The translation of poetry is painstaking work, painstaking, it does not fulfill its purpose by primarily rendering words, but mainly by transferring to the other language the rhythm and temperament of the poem. And when a doctor becomes a doctor with this job, our interest doubles. Because in times of extreme specialization the cases of people indulging in different hardships are rare. This happened with the “Small anthology of German poetry” recently released by LOGO_TYPO publications. It bears the signature of the Serrai neurologist with studies and parchments in Bochum, Germany Antonis Kerasnoudis.

An elegantly illustrated bilingual volume, a collection of the work of 26 German poets of the last three centuries, from Goethe to the lyricist and singer of the band Rammstein Til Lindemann. Kerasnoudis has specialized in neuroultrasonography, an innovative method for diagnosing diseases of the peripheral nervous system. But he also writes lyrics and translates. And as mentioned in one of his books, “he is taught daily from life stories, but also from the language of sick bodies”. Exciting conditions for creative engagement with language.

The excruciating details

Let’s also put our old-fashioned scalpel to the translations and original German poems in this book for a moment. The overall impression is positive, the details sometimes raise questions. Goethe, for example, extols in the poem “Tireless Love” his anxious, asthmatic love for the handsome Madame Charlotte von Stein, and the lyrical ego incessantly fights the elements of nature to reach the object of desire. “Non-stop! Without stopping,” writes the poet. “Always airtight! Always barred!” renders the translator, stirring up the ripple of meaning. Of course we are compensated a little later with a beautiful rendition of Friedrich Schiller’s poem “The Farewell of Hector”. And it would be perfect if the mythological river of Hades Kokytos mentioned by Schiller was not turned into the non-existent “Kokytis” in Greek.

A safer guide would be the correct original and in Erich Arendt’s poem “Cycladic Night” from the “Aegean” collection. At one point the poet sees a breastbone bare “to yesterday in everything”, but because the translator apparently used some misprint, from which a but crucial “r” had been erased he writes: “open asstithi in nod to everything”.

Peter Hertling’s beautiful poem “Change” is set in front of a painting by Domenico Ghirlandaio, and one verse talks about the delicate batiste hems on the gowns worn by Renaissance mistresses. Except that in the translation they are freshened up in age and become “baptismal hems”. But he is also wrong. It has been preceded by a brilliant rendition of Theodore Storm, a 19th century writer’s poem entitled ‘Christmas’ which has indulged us in advance.

Possibilities not exhausted

In two words: Kerasnoudis captures the rhythm of the poems but falters every now and then in the language formulation. Although it conveys as gracefully as possible the rhymes of the originals. Despite the fact that he is not dogmatic and uses every now and then, but never deafeningly, words elements of the language. Despite the fact that he himself has a poetic vein, as evidenced by many airy verses. Which are often followed by unexpected prosaic renderings. As the experienced translator Elena Pallandza aptly observed: “These translations do not exhaust their potential.” So we eagerly await the second, edited edition of this fine anthology.

Spyros of Moscow