Lāčplēsis  (Bearslayer)

A free translation from the unrhymed Latvian into English rhyming verse Lacplesis

Andrejs Pumpurs (1888)

translation by Arthur Cropley, University of Hamburg (2007)
 

 

Canto I

 

 

  

                    

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Introduction to the translation

 

In Latvian, in addition to tulkot (to translate), there is a second verb, atdzejot, which means approximately “re-versify”. My translation is an atdzejojums, not “merely” a tulkojums. It is not a technical translation that aims at replacing each original Latvian word with its English dictionary counterpart, one after the other, but is a hermeneutic translation that attempts to capture the essence of the original Latvian poem within the conventions of English-language poetry. My goal was to transform Pumpurs’s original Latvian work into an English narrative poem in heroic verse form. This site contains an introduction to the English poem and includes the entire first canto. The entire text of an early version of the translation is available for download at http://www.gutenberg.org/etext/17445

          

           In order to enhance the effect of an English-language epic poem I  used archaic-sounding expressions as much as possible, although I preferred old-fashioned words that would still be familiar to educated speakers of contemporary English rather than obsolete terms. Thus, I avoided forms that no longer exist, such as “thou” or “doth”.  I also employed devices such as inversion of the word order (e.g., “a hero bold”) or using adjectives in the place of adverbs (e.g., “the sun set slow”).

 

          With few exceptions, most noticeably Bearslayer’s name (Latvian: Lāčplēsis) and those of the Black Knight (Latvian: Tumšais bruņinieks) and the Father of Destiny (Latvian: Likteņa tēvs), I have not translated personal and place names, such as Pērkons or Ķegums, but have maintained the Latvian spelling. Thus, Laimdota remains Laimdota, not something like “Laima’s Gift”, and Koknesis is not translated into “Tree Bearer” or “Wood Carrier”. This is because the original Latvian names have a heroic ring about them, whereas English translations run the risk of sounding ridiculous.  Since the Latvian gods and spirits will be unfamiliar to many readers, I have sometimes inserted into the poem explanations of who they are (e.g., “Pērkons, God of Thunder”).

 

          The organization of the work follows exactly Pumpurs’s original division into six cantos of widely differing lengths—in the translation they range in length from 248 (Canto I)  to 1144 (Canto III) lines (the entire poem consists of not quite 4,900 lines). However, I have given the cantos titles, divided them into “scenes”, each scene beginning on a new page, and inserted intermediate headings. The titles of the scenes are based on Pumpurs’s lists of the main events of each canto which, in the original Latvian poem, he inserted at the beginning of each canto. The intermediate headings do not come from Pumpurs at all, but from me, and to make this clear I have put them into italics. I have also allowed myself a liberty at the very end of the poem: The last stanza is only about 50% Pumpurs. I apologize to those who are offended, but I particularly wanted a ringing close, and I hope I have achieved this.

 

             In order to identify exact locations in the poem the lines of verse are numbered (not including the headings) in intervals of 5, starting anew at the beginning of each canto, i.e., the first line of each canto is line number 1. In order to refer in other places, such as this chapter, to a particular line in the poem the canto number is written in boldface Roman numerals (e.g., I, II, III, etc) and the line number in Arabic numerical (1, 2, 3, etc). An individual line is identified using the notation (canto number: line number). Thus, for instance, (IV: 276) identifies Canto IV, line 276. 

 

           Pumpurs inserted into his work a number of songs, as well as passages that could stand alone as separate poems. I have been especially free in translating some of these, as well as giving them names (see next sentence). They include what I call Laimdota’s Song to the Latvian warriors returning after the defeat of the Estonians (Canto III: lines 285-302), Bearslayer’s Song pledging his love for Laimdota (III: 311-322), the Mother of Souls Song on All Souls’ Eve (III: 889-904), the Riga Lament (IV: 113-132),  as the Latvians realize that they have placed themselves in the power of the Germans based in Riga, the Sailors’ Song while they are seeking the North Wind’s Daughter on the Northern Sea (IV: 469-488), the Ligo Song at the Midsummer’s Eve Festival (VI: 32-82), and the Bride’s Song at the wedding of Laimdota and Spīdala (VI: 347-366). In Canto III I have broken my own rules (see next paragraph) by inserting a six-line stanza (III: 419-424) into a passage otherwise consisting of eight-line stanzas. This was done to produce a sonnet structure (III: 411-424), which I have given the title Love’s Consolations.

