It may add, or at least equal the original - example of a great translation Thread poster: Ouadoud
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Ouadoud 
Local time: 00:03
English to Arabic
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Here\'s an example of an almost perfect translation, where the reader in the atrget language may bypass the beauty of the original text, thanks to the exquisite delicacy and refinement of the Translator.
Ma, mentre l\'anima mia, rapita da quel concerto di bellezze terrene e di maestosi segnali soprannaturali, stava per esplodere in un cantico di gioia, l\'occhio, accompagnando il ritmo proporzionato dei rosoni fioriti ai piedi dei vegliardi, cadde sulle figure che, intreccia... See more Here\'s an example of an almost perfect translation, where the reader in the atrget language may bypass the beauty of the original text, thanks to the exquisite delicacy and refinement of the Translator.
Ma, mentre l\'anima mia, rapita da quel concerto di bellezze terrene e di maestosi segnali soprannaturali, stava per esplodere in un cantico di gioia, l\'occhio, accompagnando il ritmo proporzionato dei rosoni fioriti ai piedi dei vegliardi, cadde sulle figure che, intrecciate, facevano tutt\'uno con il pilastro centrale che sosteneva il timpano. Cos\'erano e che simbolico messaggio comunicavano quelle tre coppie di leoni intrecciati a croce trasversalmente disposta, rampanti come archi, puntando le zampe posteriori sul terreno e poggiando le anteriori sul dorso del proprio compagno, la criniera arruffata in volute anguiformi, la bocca aperta in un ringhio minaccioso, legati al corpo stesso del pilastro da una pasta, o un nido, di viticci? A calmare il mio spirito, come erano forse posti ad ammaestrare la natura diabolica dei leoni e a
trasformarla in simbolica allusione alle cose superiori, sui lati del pilastro, erano due figure umane, innaturalmente lunghe quanto la stessa colonna e gemelle di altre due che simmetricamente da ambo i lati le fronteggiavano sui piedritti istoriati ai lati esterni, ove ciascuna delle porte di quercia aveva i propri stipiti (...)\"
Umberto Eco, Il nome della rosa
Translated:
But as my soul was carried away by that concert of terrestrial beauty and
majestic supernatural signals, and was about to burst forth in a psalm of
joy, my eye, accompanying the proportioned rhythm of the rose windows that
bloomed at the ancients\' feet, lighted on the interwoven figures of the
central pillar, which supported the tympanum. What were they and what
symbolic message did they communicate, those three crisscrossed pairs of
lions rampant, like arches, each with hind paws planted on the ground,
forepaws on the back of his companion, mane in serpentine curls, mouth taut
in a threatening snarl, bound to the very body of the pillar by a paste, or
a nest, of tendrils? To calm my spirit, as they had perhaps been meant also
to tame the diabolical nature of the lion and to transform it into a
symbolic allusion to higher things, on the sides of the pillar there were
two human figures, unnaturally tall as the column itself and twins to two
others facing them on either side from the decorated imposts, where each of
the oak doors had its jamb.\"
Umberto Eco, The Name of the Rose. Transl. William Weaver.
\"Special thanks to Jacek, who posted both translations on another forum\".
Ouadoud  ▲ Collapse
| | | | Jacek Krankowski (X)
English to Polish
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| How about this one | Apr 4, 2003 |
Here is another one which has to do with the Middle Ages (attributed to St. Francis, ca. 13th c.)
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Dove c’è odio, io porti amore.
Dove c’è discordia, io porti l’unione.
Dove c’è errore, io porti la verità.
Dove c’è dubbio, io porti la fede.
Dove c’è disperazione, io porti la speranza.
...
Where there is hatred, let me sow love;
Where there is injury, pardon;
... See more Here is another one which has to do with the Middle Ages (attributed to St. Francis, ca. 13th c.)
...
Dove c’è odio, io porti amore.
Dove c’è discordia, io porti l’unione.
Dove c’è errore, io porti la verità.
Dove c’è dubbio, io porti la fede.
Dove c’è disperazione, io porti la speranza.
...
Where there is hatred, let me sow love;
Where there is injury, pardon;
Where there is doubt, faith;
Where there is despair, hope;
Where there is darkness, light;
Where there is sadness, joy.
