A Quote by Joseph Brodsky

Poetry is what is gained in translation. — © Joseph Brodsky
Poetry is what is gained in translation.
The oldest cliché in the world is about "what's lost in translation," but you don't very often read much intelligent about what's gained by translation, and the answer is everything. Our language is a compendium of translation.
I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.
In poetry, I have, since very young, loved poetry in translation. The Chinese, the French, the Russians, Italians, Indians and early Celts: the formality of the translator's voice, their measured breath and anxiety moves me as it lingers over the original.
Poetry cannot be translation
Poetry is what gets lost in translation.
Poetry is that which is lost in translation.
In its happiest efforts, translation is but approximation, and its efforts are not often happy. A translation may be good as translation, but it cannot be an adequate reproduction of the original.
Poetry is a second translation of the soul's feeling; it must be rendered into thought, and thought must change its nebulous robe of semi-wording into definite language, before it reaches another heart. Music is a first translation of feeling, needing no second, but entering the heart direct.
I believe every translation is a process in which something is lost in the original precisely so that something is gained in the new text.
Many people do not know that Jesus did not speak Latin or English or Hebrew; he spoke Aramaic. But nobody knows that language. So we're talking about the Bible itself being a translation of a translation of a translation. And, in reality, it has affected people's lives in history.
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.
We can write the new chapters in a visual language whose prose and poetry will need no translation.
I could define poetry this way: it is that which is lost out of both prose and verse in translation.
Literary poetry in a painter is something special, and is neither illustration nor the translation of writing by form.
I think translation is an impossible job, and I admire the people who do it in a way that brings poetry to us that we wouldn't have access to.
Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately, to the notion that something can also be gained.
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