 

            Pumpurs used various stanza structures, ranging from four lines to passages of 250 or more lines without interruption. Where he used four-, six- or eight-line stanzas, I have followed his lead. Later, where he used very long stanzas, I have returned to an eight-line or four-line format. I have also sometimes inserted  four-line stanzas into sections otherwise consisting of eight-line stanzas, in order to mark a turning point in the action. The original Latvian is usually unrhymed. However, I have translated it into rhyme, mainly using the rhyme scheme a, b, a, b, c, d, c, d. In the six-line stanzas the rhyme scheme is a, b, a, b, a, b; in the four-line stanzas a, b, a, b.  

 

   The metrical structure of the poem presented particular difficulties.  Pumpurs used differing metrical forms, the number of syllables in a line varying substantially. He also used different metrical feet such as various forms of spondees and dactyls, as well as mixed forms. The choice of metre is far more than a simple technical decision, as the whole effect of the poem is intimately connected with the metre in which it is written. Furthermore, the effect of a particular metre differs from language to language. In my translation I have used the iambus as the basic metrical unit throughout the entire poem—a metrical foot consisting of two syllables, the first unstressed, the second stressed. This is a common heroic metre in English, but is uncommon in Lavian. The arrangement of iambuses that I used most commonly was iambic pentameter (i.e., five iambuses—10 syllables—to a line). Where Pumpurs used eight-syllable lines I have done the same (i.e., four iambuses to a line). In such cases I have also often switched to four-line stanzas, in order to increase the “staccato” effect of the shorter lines. I also used six-syllable lines (i.e., three iambuses) in Cantos IV and VI, where Pumpurs used very short lines, although lines with so few syllables make translating particularly difficult. 

 

Despite its attractiveness as a metre for “chanted” English (see next paragraph), a line consisting of iambuses often becomes ugly when it goes beyond 10 syllables (iambic pentameter). Although hexameter is the standard epic form of; for instance, ancient Greek epics, as well as for some English narrative poetry (e.g. Edmund Spenser), Alexander Pope described iambic hexameter (six iambuses to a line; known as an “Alexandrine”) in English as like “a wounded snake” that “drags its slow length along”[1]. This raised problems in places where Pumpurs wrote lines with 12 or even more syllables, something I wished to avoid: After writing a 10-syllable line I still had syllables “left over”. I solved this problem by using these “extra” syllables to create extra lines in the translation, but this led to a situation where the English version of the poem sometimes has more lines than the original Latvian—Canto III, for instance has 1144 lines in English, but only 924 in Latvian.

 

           . Pumpurs referred to his own poem as an “epic chant” and, indeed, the iambic metre I have used is very amenable to reading aloud (chanting), although this is not essential. Because of the strict iambic metre of the  translation,  every  second  syllable  must  be  stressed. In most  places I have found English words for which this is compatible with everyday English pronunciation, at least according to the regional Australian accent with which I speak. However, it raises some problems for the pronunciation of Latvian geographical and personal names. In this poem, Latvian words start with a stressed syllable, as is usual in spoken Latvian.  However, the third syllable must also be stressed. Since this is sure to offend some readers I ask for forgiveness in advance. The work is, however, a poem in the English language, and the pronunciation suggested below is essential for preserving the iambic metre of the English poetry. 

 

The artwork for this website was prepared by Alison Cropley

      

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 BEARSLAYER

 

CANTO I

THE REVELATION OF BEARSLAYER

Scene 1: The Council of the Baltic Gods 

     

The gods gather

Within the vault of Heaven, azure bright,

In Pērkons God of Thunder’s wondrous halls,

Where ever dwells eternal endless light

And where surpassing pleasure never palls,

The Baltic Gods in Council gathered there,                        5

Of Destiny’s Father tidings to debate;

His will decides the hues—both dark and fair—

And sets the fickle course of mortal fate.

 

The greys of Pērkons, saddled in the court,

Had trappings glowing in the early morn;                         10

                        The sunrise on their harness glitter brought,

While there they waited, standing in the dawn.

And Patrimps, God of Plenty, held his reins—

Of golden stalks his wingčd chariot’s spokes.

His beeswax-yellow steeds with flowing manes               15

Firm to the chariot shaft were held in yokes.

 

Dread Pakols, God of Death, had horses black

Yoked closely to his sledge of human bones;

Of ribs the runners, driver’s seat and back,

Shinbones as shafts, arrayed in sombre tones.                 20

The Sea God Antrimps there had steeds all scaled,

And chariot swift of reeds of ocean green.

Of shells whose beauty yet was still unpaled

Its supple seat was formed, as could be seen.

 

And Līgo too, the God of sweetest Song,                       25

In flower-decked chariot seated high in state,

By swift-winged horses regal drawn along,

With Puškaitis flew through the Rainbow Gate.

The Sons of Pērkons and the Gods’ Sons bold

Well-mounted in the castle courtyard rode;                     30

Their saddles fine were made of gleaming gold

With diamond bridles—all their fittings glowed.  

