By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched quarter of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and artistic writing, arguing for a reassessment of where of translation in Baudelaire’s writing procedure. instead of a sideline in Baudelaire’s artistic actions, translation is hence proven to be a vital type of twin writing on the middle of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the paintings feedback are all in response to an method of writing that is primarily spinoff but in addition transformative. hence the Baudelairean test illustrates the bounds of romantic notions of originality, creativity and genius, reminding us that each one writing is intrinsically intertextual. It additionally indicates the complexity of translation as a kind of production on the middle of contemporary writing.
The publication is among the first of its type to hyperlink the examine the translational task of a massive author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation methods and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of construction and genius. It bargains, consequently, a brand new viewpoint either on translation heritage and on literary background.
Alchemy and Amalgam can be of curiosity to scholars of translation, comparative literature and French reports.
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Extra resources for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
At the most superficial levels, this intervention may appear in mistranslations, through which, consciously or not, the translator modifies the text. At a more complex level, Baudelaire’s presence in the target text ranges from claiming the text as his own to adding a passage of his choice to the translation, as is the case in Le Jeune Enchanteur. In the case of the Poe translations, his intervention is even more complex. Indeed the choice of the author to be translated, followed by the choice of texts from that author’s corpus, reveal his awareness of the creative possibilities of a contact between his sensitivity and Poe’s, while his generally close translating strategies still enable the incursion of his own poetic preoccupations.
For instance, the lines: Du vent, tous les guerriers de chaque tribu, tous, Comprenant le signal du nuage qui bouge, Vinrent docilement à la carrière rouge Où Gitche Manito leur donnait rendez-vous eliminate the long enumeration of Indian tribes present in Longfellow’s text: Down the rivers o’er the prairies Came the warriors of the nations, Came the Delawares and Mohawks Came the Choctaws and Camanches Came the Shsoshonies and Blackfeet Came the Pawnees and Omawhas, Came the Mandans and Dacotahs Came the Hurons and Ojibways All the warriors drawn together By the signal of the Peace-Pipe 107 Le Calumet de paix was first published on 28 February 1861 in the Revue contemporaine.
44 More importantly, the footnotes sometimes supplement the translation when the latter fails to restitute fully the source text. In ‘Le Scarabée d’or’, for instance, a pun on the words ‘antennae’ and ‘tin’ in the source text prompts Baudelaire to offer an analysis of Poe’s text in a footnote (‘La prononciation du mot antennæ fait commettre une méprise au nègre, qui croit qu’il est question d’étain: Dey aint no tin in him. 46 In ‘Aventure sans pareille d’un certain Hans Pfaall’, a lengthy note offers an account of a note by Poe on various stories on the same subject.
Alchemy and Amalgam: Translation in the Works of Charles Baudelaire by Emily Salines