Translators To Afrikaans

Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. The English language draws a terminological distinction (which does not exist in every language) between ''translating'' (a written text) and ''interpreting'' (oral or signed communication between users of different languages); under this distinction, translation can begin only after the appearance of writing within a language community.

A translator always risks inadvertently introducing source-language words, grammar, or syntax into the target-language rendering. On the other hand, such "spill-overs" have sometimes imported useful source-language calques and loanwords that have enriched target languages. Translators, including early translators of sacred texts, have helped shape the very languages into which they have translated.

Because of the laboriousness of the translation process, since the 1940s efforts have been made, with varying degrees of success, to automate translation or to mechanically aid the human translator. More recently, the rise of the Internet has fostered a world-wide market for translation services and has facilitated "language localisation".

Etymology

The English word "translation" derives from the Latin word , which comes from ''trans'', "across" + '' ferre'', "to carry" or "to bring" (''-latio'' in turn coming from ''latus'', the past participle of ''ferre''). Thus ''translatio'' is "a carrying across" or "a bringing across"—in this case, of a text from one language to another.Christopher Kasparek, "The Translator's Endless Toil", p. 83.

Some Slavic languages and the Germanic languages (other than Dutch and Afrikaans) have calqued their words for the concept of "translation" on ''translatio'', substituting their respective Slavic or Germanic root words for the Latin roots. The remaining Slavic languages instead calqued their words for "translation" from an alternative Latin word, , itself derived from ("to lead across" or "to bring across")—from ("across") + , ("to lead" or "to bring").

The West and East Slavic languages (except for Russian) adopted the pattern, whereas Russian and the South Slavic languages adopted the pattern. The Romance languages, deriving directly from Latin, did not need to ''calque'' their equivalent words for "translation"; instead, they simply adapted the second of the two alternative Latin words, .

The Ancient Greek term for "translation", (''metaphrasis'', "a speaking across"), has supplied English with "metaphrase" (a " literal", or "word-for-word", translation)—as contrasted with "paraphrase" ("a saying in other words", from , ''paraphrasis''). "Metaphrase" corresponds, in one of the more recent terminologies, to "formal equivalence"; and "paraphrase", to "dynamic equivalence".Kasparek, "The Translator's Endless Toil", p. 84.

Strictly speaking, the concept of metaphrase—of "word-for-word translation"—is an imperfect concept, because a given word in a given language often carries more than one meaning; and because a similar given meaning may often be represented in a given language by more than one word. Nevertheless, "metaphrase" and "paraphrase" may be useful as ''ideal'' concepts that mark the extremes in the spectrum of possible approaches to translation.

Theories

Western theory

Discussions of the theory and practice of translation reach back into antiquity and show remarkable continuities. The ancient Greeks distinguished between ''metaphrase'' (literal translation) and ''paraphrase''. This distinction was adopted by English poet and translator John Dryden (1631–1700), who described translation as the judicious blending of these two modes of phrasing when selecting, in the target language, "counterparts," or equivalents, for the expressions used in the source language:

Dryden cautioned, however, against the license of "imitation", i.e., of adapted translation: "When a painter copies from the life... he has no privilege to alter features and lineaments..."

This general formulation of the central concept of translation—equivalence—is as adequate as any that has been proposed since Cicero and Horace, who, in 1st-century-BCE Rome, famously and literally cautioned against translating "word for word" ().

Despite occasional theoretical diversity, the actual ''practice'' of translation has hardly changed since antiquity. Except for some extreme metaphrasers in the early Christian period and the Middle Ages, and adapters in various periods (especially pre-Classical Rome, and the 18th century), translators have generally shown prudent flexibility in seeking equivalents—"literal" where possible, paraphrastic where necessary—for the original meaning and other crucial "values" (e.g., style, verse form, concordance with musical accompaniment or, in films, with speech articulatory movements) as determined from context.

