Veljko wrote: "I find the whole topic depressing. She does not speak Italian and she read B Even those that share the same basic language. Traci wrote: "Okay. Feb 23, AM. I tried researching it and it seems like the Hunchback thing might have been a mistake by a reader who either had a bad copy, or didn't understand what they read. So that's good.
Victor Hugo Books
And they haven't seemed edited from what I could tell, Lady Chatterley's Lover was full and uncut anyway. The translations are supposed to be good It's definitely something I never gave attention to, but I'm going to start. Jan 05, AM. Last year, I couldn't decide which translation of The Tale of Genji to read, so I bought the four complete English translations plus a leather bound Xmas present for myself and ended up reading two of them.
The differences turned out to be : the Waley translation is more a retelling inspired by the original Japanese manuscript; The Siedensticker translation is a direct translation, but lacks the lyrical beauty of the original; the Tyler translation was written for students and scholars; and the Washburn translation is a modern translation. I read the Waley and Tyler translations. Squire wrote: "Last year, I couldn't decide which translation of The Tale of Genji to read, so I bought the four complete English translations plus a leather bound Xmas present for myself and ended up reading t I started on Great Poems: A Dual-Language Book a couple of days ago and I've found myself nitpicking some of the translator's choices even with my very rudimentary German.
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- The Hunchback of Notre-Dame by Victor Hugo: | ducoriny.cf: Books;
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It might have to do more with this being poetry rather than prose though. I liked the Tyler translation better. It was heavily foot noted and provided for a more cultural experience than the Waley translation Waley never visited Japan ; But that lack of cultural expience gave the Waley translation an exoticness that was missing in the Tyler translation. No translation is going to be perfect. This is always a horrible dilemma for me when it comes to translated classics.
Sometimes with translations, I simply look at the format. Same for The Divine Comedy.
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Which translation I would read then became whichever one I could get my hands on. Any thoughts on the Xist Classics on kindle? I've got a sneaking suspicion that Xist aren't the best version though. Jan 06, AM. Myst wrote: "Any thoughts on the Xist Classics on kindle? So I started gathering the ones not in the This isn't always a bad thing, like Squire said with Waley's Tale of Genji another example off the top of my head would be Constance Garnett's translations of Chekhov's short stories- most of her Russian translations are mediocre, especially Dostoyevsky, but I like hers better than most modern translations for Chekhov.
I've seldom gone wrong with Penguin Classics and Oxford World's Classics, but there are bound to be exceptions to the rule, so I always research translations a bit before committing. Feb 19, AM. Does anyone know of any suitable translations of The Hunchback of Notre Dame? I've desperately wanted to read that book for quite a while and I thought the best time would be now, especially since I noticed that's what you're about to read this upcoming month, but I hear some of them are abridged in some ways. I think the abridged versions cut out some of the descriptions and history of Paris or something like that Regardless I just want it to be readable, since I've sometimes had trouble seeking out the best translations in the past, which is part of the reason I don't read many translated classics.
I would greatly appreciate it if any of you could help me. Feb 19, PM. Does anyone know of a good translation for The Divine Comedy? I read the Inferno a long time ago and it was drudgery. I find it a challenge to follow what I am reading when it comes to epic poetry.
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I am hoping I could find a good version in prose style I had good luck reading a prose version of the Iliad Jun 14, PM. I'm reading Xist classics version and I can't prove it, but I don't think it's a complete version. Has anyone read Le Morte D'Arthur before and is it an actually 'short' 'quick' read, or did I pick up a bad edition?
Jun 15, AM. Myst wrote: "I'm reading Xist classics version and I can't prove it, but I don't think it's a complete version. It's said to be pages long, and in about an hour of hav Jun 18, AM. Rory wrote: "Myst wrote: "I'm reading Xist classics version and I can't prove it, but I don't think it's a complete version.
