Skip to main content

Model translation from Camus' La Peste


From La Peste by Albert Camus (1947)

This is from the free samples page of frenchteacher.net.

Camus’ novel, written just after the horrors of the Second World war is an allegory about the Nazi occupation of France and the presence of evil and suffering in the world in general. In this extract the central characters are witness the death of a child who has fallen victim to the plague in the Algerian city of Oran. The setting is a hospital ward.



Le long des murs peints à la chaux, la lumière passait du rose au jaune. Derrière la vitre, une matinée de chaleur commençait à crépiter. C’est à peine si on entendit Grand partir en disant qu’il reviendrait. Tous attendaient. L’enfant, les yeux toujours fermés, semblait se calmer un peu. Les mains, devenues comme des griffes, labouraient doucement les flancs du lit. Elles remontèrent, grattèrent la couverture près des genoux, et, soudain, l’enfant plia ses jambes, ramena ses cuisses près du et s’immobilisa. Il ouvrit alors les yeux pour la première fois et regarda Rieux qui se trouvait devant lui. Au creux de son visage maintenant figé dans une argile grise, la bouche s’ouvrit et, presque aussitôt, il en sortit un seul cri continu, que la respiration nuançait à peine, et qui emplit soudain la salle d’une protestation monotone, discorde, et si peu humaine qu’elle semblait venir de tous les hommes à la fois. Rieux serrait les dents et Tarrou se détourna. Rambert s’approcha du lit près de Castel qui ferma le livre, resté ouvert sur ses genoux. Paneloux regarda cette bouche enfantine, souillée par la maladie, pleine de ce cri de tous les âges. Et il se laissa glisser à genoux et tout le monde trouva naturel de l’entendre dire d’une voix un peu étouffée, mais distincte derrière la plainte anonyme qui n’arrêtait pas : « Mon Dieu, sauvez cet enfant. »

Mais l’enfant continuait de crier et, tout autour de lui, les malades s’agitèrent. Celui dont les exclamations n’avaient pas cessé, à l’autre bout de la pièce, précipita le rythme de sa plainte jusqu’à en faire, lui aussi, un vrai cri, pendant que les autres gémissaient de plus en plus fort. Une marée de sanglots déferla dans la salle, couvrant la prière de Paneloux, et Rieux, accroché à la barre du lit, ferma les yeux, ivre de fatigue et de dégoût.

Model answer

Along the whitewashed walls the light was changing from pink to yellow. The morning waves of heat were beating against the window. They hardly heard Grand leaving as he said he would come back later. They were all waiting. The child, his eyes still closed, seemed to grow a little calmer. His hands gently clawed away at the sides of the bed. Then they rose, scratched away at the blanket below his knees and suddenly the child doubled up his legs, bringing his thighs above his stomach and remained quite still. For the first time he opened his eyes and gazed at Rieux who was standing straight in front of him. His mouth, in a face with a fixed expression the colour of grey clay, opened, and almost immediately, there emerged a long, incessant scream, hardly varying with his breathing, filling the ward with a discordant, monotone protest, so inhuman that it seemed come from all mankind at once. Rieux gritted his teeth and Tarrou looked away. Rambert went and stood beside Castel who closed the book which had been lying open on his lap. Paneloux observed the child’s mouth, fouled by the sores of the plague, pouring out that death cry which has sounded out across the ages. He sank to his knees and everyone thought it quite natural when he said, in a slightly strangled voice, but one which could be clearly made out from the nameless, never-ending wail: “My God, spare this child.”

But the child continued to wail and, around him, the other patients began to grow restless. The child at the far end of the ward whose little sobs had gone on unbroken, now quickened their tempo, so they became one continuous wail, whilst the others in the ward groaned ever more loudly. A tide of sobbing swept across the room, drowning out Paneloux’s prayer and Rieux, who was still tightly gripping the rail of the bed, closed his eyes, dazed with exhaustion and disgust.

- Posted using BlogPress from my iPad

Comments

Popular posts from this blog

What is skill acquisition theory?

For this post, I am drawing on a section from the excellent book by Rod Ellis and Natsuko Shintani called Exploring Language Pedagogy through Second Language Acquisition Research (Routledge, 2014). Skill acquisition is one of several competing theories of how we learn new languages. It’s a theory based on the idea that skilled behaviour in any area can become routinised and even automatic under certain conditions through repeated pairing of stimuli and responses. When put like that, it looks a bit like the behaviourist view of stimulus-response learning which went out of fashion from the late 1950s. Skill acquisition draws on John Anderson’s ACT theory, which he called a cognitivist stimulus-response theory. ACT stands for Adaptive Control of Thought.  ACT theory distinguishes declarative knowledge (knowledge of facts and concepts, such as the fact that adjectives agree) from procedural knowledge (knowing how to do things in certain situations, such as understand and speak a langua...

Zaz - Si jamais j'oublie

My wife and I often listen to Radio Paradise, a listener-supported, ad-free radio station from California. They've been playing this song by Zaz recently. I like it and maybe your students would too. I shouldn't really  reproduce the lyrics here for copyright reasons, but I am going to translate them (with the help of another video). You could copy and paste this translation and set it for classwork (not homework, I suggest, since students could just go and find the lyrics online). The song was released in 2015 and gotr to number 11 in the French charts - only number 11! Here we go: Remind me of the day and the year Remind me of the weather And if I've forgotten, you can shake me And if I want to take myself away Lock me up and throw away the key With pricks of memory Tell me what my name is If I ever forget the nights I spent, the guitars, the cries Remind me who I am, why I am alive If I ever forget, if I ever take to my heels If one day I run away Remind me who I am, wha...

Longman's Audio-Visual French

I'm sitting here with my copies of Cours Illustré de Français Book 1 and Longman's Audio-Visual French Stage A1 . I have previously mentioned the former, published in 1966, with its use of pictures to exemplify grammar and vocabulary. In his preface Mark Gilbert says: "The pictures are not... a mere decoration but provide further foundation for the language work at this early stage." He talks of "fluency" and "flexibility": "In oral work it is advisable to persist with the practice of a particular pattern until the pupils can use it fluently and flexibly. Flexibility means, for example, the ability to switch from one person of the verb to another..." Ah! Now, the Longman offering, written by S. Moore and A.L. Antrobus, published in 1973, just seven years later, has a great deal in common with Gilbert's course. We now have three colours (green, black and white) rather than mere black and white. The layout is arguably more attrac...