Lesson 4 Methods of writing poetic translations plan

Lesson 4

Methods of writing poetic translations

PLAN:

1. Ways of writing poetic translation

2. Types of poetic translation

Key words: poetics, literary works, rhyme, meter, diction, figurative language, metaphors, novel, thought, emotion, specific expressions

Translating literary works is, perhaps, always more difficult than translating other types of text because literary works have specific values called the aesthetic and expressive values. The aesthetic function of the work shall emphasize the beauty of the words (diction), figurative language, metaphors, etc. While the expressive functions shall put forwards the writer's thought (or process of thought), emotion, etc. And the translator should try, at his best, to transfer these specific values into the target language (TL). As one genre of literature, poetry has something special compared to the others. In a poem, the beauty is not only achieved with the choice of words and figurative language like in novels and short stories, but also with the creation of rhythm, rhyme, meter, and specific expressions and structures that may not conform to the ones of the daily language. In short, the translation of poetry needs 'something more' than translating other genres of literature. This simple writing will present in brief some considerations in translating poetry and the eight-stage procedure to translate a poem.

The Methods

In general, there are a lot of methods in translating a text, but not all of them are appropriate to use in translating a poem. Andre Lafevere (in Bassnett-McGuire, 1980: 81-82) noted seven methods adopted by English translators in translating Catullus's poems: phonemic translation, literal translation, metrical translation, verse-to-prose translation, rhymed translation, free verse translation, and interpretation.

Phonemic translation attempts to recreate the sounds of the source language (SL) in the target language (TL). And at the same time the translator tries to transfer the meaning. According to Lafevere, in general the result sounds awkward and sometimes leaves some parts of the original meaning behind.

Literal translation means word-for-word translation. This method will not be able to transfer the original meaning; while the phrase and sentence structures tend to fall by the wayside in the TL.

The metrical translation emphasizes the reproduction of the original meter into the TL. And because each language has its own specific stressing and pronunciation system, this method will result in the inappropriate translation in terms of meaning and structure.

Verse-to-prose translation has also some weaknesses. The outstanding weakness is the loss of the beauty of the original poem.

The next method is rhymed translation which emphasizes the transferring of the rhyme of the original poem into the translation in TL. The result will be appropriate physically but tend to be semantically inappropriate.

The sixth method is free verse translation. With this method the translator may be able to get the accurate equivalents in the TL with a sound literary value of the result. On the other hand, the rhyme and meter tend to be ignored. So, physically the result is different from the original, but semantically it seems the same.

The last method noted by Lafevere is interpretation. According to him there are two types: version and imitation. A version of a poem in the TL will semantically be exactly the same with the original, but physically totally different. Further, an imitation is exactly a different poem, but the title, topic, and starting point are the same with the original poem.

Lafevere's explanation of the above methods seems to reemphasize Cluysenar's opinion that the weaknesses of the poetry translation methods are due to the emphasis given to one or some of the poetic components in the process of translating. The literal, metrical, and rhymed translation seem to emphasize the "form" or "poetic structure" of the poem; while the rest emphasize on the transferring of the precise meaning into the TL. It seems no methods described above will cater the poetry translators' needs appropriately.

According to Suryawinata (in Aminuddin, 1990: 140), among several translation methods proposed by experts the communicative and semantic translation are worth noting. The two are even said to be the only methods that fulfill the two main aims of translation: accuracy and economy (Newmark, 1981: 22, 1988: 47).

The term communicative and semantic translation themselves are proposed by Newmark (1981: 38-56, 62-69). Communicative translation attempts to render the exact meaning of the original in such a way that the readers may not find difficulties in understanding the message of the translated text. In communicative translation, therefore, the translator can generously transfer the foreign element in the SL into the culture of the TL where necessary. This type of translation is best used for general argumentative and scientific texts, which are also called informative and vocative texts by Newmark.

The semantic translation, on the other hand, attempts to reproduce the precise contextual meaning of the original by taking more account of the aesthetic values and expressive component of the original poem, such as peculiar choice of words, figurative language, metaphors, sounds, etc. This type of translation is best used for imaginative literatures, which are also called expressive texts by Newmark. The writer, however, agrees with Suryawinata (in Said, 1994: 41-42) stating that a poetry translator, in fact, frequently functions as the mediator of the communication between the poet and the reader. Therefore, the translator should take the readership into account. In short, he should try to make the content and the beauty of the original poem ready for readership.

