A Sentimental Education: Exploring the Interliminal Translation Theory and Postmodern Taste

Author(s): Marilyn Gaddis Rose

Source: Dalhousie French Studies, Vol. 38, MEANING AND MANNER: From Marie de France to
Marie-Claire Blais Mélanges de littérature présentés à Rostislav Kocourek par ses collègues et
élèves (Spring 1997), pp. 85-93
Published by: Dalhousie University
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A SentimentalEducation: Exploring
the InterliminalTranslationTheory and
PostmodernTaste
MarilynGaddisRose

Œhe notionof the interliminal in translationtheoryseems to have come

intocurrency slightlybeforecross-reading,
thusgivingus an exampleof theory
precedingtaste.1Yet whichevercame first - and it is probablynoteven worth
-
proving postmodern readingand translation
theoryaremutually reinforcing.It
is gratifying
to readin LaurentLamy's"Pas de deux"thattranslation theorycan
never reach closure (1995). It is exhilaratingalso, for thatmove liberates
translationcriticismand by extensionliteraryinterpretation.Everyattemptto
regularizetheoryin translationstudiesdependsuponmakingmeaningstayput,
as Mariano Garcia-Landa demonstratesin his essay on epistemologyin
translationtheory(1995). If meaningstayedput,exegesis would be the only
validcriticalstrategy.Notthatexegesisis flawed,butitschiefvalue is archival.
And while polysystemdescriptions,now renamedDescriptiveTranslation
Studies by theirchiefexpounderGideon Toury,guide us in data collecting
(Toury 1995), their focus on the translationtext obscures not only the
interliminalgap betweenthefirsttextand itstranslation(s)butalso theveritable
landfillthegap may have become.2Exegesis aims to uncoverhow a textwas

1. Referencesto the "between" are not uncommonin anthropology,continental

philosophy,cultural studies, Deconstruction,Postmodernism.Anthropologists
in particularuse liminal as a concept.- I began using "interliminal"publiclyin
late winter1988 whenI was workingwithJean-François Lyotard'sle différandand
asked my Binghamtoncolleague StephenDavid Ross for a termto use for the
space betweensource and targetphrases.But I believe I did not use the termin
printuntil a Festschriftfor WolframWilss in 1990. In "Translationand le
différand,"for "La traductionproligère,"Universitéde Montréal,October 5-7,
- because I thought"interliminal"
1989, 1 stillused le différand would nevercatch
on. But as the historyof science apprizesus, when the momentumis propitious,
similarinventionsand/orinsightswill occur in manysites. For example,some of
the discussions recordedin The Translatabilityof Cultures.Figurationsof the
Space Betweenapparentlygo back to 1991. Contributor Klaus Reichertdiscusses
the Buber-Rosenzweig Bible (169-83) as "an attemptat colonizing the space
between two cultures" (181). See also Between Languages and Cultures:
Translationand Cross-CulturalTexts,eds. AnuradhaDingwaneyand Carol Maier
(Universityof Pittsburgh,1996). The contributors stop just shortof a concept
like "interliminal." - A versionof the presentarticle was read at the annual
meetingof the Associationcanadienne-française pour 1"avancementdes sciences
(ACFAS), McGill University,May 17, 1996. A French translationby Valérie
Galiussi is available fromtheauthor.
2. Gideon Toury's career-long commitmentto developing and refining this
methodologyis illuminating, even heroic. His summa may well be Descriptive

Mélanges Kocourekin DFS 38 (1997)

