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Hover/Tap Translations

Tap Translations

A Twist on Translation

Using CSS to create a hover over stanza's to transition original text into its translation.

If not, Winter: Fragments of Sappho are poems translated by Anne Carson from Greek to English.

I

ποικιλόθρον' ἀθανάτ Ἀφρόδιτα,

παῖ Δίος δολόπλοκε, λίσσομαί σε,

μή μ' ἄσαισι μηδ' ὀνίαισι δάμνα,

πότνια, θῦμον,

Deathless Aphrodite of the spangled mind,

child of Zeus, who twists lures, I beg you

down not break with hard pains,

O lady, my heart

Hover/Tap the stanza above to activate the effect.

 

The Code

The layering of the stanzas is created by the parameter webkit-blur in CSS. Combined with :hover, the right z-indexing to layer the paragraphs, and a bit of animation to make the transition smooth to create this effect.

View the code on my CodePen

 

The Design

Typically, translations are put side to side (or omit the original text outright) like below.

Poem I Stanza 1

ποικιλόθρον'ἀθανάτἈφρόδιτα,
πα Δίος δολόπλοκε, λίσσομαί σε,
μή μ'ἄσαισι μηδ'ὀνίαισι δάμνα,
πότνια, θῦμον

.

Deathless Aphrodite of the spangled mind,
child of Zeus, who twists lures, I beg you
down not break with hard pains,
O lady, my heart

While this is how translations have been presented for ages, and is far more simpler to consume. I feel like it doesn't serve a poem justice. Why? Poems depend a lot on it's originating language. Aspects like phonetics are lost, but even more importantly, there are sayings in one languages that do not have an equivalent in another. So to see this translation as an interpretation becomes the next challenge.

 

 

]
here to me from Krete to this holy temple
where is your graceful grove
of apple trees and altars smoking
    with frankincense.

Poem II Stanza 1

.ρανοθεν κατιοθ[σ-
δευρυμ† μεκρητας π[    ].  ναῦον
ἄγνον ὄππ[αι    ]  χάριεν μὲν ἄλσος
μαλί[αν], βῶμοι †δεμιθυμιάμε-
    ωοι [λι]βώντωι·

The poems that are presented are also fragments, as all the text was not able to be recovered fully, and thus makes the translation even more up to the imagination. Anne Carson's translation was chosen as she does create a beautiful interpretation. However, presented like above, it still does not suggest any of the issues the translation may present.

 

So what if we placed them on top each other?

The two paragraphs layered on top eachother.

This is obviously unreadable. So a few more tweaks are made.

From left to right: Two paragraphs placed in same location; One paragraph reduced to 50% opacity, more legible but busy and not really readable; Blur added to 50% opacity layer, Original text still visible, translated text is hinted below.

 

With the text layered behind and blurred, it lets the reader see the original text without being intrusive. Hovering over the stanza then allows the user to see the translation, inverting the opacity and blur. This allows the reader to now see the interpretation while seeing the original text hinted behind it, making it more obvious that it isn't one to one. allowing the reader to determine what may or may not be originally intended in the poem.

Upon hovering above the stanza.

With the code mentioned earlier, I chose to make the it reveal per stanza as it allows the reader to take the poem at the right pace. Per line would be slow and tedious, even with fast transitions, and any more would break the pace of the poem.

Conclusion

While it may be overkill to present this poem in this way, making the reader more aware of the content they are consuming may be beneficial in certain cases. Would this make sense in a very technical manual? Not at all. But what would Martin Luther King's I have a dream speech look like in Chinese using this format? How would it be interpreted? That would obviously have its own issues in terms of how much to reveal at a time, how close should the text be layered on top the original, etc. Would it even make sense in translating foreign political transcripts? In the case of poetry however, This should be feasible and a different way to present any poems from a foreign language.

Also, a note if to be implemented, there should still be separate tabs for the content so that users/readers can highlight the text easier.

 

See below the surface

Hover above or tap the stanza to reveal the translation.

The text was placed and displayed in a way to give the user a way to remind themselves that these translations are not one for one, and that there were liberties taken when translating these fragmented scripts.

