kind. In other cultural situations, however, alternative shifts may be deemed
appropriate. Holmes (1970) formalizes these further shifts in terms of four available
options (in addition to the blanket rendering of verse as prose): the translator can use a
form that looks like the source-text form (“mimetic form”); they can select a form that
fulfils a similar
function
(“analogical form”); they can develop a new form on the basis
of the text’s content (“organic form”); or they could come up with their own individual
solution (“extraneous form”).
A model of options for the translation of verse (from Holmes 1970)
1.
Verse as prose
: All foreign verse is rendered as prose, as has been the norm in
translations into French.
2.
Mimetic form
: The translator chooses a form in the target language that is as
close as possible as the one used in the source language. For example, an
English sonnet can be rendered as a Spanish sonnet well enough, even though
the metrics of feet in English will not correspond to the syllabic metrics of
Spanish. Often this involves introducing a new form into the target culture, as
was done when English
terza rima
was modeled on the Italian verse form.
3.
Analogical form
: The translator identifies the function of the form in the source-
language tradition, then finds the corresponding form in the target-language
tradition: “Since the
Iliad
and
Gerusalemme liberata
are epics, the argument of
this school goes, an English translation should be in a verse form appropriate to
the epic in English: blank verse or the heroic couplet” (Holmes 1970: 95). This
option might be an application of the equivalence paradigm at a high textual
level. It is to be distinguished from the blanket “verse to prose” option to the
degree that it requires identification of the way the specific source-text form
functions in the source culture.
4.
Organic or content-derivative form
: The translator refuses to look solely at the
form of the source text (as is done in the above options) and instead focuses on
the content, “allowing it to take on its own unique poetic shape as the
translation develops” (Holmes 1970: 96).
5.
Extraneous form
: In some situations, the translator may adopt a form that is
totally unconnected with the form or content of the source text, and that is not
dictated by any blanket form for translations in the target culture. In other
words, anything can happen.
Holmes sees these options as being appropriate to
Dostları ilə paylaş: