Shakespeare Translation in France and Germany in the 1950s: a Comparison

Matthias Zach

doi:10.18573/newreadings.62

Abstract

The article investigates the role of Shakespeare translation for post-war cultural development in France and the two Germanys in the 1950s. It shows a marked contrast between the French and the German case, which is interpreted in terms of the respective Shakespearian traditions in the two cultures. Throughout the 1950s, German Shakespeare translation continues to be enmeshed in the past: there are only individual attempts at new Shakespeare translations, whereas, both in terms of publications and of critical reception, the Schlegel-Tieck version continues to dominate. This situation seems to attest to an inability, or an unwillingness, to break with the tradition and, in particular, to question the close relationship between German nationalism and Shakespeare reception that had obtained in the past. Hence, Shakespeare translation in 1950s’ Germany appears as a reinforcement of a traditional German identity, rather than as an active cultural renewal. Conversely, through novel translations, 1950s’ France sees a renewed dialogue with the English Bard. Building on an enhanced translation activity in the first half of the 20th century, Shakespeare translation represents a seat of cultural dynamism and renewal. There are collaborative translation projects (such as the edition in the Club francais du livre ) and, not least because of the way in which young creative writers are involved in these enterprises, Shakespeare translation in the 1950s constitutes a motor for French cultural development in general.

Highlights

The present article addresses the literary and cultural side of 1950s’ Europe by examining Shakespeare translation in France and the two Germanys during that decade
It will appear that the differences between France and the two Germanys are far greater than those between East and West Germany, and it will be argued that the dissimilar Shakespearean traditions in France and Germany, and especially the roles Shakespeare played in the two countries in the first half of the 20th century and during the Second World War, help account for these differences
As a background to the role Shakespeare translation played in both East and West Germany during the 1950s, it is important to recall the strong link between the German Shakespearean tradition and German nationalism: ever since Lessing, who advocated Shakespeare as an example for German literature and culture which he opposed to the tradition of French classicism, Shakespeare had a decisive influence on German culture, to the point that he was soon adopted as the ‘third German classic’ alongside Goethe and Schiller.[19]

Summary

Introduction

The present article addresses the literary and cultural side of 1950s’ Europe by examining Shakespeare translation in France and the two Germanys during that decade. As far as Shakespeare publications in France in the 1950s are concerned, there certainly were re-editions of previous translations, most importantly those of François-Victor Hugo (for example the editions published by Arc-en-Ciel or by Lemerre at the beginning of the 1950s12) but there were a number of new translations, in particular by young creative writers who went on to shape French literary history in the second half of the 20th century.

Results

Conclusion