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Le Ton Beau De Marot: In Praise Of The Music Of Language Paperback – May 23, 1998

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The Poems of T. S. Eliot: Collected and Uncollected Poems (Volume 1) by T. S. Eliot
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This critical edition of T. S. Eliot’s Poems establishes a new text of the Collected Poems 1909–1962, rectifying accidental omissions and errors that have crept in during the century since Eliot’s astonishing debut, "The Love Song of J. Alfred Prufrock." Learn more | See related books
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Editorial Reviews Review

In the fall of 1537, a child was confined to bed for some time. The French poet Clément Marot wrote her a get-well poem, 28 lines long, each line a scant three syllables. In the mid-1980s, the outrageously gifted Douglas R. Hofstadter--il miglior fabbro of Godel, Escher, Bach--first attempted to translate this "sweet, old, small elegant French poem into English." He was later to challenge friends, relations, and colleagues to do the same. The results were exceptional, and are now contained in Le Ton Beau De Marot, a sunny exploration of scholarly and linguistic play and love's infinity. Less sunny, however, is the tragedy that hangs over Hofstadter's book, the sudden death of his wife, Carol, from a brain tumor. (Her translation is among the book's finest.)

Marot's poem, in Hofstadter's initial translation (he is to compose many more), begins: "My sweet, / I bid you / A good day; / The stay / Is prison. / Health / Recover, / Then open / Your door ... "--a slim frame on which to hang 600 or so pages of text. But the book is far more than a compendium of translators' triumphs (with the occasional misstep). Most of the renderings are original and lively, some lovely, though Hofstadter often feels compelled to improve them. He lightly laments that Bill Cavnar's rendering, "though superb along so many dimensions at once, still seems to lack a bit of that intangible verbal sparkle that I associate with the deepest Maroticity."

Hofstadter's talents lie in linking his intoxication, erudition, and vision with humor, autobiography, and free association. His book takes on "rigidists," asks questions like, "Is plagiarism potentially creative?" and strives to define linguistic soul. Along the way, it accords the same level of respect to the seemingly trivial: sex jokes, Texas jokes, The Seven Year Itch, and the puzzle of how someone you love can hate a food that you adore. Throughout there is pun, ingenuity, and above all, love for language--which can compress distance and, through constraint, lead to freedom. --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

Clement Marot (1496-1544) may have been a great French poet, but "A une Da-moyselle malade" is not his best effort. Essentially it's a get-well greeting: sorry that you're sick, but try to eat something and get some fresh air. The ditty serves as a springboard for Hofstadter's thoughts about language, translation, culture and human genius as the author, his friends, translators, scholars and even computer programs contribute to numbing permutations of this one weak lyric. Hofstadter, a professor of artificial intelligence at Indiana University, had bestsellers with the 1980 Pulitzer Prize-winning Godel, Escher, Bach and a collection of essays reprinted from Scientific American, called Metamagical Themas. Here he is on shakier ground. Hofstadter is not a poet but doesn't hesitate to lay out his opinions: for example, all rhyming translations of "Eugene Onegin" are "excellent" and "fine," but he trashes Vladimir Nabokov's monumental and helpful literal version; he also calls Lolita "pedophilic pornography." And while there are moments of wit, intelligence and uncommon curiosity, there is also a diffuse structure and inflated?and sometimes hokey?prose: "In SimTown, many other things can happen including houses being set on fire and goldfish flopping out of their bowls. (I'm leaving off the quotes merely as a shorthand?I know they aren't real goldfish!)". His cheery gee-whizzery often rings false, and there's probably a good reason for the hollow sound?in 1993, his wife died of a rare disease, which probably also explains his choice of the verse. This book pays tribute to her, while illustrating the powers and limitations of speech. $60,000 ad/promo.
Copyright 1998 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Product Details

  • Paperback: 832 pages
  • Publisher: Basic Books; Reprint edition (May 23, 1998)
  • Language: English
  • ISBN-10: 0465086454
  • ISBN-13: 978-0465086450
  • Product Dimensions: 9.2 x 7.4 x 1.6 inches
  • Shipping Weight: 3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (57 customer reviews)
  • Amazon Best Sellers Rank: #179,078 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