Literary Translation

What is it?

The translation of literary works – novels, short stories, plays, essays, poems.

Key features

Literary translation is widely regarded as the most difficult form of translation.

That’s because it involves much more than simply conveying all meaning in an appropriate style. The translator’s challenge is to also reproduce the character, subtlety and impact of the original – the essence of what makes that work unique.

This is a monumental task, and why it’s often said that the translation of a literary work should be a literary work in its own right.

What this means

Literary translators must be talented wordsmiths with exceptional creative writing skills.

Because few translators have this skillset, you should only consider dedicated literary translators for this type of translation.

Poetry translation may be defined as relaying poetry into another language. Poetry's features can be sound-based, syntactic or structural or pragmatic in nature. Apart from transforming text, poetry translation also involves cognition, discourse, and action by and between human and textual actors in a physical and social setting. A poetry translation project usually aims to publicize a poet or poets. Poetry translation is typically overt. Poetry translators are concerned to interpret a source poem's layers of meaning, to relay this interpretation reliably, and/or to ‘create a poem in the target language which is readable and enjoyable as an independent, literary text. Poetry translation involves challenges and these are highlighted in this article. Poetry accounts for a tiny proportion of world translation output. Case studies and examples taken from poetry, however, have dominated theory-building in translation studies at the expense of more frequently translated genres.

Francis R. Jones

Francis R. Jones teaches Translation Studies at Newcastle University, UK. He researches poetry translation, focusing on professional strategies and practices, and ideologies of representation. He has published many translation-studies articles plus a poetry-translation travelogue through ex-Yugoslavia (Prevoditeljev Put [Translator's Journey], Sarajevo, 2004), and is now working on a poetry-translation monograph. He translates poetry from Bosnian-Croatian-Serbian, Dutch, Hungarian, Russian, Papiamento, and Sranan into standard English, Yorkshire, and Geordie, with 14 solo-translated books and 9 translation prizes to his name.

Translate the following poem into native language

Comin thro' the Rye

Comin thro1

' the rye, poor body,

Comin thro' the rye,

She draigl't a

2

' her petticoatie

Comin thro' the rye.

Oh Jenny's a' weet, poor body,

Jenny's seldom dry;

She draigl't a' her petticoatie

Comin thro' the rye.

Gin3

a body meet a body

Comin thro' the rye,

Gin a body kiss a body

Need a body cry.

(Chorus) Oh Jenny's a' weet, &c.

1

thro = through

2

a = all

3 Gin-i f

32

Gin a body meet a body

Comin thro' the glen;

Gin a body kiss a body

Need the world ken1

!

(Chorus) Oh Jenny's a' weet, &c.

18. Как относится Бернс к героине стихотворения Дженни? Осуждает ли он ее?

19. Можно ли представить аналогичную ситуацию, такую героиню и

такое отношение к ней автора в русской поэзии?

20. Прочтите переводы О. Чюминой и Т. Щепкиной-Куперник.

Перевод О. Чюминой

В поле

Дженни платье разорвала;

Прицепила колос;

За собой она слыхала

В поле чистый голос.

Дженни бедная бежала

Всё по бездорожью,

Дженни платье разорвала,

Пробираясь рожью.

Если кто встречал кого-то

В поле знойным летом,

Что кому-то за охота

Толковать об этом...

Если кто во ржи кого-то

Целовал случайно —

Не для нас о том забота

И не наша тайна.

1

ken = know

33

Перевод Т. Щепкиной-Куперник

Пробираясь через рожь...

Хор

Жалко бедную девчонку:

Пробираясь через рожь,

Измочила вдрызг юбчонку,

Пробираясь через рожь!

Дженни, бедную девчонку,

Вечно мокрой застаёшь:

Вдрызг измочит всю юбчонку,

Пробираясь через рожь!

Если кто-то с кем-то где-то

Встретился во ржи,

Неужли сейчас про это

Всем и расскажи?..

Если кто во ржи кого-то

Целовал тайком,

Неужли сейчас охота

И кричать о том?..

Дженни, бедную девчонку,

Вечно мокрой застаёшь:

Вдрызг измочит всю юбчонку,

Пробираясь через рожь!