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This week, I’ve touched on the matter of translation, a subject that rouses the interest and ire of anyone who invests in books, whether reader or writer. ‘Bad translation’ is, in some circles, a near redundancy:
Three grades of evil can be discerned in the queer world of verbal transmigration.The ?rst,and lesser one, comprises obvious errors due to ignorance or misguided knowledge.This is mere human frailty and thus excusable.The next step to Hell is taken by the translator who intentionally skips words or passages that he does not bother to understand or that might seem obscure or obscene to vaguely imagined readers…. The third,and worst,degree of turpitude is reached when a masterpiece is planished and patted into such a shape,vilely beauti?ed in such a fashion as to conform to the notions and prejudices of a given public.This is a crime,to be punished by the stocks as plagiarists were in the shoebuckle days.
That grim gradation of comes from a 1942 New Republic essay by, of course, Vladimir Nabokov. And as bracing as it is to read of a discipline’s indecent shortcomings, it’s also fun to read of its optimistic possibilities.
As such, for your weekend read, I propose you browse or perhaps download Essay on the Principles of Translation, by Alexander Fraser Tytler, Lord Woodhouselee (1747-1813). The particular scanned copy of this sober exploration of the discipline comes from the New York Public Library, in which Nabokov himself sat, in the early 1940s, preparing the lectures on literature that he would soon begin to deliver, over the next 15 or so years, at American Universities. Tytler’s work is the antipode to Nabokov’s ire: largely calm, largely reasonable, but also largely unpracticable. It makes for a fine primer, though, one with which any working translator will agreeably disagree. And agreeable disagreement is something we could all use a little more of. The Tytler starts like this:
There is perhaps no department of literature which has been less the object of cultivation, than the Art of Translating. Even among the ancients, who seem to have had a very just idea of its importance, and who have accordingly ranked it among the most useful branches of literary education, we meet with no attempt to unfold the principles of this art, or to reduce it to rules.
And continues here.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
In Havana, the past year has been marked by a parade of bold-faced names from the north — John Kerry reopening the United States Embassy; Andrew Cuomo bringing a delegation of American business leaders; celebrities ranging from Joe Torre, traveling on behalf of Major League Baseball to oversee an exhibition game between the Tampa Bay Rays and the Cuban national team, to Jimmy Buffett, said to be considering opening one of his Margaritaville restaurants there. All this culminated with a three-day trip in March by Barack Obama, the first American president to visit Cuba since Calvin Coolidge in 1928. But to those who know the city well, perhaps nothing said as much about the transformation of political relations between the United States and Cuba that began in December 2014 as a concert in the Tribuna Antiimperialista.
Ratio of the amount J. P. Morgan paid a man to fight in his place in the Civil War to what he spent on cigars in 1863:
The Food and Drug Administration asked restaurants to help Americans eat less.
Pope Francis announced that nuns could use social media, and a priest flew a hot-air balloon around the world.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”