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(Translator and Chevalier Award Recipient)
It would come as no surprise if someone from the French-speaking areas, Pondicherry, Karaikal, and Mahe had done the translations by an Indian, as French is the first of second language there. But for a person whose mother tongue is Tamil, and who studied the English language in school and college, and who opted to learn French, and master it, use it like a native in literature, is no small wonder, and achievement. That way Sri Ram is a multiple split personality - his English does not betray that his mother tongue is Tamil, his French does not betray he knows and handles English - as though it were an additional pair of legs. His deep passion for Tamil Literature will be obvious to anyone who has moved with him or read his translations of Camus, in addition to other works, in Tamil. It must come as a matter of great pride for all of us that he has been declared as the Chevalier Award Winner for 2001. Translations take place all over the world from one language to another. This is the easiest way of bringing people together, although they may separated by several thousand miles. It brings the culture of a people on a platter. It demands that a good translator has a grip of both the languages, if the translation should carry any meaning at all. Translating classics is a very demanding affair. World classics have been translated through centuries, each translation tries to do better than its predecessor. And to read a translation with footnotes can be the poorest tribute to the original and the translator. It is in this context that Sri Ram emerges as a sans pareil. Let's listen to him. "I did my graduation in Tiruchi and came to Chennai for a job. I did my B.Sc., joined LIC, and around 1970, I saw an advertisement of L' Alliance Francaise de Madras for language learning. I was already familiar with French Literature, particularly the works of Maupassant, Balzac, Victor hugo, Stendhal, in English. Now, here was an opportunity to read them in French itself. That was the motivation to learn. And to confront contemporary authors like Andre Gide, Camus, in their language itself! I was fascinated by the language. Those days professors came from France. I was fortunate enough to learn the language from Chiraz and Larte who introduced me into the subtleties of the language. In my fourth year of study, we were expected to study French Literature in depth. In French itself. That gave me an insight into the French language. To absorb, to breathe, not just translations of Camus (which were only American works, not much to do with Camus) but the real Camus, and his works. The American translators, authors, have nearly or totally misinterpreted Camus. I could realize this after meeting Camus in French; but to those who meet him via American translations, they see a Camus seen through American prism. Camus becomes an outsider! This was the time I got in touch with the younger generation of writers in Tamil who were writing in small magazines. The writers had access to European Literature only through English. Magazines like 'Ka Cha Ta Tha Pa Ra', 'Pragnai', 'Nadai', among others were their outlets. I was able to interact with them. I was discussing the issues with Crea Ramakrishnan, S. V. Rajadurai and Na. Muthuswamy Dilip Kumar, and many others. I discussed with them mainly Classics, Camus in particular. There is always an unseen but felt side of the Classics - the political side. This can be easily seen in the market brand of Classics - the politics of politics. I could develop this awareness. Different groups of Marxists were claiming Camus for them, giving their own interpretation of Camus, and his works. Camus was a communist in Algeria. He later came out of it. But this important aspect is not taken note of by the Marxists. They interpret his works still as Marxist expression. Here Camus is lost. This is where the American works on Camus are of little or no help. Camus' humanism is understood for Marxism. When I was explaining all these to my literary friends, they asked me to write a series of articles on Camus in Tamil. Remember Camus was a great literary writer, and has his distinctive style. Now, while trying to quote him to explain his world view and philosophy, which one can I quote? And, how accurate can that be, critical as I am of translations? Instead, I suggested that I translate one of Camus' works into Tamil. From French to Tamil, direct. Not via English. I took up 'The Outsider'. As a test case, I translated a chapter, and read it out before a bunch of literary friends, who do not fight shy of being critical. They found the translation smooth, and had a flow. They could feel Camus. Now, Crea Ramakrishnan came forward to publish the translation. It is the biggest risk that he could take as a publisher. Translations are not commercial propositions. They are little, and less sold. I was swept off in surprise when he made the offer. I must say something more on