişehir International Poetry Festival and has given several seminars in Turkey on Welsh-Turkish poetry translation. Her poems have been published in ‘Into the Void’ 2017, ‘Sharp as Lemons’ and ‘Make time for Aberystwyth’ and she has read at Stanza, Radnor Fringe and at spoken word events in Wales. Her poems in Turkish appeared in bi-monthly poetry magazine ‘Gard Şiir Dergisi’. She has also written for Şiirden poetry magazine and is the Chair of Wales PEN Cymru’s Translation, Linguistic Rights and Writers in Prison Committee.

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GWELER ISOD AM Y GYMRAEG

Previous Translation Challenge Winners

 

 

 

 

 

 

 

 

 

Glenys M. Roberts was proclaimed the winner of the Welsh Translation Challenge 2016 and Jessica Cortes-Allsopp won the English Translation Challenge 2016. The task set in 2016’s competition, organized jointly by Wales PEN Cymru and Wales Literature Exchange, and sponsored by Swansea University’s College of Arts and the Humanities, was to translate a poem by Mexican poet Pedro Serrano from Spanish into either English or Welsh. The English Translation Challenge 2016 winner was announced at the Hay Festival, and the Welsh Translation Challenge 2016 winner was announced at the National Eisteddfod.

The poem to be translated:

EL CONEJO Y LA CHISTERA

Pedro Serrano

Como en el jardín de Alicia
el conejo en el césped húmedo
salta y muelle su curvatura.
Suave alza las orejas de dos en dos,
husmeando en las olas de hierbas frágiles
y entre sus dientecillos va el pasto de este
confín luminoso.
No es una oreja quieta en la nada,
sino una alfombra en el centro de lo verde,
un nudo o borla marrón peluda
que avanza palpitando.
En sobresaltos se mece hacia los matorrales
y las altas agujas de la maleza
verdes y chatas como torres y almenas.
A través de unas puertas mágicas
se hunde entre los agapandos y lirios
como si entrara en un universo apretado,
adentro de la chistera de David Lynch.
Ya no lo sigo en ese mundo mágico
denso y oscuro,
aunque en una ráfaga súbita
pasa de nuevo frente a mí
como si fuera una serpentina
sin arrepentimiento ni mordaza,
repentino,
y así desaparece.

 

THE RABBIT AND THE TOP HAT

(Translation by Jessica Cortes-Allsopp)

Just as in Alice’s garden
the rabbit on the damp lawn
springs and slackens its curvature.
Gently it lifts its ears in unison,
sniffing among the waves of delicate grass
and between its little teeth it takes the fodder of this
luminous confine.
It is not an ear inert in nothingness,
but rather a rug in the middle of the greenery,
a knot or a furry brown pompom
fluttering onwards.
In jolts, it winds and weaves towards the scrubland
and the soaring spikes of the brush,
green and flat like towers and merlons.
By way of magic doors
it sinks between the agapanthus and irises
as if entering a compact universe,
inside David Lynch’s top hat.
I no longer follow it through that magical world,
dense and dark,
although in a sudden flurry
it passes before me once more
as if it were a streamer
with neither regret nor restriction,
abruptly,
And just like that, it is gone.

 

Y gwningen a’r het silc

(Cyfieithiad gan Glenys M Roberts)

Fel y gwningen yng ngardd Alys,
felly mae hon,
yn neidio a llamu’n gylch yn y glaswellt gwlyb.
Pâr o glustiau’n codi fry’n ddiymdrech,
synhwyro’r tonnau o lafnau brau,
ac o’r gaer fach loyw honno
i mewn â’r gwellt rhwng y dannedd mân.
Nid un lonydd yw’r glust fach hon,
ond carthen yng nghanol y gwyrddni,
cwlwm neu belen frown flewog
sy’n agosáu yn gynnwrf i gyd.
Herc a naid tua’r llwyni,
at y prysgwydd gwyrdd a muriau caerog
eu nodwyddau tal a byr.
Mae hi’n suddo trwy ddrysau hud
rhwng cleddyfau’r iris a lili’r Affrig,
fel petai’n gwasgu i mewn i fydysawd cyfyng
het silc David Lynch.
Af i ddim ar ei hôl i fwrllwch tywyll
byd y ddewiniaeth honno.
Ond dyna hi eto
yn mynd heibio’n wthwm disymwth
fel sarff ddiedifar, ddilyffethair.
Yna’n sydyn,
mae hi wedi mynd.