-85-

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86 MarilynGaddisRose

read. In principle,exegesis neverchangesreading;in actuality,we can never

recoverthe consensus readingof a textpriorto our own readinglife.3In
translationcriticism,exegesis takes no accountof interliminal accrual. Old
translationsmay still read acceptably,but the interliminalhas inevitably
changed.Our own readingwill be richerif we engagein a hermeneutic motion
to assess whatthedynamicof languagehas changedin theinterim. Our shared
experienceof literature will be immeasurably expandedin theprocess- as well
as never-ending.
My overtinfra-premise is thata translation
challengesourreadingbygiving
it a boundary.But in settingthis provisionalboundary,a translationalso
establishesan interliminal space of sound,allusion,andmeaningwherewe must
collaborate, criticize,andrewrite. My covertinfra-premise privilegesbilingualor
stereoscopicreading,4 because myremarks implythatreadingwitha singletext,
whether thatofthefirstinditerora translator (and thetranslatorcan be ourselves
translatingsilently and intermittently while we read), impoverishesthe
experience ofliterature.
To returnfinallyto the statedpremiseof my title:what is remarkably
gratifyingand exhilaratingis that probing the interliminal,made more
perceptibleby translation, induces postmodernexpansionin even the most
controlledrhetoric.We can make a tokendemonstration if we spend a few
momentswithFlaubert'sL'éducationsentimentale (1869).
It is a factof literary historythatFlaubert'sagoniesof compositionled to
excision. Traditionalscholarship,impelled by exegesis withinFrench,has
reconstituted context.Admittedly, we have availableplenitudeof a sort,if we
can in some attenuated way shareFlaubert's"information." But we formforand
withinourselvesan affectiveplenitudeby lookingforthe interliminal. This
disciplined but partly intuitive examination restores plenitude: first,in
the
recognizing gap; second, in marking translationchoices no longerjustes,or
third,in findingerrorsthathave lefta trace.Indeed,theobsoleteand erroneous
function as analoguesto thepartsof thetextFlaubertdiscarded.The plenitude,
in turn,displaces the subject- by whichI mean the narrativeconsciousness,
fairlysubtlewithFlaubert - makingthetextamenableto postmodern taste.
For demonstrating whatEnglishunivocalitymustcontendwithin French
polysemy,Flaubertis a marvelousexemplar.His prose yields so much in
monolingualreadingsthatwe adjustourexpectations of a translation.We know
thatthesheermomentum of plotand characterization will sustaina translation.
We cannotimaginethatwe shallmisstoo muchifwe lose thesubtlewordplays

TranslationStudiesand Beyondwherehe uses "polysystem" onlyin a footnote

quotingItamarEven-Zohar (64).
3. Forexample,witha writer likeChristinede Pisan(1364-1430)it wouldbe truly
unfairfortraditionalists
to call a postmodernist,Lacanianreadingfarfetched,
since we cannotreconstruct a reliable 14th-century consensus.See Nicole
Lehnsten de Pizan,CEMERS Proceedings,
(Christine October1995,ed. Marilynn
Desmond,forthcoming).
4 . MildredLarsenhighlighted theimportance ofthebilingualreaderin an addressto
theAmerican Translators Associationin 1984.JoAnne Englebertintroducedthe
term"stereoscopic"
at the1987ATA meeting.

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Flaubert 87

provided by polysemy. But when we plunge into the interliminalopened up by

Robert Baldick's translation(1964), we are compelled to find a richerreading
experience.5The translationcreditsof Baldick (1927-1972) include Huysmans' A
rebours, the Goncourtbrothers'Journal,Villiers de l'Isle-Adam's Contes cruels,
as well as Flaubert's Trois contes.
In the first chapter on the boat trip home, Frédéric sees among the
passengers Madame Arnoux who will crystallize the Madonna of his love life.
Afterhe has seen her,the narrativecamera turnsto what he sees:

Une plaine s'étendait à droite; à gauche un herbage allait

doucementrejoindreune colline,où Ton apercevaitdes vignobles,
des noyers,un moulindans la verdure,et des petitscheminsau
delà, formant des zigzags surla rocheblanchequi touchaitau bord
du ciel. Quel bonheurde montercôte à côte, le bras autourde sa
taille, pendant que sa robe balayerait les feuilles jaunies, en
écoutantsa voix, sous le rayonnement de ses yeux ! Le bateau
pouvaits'arrêter,ils n'avaientqu'à descendre;et cettechose bien
simplen'étaitpas plus facile,cependant,que de remuerle soleil !
(9)

