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Translation Quotes

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Translation Quotes

“What’s really notable about the Logi’s refusal to engage with us in our own language and media is how they’ve forced us to communicate on their terms. Our dire economic need to forge a productive relationship with another species has made us accept them and their demands. This gives them a lot more control over how they’re seen, meanwhile forcing us to put all the effort into communication, such as our network of translators.”

PoliticsLanguageCommunicationEconomicsColonialismImperialismTranslationTranslators
Book:Drunk on All Your Strange New Words
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““Esa chica esta bien caliente.” Hector laughed as Rider shook his head. Ainsley stiffened across from me. She was pretty fluent in Spanish and even though Hector was Puerto Rican, I had a feeling she was getting the general gist of whatever he was saying and she was not happy about it. “Me gustaria a llevarla a mi casa y comermela.” Ainsley cocked her head to the side as she brushed her long, blond hair over her shoulder. “Gracias! Pero no hay ni una parte de mi que tu te vas a comer.” Hector’s eyes widened. Rider threw his head back and burst into laughter. “Oh, shit. Priceless.” “What?” Ainsley blinked big eyes at the stunned Hector. “You think some white chick can’t possibly understand another language so you’re going to sit in front of me and talk about me like I’m not here?” Her smile was brittle and fake. “Bitch, please.” “Man...” Hector sat back, slowly shaking his head as he stared at her. “You’re...brutal.” “Damn straight,” she replied, her eyes like chips of blue ice. Whatever yumminess she’d seen in Hector was completely out the window now. “And you’re a mal criado.” Hector’s eyes narrowed. “I really like your friend, Mouse.” Still chuckling, Rider winked at me. “She basically called him a classless ass, and I agree.”

InsultShockedPricelessSpanishTranslationAinsleyHector Luna
Book:The Problem with Forever
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“We find “Nirvana” rendered by “annihilation” (no one stops to ask of what?), though the word means “despiration”, as Meister Eckhart uses the term. I accuse the majority of Christian writers of a certain irresponsibility, or even levity, in their references to other religions. I should never dream of making use of a Gospel text without referring to the Greek, and considering also the earlier history of the Greek words employed, and I demand as much of Christian writers. To THE NEW ENGLISH WEEKLY, LONDON - January 8, 1946”

TranslationNirvanaMeister Eckhart
Book:Selected letters of Ananda K. Coomaraswamy
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“The more I think about it, the more I am convinced that a cover is a sort of translation, that is, an interpretation of my words in another language- a visual one. It represents the text, but it isn't part of it. It can't be too literal. It has to have its own take on the book. Like a translation, a cover can be faithful to the book, or it can be misleading.”

BooksTranslationBook CoversBook CoverCover ArtBook Cover Quote
Book:The Clothing of Books: An Essay
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“We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.”

ThinkingWritingIdeasWarReadingLanguagePeaceUnderstandingTalkingPowerDoorsIgnoranceCommunicationWordsCommunicateIntellectThoughtDialogueMeaningControlInterpretationUnderestimatePower Of WordsMisunderstandingUnderstandWordSpeakingTranslationSuzy KassemWarsMisinterpretationExchangeSentenceInterpretMisunderstandConveyTonesMisinterpretatedRight Word
Book:Rise Up and Salute the Sun: The Writings of Suzy Kassem
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“Dreams, always dreams! and the more ambitious and delicate is the soul, the more its dreams bear it away from possibility. Each man carries in himself his dose of natural opium, incessantly secreted and renewed. From birth to death, how many hours can we count that are filled by positive enjoyment, by successful and decisive action? Shall we ever live, shall we ever pass into this picture which my soul has painted, this picture which resembles you? These treasures, this furniture, this luxury, this order, these perfumes, these miraculous flowers, they are you. Still you, these mighty rivers and these calm canals! These enormous ships that ride upon them, freighted with wealth, whence rise the monotonous songs of their handling: these are my thoughts that sleep or that roll upon your breast. You lead them softly towards that sea which is the Infinite; ever reflecting the depths of heaven in the limpidity of your fair soul; and when, tired by the ocean's swell and gorged with the treasures of the East, they return to their port of departure, these are still my thoughts enriched which return from the Infinite - towards you.”