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| | | | darkeol
Local time: 23:03
Chinese to Italian
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| poetry translated by poets | Apr 4, 2003 |
Although Giosue\' Carducci (1835-1907) is not one of my favourite poets, I find that his translation of Goethe\'s \"König in Thule\" (from \"Faust\") is a perfect example of how a translation becomes a masterpiece on its own.
Goethe\'s poem:
Es war ein König in Thule,
Gar treu bis an das Grab,
Dem sterbend seine Buhle
Einen goldnen Becher gab.
Es ging ibm nichts darüber,
Er le... See more Although Giosue\' Carducci (1835-1907) is not one of my favourite poets, I find that his translation of Goethe\'s \"König in Thule\" (from \"Faust\") is a perfect example of how a translation becomes a masterpiece on its own.
Goethe\'s poem:
Es war ein König in Thule,
Gar treu bis an das Grab,
Dem sterbend seine Buhle
Einen goldnen Becher gab.
Es ging ibm nichts darüber,
Er leert ibn jeden Schmaus;
Die Augen gingen ihm über,
So oft er trank daraus.
Und als er kam zu sterben
Zablt er seine Städt im Reich,
Gönnt alles seinem Erben,
Den Becher nicht zugleich.
Er sass heim Königsmable,
Die Ritter um ibn her,
Auf hoben Vätersaale,
Dort auf dem Schloss am Meer.
Dort stand der alte Zecher,
Trank letzte Lebensglut,
Und warf den beiligen Becher
Hinunter in die Flut.
Er sah ibn stürzen, trinken,
und sinken tief ins Meer,
Die Augen taten ihm sinken
Trank nie einen Tropfen mebr.
And here\'s Carducci\'s translation
Fedel sino all\'avello
egli era in Tule un re
mori\'l\'amor suo bello
e un nappo d\'or gli die\'.
Nulla ebbe caro ei tanto
e sempre quel vuoto\';
ma gli sgorgava il pianto
ognor ch\'ei vi trinco\'.
Venuto a l\'ultim\'ore
conto\' le sue citta\'
die\' tutto al successore:
ma il nappo d\'or non gia\'.
Ne l\'aula degli alteri
suoi padri a banchettar
sede\'tra i cavalieri
nel suo castello al mar.
Beve\' de la gioconda
vita l\'estremo ardor
e gitto\' il nappo a l\'onda
il vecchio bevitor.
Piombar lo vide lento
Empiersi e sparir giu\';
e giu\' gli cadde spento
l\'occhio e non bevve piu\'.
I like the use of this archaic-flavoured Italian, which really fit the beyond time dimension of the legend of the King of Thule.
It may not be 100% faithful to the original, but it\'s certainly far more appealing than certain Italian translation I\'ve read.
Another great poet-translator is, IMHO, Ezra Pound with his translations of Chinese poems (many sinologists cannot agree with me, but, alas I\'m too fond of the beauty of poetry to agree with certain Beckmessers).
The original of Li Bai (Big5)
°e¤Í¤H
«C¤s¾î¥_³¢
¥Õ¤ôëЪF«°
¦¹¦a¤@¬°§O
©t½´¸U¨½©º
¯B¶³´å¤l·N
¸¨¤é¬G¤H±¡
´§¤â¦Û¯÷¥h
¿½¿½¯Z°¨»ï
And Pound\'s translation:
Farewell To A Friend
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through a thousand miles of dead grass.
Mind like a floating wide cloud,
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each others
as we are departing.
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| | | | Ouadoud
Local time: 00:03
English to Arabic
+ ...
TOPIC STARTER | masterpieces have probably their own spirit, that flies over languages | Apr 6, 2003 |
Quote:
And Pound\'s translation:
Farewell To A Friend
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through a thousand miles of dead grass.
Mind like a floating wide cloud,
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance
... See more Quote:
And Pound\'s translation:
Farewell To A Friend
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through a thousand miles of dead grass.
Mind like a floating wide cloud,
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each others
as we are departing.
Hi,
Thanks to Ezra Pound\'s maestry, a profane in sinology like me can appreciate such a poem. It\'s very beautiful. Everything, naturally and culturally, expresses the farewell and the separation but in such soft and friendly way!
Sometimes, I think that certain works have their own spirit, over all languages, their beauty or wisdom are transcripted through.. Think of the 1001 nights from Persian to Arabic to.. Walt Disney..
Ouadoud
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