In general, translators have sought to preserve the context itself by reproducing the original order of sememes, and hence word order—when necessary, reinterpreting the actual grammatical structure, for example, by shifting from active to passive voice, or ''vice versa''. The grammatical differences between "fixed-word-order" languages (e.g. English, French, German) and "free-word-order" languages (e.g., Greek, Latin, Polish, Russian) have been no impediment in this regard. The particular syntax (sentence-structure) characteristics of a text's source language are adjusted to the syntactic requirements of the target language.

When a target language has lacked terms that are found in a source language, translators have borrowed those terms, thereby enriching the target language. Thanks in great measure to the exchange of calques and loanwords between languages, and to their importation from other languages, there are few concepts that are " untranslatable" among the modern European languages. A greater problem, however, is translating terms relating to cultural concepts that have no equivalent in the target language. For full comprehension, such situations require the provision of a gloss.

Generally, the greater the contact and exchange that have existed between two languages, or between those languages and a third one, the greater is the ratio of metaphrase to paraphrase that may be used in translating among them. However, due to shifts in ecological niches of words, a common etymology is sometimes misleading as a guide to current meaning in one or the other language. For example, the English ''actual'' should not be confused with the cognate French ("present", "current"), the Polish ("present", "current," "topical", "timely", "feasible"),Kasparek, "The Translator's Endless Toil", p. 85. the Swedish ''aktuell'' ("topical", "presently of importance"), the Russian ("urgent", "topical") or the Dutch ''actueel'' ("current").

The translator's role as a bridge for "carrying across" values between cultures has been discussed at least since Terence, the 2nd-century-BCE Roman adapter of Greek comedies. The translator's role is, however, by no means a passive, mechanical one, and so has also been compared to that of an artist. The main ground seems to be the concept of parallel creation found in critics such as Cicero. Dryden observed that "Translation is a type of drawing after life..." Comparison of the translator with a musician or actor goes back at least to Samuel Johnson's remark about Alexander Pope playing Homer on a flageolet, while Homer himself used a bassoon.

In the 13th century, Roger Bacon wrote that if a translation is to be true, the translator must know both languages, as well as the science that he is to translate; and finding that few translators did, he wanted to do away with translation and translators altogether.

The translator of the Bible into German, Martin Luther (1483–1546), is credited with being the first European to posit that one translates satisfactorily only toward his own language. L.G. Kelly states that since Johann Gottfried Herder in the 18th century, "it has been axiomatic" that one translates only toward his own language.

Compounding the demands on the translator is the fact that no dictionary or thesaurus can ever be a fully adequate guide in translating. The Scottish historian Alexander Tytler, in his ''Essay on the Principles of Translation'' (1790), emphasized that assiduous reading is a more comprehensive guide to a language than are dictionaries. The same point, but also including listening to the ''spoken'' language, had earlier, in 1783, been made by the Polish poet and grammarian Onufry Kopczyński.Kasparek, "The Translator's Endless Toil", p. 86.

The translator's special role in society is described in a posthumous 1803 essay by "Poland's La Fontaine", the Roman Catholic Primate of Poland, author of the first Polish novel, and translator from French and Greek, Ignacy Krasicki:

Other traditions

Due to Western colonialism and cultural dominance in recent centuries, Western translation traditions have largely replaced other traditions. The Western traditions draw on both ancient and medieval traditions, and on more recent European innovations.

Though earlier approaches to translation are less commonly used today, they retain importance when dealing with their products, as when historians view ancient or medieval records to piece together events which took place in non-Western or pre-Western environments. Also, though heavily influenced by Western traditions and practiced by translators taught in Western-style educational systems, Chinese and related translation traditions retain some theories and philosophies unique to the Chinese tradition.

Near East

Traditions of translating material among the languages of ancient Egypt, Mesopotamia, Assyria (Syriac language), Anatolia, and Israel (Hebrew language) go back several millennia. There exist partial translations of the Sumerian ''Epic of Gilgamesh'' (c. 2000 BCE) into Southwest Asian languages of the second millennium BCE.

An early example of a bilingual document is the 1274 BCE Treaty of Kadesh between the ancient Egyptian and Hittie empires.

The Babylonians were the first to establish translation as a profession.

