A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Belas Infiéis |
Texto Completo: | https://periodicos.unb.br/index.php/belasinfieis/article/view/26341 |
Resumo: | Rhymes in original and translated poems are the subject of this article. Its aim is to analyze them as potentially creative constraints in original poems and poetic translations. So, the article analyzes commonly accepted ideas about rhymes, such as the assumption that rhymes limit expression, in order to refute them by means of arguments revolving around the creative potential of rhymes in original poems and translated ones, rhymes being considered as conventions or constraints that, once they are used properly by the poet and the poet-translator, are a component of their originality. From this angle, the proper use of rhyme is related to the creation of logically convincing contexts for rhymes. In the case of poetic translations, in which the translator can only use a foreign context as a starting point for the literary experience to be developed in his translation, the foreign context itself is already an extra contraint when rhymes are involved, which proves that constraints in translation are bigger than those ones in original writing. These ideas about rhyme are also presented in the article as being related to the author´s personal views about poetic translation, ones inspired by critical writings by Jean Boasse-Beier and by Michael Hamburger. According to the author´s views, following Jean Boasse-Beier´s steps, translation is a constrained art, and “poetic paraphrases”, which he defines idiosyncratically from his developments of Dryden´s seminal ideas on the subject, is the way he chooses to deal with constraints in poetic translation. At last, the article analyzes passages from the translation of The Pied Piper of Hamelin in the light of these ideas, and includes an updated version of the poem published in previous decades. |
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A Kind of Magic: Aspects of The Rhyme in Original and Translated PoemsUm tipo de mágica: Aspectos da rima em poemas originais e traduzidosRima. Tradução. Poesia. Paráfrase poética. Robert Browning.Rhymes. Translation. Poetry. Poetic paraphrase. Robert Browning.Rhymes in original and translated poems are the subject of this article. Its aim is to analyze them as potentially creative constraints in original poems and poetic translations. So, the article analyzes commonly accepted ideas about rhymes, such as the assumption that rhymes limit expression, in order to refute them by means of arguments revolving around the creative potential of rhymes in original poems and translated ones, rhymes being considered as conventions or constraints that, once they are used properly by the poet and the poet-translator, are a component of their originality. From this angle, the proper use of rhyme is related to the creation of logically convincing contexts for rhymes. In the case of poetic translations, in which the translator can only use a foreign context as a starting point for the literary experience to be developed in his translation, the foreign context itself is already an extra contraint when rhymes are involved, which proves that constraints in translation are bigger than those ones in original writing. These ideas about rhyme are also presented in the article as being related to the author´s personal views about poetic translation, ones inspired by critical writings by Jean Boasse-Beier and by Michael Hamburger. According to the author´s views, following Jean Boasse-Beier´s steps, translation is a constrained art, and “poetic paraphrases”, which he defines idiosyncratically from his developments of Dryden´s seminal ideas on the subject, is the way he chooses to deal with constraints in poetic translation. At last, the article analyzes passages from the translation of The Pied Piper of Hamelin in the light of these ideas, and includes an updated version of the poem published in previous decades.Rimas em poemas originais e traduzidos são o tema deste artigo, seu objetivo sendo analisá-las como cerceamentos potencialmente criativos na escrita original e na tradução. Com esse objetivo, o artigo analisa ideias comumente aceitas sobre rimas, como a suposição de que rimas limitam a expressão, para refutá-las por meio de argumentos girando em torno ao potencial criativo das rimas em poemas originais e em poemas traduzidos, rimas sendo consideradas como convenções ou cerceamentos que, uma vez usadas com propriedade pelo poeta e pelo poeta-tradutor, são um componente da sua originalidade. Desse ângulo, o uso apropriado da rima estaria ligado à criação de contextos logicamente convincentes para as rimas. No caso de traduções poéticas, em que o tradutor não pode senão usar um contexto estrangeiro como ponto de partida para a experiência literária a ser desenvolvida em sua tradução, o contexto estrangeiro é já um cerceamento a mais no caso de rimas, o que prova que os cerceamentos na tradução são maiores do que na escrita original. Essas ideias sobre rima também são apresentadas no artigo como relacionadas a visões pessoais do autor sobre tradução poética, inspiradas por escritos críticos de Jean Boasse-Beier e Michael Hamburger. Segundo os pontos de vista do autor, seguindo os passos de Jean Boasse-Beier, a tradução é uma arte cerceada, e “paráfrases poéticas”, que ele define idiossincraticamente a partir de suas elaborações das idéias seminais de Dryden sobre o assunto, é o expediente que ele escolhe para lidar com cerceamentos na tradução poética. Por fim, o artigo analisa trechos da tradução de O flautista em Hamelin à luz dessas idéias, e inclui uma versão atualizada do poema publicado em décadas anteriores.Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília2019-07-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.unb.br/index.php/belasinfieis/article/view/2634110.26512/belasinfieis.v8.n3.2019.26341Belas Infiéis; Vol. 8 No. 3 (2019): A tradução e a infância: história, teoria, ensino e prática; 227-244Belas Infiéis; v. 8 n. 3 (2019): A tradução e a infância: história, teoria, ensino e prática; 227-2442316-661410.26512/belasinfieis.v8.n3.2019.3reponame:Belas Infiéisinstname:Universidade de Brasília (UnB)instacron:UNBporhttps://periodicos.unb.br/index.php/belasinfieis/article/view/26341/23085Copyright (c) 2019 Belas Infiéisinfo:eu-repo/semantics/openAccessFranca Neto, Alípio Correia de2019-07-28T14:55:53Zoai:ojs.pkp.sfu.ca:article/26341Revistahttps://periodicos.unb.br/index.php/belasinfieisPUBhttps://periodicos.unb.br/index.php/belasinfieis/oai||germanahp@gmail.com|| belasinfieis@gmail.com2316-66142316-6614opendoar:2019-07-28T14:55:53Belas Infiéis - Universidade de Brasília (UnB)false |
dc.title.none.fl_str_mv |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems Um tipo de mágica: Aspectos da rima em poemas originais e traduzidos |
title |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
spellingShingle |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems Franca Neto, Alípio Correia de Rima. Tradução. Poesia. Paráfrase poética. Robert Browning. Rhymes. Translation. Poetry. Poetic paraphrase. Robert Browning. |
title_short |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
title_full |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
title_fullStr |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
title_full_unstemmed |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
title_sort |
A Kind of Magic: Aspects of The Rhyme in Original and Translated Poems |
author |
Franca Neto, Alípio Correia de |
author_facet |
Franca Neto, Alípio Correia de |
author_role |
author |
dc.contributor.author.fl_str_mv |
Franca Neto, Alípio Correia de |
dc.subject.por.fl_str_mv |
Rima. Tradução. Poesia. Paráfrase poética. Robert Browning. Rhymes. Translation. Poetry. Poetic paraphrase. Robert Browning. |
topic |
Rima. Tradução. Poesia. Paráfrase poética. Robert Browning. Rhymes. Translation. Poetry. Poetic paraphrase. Robert Browning. |
description |
Rhymes in original and translated poems are the subject of this article. Its aim is to analyze them as potentially creative constraints in original poems and poetic translations. So, the article analyzes commonly accepted ideas about rhymes, such as the assumption that rhymes limit expression, in order to refute them by means of arguments revolving around the creative potential of rhymes in original poems and translated ones, rhymes being considered as conventions or constraints that, once they are used properly by the poet and the poet-translator, are a component of their originality. From this angle, the proper use of rhyme is related to the creation of logically convincing contexts for rhymes. In the case of poetic translations, in which the translator can only use a foreign context as a starting point for the literary experience to be developed in his translation, the foreign context itself is already an extra contraint when rhymes are involved, which proves that constraints in translation are bigger than those ones in original writing. These ideas about rhyme are also presented in the article as being related to the author´s personal views about poetic translation, ones inspired by critical writings by Jean Boasse-Beier and by Michael Hamburger. According to the author´s views, following Jean Boasse-Beier´s steps, translation is a constrained art, and “poetic paraphrases”, which he defines idiosyncratically from his developments of Dryden´s seminal ideas on the subject, is the way he chooses to deal with constraints in poetic translation. At last, the article analyzes passages from the translation of The Pied Piper of Hamelin in the light of these ideas, and includes an updated version of the poem published in previous decades. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-07-26 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.unb.br/index.php/belasinfieis/article/view/26341 10.26512/belasinfieis.v8.n3.2019.26341 |
url |
https://periodicos.unb.br/index.php/belasinfieis/article/view/26341 |
identifier_str_mv |
10.26512/belasinfieis.v8.n3.2019.26341 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.unb.br/index.php/belasinfieis/article/view/26341/23085 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Belas Infiéis info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Belas Infiéis |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília |
publisher.none.fl_str_mv |
Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília |
dc.source.none.fl_str_mv |
Belas Infiéis; Vol. 8 No. 3 (2019): A tradução e a infância: história, teoria, ensino e prática; 227-244 Belas Infiéis; v. 8 n. 3 (2019): A tradução e a infância: história, teoria, ensino e prática; 227-244 2316-6614 10.26512/belasinfieis.v8.n3.2019.3 reponame:Belas Infiéis instname:Universidade de Brasília (UnB) instacron:UNB |
instname_str |
Universidade de Brasília (UnB) |
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UNB |
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UNB |
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Belas Infiéis |
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Belas Infiéis |
repository.name.fl_str_mv |
Belas Infiéis - Universidade de Brasília (UnB) |
repository.mail.fl_str_mv |
||germanahp@gmail.com|| belasinfieis@gmail.com |
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