A Quote by Peter Newmark

A satisfactory translation is not always possible, but a good translator is never satisfied with it. It can usually be improved. (Newmark) — © Peter Newmark
A satisfactory translation is not always possible, but a good translator is never satisfied with it. It can usually be improved. (Newmark)
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.
For me, every translation is a new book, with the translator inevitably broadening the meaning of the original book in any translation.
The translator has to be a good writer. The translator has to hear music too. And it might not be exactly your music because the translator needs to translate the music. And so, that is what you are hoping for: a translator who gets what you are doing but who also gets all the ways in which it won't work in the new language.
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.
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.
I've translated a lot of American literature into Japanese, and I think that what makes a good translator is, above all, a feel for language and also a great affection for the work you're translating. If one of those elements is missing the translation won't be worth much.
Effective translation of natural languages comes awfully close to requiring a sentient translator program.
The existence of another, competing translation is a good thing, in general, and only immediately discouraging to one person - the translator who, after one, two, or three years of more or less careful work, sees another, and perhaps superior, version appear as if overnight.
I want as many people to see the show [Hamilton] in its musical theater form as possible before it's translated, and whether it's a good act of translation or a bad act of translation, it's a leap, and very few stage shows manage the leap successfully.
Like a true artist, never be satisfied that your writing cannot be improved.
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.
Without translation, I would be limited to the borders of my own country. The translator is my most important ally. He introduces me to the world.
Sometimes it can be difficult when you're talking to a journo after the game, saying, 'Yeah mate, I was on the burst.' And then the translator is trying to translate that into Japanese, and apparently there is no actual translation.
Translation is a kind of transubstantiation; one poem becomes another. You can choose your philosophy of translation just as you choose how to live: the free adaptation that sacrifices detail to meaning, the strict crib that sacrifices meaning to exactitude. The poet moves from life to language, the translator moves from language to life; both, like the immigrant, try to identify the invisible, what's between the lines, the mysterious implications.
There's always a way you can get better. You can never be satisfied. You can never say, 'That's good enough'.
I never let our players get satisfied, I never let our Coaches get satisfied, I was never satisfied. We can always do it better.
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