RomanticismTranslationWorld LiteratureFrench PoetryAleister Crowley19th Century PoetryCharles BaudelairePoetry In Translation
Author:Charles Baudelaire, Aleister Crowley
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“Great works of literature from other places are not only censored by banning them, but even more so by silencing them, by refusing to translate them in the first place. Marginalization is the worst form of censorship and intellectual assassination. Likewise, choosing what gets translated into a certain language and what gets marginalized is a form of shaping and constructing the historical memory of a place according to whims of those who own the money and means of knowledge production.”

KnowledgeColonialismTranslationDecolonizationMarginalizationWorld LiteratureKnowledge Production
Author:Louis Yako
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“You will tell me that there always exists a chasm between the world depicted in novels and films and the world that people actually live in. It is the chasm between the world mediated by art and the world unmediated by art, formless and drab. You are absolutely right. The gap that my mother felt was not necessarily any deeper than the gap felt by a European girl who loved books and films. Yet there is one critical difference. For in my mother's case, the chasm between the world of art and real life also symbolized something more: the asymmetrical relationship I mentioned earlier—the asymmetrical relationship between those who live only in a universal temporality and those who live in both a universal and a particular one. To make this discussion a little more concrete, let me introduce a character named Francoise. Francoise is a young Parisienne living before World War II. Like my mother, she loves reading books and watching films. Also like my mother, she lives in a small apartment with her mother, who is old, shabby looking, and illiterate. One day Francoise, full of artistic aspirations, writes an autobiographical novel. It is the tale of her life torn between the world of art and the world of reality. (Not an original tale, I must say.) The novel is well received in France. Several hundred Japanese living in Japan read this novel in French, and one of them decides to translate it into Japanese. My mother reads the novel. She identifies with the heroine and says to herself, "This girl is just like me!" Moved, my mother, also full of artistic aspirations, writes her own autobiography. That novel is well received in Japan but is not translated into French—or any other European language, for that matter. The number of Europeans who read Japanese is just too small. Therefore, only Japanese readers can share the plight of my mother's life. For other readers in the world, it's as if her novel never existed. It's as if she herself never existed. Even if my mother had written her novel first, Francoise would never have read it and been moved by it.”

English LanguageTranslationJapaneseModern LiteratureMeijiPost ColonialismLinguistic Hegemony
Book:The Fall of Language in the Age of English
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“Life is a tiring business indeed. Soy sauce runs out. Milk runs out. Dishwashing detergent runs out. Lancôme lipsticks—I thought I had stockpiled several years' worth—run out. Dust underneath the dining table becomes dust balls. Newspapers and magazines pile up, and so does laundry. E-mail and junk mail keep coming. When occasion demands, I make myself presentable and I present myself. I listen to my sister's same old complaints on the phone. I withdraw money for my elderly mother, whose tongue works fine but whose body is a mess. I contact her caseworker. And now I have reached a stage in life when my own health is prone to betray me.”

LanguageEnglish LanguageTranslationModern LiteratureMeijiLinguistic HegemonyEnglish Language History
Book:The Fall of Language in the Age of English
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“And yet, as you all know, joining humanity is never a simple matter. By beginning to live the same temporality as Westerners, the Japanese now had to live two temporalities simultaneously. On the one hand, there was Time with a capital "T," which flows in the West. On the other hand, there was time with a small "t," which flows in Japan. Moreover, from that point on, the latter could exist only in relation to the former. It could no longer exist independently, yet it could not be the same as the other, either. If I, as a Japanese, find this new historical situation a bit tragic, it's not because Japanese people now had a live in two temporalities. It's rather because as a result of having to do so, they had no choice but to enter the asymmetrical relationship that had marked and continues to mark the modern world—the asymmetrical relationship between the West and the non-West, which is tantamount, however abstractly, to the asymmetrical relationship between what is universal and all the rest that is merely particular.”

