A Quote by Friedrich Schleiermacher
Either the translator leaves the author in peace, as much as is possible, and moves the reader towards him: or he leaves the reader in peace, as much as possible, and moves the author towards him.
Related Quotes
The gift moves towards the empty place. As it turns in its circle it turns towards him who has been empty-handed the longest, and if someone appears elsewhere whose need is greater it leaves its old channel and moves toward him. Our generosity may leave us empty, but our emptiness then pulls gently at the whole until the thing in motion returns to replenish us. Social nature abhors a vacuum.
What is possible and what is not possible is not objectively known but is, rather, a subjective belief on the part of the author and of the reader.
The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head.
If you're doing a good job as author, then you get the reader to engage in whatever speculation might be called for. And it's much more meaningful for the reader, if he or she comes up with the questions.
It is excellent discipline for an author to feel that he must say all he has to say in the fewest possible words, or his reader is sure to skip them; and in the plainest possible words, or his reader will certainly misunderstand them. Generally, also, a downright fact may be told in a plain way; and we want downright facts at present more than anything else.
The State always moves slowly and grudgingly towards any purpose that accrues to society's advantage, but moves rapidly and with alacrity towards one that accrues to its own advantage; nor does it ever move towards social purposes on its own initiative, but only under heavy pressure, while its motion towards anti-social purposes is self-sprung.
The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot, he can engage the reader's attention so that he does not perceive the violence that has been done to him.
My job as an author is to tell the story in the best way possible, to make it flow seamlessly and get the reader to keep turning the page.
Why don't you meet Osama bin Laden, invite him to Brussels or to the White House and engage in talks, ask him what he wants and give it to him so he leaves you in peace?
A story should be managed so that it should suggest interesting things to the reader instead of the author's doing all the thinking for him, and setting it before him in black and white.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.
I don't think the author should make the reader do that much work to remember who somebody is.
I was a big reader as a child. My father is a great book lover and a librarian, but he forbid me to read bad literature. I was not allowed to read Nancy Drew or books like that. I often say to him that me becoming a crime author is both a way of pleasing him and annoying him.
Writing is transmogrifying, not just for the reader but also for the author; an author becomes someone he or she isn't by living the lives of his or her characters.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
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