If Not, Winter: Fragments of Sappho

translated by Anne Carson

I

ποικιλόθρον' ἀθανάτ Ἀφρόδιτα,

παῖ Δίος δολόπλοκε, λίσσομαί σε,

μή μ' ἄσαισι μηδ' ὀνίαισι δάμνα,

πότνια, θῦμον,

Deathless Aphrodite of the spangled mind,

child of Zeus, who twists lures, I beg you

down not break with hard pains,

O lady, my heart

ἀλλὰ τυίδ' ἔλθ', αἴ ποτα κἀτέρωτα

τὰς ἔμας αὔδας ἀίοισα πήλοι

ἔκλυες, πάτρος δὲ δόμον λίποισα

χρύσιον ἦλθες

but come here if ever before

you caught my voice far off

and listening left your father's

golden house and came,

ἄρμ' ὐπασδεύξαισα· κάλοι δέ σ' ἆγον

ὤκεες στροῦθοι περὶ γᾶς μελαίνας

πύκνα δίννεντες πτέρ' ἀπ' ὠράνωἴθε-

ρος διὰ μέσσω·

yoking your car. And fine birds brought you,

quick sparrows over the black earth

whipping their wings down the sky

through midair--

αἶψα δ' ἐξίκοντο· σὺ δ', ὦ μάκαιρα,

μειδιαίσαισ' ἀθανάτωι προσώπωι

ἤρε' ὄττι δηὖτε πέπονθα κὤττι

δηὖτε κάλημμι

they arrived. But you, oh blessed one,

smiled in your deathless face

and asked what (now again) I have suffered and why

(now again) I am calling out

κὤττι μοι μάλιστα θέλω γένεσθαι

μαινόλαι θύμωι· τίνα δηὖτε πείθω

μαισ' ἄγην ἐς σὰν φιλότατα; τίς σ', ὦ

Ψά]πφ', ἀδικήει;

and what I want to happen most of all

in my crazy heart. Whom should I persuade (now again)

to lead you back into her love? Who, O

Sappho, is wronging you?

καὶ γὰρ αἰ φεύγει, ταχέως διώξει,

αἰ δὲ δῶρα μὴ δέκετ', ἀλλὰ δώσει,

αἰ δὲ μὴ φίλει, ταχέως φιλήσει

κωὐκ ἐθέλοισα.

For if she flees, soon she will pursue.

If she refuses gifts, rather will she give them.

If she does not love, soon she will love

even unwilling.

ἔλθε μοι καὶ νῦν, χαλέπαν δὲ λῦσον

ἐκ μερίμναν, ὄσσα δέ μοι τέλεσσαι

θῦμος ἰμέρρει, τέλεσον, σὺ δ' αὔτα

σύμμαχος ἔσσο.

Come to me now: loose me from hard

care and all my heart longs

to accomplish, accomplish. You

be my ally.

II

.ρανοθεν κατιοθ[σ-

δευρυμ† μεκρητας π[ ]. ναῦον

ἄγνον ὄππ[αι] χάριεν μὲν ἄλσος

μαλί[αν], βῶμοι †δεμιθυμιάμε-

ωοι [λι]βώντωι·

]

here to me from Krete to this holy temple

where is your graceful grove

of apple trees and altars smoking

with frankincense.

ἐν δ’ ὔδωρ ψῦχρον κελάδει δι’ ὔσδων

μαλίνων, βρόδοισι δὲ παῖς ὀ χῶρος

ἐσκίαστ’, αἰυθσσομένων δὲ φύλλων

κῶμα †καταγριον·

And in it cold water makes a clear sound through

apple branches and with roses the whole place

is shadowed and down from radiant-shaking leaves

sleep comes dropping.

ἐν δὲ λείμων ἰππόβοτος τέθαλε

†τωτ . . .ιριννοις† ἄνθεσιν, αἰ δ’ ἄηται

μέλλιχα πνέοισιν [

[ ]

And in it a horse meadow has come into bloom

with spring flowers and breezes

like honey are blowing

[ ]

ἔνθα δὴ σ]τέμ[ματ’] ἔλοισα Κύπρι

χρυσίαισιν ἐν κυλίκεσσι ἄβρως

ὀμ[με]μείχμενον θαλίαισι νέκταρ

οἰνοχόαισον

In this place you Kypris taking up

in gold cups delicately

nectar mingled with festivities:

pour.

III

]δώσην

κλ]ύτων μέν τ᾽ ἐπτ[

κ]άλων κἄσλων· σ[

φί]λοις, λύπης τέ μ[ε

]μ᾽ ὄνειδος

]to give

]yet of the glorious

]of the beautiful and good, you

]of pain [me

]blame

]οιδήσαις ἐπιτα[

[καρδ]ίαν ἄσαιο τὸ γὰρ ν[όημμα]

[τὦ]μον οὐκ οὔτω μ[

]διάκηται

]swollen

]you take your fill. For [my thinking

]not thus

]is arranged

]μη δόαζε, [

]χις, συνίημ[ι

]λης κακότατο[ς

]μεν

]nor

all night long] I am aware

]of evildoing

]

]ν ἀτέραις με[

]η φρένας, εὔ[

]α τοις μάκα[ρας

]other

]minds

]blessed ones

]

]

IV

]θε θῦμον

]μι πάμπαν

]δύναμαι

]

]heart

]absolutely

]I can

]

]ας κεν ἦι μοι

]ς ἀντιλάμπην

κά]λον πρόσωπον

]

]would be for me

]to shine in answer

]face

]

ἐ]γχροΐσθεις

][]ρος

]having been stained

]