Translating Neruda: Femininity and Sensuality ... - Triceratops Home

Mueller 26
own interpretation, and each translation is a different understanding of how Neruda can
be conveyed in the target language.
The sexuality of the seventh stanza presents most prominently the issue of
bowdlerization in the target language. Neruda’s image is very clearly sexual: “Galopa la
noche en su yegua sombría / desparramando espigas azules sobre el campo.” Eisner’s
decision to assign the night a female gender builds on the female gender of the noun in
Spanish, but for once Neruda seems to be ignoring this gender assignment in favor of
representing night and darkness in a stereotypical heterosexual framework, with the night
itself seeding the shadows with the promise of life. The sexuality of this stanza is the
victim of some level of bowdlerization in all of the translations, though it is impossible to
tell what of this is intentional and what is the cause of incomprehension on the part of the
translator. Both Ossman and Hagen’s and Eisner’s use of “wheat” keeps the connection
to nature that Neruda establishes with his use of “espigas,” a word that does not easily
translate to English but refers to the tiny sprouts that grow from wheat, and in both cases
they maintain the progression from night galloping on a mare to the scattering of wheat,
though Eisner’s “wheat stalks” removes the implication of insemination. Merwin’s
translation of “shedding blue tassels” works to obstruct the sexual undertones of the
original lines by entirely eliminating the connection to nature and new life. Previtali also
loses the sexual implication of sowing seeds, with “showering bright blue sparks,” a
translation that fixates instead on Neruda’s unusual choice of the adjective “azul” (blue).
By choosing not to fully represent the sexuality of this demonstrative example of
Neruda’s early use of eroticism, the translators alter the conclusion of the poem and
problematize its capacity to accurately represent Neruda’s early writing.