A plain stretchedaway to the right;on the lefta meadow sloped

gentlyup to a hill,on whichvineyardsand walnut-trees could be
distinguished, witha mill in the midstof thegreenery.Furtherup,
pathszigzagged across the whiterock whichseemed to touchthe
sky. Whatbliss it would be to climb up therebeside her withhis
arm aroundher waist, listeningto her voice and basking in the
radianceof hereyes whileherdressswepttheyellowleaves along
the ground!The boat could stop,and theyhad only to disembark;
it was all so simple,yetbudgingthesun wouldhave been an easier
proposition.(20-21)

The landscape is substantiallythe same:

Une plaine s'étendait à droite; à gauche un herbage allait

doucementrejoindreune colline,où l'on apercevaitdes vignobles,
des noyers,un moulindans la verdure,et des petitscheminsau
delà, formant
des zigzags sur la rocheblanchequi touchaitau bord
du ciel.

A plain stretchedaway to the right;on the lefta meadow sloped

gentlyup to a hill,on whichvineyardsand walnut-trees could be
witha mill in themidstof thegreenery.
distinguished, Furtherup,
pathszigzagged across the whiterock whichseemed to touchthe
sky.

Yet the camera movement is somewhat modified because Flaubert with "l'on"
keeps an agent who perceives, i.e., Frédéric himself. He sees the green of the

5. All Flaubertcitationsare fromP. M. Wetherill'seditionforClassiques Gamier

(1984). All Baldick citationsare fromthePenguinedition(1964).

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88 MarilynGaddisRose

field(it is SeptemberIS) goingtowardsa hill,and once he is focussedon the

hill,he sees the signs of rurallife and fromtherea naturalmonument. From
Frederic's distance,man-made pathshavewrappedandtiedtheboulder.Baldickis
accuratebutinitiallymoreneutral, introducing thissightwiththepassive"could
be distinguished." However,he hintsat a viewingagentwhenhe closes with
"seemedto touchthesky."Whatthejuxtaposition does is showus whatFrédéric
saw (Flaubert)and whatsomeonetrying to see thingsfromFrederic'sanglesaw
(Baldick). The natureof Englishimposesremovalof any anthropomorphism,
i.e., no male grassypatch(un herbage)goingtojoin again(rejoindre)a female
hillock(une colline), no pre-Freudian mill (un moulin)surroundedby bushy
greenery(la verdure),counterpointed by a boulder(la roche) touchingthe
boundary ofthesky(le ciel).
The factremainsthatthecombinationof an agent(l'on) withthe covert
sexualityof Frenchgrammatical genderprovidesthereadera transition to the
indirectdiscourse of the next sentence.An English readerhas to make an
inference:

Quel bonheur de monter côte à côte,le brasautourde sa taille,

pendant que sa robebalayerait les feuilles
jaunies,en écoutant
sa
voix, sous le rayonnement de ses yeux! Le bateau pouvait
ils n'avaientqu'à descendre
s'arrêter, ; et cettechosebiensimple
n'étaitpas plusfacile,cependant,que de remuer le soleil!

Whatblissit wouldbe to climbup therebesideherwithhis arm

aroundher waist,listeningto her voice and baskingin the
radianceof hereyeswhileherdressswepttheyellowleavesalong
theground! The boatcouldstop,andtheyhadonlyto disembark;
itwas all so simple,yetbudging
thesunwouldhavebeenan easier
proposition.