 

      Soon Austra, Morning Goddess, came in haste,

      And Laima too, the greatest Goddess there,

      With Tikla, Virtue’s Goddess stern and chaste—            35

      Saulīte’s Daughters, all surpassing fair.

      Proud drawn by glittering stallions swift and strong

In rose-decked chariots thence they travelled fast.

Firm holding golden reins they dashed along,

With gold and silver decked the path they passed.          40

 

And Destiny’s Father, grizzled deathless might, 

Was seated high upon the Diamond Throne,

With Pērkons there and Patrimps on the right,

While left stood Pakols and Antrimps alone.

More distant, Puškaitis and Līgo clear,                           45 

The Sons of Pērkons and the Gods could stand,

While Austra, Laima, Tikla too were here,

All Saulīte’s fair Daughters were at hand.

 

Still yet a host of lesser gods there stood,

Their places took within the Council’s sum,                     50

Because all Baltic spirits fair and good

That they might listen were together come.

 

The grim tidings

                        Then Destiny’s Father, grizzled deathless might, 

                        Arose up lordly on the Diamond Throne

                        And in dark words proclaimed their sorry plight,    55

                        This message told the Council, grave in tone:

                        “Within eternal time a wonder passed: 

To life was born a Light, new and sublime,

The mighty Son of God was come at last 

To rule the earth in His appointed time!                         60

Both great and fitting now these words He taught: 

To God all humans homage deep should give,

To dwell themselves in virtue’s state they ought,

And like the Godhead, thus should seek to live.

 

“The evil ones opposed Him there at length,                    65

And so they killed Him in the final hour.

But hell to hold him did not have the strength,

Nor kept Him conquered in its darkest power.

The Mighty One from death the path was shown 

And rose again into surpassing fame.                             70.

His name indeed to all of you is known—

Throughout the world now ‘Christ’ will be His name.

 

”Soon many peoples living on the earth

Accepted glad His teaching good and kind;

But shame! Themselves they then denied its worth,         75

His message twisted in their wicked mind.

They have decided, in the Baltic now, 

The Christian faith to bring, once taught by Him.—

But mighty powers the gods to bend allow, 

And shape the mortal mind to suit their whim.”                80

The pledges of the gods

Now Pērkons rose and, speaking, this revealed:

“All must concede when Destiny’s will is clear—

The very gods themselves to him must yield.

But none the less this oath I offer here:

The Latvians I will guard in my strong care,                     85

All worthy teachings will permit to stand.

Christ’s teaching is not new that now we share,

      Its true foundation is the Eastern Land.”

 

               “But those who bear His message to our shores

Have come to us to serve a different view.                      90

To conquer Baltic regions is their cause,

To make our people slaves their purpose new.

Against their base intentions I will stand,

And thus as firm my strength will here invoke

As when great rocks I shatter by my hand                      95

Or smash apart the stoutest trees of oak.”

 

"With passing time, its passage soon or late,

My bolts of lightning on the foe will rain,

On all who seek as slaves my people’s fate 

And strive to crush our spirits for their gain.—            100

But when the springtime comes with climate fair, 

To Latvians fruitful showers I will send,

By day will give them clean refreshing air,     

To night-time’s darkness sparks of light will lend.”

 

“In nature, always, I will there be near,                        105

By Latvia’s folk my presence felt close by.

The voice of Pērkons they will ever hear, 

Of Pērkons strong the name will never die.

I wish here now you other gods, apace,

Will follow close upon my guiding will                        110

And each one swear at proper time and place 

For humankind a promise to fulfil.”

 

Now Patrimps, speaking, rose and left his seat:

“In Baltic lands fine grain is easy grown;

But richly ripening golden ears of wheat                       115

I freely give to Latvia’s folk alone. 

The Latvians in the fecund Baltic fields

Will gather in a harvest rich and plump,

But Strangers’ ploughs and sickles seeking yields

Will break upon the clearing’s knotty stump.”            120

 

Then Antrimps spoke and gave this message sage: 

“The Baltic waters boil and heaving swirl,

The winter winds in endless anger rage,

Round hidden rocks the currents lashing whirl, 

And ships of foreign foes dash on the crag.                125

The Baltic Sea will smash them as I please,

Until the Baltic people’s noble flag 

Throughout the world will wave upon all seas.” 

 

Then, adding more, grim Pakols sternly spoke:

“In hell for Strangers is the proper place.                    130

But hero spirits of the Latvian folk

Will soar and rise above the Baltic space

And in the Northern Lights, stout fighting still,

The Strangers’ craven hearts will fill with fear.— 

But, in accordance with your mighty will,                    135

True sons of Latvia they will all hold dear.”

