A Quote by Gregory Rabassa
I have always maintained that translation is essentially the closest reading one can possibly give a text. The translator cannot ignore "lesser" words, but must consider every jot and tittle.
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A translator is essentially a reader and we all read differently, except that a translator's reading remains in unchanging print
For me, every translation is a new book, with the translator inevitably broadening the meaning of the original book in any translation.
There is no such thing as a perfect, ideal, or 'correct' translation. A translator is always trying to extend his knowledge and improve his means of expression; he is always pursuing facts and words.
It is in the translation that the innocence lost after the first reading is restored under another guise, since the reader is once again faced with a new text and its attendant mystery. That is the inescapable paradox of translation, and also its wealth.
No jot, iota, or tittle of the temple rites is otherwise than uplifting and sanctifying. In every detail the endowment ceremony contributes to covenants of morality of life, consecration of person to high ideals, devotion to truth, patriotism to nation, and allegiance to God.
In some sense the text and the translator are locked in struggle - 'I attacked that sentence, it resisted me, I attacked another, it eluded me' - a struggle in which, curiously, when the translator wins, the text wins too.
And I always read the English translation and always have conversations with my translator, for example about the names. I always have to approve it.
A translation is no translation unless it will give you the music of a poem along with the words of it.
A translation is no translation, he said, unless it will give you the music of a poem along with the words of it.
A satisfactory translation is not always possible, but a good translator is never satisfied with it. It can usually be improved. (Newmark)
I think that if you are sticking to the text, essentially, you're not trying to write your own version of it. I mean, of course, it is your own version of it. And every translator would probably have a different version. But I think that that's what keeps the writers from being individual in English. They may be my English, but I don't think that Ferrante sounds like Levi.
The reader must come armed , in a serious state of intellectual readiness. This is not easy because he comes to the text alone. In reading, one's responses are isolated, one'sintellect thrown back on its own resourses. To be confronted by the cold abstractions of printed sentences is to look upon language bare, without the assistance of either beauty or community. Thus, reading is by its nature a serious business. It is also, of course, an essentially rational activity.
You must remember always to give, of everything you have. You must give foolishly even. You must be extravagant. You must give to all who come into your life. Then nothing and no one shall have power to cheat you of anything, for if you give to a thief, he cannot steal from you, and he himself is then no longer a thief. And the more you give, the more you will have to give.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
Ivy waved her wet handkerchief, as much as to say 'words cannot possibly articulate my profound distress'. Then, because Ivy never settled for meaningful gestures when verbal embellishments could compound the effect, she said, "Words cannot possibly articulate my profound distress.
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