Twain discovered a French translation of his story The Celebrated Jumping Frog of Calaveras County. He back-translated the story into English, word for word, retaining the French grammatical structure and syntax. He then published all three versions.

This is the original version of the story. Click on the text to read the French translation. Then click on that text to read Twain’s retranslation.

Below is Twain’s original introduction:

THE JUMPING FROG

IN ENGLISH, THEN IN FRENCH, THEN
CLAWED BACK INTO A CIVILIZED
LANGUAGE ONCE MORE BY
PATIENT, UNREMUNERATED TOIL.

Even a criminal is entitled to fair play; and certainly when a man who has done no harm has been unjustly treated, he is privileged to do his best to right himself. My attention has just beep called to an article some three years old in a French Magazine entitled, ‘Revue des Deux Mondes’ (Review of Some Two Worlds), wherein the writer treats of “Les Humoristes Americaines” (These Humorist Americans). I am one of these humorists American dissected by him, and hence the complaint I am making.

This gentleman’s article is an able one (as articles go, in the French, where they always tangle up everything to that degree that when you start into a sentence you never know whether you are going to come out alive or not). It is a very good article and the writer says all manner of kind and complimentary things about me–for which I am sure thank him with all my heart; but then why should he go and spoil all his praise by one unlucky experiment? What I refer to is this: he says my jumping Frog is a funny story, but still he can’t see why it should ever really convulse any one with laughter–and straightway proceeds to translate it into French in order to prove to his nation that there is nothing so very extravagantly funny about it. Just there is where my complaint originates. He has not translated it at all; he has simply mixed it all up; it is no more like the jumping Frog when he gets through with it than I am like a meridian of longitude. But my mere assertion is not proof; wherefore I print the French version, that all may see that I do not speak falsely; furthermore, in order that even the unlettered may know my injury and give me their compassion, I have been at infinite pains and trouble to retranslate this French version back into English; and to tell the truth I have well-nigh worn myself out at it, having scarcely rested from my work during five days and nights. I cannot speak the French language, but I can translate very well, though not fast, I being self- educated. I ask the reader to run his eye over the original English version of the jumping Frog, and then read the French or my retranslation, and kindly take notice how the Frenchman has riddled the grammar. I think it is the worst I ever saw; and yet the French are called a polished nation. If I had a boy that put sentences together as they do, I would polish him to some purpose. Without further introduction, the jumping Frog, as I originally wrote it, was as follows [after it will be found the French version –(French version is deleted from this edition)–, and after the latter my retranslation from the French]

Twain discovered a French translation of his story The Celebrated Jumping Frog of Calaveras County. He back-translated the story into English, word for word, retaining the French grammatical structure and syntax. He then published all three versions.

The version here is Twain’s word for word retranslation of his story. Click on the text to read the original then click on that text to read the French translation.

Below is Twain’s original introduction:

THE JUMPING FROG

IN ENGLISH, THEN IN FRENCH, THEN
CLAWED BACK INTO A CIVILIZED
LANGUAGE ONCE MORE BY
PATIENT, UNREMUNERATED TOIL.

Even a criminal is entitled to fair play; and certainly when a man who has done no harm has been unjustly treated, he is privileged to do his best to right himself. My attention has just beep called to an article some three years old in a French Magazine entitled, ‘Revue des Deux Mondes’ (Review of Some Two Worlds), wherein the writer treats of “Les Humoristes Americaines” (These Humorist Americans). I am one of these humorists American dissected by him, and hence the complaint I am making.

This gentleman’s article is an able one (as articles go, in the French, where they always tangle up everything to that degree that when you start into a sentence you never know whether you are going to come out alive or not). It is a very good article and the writer says all manner of kind and complimentary things about me–for which I am sure thank him with all my heart; but then why should he go and spoil all his praise by one unlucky experiment? What I refer to is this: he says my jumping Frog is a funny story, but still he can’t see why it should ever really convulse any one with laughter–and straightway proceeds to translate it into French in order to prove to his nation that there is nothing so very extravagantly funny about it. Just there is where my complaint originates. He has not translated it at all; he has simply mixed it all up; it is no more like the jumping Frog when he gets through with it than I am like a meridian of longitude. But my mere assertion is not proof; wherefore I print the French version, that all may see that I do not speak falsely; furthermore, in order that even the unlettered may know my injury and give me their compassion, I have been at infinite pains and trouble to retranslate this French version back into English; and to tell the truth I have well-nigh worn myself out at it, having scarcely rested from my work during five days and nights. I cannot speak the French language, but I can translate very well, though not fast, I being self- educated. I ask the reader to run his eye over the original English version of the jumping Frog, and then read the French or my retranslation, and kindly take notice how the Frenchman has riddled the grammar. I think it is the worst I ever saw; and yet the French are called a polished nation. If I had a boy that put sentences together as they do, I would polish him to some purpose. Without further introduction, the jumping Frog, as I originally wrote it, was as follows [after it will be found the French version –(French version is deleted from this edition)–, and after the latter my retranslation from the French.

The Distance from the Moon is from Cosmicomics, a book of short stories by Italo Calvino first published in Italian in 1965 and in English in 1968. Each story takes a scientific “fact” (though sometimes a falsehood by today’s understanding), and builds an imaginative story around it. An always extant being called Qfwfq narrates all of the stories save two, each of which is a memory of an event in the history of the universe. Qfwfq also narrates some stories in Calvino’s t zero.

The Things They Carried is a collection of related stories by Tim O'Brien, about a platoon of American soldiers in the Vietnam War, originally published in hardcover by Houghton Mifflin in 1990. The Things They Carried blends O'Brien’s real life experiences in the Vietnam War with fictional elements in a visceral and deeply touching affair as he tries to effectively convey the truth about war in this collection of short stories.

Buy it here

Endgame is a one-act play with four characters, written in a style associated with the Theatre of the Absurd. It was originally written in French (entitled Fin de partie); as was his custom, Beckett himself translated it into English. The play was first performed in a French-language production at the Royal Court Theatre in London, opening on 3 April 1957. It is commonly considered, along with such works as Waiting for Godot, to be among Beckett’s most important works.

“Ping” was written in French (originally “Bing”) in 1966, and later translated into English by the Beckett and published in 1967. The story was originally written as a segment of The Lost Ones. David Lodge has described it as: “the rendering of the consciousness of a person confined in a small, bare, white room, a person who is evidently under extreme duress, and probably at the last gasp of life.”

Morgan Parker received her BA from Columbia University and her MFA in poetry from NYU. A Cave Canem fellow, her work has been featured or is forthcoming in Phantom Limb, Handsome Journal, and the anthology Why I Am Not A Painter, published by Argos Books. She lives in Brooklyn.