 

Līgo’s gift of song

When all the gods in proper order each

Had sworn an oath to Pērkons in his might, 

Then Līgo rose as last his view to teach,

And spoke as follows in the Council’s sight:                140

 

“I truly count myself as small indeed 

Among the gods known by the Latvian race,

But Destiny’s will for me has firm decreed

Within the folk to have a favoured place:

To keep alive the spirit of sweet song                         145

Within the people through eternal time, 

To shape and hold their hearts, rejoicing strong,

Through sorrowful as well as joyful rhyme.”

 

“The name of Līgo too will not be lost, 

Upon the people’s lips will ever lie,                            150

Although the ancient gods will pay the cost,

By other gods replaced, their names will die.” 

 

“But in the people’s sweetest songs the best,

You all will gain surpassing fame and rare,

You Pērkons, Laima, Tikla, all the rest,                      155

The Gods’ Sons, too, Saulite’s Daughters fair.

These names in songs heroic will live through

And later stir the people’s hearts once more,

Their spirits with the strength will fill anew

Again for freedom’s sake to go to war.”                    160

 

Scene 2: Bearslayer’s destiny is revealed by Pērkons

           

            Staburadze tells of a wonder

These vows the Council brought now to its close,

Their homeward paths the gods all wished to seek,

When Staburadze at the last arose

And in the Council’s ranks now sought to speak:

“I come this day straight from my palace home         165

And to the gods bring news of what I saw,

What passed tonight within the waters’ foam, 

The ancient gateway to the whirlpool’s maw.”

 

“I sat aloft and spun the mists of night, 

On Staburags’s crag enthroned on high.                  170 

The shuttle filled, and in the morning’s light

For cock’s first crow the time was drawing nigh.

I saw then, flying swiftly in the air,

Two witches riding who, in morning’s gleam,

On oaken branches twisted, gnarled and bare         175

Across the Daugava flew above the stream.”

 

“Then, all at once, below they downward cast

Into the pool the log on which one rode,

Then seated both upon the other, fast,

In haste they sped away to their abode.                  180

I wanted close to look, that I might know,

Why they had done this deed I sought to see,

Into the whirlpool’s depths flew down below

And drew the whirling branch secure to me.”

 

“But what great wonder did my eyes display!         185

Inside the log, within a hollow space,

A handsome youngster in its centre lay,

Unconscious fallen, swooning in this place.—

Forth from the log I drew the youthful lad,

Him to my Crystal Palace homeward led,               190

In clothing dry I dressed him, and thus clad,

I laid him down upon a shell-made bed.”

 

“So soon of life I saw beginning signs

To tell of this I hastened hence to you,

To learn, great God of Thunder, your designs,        195

To know your will and seek your further view,

Full knowing that, into the whirlpool cast,

All humankind must stay as lifeless stone.—

Through stones like these augmented in the past

Our Staburags has ever vaster grown.”                   200

 

 “This youngster now I do desire to take,

To lead him upward through my castle gate,

But Destiny then its custom would not break—

Forever turned to stone would be his fate.

And for this reason that I now here give                  205

I wish to keep him always safe with me.

Within my Crystal Palace he can live

And there a life of happiness will see.”

 

On hearing this, fair Staburadze’s news,

Stern Tikla spoke, the goddess to berate:               210

“Perhaps sometimes in Staburadze’s views

Eternal joy can seem a tedious fate.

It wearies her, so long alone to weep

And wash the cliff with tears that never end.

She wants the son of human folk to keep,               215 

And with him tender moments yearns to spend.”

 

Now Staburadze blushed to hear these views,

The strong rebuke that Tikla sternly gave.

“Not for the reason you, harsh Tikla, choose

The young man I would wish now here to save.      220

The circumstances are, to me is plain,

Strange far beyond the normal daily span,

And, blessčd of the gods, he long will strain

And fight the powers of darkness while he can.”

 

 

 

        Pērkons reveals his purpose

 

Meanwhile now Laima uttered up her view:             225

“To me Fate always must reveal its plan.

Thus, straightaway, to see what it will do, 

The matter I will search of this young man.”

 

“Women, enough! Yield place! Be silent all,”

At last The God of Thunder spoke out free,            230 

“This strapping youngster heeds my bidding’s call; 

Not you he serves, but higher goals from me.”

“The witches down into the whirlpool cast

Bearslayer, son of Lielvārde’s Lord.—

That timely you could save him at the last,               235 

That, Staburadze, all must now applaud!” 

 

“Depart at once back to your Crystal Throne

And take him in and give him seemly care,

That, passing through your castle gates alone,

To lifeless stone the youth may not turn there.”       240

“You Laima, too, will later care for him  

And guide him well through tribulation’s strife,

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