It's said to be pages long, and in about a The Xist version appears to be part 1 and from what I skimmed it seems to be complete text, so not abridged, but not stated as only being part 1 either. Myst wrote: "Rory wrote: "Myst wrote: "I'm reading Xist classics version and I can't prove it, but I don't think it's a complete version. From the beginning to the end of the novel, his physical incompleteness leaves him hopelessly suspended between the states of man and animal. Quasimodo is defined by his animal-like strength proven in numerous scenes such as the early, failed abduction of Esmeralda and the assault on the cathedral and by his animal-like mentality, which is at once a result of his incomplete intellectual faculties and a conditioned response to the unkind way he has been treated by those around him, save his "adopted" father, Claude Frollo, to whom he is completely devoted "Quasimodo loved the archdeacon as no dog, no horse, no elephant, ever loved its master.
All the difference is there. Indeed, from that moment on, Quasimodo undergoes an awakening, during which his dormant soul comes alive and expands exponentially, as witnessed in the scene in which Quasimodo—proud and glorious—swoops down from the top of the cathedral to save Esmeralda from being hanged: "For at that instant Quasimodo was truly beautiful.
He was beautiful,—he, that orphan, that foundling, that outcast; he felt himself to be august and strong; he confronted that society from which he was banished. In attempting to repair her relationship with Phoebus, in warding off Frollo's unwanted visits, and in endeavoring to save Esmeralda from the "attackers," in whom he mistakenly perceives a threat to her safety, Quasimodo risks everything in Esmeralda's name. Yet in the end this transfiguration, this conversion from grotesque to sublime—unobserved by Esmeralda, so caught up is she in Phoebus's aura of false brilliance—is of a profoundly personal nature and passes virtually unnoticed.
It is the reader who is charged with recognizing its final expression in the account given in the novel's last chapter of two anonymous skeletons found sometime later in the vault at Montfaucon, locked in an embrace.
Without naming them, the description leaves no doubt that one is Esmeralda identifiable by the remnants of her white gown and the empty bag that once contained her childhood shoe and the other is Quasimodo identifiable by the remains of his hideously deformed body , who disappeared from the cathedral the day of Esmeralda's death.
More remarkable than the embrace, however, is that the male skeleton's neck is intact, leading to the irrefutable conclusion that he came to the cave not already dead, but to die. The self-imposed nature of Quasimodo's death thus implies that the completion of this conversion must necessarily occur outside the boundaries of the social and historical world of the novel.
For the only place where his opposing poles can be truly reconciled is in the cosmic whole; it is in leaving his shell of a body behind it significantly crumbles into dust when separated from that of Esmeralda that this awakened soul can take flight. This message that redemption and salvation are possible, but never in the world as it exists now, is the thread that binds all of Hugo's novels together like a quilt whose squares, when viewed carefully, each reveal the same intricate pattern.
Everything that is in The Hunchback of Notre Dame will be retraced, retold, reinvented in Hugo's four subsequent novels. Only through their deaths and a corresponding cosmic expansion or rebirth are Hugo's fictional heroes able to find acceptance, transcendence, reconciliation of their internal oppositions, and affirmation of their individual moral potential.
Light shelf-wear. By: Michener, James A. Publisher: Dial Press Trade Paperback, In his signature style of grand storytelling, James A. Michener transports us back thousands of years to the Holy Land. Through the discoveries of modern archaeologists excavating the site of Tell Makor, Michener vividly re-creates life in an ancient city and traces the profound history of the Jewish people--from the persecution of the early Hebrews, the rise of Christianity, and the Crusades to the founding of Israel and the modern conflict in the Middle East.
An epic tale of love, strength, and faith, "The Source "is a richly written saga that encompasses the history of Western civilization Publisher: Perennial, Publisher: Laurel, Publisher: New York : Vintage Books, Publisher: Pocket:. It scarce seemed possible that he was the same man I had first seen, stern and chilling in his dark solitude, riding up our road.
Something in father, something not of words or of actions but of the essential substance of the human spirit, had reached out and spoken to him and he had replied to it and had unlocked a part of himself to us.
He was far off and unapproachable at times even when he was right there with you. By: Young, William Paul. Publisher: Howard Books, Publisher: New York : Dutton, c Maeve Binchy follows the enormous success of "Scarlet Feather" with a new book, "Quentins," that delivers the hallmark storytelling that has kept her millions of fans happy for more than twenty years. Is it possible to tell the story of a generation and a city through the history of a restaurant?