Mererid Hopwood and Stuart Mudie were the two winners of Translation Challenge 2013, for their translations into Welsh and English respectively of three poems by Cuban poet, Víctor Rodríguez Núñez.

In 2012, Angharad Tomos won the challenge for her translation from English into Welsh of an extract from a novel for children, Mulla Nasruddin, by the Mumbai-based writer, Sampurna Chattarji.

 

Poet, Hywel Griffiths was the winner in 2011 for his translation of the poem Old Bank Notes by Lin Sagovsky. The Translation Challenge in that year was part of a special project in partnership with the National Library of Wales and “26”, a group of creative writers working in business. 26 translators were invited to work with 26 writers who were given the task of writing a piece about one object from the Library’s collection. The original texts and their translations – half in Welsh and half in English – could not exceed 62 words.

In 2013 Seren published Alison Layland’s translation of The Colour of Dawn by Haitian writer, Yanick Lahens. Alison was one of the winners of the Translators’ House Wales – Oxfam Translation Challenge in 2010 with a translation of a short story by the same author.

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Enillwyr blaenorol yr Her Gyfieithu

 

Enillodd Glenys M. Roberts Her Gyfieithu Gymraeg 2016 a Jessica Cortes-Allsopp oedd enillydd Her Gyfieithu Saesneg 2016. Y dasg, a oedd wedi’i threfnu gan Wales PEN Cymru a Chyfnewidfa Lên Cymru, ac wedi’i noddi gan Adran y Celfyddydau a’r Dyniaethau ym Mhrifysgol Abertawe, oedd i gyfieithu cerdd gan fardd Mecsicanaidd, Pedro Serrano o Sbaeneg i’r Gymraeg neu Saesneg. Cyhoeddwyd yr enillwyr yng Ngŵyl y Gelli.

Mererid Hopwood a Stuart Mudie oedd enillwyr Her Gyfieithu 2013, am eu cyfieithiadau o waith y bardd o Giwba, Víctor Rodríguez Núñez.

Yn 2012, gwobrwywyd Angharad Tomos am ei chyfieithiad o’r Saesneg i’r Gymraeg o ddarn o’r nofel i blant, Mulla Nasruddin, gan yr awdur o Mumbai, Sampurna Chattarji.

Enillodd y bardd Hywel Griffiths Her Gyfieithu Tŷ Cyfieithu Cymru yn 2011 am ei gyfieithiad celfydd o’r gerdd Old Bank Notes gan Lin Sagovsky. Roedd yr Her Gyfieithu y flwyddyn honno yn rhan o brosiect unigryw ar y cyd â Llyfrgell Genedlaethol Cymru a “26”, grŵp o ysgrifenwyr creadigol o fyd busnes. Gwahoddwyd 26 o gyfieithwyr i gydweithio â 26 o lenorion a gafodd y dasg o lunio darn yr un am wrthrych a oedd yn eiddo i’r Llyfrgell. Châi’r testunau gwreiddiol – hanner ohonynt yn Gymraeg a hanner yn Saesneg – ddim bod yn fwy na 62 o eiriau, a dyna’n union hefyd hyd pob un o’r cyfieithiadau.

Yn 2013 cyhoeddwyd gan wasg Seren gyfieithiad Alison Layland o’r Ffrangeg o nofel yr awdur o Haiti, Yanick Lahens – The Colour of Dawn. Alison oedd un o enillwyr Her Gyfieithu Tŷ Cyfieithu Cymru-Oxfam yn 2010 gyda thestun gan yr un awdur.