LanguageEnglish LanguageTranslationJapaneseModern LiteratureMeijiPost ColonialismLinguistic Hegemony
Book:The Fall of Language in the Age of English
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“Throughout history these Gogs were called by various names. Today, we may know them as Wall Street, Madison Avenue, Sicily, Columbia, 5th Avenue, Broadway, Hollywood, Silicon Valley, etc. All these are more than locations. They are international business entities—legal and illegal. If it’s incorporated, it’s a monster that feeds internationally; if it can bring glory to the ungodly, you are probably looking at a modern-day Gog. (2Tim 3:1-5) Michael Ben Zehabe, Ruth: a woman’s guide to husband material, pg 4”

TranslationGogMagog
Book:Ruth: A Woman's Guide to Husband Material
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“We are, in the main, 'word-blind' to Pre-Raphaelite and Decadent verse. This blindness results from a major change in habits of sensibility. Our contemporary sense of the poetic, our often unexamined presumptions about valid or spurious uses of figurative speech have developed from a conscious negation of fin de siécle ideals.”

PoetryTranslationPhilologyPre Raphaelite
Book:After Babel: Aspects of Language and Translation
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“Words should not be used merely because they are 'old' or obsolete. The words chosen, however remote they may be from colloquial speech or ephemeral suggestions, must be words that remain in literary use, especially in the use of verse, among educated people. (To such Beowulf was addressed, into whatever hands it may since have fallen.) They must need no gloss. The fact that a word was still used by Chaucer, or by Shakespeare, or even later, gives it no claim, if it has in our time perished from literary use.”

WritingWordsVocabularyLinguisticsTranslationArchaic EnglishWord Usage
Book:The Monsters and the Critics and Other Essays
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“Ideally, poetry in translation should one day lead a reader to a reading of the poem in the original tongue. The poem in its native phonemes, we often forget, was primarily a poem, and a good one, presumably, if chosen for translation. A poem in translation should be faithful, if to anything, to this primary quality of the original—that of its being an effective poem.”

PoetryWillis BarnstoneTranslation
Book:Ancient Greek Lyrics
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“Many banal ideas are commonly held about the disadvantages of poetry in translation—this despite the modern additions to our language of verse translations by Lattimore, Fitts, Fitzgerald, Wilbur, Lowell, or Auden. Poems may be poorly translated, as they may have been poorly written originally, but they are not necessarily poorer or better than the original—though the translator must secretly and vainly aim for the later. The quality of the poem in translation will depend on the translator's skill in writing poetry in his own language in the act of translating. If he is T. S. Eliot translating Saint-Jean Perse or Mallarmé translating Poe or the scholars of the King James Version translating the psalms, the result may indeed be superior—or at the very least equal. Only one thing is certain: the poem in translation will be different. The translator's task, then, is to produce a faithful forgery. The quality and resemblance of the new product to the old lies somewhere between such fidelity and fraud.”

PoetryWillis BarnstoneTranslation
Book:Ancient Greek Lyrics
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“Discussion of translations of poetry usually confuses kind with value. One type of translation is thought to be intrinsically superior to others, be it free translation, close translation, poetry after, imitation, metaphrase, paraphrase, etc. In the critic’s mind, the quality of a translation often depends on how closely it conforms to his own preferred method. This error of descriptive rather than evaluative criticism—where kind determines value—probably occurs more often in regard to poetry in translation than in any other form of literary criticism. But in the end, method is secondary, and determines neither the virtues nor sins of a poem. The translator need only clearly and honestly indicate his method—whatever it is—and then be judged, not on this choice, but on the quality of the new poem. If the new poem is good, the translator as artist will be performing his ancient function of retelling, in his own form, a given content he has overheard from the immediate or the distant past.”

PoetryWillis BarnstoneTranslation
Author:Willis Barnstone
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“But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminationswere translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.”

PoetryWillis BarnstoneTranslation
Book:Ancient Greek Lyrics
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“But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminations were translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.”

PoetryWillis BarnstoneTranslation
Book:Ancient Greek Lyrics
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“One has much wealth; his wife, so sweet and yet so bold, Distributes it to those who'll crown him a cuckold. The other, still a wretch, but with a kinder fate, Observing gifts presented to his lifelong mate, Maintains his peace of mind free from all jealousy, For she says her virtue attracts this gallantry.”

