World & I Online Magazine  
World & I School | World & I Homeschool | World & I College | World & I Library
 Username:   Password:     Subscribe   Register               About Us | Contact Us | FAQs
18-Year Archive Peoples of the World Book Review Worldwide Folktales Fathers of Faith
Search  
Sort by: Results Listed:
Date Range:    Advanced Search

Online Magazine
 
  Current Issue
Editorial
Current Issue
The Arts
Life
Natural Science
Culture
Book World
Modern Thought
  Resources
18-Year Archive
American Waves
Book Reviews
Ceremonies/Festivities
Eye on the High Court
Fathers of Faith
Footsteps of Lincoln
Millennial Moments
Peoples of the World
Profiles in Character
Teacher's Guide
Traveling the Globe
Worldwide Folktales
Writers and Writing

The Book of Job: Its Place in Literature


Article # : 12051 

Section : BOOK WORLD
Issue Date : 12 / 1987  1,708 Words
Author : Lionel Abel
Lionel Abel is professor emeritus at the State University of New York at Buffalo and the author of Metatheatre and The Intellectual Follies.

       I must cast a dissenting vote against the favorable judgment made by certain critics and reviewers (including the reliably intelligent John Gross) on Stephen Mitchell's just-published translation (in fact, an adaptation) of Job. I do not care for Mr. Mitchell's translation and much prefer the King James version. My objection points to something more than verbal infelicities in the Mitchell text, some of which John Gross noted in his New York Times review. I am especially put off by the monotony of Mitchell's rhythmic schema, so much less interesting than the robust cadences of the King James text, cadences that have entered so importantly into American and British eloquence. I am thinking of Lincoln's and Webster's oratorical flights, to be sure, but also of poetic passages in D.H. Lawrence's novels, short stories, and travel books. The eloquence of The Man Who Died and of Mornings in Mexico is right out of the King James Bible. Ezra Pound hated these rhythms, and this particular - though purely literary - dislike of his was not without consequences, I think, to his political judgment. For my own part, I find the King James rhythmic schema an invaluable set of rhetorical devices, comparable in quality to those of English blank verse and of the French alexandrine. The Spanish dramatists, as Mario Praz has pointed out, suffered even during their Golden Century because they lacked a comparable poetic measure.
       
        Take the renderings of Job's very first outcries. Here is the Mitchell version:
       
        God damn the day I was born
        and the night that forced me from the womb.
        On that day - let there be darkness;
        let it never have been created;
        let it sink back into the void.
        Let chaos overpower it;
        let black clouds overwhelm it;
        let the sun be plucked from the sky.
       
        And here is a translation based on the King James text:
       
        Let the day perish wherein I was born
        And the night in which it was said: "There is a manchild conceived."
        Let that day be darkness;
        Let not God regard it from above,
        Neither let the light shine upon
... Read Full Article


Look for this article in Ask.com

Copyright © 2004 The World & I. All rights reserved. Terms of Use | Privacy Policy