56 of 58 people found the following review helpful By A Customer on May 17, 2000
Format: Paperback
Some people say it's not as good as GEB - but it really is. It's just different. Both of these two books - Hofstadter's best, along with Metamagical Themas - are controlled by some single vision, some idea that somehow managed to spark seven hundred or so pages of ideas.
GEB was more complex. The ideas were harder. Le Ton Beau de Marot is, at its core, a book about translation. The book was inspired by the author's attempts to translate a short (28 trisyllabic lines) poem by an obscure French Renaissance poet named Clement Marot. (You'll probably have the poem memorized by the end of the book, at least if you know French - and if you don't, it's conveniently included on a detachable bookmark on the inside back cover.) Hofstadter, after tackling this challenge himself, sent out a letter (reprinted in the book) to many friends challenging them to translate it as well, including a list of some formal constraints on the poem that he wanted to point out and two fairly literal glosses of the poem for the non-francophones in his circle. The book's structure (like all of DRH's other books) is one of alternation - small groups of translations of the poem, which originally were meant to constitute the whole book but now make up a sort of sideshow and can be skipped without detracting from the understanding of the book, alternate with chapters on various issues of translation. The poems don't play the role that you might expect, a role roughly analogous to that of the dialogues in GEB. In GEB, the dialogues were meant to introduce some point that would be developed in the chapter. Here, they're not.
Most of the book consists of discussions of some of the dilemmas of literary translation, with examples drawn from various literary works.
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166 of 186 people found the following review helpful By A Customer on May 19, 2003
Format: Hardcover
Dearest Doug,
Please don't bug
Us with rhyme
One more time.
Reading through
Poems built on
"Ma Mignonne"
Is real tough.
Nuff's enough!
And no line
For Will Quine
When you ask
If the task
To create
A translate
Can be done?
It's no fun,
Also rude,
To conclude
Douglas Hof-
Stadter's off
Of his game.
All the same,
We can see
This is not.
Thanks a lot!
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46 of 52 people found the following review helpful By Theodore M. Alper on August 4, 2003
Format: Paperback
Hofstadter is a very clever guy, with an ear for wordplay and some interesting things to say about the concept of translation. But he could use an editor and he has a number of blind spots as a thinker and as a literary judge.
Much of what is most intriguing about the book is its strong individuality. H. knows what he wants to say, he knows how he wants to say it, he has intensely precise ideas of how the book should look. For example, it matters painfully to him that the pages come out just so, with just the right number of lines so that every word comes out on the right place on its page. He takes this to extremes -- when he can't get permission to quote from Catcher in the Rye, he is forced to improvise a passage of EXACTLY the same length in order to keep everything perfect.
Incidentally, it's sort of surprising, given his feelings about the importance of all these details of presentation, that he can't understand Nabokov's insistence that translators, by paraphrasing and padding lines, inevitably alter dramatically the effects of the originals. H. would find his own book unacceptably altered if a linebreak was wrong, but he refuses to accept that someone might find something essential lacking when Pushkin's stanzas are rendered into English approximations.
I'll confess to being somewhat biased in favor of Nabokov -- and I can't help but wonder if Hofstadter has ever read Pale Fire.
[in several places, H. plays upon the titles of Nabokov's works, but not in a way that gives any sense that he has read anything other than his essays on translation and his literal translation of Eugene Onegin]
Anyway, back to *this* book -- it's a very personal book in content, too, the details of Hofstadter's life intertwine with the poem, all the translations, and the commentaries.
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33 of 38 people found the following review helpful By A Customer on January 27, 2000
Format: Paperback
Autobiographical in scope and introspective in method, the usual pack of Hofstadterisms (Bognard problems; "slippability"; typefaces; creativity arising from constraint; the term "you guys") re-assembled in a low-density format. What should be relatively quick discussions are endlessly expanded into paragraph-after-paragraph dissertations that left me thinking "OK, I get it already." I found myself skimming paragraphs, and then pages, looking for the action.
At times I felt like I was reading "The Making of Godel, Escher, Bach" as the author describes for us how he saved the various translation efforts of his magnum opus from the clutches of incompetent translators. His impatience with those of lesser genius contrasts with the nice-guy persona he's trying hard to project.
The book is mostly about translation, using a simple poem, which was translated in several different ways by the author and his friends and colleagues to illustrate many important and interesting points. After awhile, though, I started to get tired of reading about what is wrong with everyone else's translations, and how no one gets it in quite the same way that Dr. Hofstadter does. In addition, the author's own poems are among the least interesting of the collection, and he repeatedly "corrects" translations of other contributors (even his mom!), producing results that are usually awful.
If you've read his previous work, you're not going to find a lot new here, and you might be disappointed at how flat this seems.
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