PlayComedyFrenchTranslationMoliereRhymed
Book:Molière The School for Wives: A Translation in Rhymed Verse
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“The Abduction refers to an autobiographical event in Al-Masri’s life. When, as a young Arab woman living in France, she decides to separate from her husband with whom she has a child, the father kidnaps the baby and returns to Syria. The Abduction is the story of a woman who is denied the basic right to raise her child. Al-Masri won’t see her son for thirteen years. These are haunting poems of love, despair, and hope in a delicate, profound and powerful book on intimacy, a mother’s rights, war, exile, and freedom.”

LoveGrief And LossTranslationWriting From The HeartAbductionFrench PoetryFrench Poetry In TranslationLiterary TranslationMaram Al MasriSyrian Poetry
Book:The Abduction
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“The term satipaṭṭhāna can be explained as a compound of sati, "mindfulness" or "awareness", and upaṭṭhāna, with the u of the latter term dropped by vowel elision. The Pāli term upaṭṭhāna literally means "placing near", and in the present context refers to a particular way of "being present" and "attending" to something with mindfulness. In the discourses [of the Buddha], the corresponding verb upaṭṭhahati often denotes various nuances of "being present", or else "attending". Understood in this way, "satipaṭṭhāna" means that sati "stands by", in the sense of being present; sati is "ready at hand", in the sense of attending to the current situation. Satipaṭṭhāna can then be translated as "presence of mindfulness" or as "attending with mindfulness." The commentaries, however, derive satipaṭṭhāna from the word "foundation" or "cause" (paṭṭhāna). This seems unlikely, since in the discourses contained in the Pāli canon the corresponding verb paṭṭhahati never occurs together with sati. Moreover, the noun paṭṭhāna is not found at all in the early discourses, but comes into use only in the historically later Abhidhamma and the commentaries. In contrast, the discourses frequently relate sati to the verb upaṭṭhahati, indicating that "presence" (upaṭṭhāna) is the etymologically correct derivation. In fact, the equivalent Sanskrit term is smṛtyupasthāna, which shows that upasthāna, or its Pāli equivalent upaṭṭhāna, is the correct choice for the compound.”

MeditationBuddhismMindfulnessTranslationSanskritEtymology2004SutraPaliSutta
Book:Satipaṭṭhāna: The Direct Path to Realization
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“The heroic books, even if printed in the character of our mother tongue, will always be in a language dead to degenerate times; and we must laboriously seek the meaning of each word and line, conjecturing a larger sense than common use permits out of what wisdom and valor and generosity we have. The modern cheap and fertile press, with all its translations, has done little to bring us nearer to the heroic writers of antiquity. They seem as solitary, and the letter in which they are printed as rare and curious, as ever. It is worth the expense of youthful days and costly hours, if you learn only some words of an ancient language, which are raised out of the trivialness of the street, to be perpetual suggestions and provocations. It is not in vain that the farmer remembers and repeats the few Latin words which he has heard. Men sometimes speak as if the study of the classics would at length make way for more modern and practical studies; but the adventurous student will always study classics, in whatever language they may be written and however ancient they may be. For what are the classics but the noblest recorded thoughts of man? They are the only oracles which are not decayed, and there are such answers to the most modern inquiry in them as Delphi and Dodona never gave. We might as well omit to study Nature because she is old.”

HeroicTranslationClassicsThe Press
Book:Walden or, Life in the Woods
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“- Не са ми известни много правила за това как да живееш – започна той. – Но ще ти кажа едно. То е съвсем просто. Не поемай нищо ненужно вътре в себе си. Никакви отрови и химикали, никакъв дим, изпарения или алкохол, никакви остри предмети, никакви игли, които не са от първа необходимост – наркотици или татуировки, – както и никакви несъществени… пениси.”

Life LessonsTattooDrugsTranslationбългарскиPenisBulgarianBulgarian Language
Book:Daughter of Smoke & Bone
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“An artist encounters an untranslatable experience and it causes in him such violent wonder and disquiet that he must try, with what will he can, to overcome the gulf, to attempt to reconcile ‘God’ and ‘Nature’ with ‘the single life.’ Here we have two untranslatable experiences. The first is the friendship, which, like all friendships, one cannot fully describe to anyone else. The second is grief, which again, like all forms of grief, is horrible exactly for how uncommunicable it is.”

ArtFriendshipGriefTranslation
Book:My Friends
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