Baldickuses abouteightmorewordsto bothexpandandcompensate.He moves

the conditionalto the main clause of a completesentence.He moves the
exclamationmarksince he is splittingthe sentence.His expansionfollows
Flaubert'slead, so thateach descriptionof a couplewalkingcould be readas an
amorousembrace.We mightwonderwhyBaldickwas notcontentto say "yetit
wouldhavebeeneasierto movethesun."
Althoughit is difficultto imagineFrédéricleadinga usefullifeanywhere,
Parisdoes seem to elicitespeciallyirresistibleself-indulgentimpulses.Afteran
orgiasticmaskedball in the firstchapterof PartII his dreamconsciousness
bringstogetherprophetically (afterall, thisis a novel) images of the women
who act on his senses:

Uneautresoifluiétaitvenue,celledesfemmes, duluxeetde toutce

que comportel'existenceparisienne. Il se sentaitquelque peu
étourdi,commeun hommequi descendd'un vaisseau; et, dans
l'hallucination
du premier sommeil,il voyaitpasseret repasser
continuellement les épaules de la Poissarde,les reinsde la
Débardeuse,les molletsde la Polonaise,la chevelurede la
Sauvagesse.Puisdeuxgrandsyeuxnoirs,qui n'étaient pas dansle

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Flaubert 89

bal, parurent ; et légerscomme des papillons,ardentscomme des

torches, ils allaient, venaient, vibraient, montaient dans la
corniche,descendaientjusqu'à sa bouche. Frédérics'acharnaità
reconnaîtreces yeux sans y parvenir.Mais déjà le rêve l'avait
pris; il lui semblaitqu'il étaitatteléprèsd'Arnoux,au timond'un
fiacre,et que la Maréchale,à califourchon sur lui, l'éventraitavec
ses éperonsd'or. (128-29)

Anotherthirsthad come upon him: the thirstfor women, for

luxury,foreverything life in Paris implies.He feltslightlydazed,
like a man disembarking froma ship; and in the hallucinationof
his firstsleep he saw passingto and frobeforehimtheFishwife's
shoulders,the Stevedore'sback, the Polish girl's calves, and the
Savage Woman'shair.Then two big darkeyes, whichwere not at
the ball, appeared;and, lightas butterflies,brightas torches,they
darted here and there,quivered, new up to the ceiling, then
swooped down to his lips. Frédéricstruggledto recognizethese
eyes withoutsuccess. But alreadya dreamhad takenhold of him;
he thoughthe was harnessedside by side withArnouxin theshafts
of a cab, and the Marshal, sittingastride him, was tearinghis
belly open withhergolden spurs.(133-34)

Although the comparable effects overall may vary when read out of context
(which situates the women wearing these costumes), this is close to flawless. It
adds to the surfacemovement:allaient, venaientbecomes "dartedhere and there11;
descendait jusqu'à becomes "swooped down to"; vibraient adds the notion of
"quivered"; Véventraitis unpacked as "tearinghis belly open."
As Part II comes to a close, Frédéric believes he can profitfromMadame
Arnoux's exasperation with her husband's infidelities.She was in the prime of
what the Frenchcall a woman's second youth:

D'ailleurs,elle touchaitau mois d'août des femmes,époque toutà

la fois de réflexionet de tendresse,où la maturitéqui commence
colorele regardd'une flammeplusprofonde, quandla forcedu cœur
se mêle à l'expérience de la vie, et que, sur la fin de ses
épanouissements, l'être complet déborde de richesses dans
l'harmoniede sa beauté.(273)

Besides, she was approachingthe August of a woman's life, a

period which combined reflectionand tenderness,when the
maturity which is beginningkindlesa warmerflamein the eyes,
whenstrength of heartmingleswithexperienceof life,and when,
in thefullnessof its development,
the whole beingoverflowswith
a wealthof harmonyand beauty.(272)

This is another typical instance of Baldick's adroit rearranging, i.e.,

strengtheningthe opening metaphorby omission of "the monthof1; expanding
an appositional phrase into a clause. Gender gives him some trouble. The
"whole being" (l'être complet) is masculine, but Madame Arnoux is the person
being discussed- it is not a question of the August of a man's life. This means

