Translation

===Poetry===
[[File:Hofstadter2002B.jpg|thumb|upright|[[Douglas Hofstadter|Hofstadter]]]]
[[File:Roman Jakobson.jpg|thumb|upright|[[Roman Jakobson|Jakobson]]]]
[[File:Vladimir Nabokov 1973.jpg|thumb|upright|[[Vladimir Nabokov|Nabokov]]]]
Views on the possibility of satisfactorily translating poetry show a broad spectrum, depending partly on the degree of latitude desired by the translator in regard to a poem's formal features (rhythm, rhyme, verse form, etc.), but also relating to how much of the suggestiveness and imagery in the host poem can be recaptured or approximated in the target language. In his 1997 book ''[[Le Ton beau de Marot]]'', [[Douglas Hofstadter]] argued that a good translation of a poem must convey as much as possible not only of its literal meaning but also of its form and structure (meter, rhyme or alliteration scheme, etc.).<ref>A discussion of Hofstadter's otherwise latitudinarian views on translation is found in Tony Dokoupil, "[http://www.newsweek.com/id/195684 Translation: Pardon My French: You Suck at This]," ''[[Newsweek]]'', 18 May 2009, p. 10.</ref>

The [[Russia]]n-born [[linguist]] and [[semiotician]] [[Roman Jakobson]], however, had in his 1959 paper "[[On Linguistic Aspects of Translation]]", declared that "poetry by definition [is] untranslatable". [[Vladimir Nabokov]], another Russian-born author, took a view similar to Jakobson's. He considered rhymed, metrical, versed poetry to be in principle untranslatable and therefore rendered his 1964 English translation of [[Alexander Pushkin]]'s [[Eugene Onegin#Into English|''Eugene Onegin'' in prose]].

Hofstadter, in ''[[Le Ton beau de Marot]]'', criticized Nabokov's attitude toward verse translation. In 1999 Hofstadter published his own translation of ''Eugene Onegin'', in verse form.

However, a number of more contemporary literary translators of poetry lean toward [[Alexander von Humboldt]]'s notion of language as a "third universe" existing "midway between the phenomenal reality of the 'empirical world' and the internalized structures of consciousness."<ref>{{Cite book|last=Steiner, George.|title=After Babel: Aspects of Language and Translation.|date=2013|publisher=Open Road Media|isbn=978-1-4804-1185-2|pages=85|oclc=892798474}}</ref> Perhaps this is what poet [[Sholeh Wolpé]], translator of the 12th-century Iranian epic poem ''[[The Conference of the Birds]]'', means when she writes: <blockquote>Twelfth-century Persian and contemporary English are as different as sky and sea. The best I can do as a poet is to reflect one into the other.&nbsp;The sea can reflect the sky with its moving stars, shifting clouds, gestations of the moon, and migrating birds—but ultimately the sea is not the sky. By nature, it is liquid. It ripples. There are waves. If you are a fish living in the sea, you can only understand the sky if its reflection becomes part of the water. Therefore, this translation of ''The Conference of the Birds'', while faithful to the original text, aims at its re-creation into a still living and breathing work of literature.<ref>{{Cite book|last=ʻAṭṭār, Farīd al-Dīn, -approximately 1230|title=The conference of the birds|others=Wolpé, Sholeh|year=2017|isbn=978-0-393-29218-3|edition=First|location=New York|pages=24|oclc=951070853}}</ref></blockquote>Poet [[Sherod Santos]] writes: "The task is not to reproduce the content, but with the flint and the steel of one's own language to spark what Robert Lowell has called 'the fire and finish of the original.{{'"}}<ref>{{Cite book|last=Santos, Sherod, 1948-|title=A poetry of two minds|date=2000|publisher=University of Georgia Press|isbn=0-8203-2204-0|pages=107|oclc=43114993}}</ref>

According to [[Walter Benjamin]]:<blockquote>While a poet's words endure in his own language, even the greatest translation is destined to become part of the growth of its own language and eventually to perish with its renewal. Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own.<ref>{{Cite book|last=Benjamin, Walter, 1892-1940.|title=Selected writings|date=1996–2003|publisher=Belknap Press|others=Bullock, Marcus Paul, 1944-, Jennings, Michael William., Eiland, Howard., Smith, Gary, 1954-|isbn=978-0-674-00896-0|location=Cambridge, Mass.|pages=256|oclc=34705134}}</ref></blockquote>Gregory Hays, in the course of discussing [[ancient Rome|Roman]] adapted translations of [[ancient Greek literature]], makes approving reference to some views on the translating of poetry expressed by [[David Bellos]], an accomplished French-to-English translator. Hays writes:
{{blockquote|Among the ''idées reçues'' [received ideas] skewered by David Bellos is the old saw that "poetry is what gets lost in translation." The saying is often attributed to [[Robert Frost]], but as Bellos notes, the attribution is as dubious as the idea itself. A translation is an assemblage of words, and as such it can contain as much or as little poetry as any other such assemblage. The [[Japanese people|Japanese]] even have a word (''chōyaku'', roughly "hypertranslation") to designate a version that deliberately improves on the original.<ref>Gregory Hays, "Found in Translation" (review of [[Denis Feeney]], ''Beyond Greek: The Beginnings of Latin Literature'', Harvard University Press), ''[[The New York Review of Books]]'', vol. LXIV, no. 11 (22 June 2017), p. 58.</ref>}}
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