Translating Style: A Literary Approach to Translation - A Translation Approach to Literature

Translating Style: A Literary Approach to Translation - A Translation Approach to Literature

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Translating Style: The English Modernists and Their Italian Translations

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Translating Style: The English Modernists and Their Italian Translations

Lefevere , a second major effect on the evolution of the thought on translation: the already mentioned huge discrepancy between the status of the original and that of the translation. Additionally, this improvement was not limited to the personal style of each individual, but this exercise was supposed to also promote the improvement of the target language the translator was working with. Throughout the Renaissance, no language was considered worthy until it demonstrated its ability to elegantly translate the great classical authors.

This concept of imitation underwent major transformations in the 17th century a trend which started in France , when the authors of that period began to consider themselves able to compete with the classics in the search for literary excellence. This was very symptomatic of the interest to turn French into a real language of culture, not to mention the fact that it was practiced at a time when the readership of these translations could have directly read the originals. Classic and modern works would cohabitate in the same space and it was not uncommon to find translators capable of correcting the original authors when they thought that they had not reached the desirable levels of quality, based on the poetics of the moment.

Later, during the Romanticism, and very markedly in Germany, a deliberate attempt to incorporate the classics especially Hellenistic classics was made in order to show that the host language was able to make the leading figures of world literature speak through it. Thus a deliberate cultural planning was carried out, leading to an enrichment of the literary repertoire.

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The different translation exercises performed are accompanied by empirical and speculative considerations about the literary, cultural, metaphysical, religious and historical implications of this activity, and are part of an attempt to feed language and culture, especially in its poetic expression, thanks to the import of classical Greek models, which will expand the repertoire by transmission through foreignisation.

We have already suggested that Comparative Literature paid scant attention to translation for a long time. Indeed, it would be more correct to say that it rejected translation, for it not only considered translation to be an inappropriate field of study but also did not use it as a tool to access literary works. Its emergence as a discipline had to find an academic space next to classical philology and the different modern philologies.

In modern philology the study of the history of the language occupied a privileged place, leading to not requiring the use of translations and allegedly forced direct access to texts, despite their being written in a very pronounced diachronic variety. According to what Lefevere states elsewhere , Comparative Literature, in order to maintain a high degree of academic respectability, kept this tradition.

In fact, it was assumed that one of the main attributes of the comparatist was having mastered several foreign languages, with the ultimate goal of not having to resort to the use of translation unless absolutely necessary. For example, Hugo Meltzl, founder of the first journal on Comparative Literature Acta Comparationis Litterarum Universarum , declared in its founding issue in The art of translation is, and will remain, one of the most important and attractive tools for the realization of our high comparative aims.

Translating humorous literature in Italian and English

But the means should not be mistaken for the end. Therefore the principle of translation has to be not replaced but accompanied by a considerably more important comparative tool, the principle of polyglotism. It is during the last decades of the 19th and early 20th centuries when we witness the consolidation of Comparative Literature as an academic subject. Among the main studies on this subject published in the 19 th century, we find Comparative Literature , by the New Zealander Possnett Hutcheson Macaulay, expressing unequivocally his clear scepticism about the feasibility of translation, especially in the poetic domain:.

How far is accuracy of translation possible? It is clear that both in prose and verse there are difficulties in the way of the translator sometimes unsurmountable.

But in verse, besides these difficulties, there is the close connection between sounds and ideas which in every language is more or less recognisable Macaulay Possnett However many translations are taken up, it is nevertheless without a doubt that the writers of the various lands and languages differ widely with respect to the likelihood of acquiring world renown or just a certain measure of acknowledgement. On that we are all in agreement. But these translations!

To these we all object. I confess to the heresy that I can only view them as a pitiful expedient. They eliminate the literary artistry precisely by which the author should validate himself, and the greater he is in his language, the more he loses. Usually the effort to translate it to another language is not undertaken for the simple reason that nothing will be gained from such an effort. But this is wrong. The loss remains immeasurable, albeit less striking than in poems.

The selection and the sound of the words, the architecture of the sentences and the harmony, the peculiarity of literary expression; everything vanishes. In any case, it is unarguable that we also count with some early statements in favour of translation, which are surprising nowadays due to their modernity and lack of hang-ups. For instance, Richard Green Moulton, author of some important works on classical tragedy, Shakespeare or the Bible from a literary point of view, expressed in World Literature and Its Place in General Culture , one of his most celebrated works, the implicit limitations in the exclusive access to literature in its original language, at the same time as he stressed the intrinsic qualities of literary translation as an exercise of creation:.

One who accepts the use of translations where necessary secures all factors of literature except language. One who refuses translations by that fact cuts himself off from the major part of the literary field; his literary scholarship, however polished and precise, can never rise above the provincial. Clearly, comparatists were aware that they were facing a dichotomy with no easy solution: if it was only legitimate to read the works in their original languages, the comparatists exercise would be limited to those authors and texts expressed in a language the scholar knew.

This necessarily limited the amount of texts and authors and resulted in a microscopic view. Conversely, if they aimed to understand the direct and indirect links between the different literatures that form the international literary order, resorting to translation as an instrumental tool was mandatory.

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