#frederick strothmann

Staff Pick of the Week: Twain’s “Revenge Translation”

Mark Twain wrote, “I am quite sure I that (bar one) I have no race prejudices.” It is generally interpreted that the prejudice to which Twain referred is toward the French. As is often the case with Twain, it can be difficult to determine the sincerity of his ribbing; in Mark Twain and France: The Making of a New American Identity, the authors argue that Twain used France “as a kind of foil ... to help build a modern American sense of cultural self.” Sincere or not, Twain’s antipathy toward the French is on full display in The Jumping Frog: in English, then in French, then Clawed Back into a Civilized Language Once More by Patient, Unremunerated Toil. Perhaps it would amuse Mr. Clemons that I came across this title because I am a bit of a francophile! Our first edition copy was published in New York in 1903 by Harper & Brothers, with illustrations by Frederick Strothmann.

The frog tale, Mark Twain’s first published short story, first appeared under the title “Jim Smiley and His Jumping Frog” in November of 1865 in the literary weekly The Saturday Press. It was widely reprinted; Twain continued to refine the story and a new version appeared in The Californian a month later with the title “The Celebrated Jumping From of Calaveras County.” Keeping this title, it appeared again as the titular story in Twain’s first book, a collection of short stories published in an edition of 1000 in 1867 by American News Company, edited by Twain’s good friend Charles Henry Webb. Issued in seven different colored bindings, the sales were lackluster, but it has since become a hot item among rare book collectors.

A French translation of the story was completed by Thérèse Bentzon and published in 1872 in the monthly magazine Revue des deux Mondes, embedded in an essay about American humorists that Twain interpreted as condescending. He complained that Bentzon’s translation stripped all the humor from the story, and cited that as the impetus for “clawing back” the story into English, but it might have been Bentzon’s characterization of Twain as an unrefined rube that really got his goat. His retaliatory “retranslation” is a word-for-word translation retaining the French syntax. Therefore, it reads like the early days of computer-assisted translators when it was a fun party game to see who could come up with the most convoluted phrase by translating it into another language and back (although maybe this is something only English-major nerds did?). Whether read as a meditation on the limits of translation or an example of pre-internet literary trolling, it is a fun little book. 

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Check out past posts on Mark Twain here.