Translating between Civilizations: The Dragoman in Clarel's Nineteenth-Century Jerusalem

Translating between Civilizations: The Dragoman in Clarel’s Nineteenth-Century Jerusalem ADA LONNI University of Turin The guide, a Druze of Lebanon, Was rumored for an Emir’s son, Or offspring of a lord undone In Ibrahim’s time . . . . Exiled, cut off, in friendless state, The Druze maintained an air sedate; Without the sacrifice of pride, Sagacious still he earned his bread, E’en managed to maintain the head, Yes, lead men still, if but as guide To pilgrims” (NN Clarel 2.7.14-27). A Druze of Lebanon W ith these words in Clarel, Melville introduces Djalea, the Druze and a dragoman guide, who escorts Clarel on his long, atypical pilgrimage. A sophisticated personality; discreet, taciturn, and a keen observer, the Druze is not directly mentioned in Melville’s journals although another dragoman—also a druze, named Abdallah—did guide Melville and a companion, in and around Jerusalem (NN Journals 79-80). However, Melville could have found a source for the character in any number of travel accounts that Melville did not record in his journal. In the epic poem, the Druze plays a significant and well developed role. He coordinates activities and solves one problem after the other; he operates “In patient self-control” (NN Clarel 2.9.43). And we can admire his insight, as when the Swede decides to leave the group and stay in the desert, careless of the night’s dangers: “While so, not unconcerned, they stood, / The Druze said, ‘Well, let be. Why chafe? / Nights here are mild; one’s pretty safe / When fearless” (2.15.90-94). He relies on the God prayed to by Muslims, Christians, and Jews alike. Djalea’s name may be symbolic, suggesting in Arabic the sense of clarity and highness. The name in Arabic is “djāliya.” Its root, “djlw,” is the active participle of “djalā,” c  2011 The Melville Society and Wiley Periodicals, Inc. L E V I A T H A N A J O U R N A L O F M E L V I L L E S T U D I E S 41 A D A L O N N I which means “be or become clear; shine, stand. The dragoman in Clarel is a foil to the other major characters; he is a personality they learn from. Quiet, impartial, but at the same time able to distinguish and prefer, endowed with the capacity—typical among the Eastern people, according to Rolfe—of recognizing real “aristocrats,” that is, great or special characters, in this case Vine, probably the highest-ranked person in the poem, at least in Clarel’s eyes: “But few, believe, have nicer eye For the cast of aristocracy Than Orientals. Will now, own, Despite at times a manner shy, Shows not our countryman in mold Of a romanced nobility? His chary speech, his rich still air Confirm them in conjecture there.” (NN Clarel, 2.10.93-100) He is not confused as to his role: neither a pilgrim nor a friend, he gets paid for his service. Melville seems willing to reduce the prosaic aspect of such payment, sharing with us the most intimate dreams of this knight, who imagines the coins he receives being braided into the dark hair of his lover: . . . Djalea in face Wears an abstraction, lit by grace Which governed hopes of rapture lend: On coins his musing likewise bend— The starry sequins woven fair Into black tresses. But an air Considerate and prudent reigns; For his the love not vainly sure: ’Tis passion deep of man mature For one who half a child remains: Yes, underneath a look sedate, What throbs are known! (4.29.18-29) The calm and sedate nature of Djalea, even as he “throbs” with awareness internally, contrasts with the monomania, turmoil, and lack of awareness of the western travelers in the poem. Such is Djalea. But what about the other dragomans of the day? Is Djalea an isolated figure or a typical specimen? Or somehow both? The Dragoman A dragoman (Turjuman in Arabic) interprets, translates, and transposes words and ideas from one language to another, from one culture to another. Translation builds bridges, creates transparencies and 42...