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90 MarilynGaddis Rose

thatses épanouissements- clearly referringto women in theirsecond youthwith

Madame Arnoux as theirexemplar- when renderedas "its development"has the
English reader referringback to "life" (or possibly "experience," "heart" or
"strength"), not, however, to Madame Arnoux. Perhaps a little more
interpretationwould have helped, e.g., "when nearingthe end of her blooming, a
woman's whole being overflowswith giftsof harmoniousbeauty."
However, in Flaubert's interlacing of the political and the social, Louis-
Philippe's abdication coincides with her son's sore throatcomplications. This
conjunctionmakes theirassignation inconceiveable in retrospect.(Nor could we
have foreseenthe degree of coincidence thatlets Frédéric begin his liaison with
her husband's officialmistressRosanetteduringthe same 24-hourperiod.)
Flaubert's language is so spare in the one instance where he arouses readers'
unforced compassion that Baldick achieves a nearly semantically isomorphic
translationand an equally moving passage. This is at the close of the second
chapter of Part III where Louise Roque, the young heiress of his home town,
discovers thatshe was at most a nearbydiversion. She and her maid go through
the 1848 barricadesto his apartment:

Enfin,elles arrivèrent chez Frédéric.Louise tira la sonnette

avec vigueur,plusieursfois. La portes'entre-bâillaet le concierge
répondità sa demande:
- « Non ! »
- « Mais il doit être couché ? »
- «Je vous dis que non ! Voilà près de trois mois qu'il ne
couche pas chez lui ! »
Et le petitcarreaude la loge retombanettement comme une
guillotine. Elles restaientdans l'obscurité, sous la voûte. Une
voix furieuseleur cria :
- « Sortez donc ! »
La portese rouvrit; elles sortirent.
Louise futobligée de s'asseoir sur une borne; et elle pleura,
la têtedans ses mains,abondamment, de toutson cœur.Le jour se
levait,des charrettespassaient.(354-55)

At last theyarrivedat Frederic'shouse. Louise pulledthebell

vigorouslyseveral times. The door opened a little way, and in
responseto herinquirytheconciergeanswered:
"Noi"
"Buthe mustbe in bed?"
"I tell you, no! He hasn't slept at home for nearly three
monthsnow!"
And the littlewindowof the lodge droppedinto place like a
guillotine.They stood therein the darkness,underthe archway.A
furiousvoice shoutedat them:
"Getout!"
The dooropenedagain; theywentout.
Louise was obliged to sit down on a gate-stone;and withher
head in her hands, she wept copiously, fromthe bottomof her
heart.Day was breaking;some cartswentby. (349)

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Flaubert 91

Part IQ, anotherauthorial tour de force, balances and weaves togetherthe

collapse of the Second Republic, the death of Frédéric and Rosanette's littleboy,
the embitteringending of his engagementto a wealthywidow, Louise's marriage
to his "best friend"Deslauriers, and the bayonettingof one of his friends by
another. In the penultimate chapter, sixteen years later (veritably the time of
Flaubert's writingthe novel), Madame Arnoux visits him. Afraid that she has
come to make up for the rendezvous missed the day of Louis-Philippe's
abdication, Frédéric rolls a cigarette. As she gets up to leave, she gives him a
maternalblessing:

Et elle le baisa au frontcommeune mère.

Mais elle parutchercherquelque chose, et lui demanda des
ciseaux.
Elle défitson peigne; tous ses cheveuxblancs tombèrent.
Elle s'en coupa, brutalement, à la racine,une longuemèche.
- « Gardez-les ! adieu ! »
Quand elle fut sortie,Frédéric ouvrit sa fenêtre,Madame
Arnoux,sur le trottoir, fitsigne d'avancer à un fiacrequi passait.
Elle montadedans.La voituredisparut.
Et ce futtout.(424)

And she kissedhimon theforeheadlike a mother.

At thispoint Baldick does some discreetrewriting:

But she seemed to be looking for something,and finally

[adverbinserted]she asked himforsome scissors.
She took out her comb, and all her whitehair fell over her
shoulders[prepositionalphraseadded].