translations. There have been quite a few works which have been translated into Tamil. I found them mostly approximations. For instance, I saw a translation of Alexandre Duma' Les Miserables which in the original French runs to more than 700 pages, but the translated version had only 90 pages! It is an abridgement. It is more a re-writing than a translation. Translation in itself is a literary work. I wanted the translation of The Outsider integral. Direct. When I completed I read it out and gave it to the publisher. The translation was acceptable to him. Before it was sent to the press, I wanted to ensure a few things. That the translator is sensitive to both the languages; that in Tamil it has an easy flow, and readable, and it carries and preserves an authenticity. The basic principle, key to translation is best described by a French proverb. Speaks a lot of the typically French mind. Translation is like a beautiful woman. If it is faithful, it is not beautiful, if it is beautiful, it is not faithful.. At the end of the fifth or sixth revision, we found it fit for publishing. Let me repeat. Intonation of the text is very important. It is fundamental. The translator must be aware of this. Not merely words. In my work, I tried to bring the tone and texture of the original without twisting the cannons of the syntax in Tamil. I am deeply convinced that even though a translation is credited to one individual, more than three or four minds, informed minds, have been at work. It can never be the work of a single individual. It is a collective work. The input by Crea Ramakrishnan is very great. This must be there. A publisher just cannot rush to print with the manuscript in hand. There must be a committee who will advise the publisher. Gaillmard, one of the most notable publishers in France, has it. It is called the Comite de Lecteurs. A body of literary people who will dispassionately go through the script and make the necessary cosmetic changes. What emerges is genuine work. After all, we owe a great responsibility to the reader. The first edition of the translation Anniyan came out. In four years we went in for another edition. We made some changes in the light of the experience of the readers. Academicians all over the world go for a little known purity of the language. Imprisoning the work. But the French publishers and Camus were benefitted by the committee. I feel, without being academic, rushing to the Classical pundits in Tamil, we can, we must, and perhaps we do, evolve a language - a Tamil which is livelier, and still be encompassed by the syntax. It is a question of meaningful, intelligent application of the rules of grammar to let the language evolve contemporary reality. 'Anniyan' went for a third edition as well. Language is like music. You may set down a raga in its swaras. But singing it altogether is different. The translator must get under the skin of the author. In my translation I wrote a post-face which makes the book stand apart. There I have given all the relevant information about Camus, his works, philosophy, a critical analysis of the novel to make the reading total, complete for the reader. This is the first of its kind. Next I translated Sartre's Huis Clos as 'Meela Mudiyuma?' I wrote monographs on Louis Malle, Truffaut, Bresson. An average non-French knowing Tamil film viewer can and will be able to appreciate the French Films of these directors far better. The Alliance Francaise de Madras has been involved in the translation in a big, positive way. Apart from moral and literary support, their financial support helped the publisher to go ahead with the project. I for one believe in institutional support for this work. In fact, I was wanting to translate Calligula. An interesting incident made me go to The Outsider. The Chevalier Award takes its roots from the time of Napoleon. From bravery now it has come to literary achievement. Another extension of field bravery. France is the only country which spends a lot of its national funds on education and language coming next only to its defence budget. Every year France sends about 8000 teachers to various parts of the world to teach the French language. Anything significantly happening anywhere in the world of literature will be immediately translated into French. Gorbachov's Glassnost was available in French within months of the Russian publication. There are several categories in the Chevalier Award. The one given to me springs from the Academic side. It is akin to our Padma Sri or Padmabhushan." What astounds me is that Sri Ram is as humble as I met him in the late sixties. Heartiest Congratulations on behalf of Chennai Online. Published
on 11th Oct. 2002
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Sri Ram is no stranger to those who attend the French Film Festivals in
Chennai. There was a time when his beautiful translations in English of the articles in French were appearing almost regularly in The Hindu. No one could ever find out that it was a translation from French.