The first translations of Greek and Coptic texts into Arabic, possibly indirectly from Syriac translations, seem to have been undertaken as early as the late seventh century CE.

The second Abbasid Caliph funded a translation bureau in Baghdad in the eighth century.

Bayt al-Hikma, the famous library in Baghdad, was generously endowed and the collection included books in many languages, and it became a leading centre for the translation of works from antiquity into Arabic, with its own Translation Department.

Translations into European languages from Arabic versions of lost Greek and Roman texts began in the middle of the eleventh century, when the benefits to be gained from the Arabs’ knowledge of the classical texts were recognised by European scholars, particularly after the establishment of the Escuela de Traductores de Toledo in Spain.

William Caxton’s ''Dictes or Sayengis of the Philosophres'' (Sayings of the Philosophers, 1477) was a translation into English of an eleventh-century Egyptian text which reached English via translation into Latin and then French.

The translation of foreign works for publishing in Arabic was revived by the establishment of the Madrasa al-Alsum (‘School of Tongues’) in Egypt in 1813 CE.

Asia

There is a separate tradition of translation in South, Southeast and East Asia (primarily of texts from the Indian and Chinese civilizations), connected especially with the rendering of religious, particularly Buddhist, texts and with the governance of the Chinese empire. Classical Indian translation is characterized by loose adaptation, rather than the closer translation more commonly found in Europe; and Chinese translation theory identifies various criteria and limitations in translation.

In the East Asian sphere of Chinese cultural influence, more important than translation ''per se'' has been the use and reading of Chinese texts, which also had substantial influence on the Japanese, Korean and Vietnamese languages, with substantial borrowings of Chinese vocabulary and writing system. Notable is the Japanese kanbun, a system for glossing Chinese texts for Japanese speakers.

Though Indianized states in Southeast Asia often translated Sanskrit material into the local languages, the literate elites and scribes more commonly used Sanskrit as their primary language of culture and government.

Some special aspects of translating from Chinese are illustrated in Perry Link's discussion of translating the work of the Tang Dynasty poet Wang Wei (699–759 CE).

Once the untranslatables have been set aside, the problems for a translator, especially of Chinese poetry, are two: What does the translator think the poetic line says? And once he thinks he understands it, how can he render it into the target language? Most of the difficulties, according to Link, arise in addressing the second problem, "where the impossibility of perfect answers spawns endless debate." Almost always at the center is the letter-versus-spirit dilemma. At the literalist extreme, efforts are made to dissect every conceivable detail about the language of the original Chinese poem. "The dissection, though," writes Link, "normally does to the art of a poem approximately what the scalpel of an anatomy instructor does to the life of a frog."

Chinese characters, in avoiding grammatical specificity, offer advantages to poets (and, simultaneously, challenges to poetry translators) that are associated primarily with absences of subject, number, and tense.Perry Link, "A Magician of Chinese Poetry", ''The New York Review of Books'', vol. LXIII, no. 18 (24 November 2016), p. 50.

It is the norm in classical Chinese poetry, and common even in modern Chinese prose, to omit subjects; the reader or listener infers a subject. The grammars of some Western languages, however, require that a subject be stated (although this is often avoided by using a passive or impersonal construction). Most of the translators cited in Eliot Weinberger's ''19 Ways of Looking at Wang Wei'' supply a subject. Weinberger points out, however, that when an "I" as a subject is inserted, a "controlling individual mind of the poet" enters and destroys the effect of the Chinese line. Without a subject, he writes, "the experience becomes both universal and immediate to the reader." Another approach to the subjectlessness is to use the target language's passive voice; but this again particularizes the experience too much.

Nouns have no number in Chinese. "If," writes Link, "you want to talk in Chinese about one rose, you may, but then you use a "measure word" to say "one blossom-of roseness."

Chinese verbs are tense-less: there are several ways to specify when something happened or will happen, but verb tense is not one of them. For poets, this creates the great advantage of ambiguity. According to Link, Weinberger's insight about subjectlessness—that it produces an effect "both universal and immediate"—applies to timelessness as well.

Link proposes a kind of uncertainty principle that may be applicable not only to translation from the Chinese language, but to all translation:

Islamic world

Translation of material into Arabic expanded after the creation of Arabic script in the 5th century, and gained great importance with the rise of Islam and Islamic empires. Arab translation initially focused primarily on politics, rendering Persian, Greek, even Chinese and Indic diplomatic materials into Arabic. It later focused on translating classical Greek and Persian works, as well as some Chinese and Indian texts, into Arabic for scholarly study at major Islamic learning centers, such as the Al-Karaouine (Fes, Morocco), Al-Azhar (Cairo, Egypt), and the Al-Nizamiyya of Baghdad. In terms of theory, Arabic translation drew heavily on earlier Near Eastern traditions as well as more contemporary Greek and Persian traditions.

Arabic translation efforts and techniques are important to Western translation traditions due to centuries of close contacts and exchanges. Especially after the Renaissance, Europeans began more intensive study of Arabic and Persian translations of classical works as well as scientific and philosophical works of Arab and oriental origins. Arabic, and to a lesser degree Persian, became important sources of material and perhaps of techniques for revitalized Western traditions, which in time would overtake the Islamic and oriental traditions.

In the 19th century, after the Middle East's Islamic clerics and copyists

A translator who contributed mightily to the advance of the Islamic Enlightenment was the Egyptian cleric Rifaa al-Tahtawi (1801–73), who had spent five years in Paris in the late 1820s, teaching religion to Muslim students. After returning to Cairo with the encouragement of Muhammad Ali (1769–1849), the Ottoman viceroy of Egypt, al–Tahtawi became head of the new school of languages and embarked on an intellectual revolution by initiating a program to translate some two thousand European and Turkish volumes, ranging from ancient texts on geography and geometry to Voltaire's biography of Peter the Great, along with the ''Marseillaise'' and the entire '' Code Napoléon''. This was the biggest, most meaningful importation of foreign thought into Arabic since Abbasid times (750–1258).

The movement to translate English and European texts transformed the Arabic and Ottoman Turkish languages, and new words, simplified syntax, and directness came to be valued over the previous convolutions. Educated Arabs and Turks in the new professions and the modernized civil service expressed skepticism, writes Christopher de Bellaigue, "with a freedom that is rarely witnessed today ... No longer was legitimate knowledge defined by texts in the religious schools, interpreted for the most part with stultifying literalness. It had come to include virtually any intellectual production anywhere in the world." One of the neologisms that, in a way, came to characterize the infusion of new ideas via translation was ''"darwiniya"'', or "Darwinism".

One of the most influential liberal Islamic thinkers of the time was Muhammad Abduh (1849–1905), Egypt's senior judicial authority—its chief mufti—at the turn of the 20th century and an admirer of Darwin who in 1903 visited Darwin's exponent Herbert Spencer at his home in Brighton. Spencer's view of society as an organism with its own laws of evolution paralleled Abduh's ideas.

After World War I, when Britain and France divided up the Middle East's countries, apart from Turkey, between them, pursuant to the Sykes-Picot agreement—in violation of solemn wartime promises of postwar Arab autonomy—there came an immediate reaction: the Muslim Brotherhood emerged in Egypt, the House of Saud took over the Hijaz, and regimes led by army officers came to power in Iran and Turkey. " th illiberal currents of the modern Middle East," writes de Bellaigue, "Islamism and militarism, received a major impetus from Western empire-builders." As often happens in countries undergoing social crisis, the aspirations of the Muslim world's translators and modernizers, such as Muhammad Abduh, largely had to yield to retrograde currents.

