Translating Mythical Astronomy
When translating LML’s Mythical Astronmy of Ice and Fire our goal is making it possible to introduce this theory to the biggest possible audience. Therefore, it becomes obvious that quality of those translations should be as good as possible. To make this happen, I propose to follow the guidelines below:
- After consulting with LML, I reached the conclusion that we should translate episodes of Astronomy in the same order in which they were originally published. Essays like Fingerptints of the Dawn, Black Hole Moon or Children of the Dawn shall be excluded, as theories and analyses presented in them either have been included in other episodes or will appear in the future. Others became outdated or ideas presented in them were rejected as the series progressed. Up-to-date list of episode we’ll translate is presented below:
The Bloodstone Compendium
I: Astronomy Explains the Legends of Ice and Fire
II: The Bloodstone Emperor Azor Ahai
III: Waves of Night and Moon Blood
IV: The Mountain vs. the Viper and the Hammer of the Waters
V: Tyrion Targaryen
VI: Lucifer means Lightbringer
The Weirwood Compendium
Sacred Order of Green Zombies
We should think and discuss what we’ll do with these episodes, resluts of LML’s cooperation with History of Westeros.
As they are either YouTube videos or podcasts, translating of them would be hard (if not impossible). However, I believe that trying to find a way to present ideas and concepts introduced there is certainly worth it. For example, we could find/create their transcript and translate it or write our own short essays basing on those concepts in a nutshell…
2. Before starting working on a translation, I advise re-reading and re-listening to the original version. Then we’ll divide the sections between us and decide how to translate their titles.
3. At this point we’ll check whether some specific phrases or expressions appear in the text (for example scientific terms or ASOIAF fandom idioms), and decide on their translations, to keep the text consistent.
4. We’ll give quotations in both Polish and English, keeping the highlighted words and underlined sentences from LML’s text.
Pod koniec snu widzimy ogień palący krew i topiący ciało, taki jaki Dany wyobraża sobie patrząc na stos Droga. Podczas kontynuacji alchemicznych godów zobaczymy więcej języka który można dopasować do tego snu.
‘Czuła smród palącego się ciała, podobny do zapachu końskiego mięsa pieczonego na ogniu. Stos huczał ogniem w zapadającym zmierzchu niczym ogromna bestia, zagłuszając coraz słabsze zawodzenie Mirri Maz Duur, a długie jęzory jego płomieni wyciągały się ku niebu, żeby polizać brzuch nocy. Kiedy dym zgęstniał, Dothrakowie odsunęli się, kaszląc. Piekielne podmuchy rozwijały ogniste proporce sycząc i trzeszcząc, a rozżarzone popioły ulatywały w górę i znikały w ciemności niczym nowo narodzone świetliki. Żar bił wściekle czerwonymi skrzydłami, odpędzając Dothraków, nawet Mormont się odsunął, lecz Dany pozostała na miejscu. W jej żyłach płynęła smocza krew, płynął ogień.’(Gra o tron, Daenerys X)
She could smell the odor of burning flesh, no different than horseflesh roasting in a firepit. The pyre roared in the deepening dusk like some great beast, drowning out the fainter sound of Mirri Maz Duur’s screaming and sending up long tongues of flame to lick at the belly of the night. As the smoke grew thicker, the Dothraki backed away, coughing. Huge orange gouts of fire unfurled their banners in that hellish wind, the logs hissing and cracking, glowing cinders rising on the smoke to float away into the dark like so many newborn fireflies. The heat beat at the air with great red wings, driving the Dothraki back, driving off even Mormont, but Dany stood her ground. She was the blood of the dragon, and the fire was in her.
(A Game of Thrones, Daenerys X)
5. When the text is ready, we’ll publish it on Ogień i Lód and The Amber Compendium – in case of longer essays or huge gaps between translations, we might publish the episode divided in several parts, in such way that the reader will still receive consistent text – for example whole section or several sections concerning similar ideas (like we did with The Bloodstone Emperor).
6. When translating wordplays, references, homages, idioms etc. we’ll do our best to covey the same message and author’s intentions. Should this prove impossible, that fragment will be skipped over and we’ll add annotation with original version and explanation of its meaning.
7. If Polish translation of the books doesn’t covney the meaning or symbolism or skipps over some scene, we’ll create our own translation and add annotations. (As in case of Beric Dondarrion being the ‘scare sparrow’ – ‘strach na wróble’, not scarecrow, or Lyanna’s ‘rain’ (deszcz) of rose petals instead of ‘storm’ of petals).
8. We act in simmilar way in case of archaic English words (for example cairn in the description of Tower of Joy skirmish, words with several meanings or wordplays that are gone after translation (Ser Eustace – Ser Useless, Hoster the Hostage etc.)
9. We explain wordplays, idioms, cultural references, references to folklore, legends, mythology, traditions etc. If we want or feel a need to, we might explain in detail certain concepts appearing in the text, especially if they might be entirely alien or obscure to the reader (for example: Herne the Hunter, Jack-in-the-Green, Oak King, May Day, Beltane, Samhain, Barnstokkr).
10. We’ll answer to comments and questions and pass those we consider iinteresting or important to LML.