Post by Michael PendragonPost by George DanceBird Cage, by Hector de Saint-Denys Garneau
I am a bird cage
A bone cage
With a bird
The bird in my bone cage
Is death making its nest
When nothing is happening
I hear its wings ruffling
And when I've laughed a lot
If I suddenly stop
I hear it chirping
Deep down
Like a tiny alarm
It is a bird held captive
Death in my bone cage
Wouldn't it like to fly away
Is it you who makes it stay
Or is it me
I can't say
It cannot leave until
Having eaten all
My heart
The blood source
With the life inside
It will have my soul in its beak.
http://gdancesbetty.blogspot.ca/2010/03/bird-cage-hector-de-saint-denys-garneau.html
I love the concept. At first I thought the bird was a metaphor for a weak heart, but by the poem's end, I realized it was something darker. Stylistically, while readable, it needs work (I'm assuming it's a poor translation from a French original). The word "cage" is repeated too many times in the opening lines, and the sudden change from free verse to triple rhyme in the 7th stanza is just plain bizarre.
I appreciate the feedback. Your point about the weak heart was quite perceptive: in fact, Garneau had a weak heart, which caused him to drop out of university a few years before he wrote this, and which killed him seven years later -- which was undoubtedly the poem's genesis.
You're also correct that this is a translation from the French original (the original is on the blog, together with the translation). I bristled a bit at "poor translation", since I'm the translator, but in retrospect I welcome it, considering the allegations of "slurping" that have been levelled at both of us from one particular source. And, in fact, your criticisms are well taken, so much that I'd like to comment on them.
There are many translations of "Bird Cage" on the web. All of them have "I am a bird cage" as L1, but none have that L2; the most popular is "A cage of bone". I went with my version, because it reminded me so strongly of Eliot's beginning to "The Hollow Men": "We are the hollow men / We are the stuffed men".
I wanted the Eliot allusion because (even though I have no indication that Garneau read Eliot, or any English-language poetry) Garneau's free verse is very much like Eliot's early free verse: full of meter and end-rhyme, but scattered throughout in no particular order, like a melody in a symphony rather than a song. I didn't want to emphasize that, as in translations that do, like John Glassco's, it comes off as rather sing-songy - for example, he translates S2 as
The bird inside my cage of bone
This is death who makes his nest
- but I did want to draw attention to it. So I tried to regularize the meter within some stanzas (just not the same meter throughout). Similarly, while I used perfect endrhyme only once -- the triple rhyme you remark on -- I tried to note his other rhymes with other pairings, from assonance (lot / stop) and consonance (until / all) to repetition (cage / cage).
So it's not a perfect translation (begging the question of whether such a thing is possible). But I considered it more representative of what Garneau was doing than the others I've read.
As always, thanks for reading and commenting.