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Source text - English The tradition is a beauty which we preserve and not a set of fetters to bind us. This tradition did no start in A.D 1870, nor in 1776, nor in 1632, nor in 1564. It did not begin even with Chaucer.
The two great lyric tranditions which most concern us are that of the Melic poets and that of Provence. From first arose practically all the poetry of the "ancient world", from the second practically all that of the modern. Doubtless there existed before either of these traditions a Babylonian and a Hittite tradition whereof knowledge is for the most part lost. We know that men worshipped Mithra with an arrangement of pure vowel-sounds. We know that men made verses in Egypt and in China, we assume that they made them in Uruk. There is a Japonese metric which I do not yet understand, there is doubtless an agglunative metric beyond my comprehension.
As it happens, the conditions of English and forces in the English tradition are traceable, for the most part, to the two traditions mentioned. It is not intelligent to ignore the fact that both in Greece and in Provence the poetry attained its highest rhythmic and metrical brilliance at times when the art of verse and music were most closely knit together, when each thing done by the poet had some definite musical urge or necessity bound up within it. The Romans writing upon tablets did not match the cadences of those earlier makers who had composed to and for the Cÿthera and the Barbitos.
Translation - Portuguese A tradição é uma beleza a qual nós preservamos e não um conjunto de grilhões para prender-nos. Essa tradição não começou em 1870, nem em 1776, nem em 1632, nem em 1564. Não começou nem mesmo com Chaucer.
As duas grandes tradições líricas que mais nos interessam são aquelas dos poetas Mélicos e a de Provença. Da primeira surgiu praticamente toda a poesia do “mundo antigo”, da segunda praticamente toda a [poesia] moderna. Sem dúvida alguma existiu antes dessas duas tradições uma tradição Babilônica e uma tradição Hitita das quais o conhecimento, em grande parte, está perdido. Nós sabemos que Mitra era cultuado através de um arranjo de sons vogais puros. Nós sabemos que a humanidade escreveu versos no Egito e na China, nós acreditamos que eles os faziam em Uruk. Há uma métrica japonesa a qual eu não compreendo ainda, há sem dúvida uma métrica aglutinante além da minha compreensão.
Como acontece, as condições da língua inglesa e as suas forças na sua tradição são rastreáveis, na maior parte, até as duas tradições mencionadas. Não é inteligente ignorar o fato que tanto na Grécia como em Provença a poesia atingiu a sua maior genialidade rítmica e métrica em tempos que as artes do verso e da música estavam mais interligadas, quando cada coisa realizada pelo poeta havia uma urgência ou necessidade musical definida atrelada a isso. Os escritos romanos em tabuletas não alcançaram as cadências desses primeiros realizadores que compuseram para Citera e com a lira.
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Experience
Years of experience: 7. Registered at ProZ.com: Feb 2019.
My professional background is in Arts and Literature. In the past 2 years I've been part of a research group in my university that included the analysis, debate and translation of texts with theoretical and critical approach on historical and artistic issues. Since then I've been translating texts that deal closely with aesthetics and art history, but I enjoy reading many subjects, including philosophy, literature and history. I participated as well in a national iniciative to translate a inedit book of political history and theory.
Still I'm open to different offers and familiarizing myself with other fields of translation
Keywords: portuguese, english, art, art history, humanities, philosophy, history, sociology, critique, literature
Expertise