Translations Quotes
The best sayings about Translations that you can share on Instagram, Pinterest, Facebook and other social networks!
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Fidelity to meaning alone in translation is a kind of betrayal.
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I don't speak any languages well enough to make an expert assessment on writing in translation, but since I'm interested in awkwardness in prose, I find I like the way translated texts can sometimes acquire awkwardness in the process of translation. There's a discordance translation can create which I think is sometimes seen as a weakness but which I think can be a really interesting aspect of the text.
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We find our voice, we lose our voice, we retrieve it, honor it, and hopefully, learn how to share it with others and stand in the center of our power. Translation is a theme. Fear and courage are a theme.
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I think if I'd gone to an MFA program and learned that, it would have been money well spent. But translation has been that for me.
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I feel sometimes that I'm in a constant state of being lost in translation, and I guess that why I write songs.
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I have nothing but wastes and wilds of self-translation before me for many miserable months to come.
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The Japanese version comes with a translation, but that's different from the lyrics, so people could look things up and find a translation of their own if they're interested.
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When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
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It has since been agreed that speeches given in English will be translated into French and vice versa, and even into German and Italian when necessary. No doubt translations into Esperanto will also soon be in demand.
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Translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is most certainly not beautiful.
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This word "description" may be disconcerting when used to refer to what is generally called a translation. But when one wishes to render a verbal creation (as opposed to a didactic statement) from one language to another, he is confronted with two equally unsatisfactory choices. He may, according to his talents, elaborate a similar, but never identical creation, or he may describe that creation as completely as possible in his own language.
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There are very deep and restrictive principles that determine the nature of human language and are rooted in the specific character of the human mind
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Money is like fire, an element as little troubled by moralizing as earth, air and water. Men can employ it as a tool or they can dance around it as if it were the incarnation of a god. Money votes socialist or monarchist, finds a profit in pornography or translations from the Bible, commissions Rembrandt and underwrites the technology of Auschwitz. It acquires its meaning from the uses to which it is put.
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Pour e crire ce livre essentiel, le seul livre vrai, un grand e crivain n'a pas, dans le sens courant, a' l'inventer puisqu'il existe de j a' en chacun de nous, mais a' le traduire. To write the essential book, the only true book, a great writerdoesnot needto invent becausethebook already exists inside each one of us and merely needs translation.
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I do believe that one's writing life needs to be kept separate from Po-Biz. Personally, I deal with this by not attending too many poetry readings, primarily reading dead poets or poems in translation, reading Poets & Writers only once for grant/contest information before I quickly dispose of it, and not reading Poetry Daily. Ever.
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The best thing on translation was said by Cervantes: translation is the other side of a tapestry.
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Christopher Lynch has made the best and the first careful translation of Machiavelli's Art of War. With useful notes, an excellent introduction, an interpretive essay, glossary, and index, it is a treasure for readers of military history and Renaissance thought as well as for lovers of Machiavelli.
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Its subtlest, most appealing accomplishment may be in how other characters respond to Gregorius' precipitous swerve onto the spiritual path. (...) That said, Night Train to Lisbon is a very long, ambitious book that's feverishly overwritten. (...) Think of W.G. Sebald recast for the mass market: stripped of nuance, cooked at high temperature and pounded home, clause after clause. Some of the clumsiness derives from Barbara Harshav's inelegant translation -- we're often aware of her struggle -- but she can't be blamed for the pervasive bloat.
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It skims in through the eye, and by means of the utterly delicate retina hurls shadows like insect legs inward for translation. Then an immense space opens up in silence and an endlessly fecund sub-universe the writer descends, and asks the reader to descend after him, not merely to gain instructions but also to experience delight, the delight of mind freed from matter and exultant in the strength it has stolen from matter.
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Nothing endures except change; nothing is constant except death. Every heartbeat wounds us, and life would be an eternal bleeding to death, were it not for literature. It grants us what nature does not: a golden time that doesn't rust, a springtime that never wilts, cloudless happiness and eternal youth. [my translation]
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When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.
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Translations increase the faults of a work and spoil its beauties.
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There is an inimitable grace in Virgil's words, and in them principally consists that beauty which gives so inexpressible a pleasure to him who best understands their force. This diction of his, I must once again say, is never to be copied; and since it cannot, he will appear but lame in the best translation.
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Time reveals all translation to be paraphrase.
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I think that the best literature has a core that you can't lock to a time or place but that can generate lots of meanings and translations.
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Mister Cameron - I have read the unexpurgated Ovid, the love poems of Sappho, the Decameron in the original, and a great many texts in Greek and Latin histories that were not though fit for proper gentlemen to read, much less proper ladies. I know in precise detail what Caligula did to, and with, his sisters, and I can quote it to you in Latin or in my own translation if you wish. I am interested in historical truth, and truth in history is often unpleasant and distasteful to those of fine sensibility. I frankly doubt that you will produce anything to shock me.
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The fairy tale is in a perpetual state of becoming and alteration. To keep to one version or one translation alone is to put robin redbreast in a cage.
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Be on guard against any tampering with the Word, whether disguised as a search for truth, or a scholarly attempt at apparently hidden meanings; and beware of the confusion created by the senseless rash of new versions, translations, editions, and improvements upon the tried and tested Bible of our fathers and grandfathers.
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All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.
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If the dream is a translation of waking life, waking life is also a translation of the dream.
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Top Authors
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Gregory of Nazianzus Saint -
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Graham Yost Television screenwriter -
Girish Karnad Writer
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