Asterix the Gaul is a global phenomenon, beloved for its rollicking adventures, timeless humor, and, crucially, its witty wordplay and abundant classical allusions. For readers in the West, Latin quotes like “Alea Iacta Est” or “Errare Humanum Est” are often immediately recognizable, adding an extra layer of humor and historical context. But what happens when these classical Roman phrases encounter the vastly different linguistic and cultural landscapes of East and South Asia?
Translating Asterix for audiences in countries like China, Japan, Korea, and India presents a unique challenge: how to render these ancient Latin expressions in a way that resonates with readers who may have little to no exposure to classical Roman history or language. The approaches taken by translators vary significantly, from direct explanations to clever cultural substitutions, each reflecting a fascinating interplay between fidelity to the original and accessibility for the new audience.
Let’s delve into specific examples to see how Asian translators have navigated this fascinating linguistic tightrope.
Case 1: The Lament of the Lost Pirates – “O fortunatos nimium, sua si bona norint agricolas”
In the original French, the perpetually unlucky pirates often lament their misfortunes with the Virgilian quote, “O fortunatos nimium, sua si bona norint agricolas” (“Oh, too lucky farmers, if only they knew their own good!”). This is typically used ironically, highlighting their dire situation.
The Chinese Approach: When faced with this classical Latin, the Chinese translator opted for immediate emotional impact and narrative clarity. Instead of attempting a direct translation or explanation of the obscure Latin, the speech bubbles simply read: “上帝，救救我们吧！” (Shàngdì, jiùjiu wǒmen ba! – “God, save us!”) and “我不明白，这究竟发生了什么事？” (Wǒ bù míngbai, zhè jiūjìng fāshēngle shénme shì? – “I don’t understand, what on earth happened?”).
This choice prioritizes the characters’ predicament and their understandable distress. While the nuanced irony of the original Latin is lost, the direct expressions of fear and confusion are universally understood, ensuring the comedic beat lands effectively without requiring any prior knowledge of Roman poetry.
Case 2: Building Monuments – “Exegi monumentum aere perennius”
Another instance where Latin makes an appearance is with the grand pronouncement “Exegi monumentum aere perennius” (“I have built a monument more lasting than bronze”), a famous line from Horace. This quote often appears when characters are engaged in less-than-monumental tasks, creating a humorous contrast.
The Korean Approach: The Korean translator takes a different, more scholarly route. They retain the original Latin phrase “EXAEGI MONUMENTUM AERE PERENNIUS” directly within the speech bubble. However, to ensure comprehension, they provide a detailed footnote below the panel. This footnote explains the Latin phrase, its meaning, and attributes it to Horace.
This method appeals to readers who appreciate linguistic and cultural references. It maintains the intellectual aspect of Asterix‘s humor, potentially educating the reader about classical literature, while providing the necessary context to understand the joke. It suggests an assumption that the Korean audience might be open to, or even enjoy, learning about such allusions.
Case 3: To Err is Human – “Errare Humanum Est”
The widely known adage “Errare humanum est” (“To err is human”) is another staple of Latin in Asterix.
The Japanese Approach: The Japanese translation employs a hybrid strategy. In the speech bubble, the Latin is replaced with a direct Japanese equivalent: “アヤマチハ 人の常ナリ” (Ayamachi wa hito no tsune nari – “To make a mistake is human nature”). This makes the meaning instantly clear to a Japanese reader.
Crucially, like the Korean example, a footnote is provided. This footnote states: “聖ヒエロニムス書簡57-11” (Sei Hieronymusu Shokan 57-11 – “St. Jerome, Letter 57-11”), attributing the quote to its source. This approach successfully balances immediate comprehensibility with scholarly fidelity, allowing the reader to understand the phrase at a glance while also providing the deeper, classical context for those who seek it. The preceding phrase “だから 言っただろ?” (Dakara itta daro? – “See? I told you!”) further contextualizes the proverb within the character’s dialogue.
Case 4: The Die is Cast – “Alea Iacta Est”
The famous phrase “Alea Iacta Est” (“The die is cast”), attributed to Julius Caesar on crossing the Rubicon, signifies an irreversible decision, a point of no return.
The Hindi Approach: The Hindi translator chose a bold and uniquely cultural approach. Instead of a literal translation of “The die is cast,” the middle speech bubble reads: “राम नाम सत्य!” (Rām nām satya! – “The name of Ram is truth!”).
This phrase is profoundly significant in Hindu culture, chanted during funeral processions to signify the ultimate finality of life and the eternal truth of the divine. By using this, the translator conveys the sense of irreversible finality and ultimate fate inherent in “Alea Iacta Est,” but through a distinctly Indian cultural idiom. While the historical Roman context of Caesar is lost, the profound impact of an unchangeable outcome is powerfully communicated, resonating deeply with the target audience.
Case 5: Ravens and Doves – “Dat veniam corvis, vexat censura columbas”
Finally, let’s look at Juvenal’s cynical observation: “Dat veniam corvis, vexat censura columbas” (“He grants pardon to ravens, but censure vexes doves”), a commentary on selective justice.
The Chinese Approach (revisited): In this instance, the Chinese translator returns to a strategy similar to the Japanese and Korean approaches, opting for a direct conceptual translation combined with attribution. The speech bubble reads: “就像人们常说的 ‘乌鸦免责，鸽子有罪’” (Jiù xiàng rénmen cháng shuō de ‘Wūyā miǎnzé, gēzi yǒu zuì’ – “Just as people often say, ‘Ravens are absolved, doves are guilty.'”).
A footnote clearly states: “原文为拉丁语，为古罗马讽刺诗人尤维纳利斯的诗句” (Yuánwén wèi Lādīngyǔ, wèi gǔ Luómǎ fěngcì shīrén Yóuwéinàlìsī de shījù – “The original text is in Latin, a line from the ancient Roman satirist Juvenal.”). This method effectively conveys the satirical meaning of the proverb while also preserving its classical origin, offering both immediate understanding and intellectual depth.
Conclusion: A Rich Tapestry of Translation Strategies
The diverse approaches taken by Asian translators of Asterix highlight the complexity and artistry of translation, especially when bridging vast cultural and linguistic divides. From direct emotional substitution (Chinese, pirates’ lament) to literal translation with footnotes (Korean, Japanese, Chinese for Juvenal), and profound cultural replacement (Hindi), each strategy reflects a thoughtful decision on how best to deliver the essence of Goscinny and Uderzo’s genius to a new audience.
These varied methods ensure that Asterix continues to charm and entertain millions across Asia, proving that while languages may differ, the universal appeal of a good adventure, clever humor, and a dash of well-placed wisdom remains undiminished. For fans of Asterix, linguistics, and classical Latin, observing these translation choices offers a fascinating glimpse into the global journey of a beloved Gaulish warrior.
Note: To write this article I had to use AI extensively.
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