Baldick tones down the reader's shock at her self-immolating gesture (and
removes pre-Freudian overtones). Instead of "She cut some off [the reflexive
makes action harsher],brutally,at the root,a long lock":

With an abruptgesture[action classified]she cut offa long

lock close to herhead.
"Keep it. Good-bye!"
When she had gone out,Frédéricopened his window.On the
pavementMadame Arnouxbeckonedto a passingcab. She got in.
The carriagedisappeared.
And thatwas all. (415-16)

The novel, however,is not quite over. Frédéricand Deslauriers resume their
friendshipand, as well, the narrativewe have just read:

Et ils résumèrentleurvie.
Ils l'avaient manquee tous les deux, celui qui avait rêvé
l'amour,celui qui avaitrêvéle pouvoir.Quelle en étaitla raison?
- « C'est peut-êtrele défautde la lignedroite», a ditFrédéric.

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92 MarilynGaddis Rose

- « Pour toi, cela se peut. Moi, au contraire,j'ai péché par

excès de rectitude,sans tenircomptede mille choses secondaires,
plus fortesque tout.J'avais tropde logique,et toi de sentiment ».
l'époque où ils
Puis, ils accusèrentle hasard,les circonstnces,
étaientnés. (426-27)

toningdown; afterall, theirlives were not tragic:

Baldick subtlyinterprets,

And theylooked back over theirlives [insteadof "summed

up" whichsuggestsnot only the itemizationwhichtheyhave just
completedbuta passingjudgmentwhichtheyproceedto do].
They had bothfailed[moreliterallyand accurately:"theyhad
missedout on life"],one to realize his dreamsof love, theotherto
fulfilhis dreamsof power.Whatwas thereason?
"Perhapsit's because we didn'tsteera straightcourse,"said
Frédéric.
"Thatmaybe truein yourcase. But I, on thecontrary, was far
too rigidin myline of conduct,and I failedto takeintoaccounta
thousand-and-one minorfactorswhichwere reallyall-important. I
was too logical, while you were too sentimental"[Baldick gives
Deslauriersfarmorelexical fluency].
Then they blamed chance, circumstances,the times into
whichtheywere born.(417-18)

This may be English interference, but "accusèrent" sounds stronger than

"blamed." But everyemendationof Baldick adds to authenticcharacterization.
Flaubert ends the novel on this reminiscence,a truncatedvisit to the local
brothel,subtlyinterpretedby the substitutionof "happiest time" forde meilleur
("the best we had"):

- « C'est là ce que nous avons eu de meilleur! » ditFrédéric.

- « Oui, peut-êtrebien ? c'est là ce que nous avons eu de
meilleur! » dit Deslauriers.(428)

"Thatwas thehappiesttimewe everhad,"said Frédéric.

"Yes, perhaps you're right.That was the happiesttime we
everhad," said Deslauriers.(419)

Baldick has matched Flaubert's mots justes. As bilingual readers we find

deviations we would change. If his translationbegins to sound silly- or a major
change in publishingeconomics puts his translationinto remaindering - thenwe
shall probablysee anothertranslation.But forstereoscopic readingsuch glossing
adds to L'éducation sentimentale.It can show us as readers the translationas a
boundary to be disputed. In this instance accessing the interliminalbroughta
novel of 1869 to 1996. We might not have expected that a novel by Flaubert
could slip from his control in a mere 127 years. It could even be claimed,
althoughbeyond the scope of thiscommunication,thatsuch stereoscopic reading
preparesreadersto indulge verbose authorslike Sainte-Beuve and Sand who now
sound eerily postmodern. Translation theory has spelled out for reading a

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Flaubert 93

mechanismfor updatingtexts.No matterhow dated a text in time and/or

our readingnow only begins withthe textas presented.With a
translation,
translation - we can elicittheinterliminal
- or by translating and make it new.
can onlygainwithtranslation.
In anyeventourreadingofliterature

ofNew Yorkat Binghamton

State University

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