By William Cummings
The chronicles of Gowa and Talloq are crucial old resources for the examine of pre-colonial Makassar. they've got supplied the elemental framework and masses of the knowledge that we own in regards to the origins, development, and enlargement of Gowa through the 16th and 17th centuries. in this interval Gowa and its shut best friend Talloq turned the main robust strength within the japanese Indonesian archipelago, and historians have relied seriously at the chronicles to chart the advancements of this era. to be had for the 1st time in English translation, the 2 texts will provide historians and different students a useful beginning on which to base interpretations of this important position and time in Indonesian heritage. This quantity is needed interpreting for students of pre-modern Southeast Asia, together with historians, linguists, anthropologists, and others. complete textual content (Open entry)
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Additional resources for A Chain of Kings: The Makassarese Chronicles of Gowa and Talloq
His gallarrang-title was Kasuwiang33 ri Juru. His kare-title was I Kare Manngutungi. He was the first to establish the community of Bontomanaiq. He was also called Gallarrang Loaya. With this karaeng, rice thrived, and other crops. Fish were plentiful. 34 It was while he was ruling that a Javanese named I Galasi35 came and warred in Pammolikang. For thirty-six years he ruled. It was also while he was ruling that he was surrounded [and attacked]36 by the people of Talloq, by the people of Polombangkeng, by the people of Maros.
The translator’s style and the work’s character must both speak. For remarkably sound advice on how to do this, I turn to a passage by the poet-translator Jane Hirshfield (1997:65). ] If music and intricacy of form are the greatest pleasures in the original, this is what the translator should try to capture; if a startling directness of language is at the heart of the work, then straightforwardness should govern the new version as well. Imagery, sensibility, feeling, sound, ideas ‒ any of these can become the through-line of a poem’s unfolding.
Most importantly, the translations lean toward the literal. In particular I strive to not make the translation ‘overly poetic’ in comparison with the original. Another way of stating this is that the translation tries to not let the suppleness and richness of the English language overwhelm the text and transform it beyond recognition. In this I follow Lawrence Venuti, who believes that natural, fluent, invisible styles of translation that minimize the foreignness of the source text do so at too great a loss of the character of the original.