Fidelity and transparency

Fidelity (or "faithfulness") and felicityMarina Warner, "The Politics of Translation" (a review of Kate Briggs, ''This Little Art'', 2017; Mireille Gansel, translated by Ros Schwartz, 2017; Mark Polizzotti, ''Sympathy for the Traitor: A Translation Manifesto'', 2018; Boyd Tonkin, ed., ''The 100 Best Novels in Translation'', 2018; Clive Scott, ''The Work of Literary Translation'', 2018), ''London Review of Books'', vol. 40, no. 19 (11 October 2018), p. 22. (or transparency), dual ideals in translation, are often (though not always) at odds. A 17th-century French critic coined the phrase "" to suggest that translations can be either faithful or beautiful, but not both. Fidelity is the extent to which a translation accurately renders the meaning of the source text, without distortion. Transparency is the extent to which a translation appears to a native speaker of the target language to have originally been written in that language, and conforms to its grammar, syntax and idiom. John Dryden (1631–1700) wrote in his preface to the translation anthology ''Sylvae'':

A translation that meets the criterion of fidelity (faithfulness) is said to be "faithful"; a translation that meets the criterion of transparency, "idiomatic". Depending on the given translation, the two qualities may not be mutually exclusive. The criteria for judging the fidelity of a translation vary according to the subject, type and use of the text, its literary qualities, its social or historical context, etc. The criteria for judging the transparency of a translation appear more straightforward: an unidiomatic translation "sounds wrong" and, in extreme cases of word-for-word translation, often results in patent nonsense.

Nevertheless, in certain contexts a translator may consciously seek to produce a literal translation. Translators of literary, religious, or historic texts often adhere as closely as possible to the source text, stretching the limits of the target language to produce an unidiomatic text. Also, a translator may adopt expressions from the source language in order to provide "local color".

While current Western translation practice is dominated by the dual concepts of "fidelity" and "transparency", this has not always been the case. There have been periods, especially in pre-Classical Rome and in the 18th century, when many translators stepped beyond the bounds of translation proper into the realm of ''adaptation''. Adapted translation retains currency in some non-Western traditions. The Indian epic, the ''Ramayana'', appears in many versions in the various Indian languages, and the stories are different in each. Similar examples are to be found in medieval Christian literature, which adjusted the text to local customs and mores.

Many non-transparent-translation theories draw on concepts from German Romanticism, the most obvious influence being the German theologian and philosopher Friedrich Schleiermacher. In his seminal lecture "On the Different Methods of Translation" (1813) he distinguished between translation methods that move "the writer toward he reader, i.e., transparency, and those that move the "reader toward he author, i.e., an extreme fidelity to the foreignness of the source text. Schleiermacher favored the latter approach; he was motivated, however, not so much by a desire to embrace the foreign, as by a nationalist desire to oppose France's cultural domination and to promote German literature.

In recent decades, prominent advocates of such "non-transparent" translation have included the French scholar Antoine Berman, who identified twelve deforming tendencies inherent in most prose translations, and the American theorist Lawrence Venuti, who has called on translators to apply "foreignizing" rather than domesticating translation strategies.

Equivalence

The question of fidelity vs. transparency has also been formulated in terms of, respectively, "''formal'' equivalence" and "''dynamic'' r ''functional''equivalence" – expressions associated with the translator Eugene Nida and originally coined to describe ways of translating the Bible; but the two approaches are applicable to any translation. "Formal equivalence" corresponds to "metaphrase", and "dynamic equivalence" to "paraphrase". "Formal equivalence" (sought via "literal" translation) attempts to render the text literally, or "word for word" (the latter expression being itself a word-for-word rendering of the classical Latin ) – if necessary, at the expense of features natural to the target language. By contrast, "dynamic equivalence" (or "''functional'' equivalence") conveys the essential thoughts expressed in a source text—if necessary, at the expense of literality, original sememe and word order, the source text's active vs. passive voice, etc.

There is, however, no sharp boundary between formal and functional equivalence. On the contrary, they represent a spectrum of translation approaches. Each is used at various times and in various contexts by the same translator, and at various points within the same text – sometimes simultaneously. Competent translation entails the judicious blending of formal and functional equivalents.

Common pitfalls in translation, especially when practiced by inexperienced translators, involve false equivalents such as "false friends" and false cognates.

Source and target languages

In the practice of translation, the source language is the language being translated from, while the target language, also called the receptor language, is the language being translated into. Difficulties in translating can arise from lexical and syntactical differences between the source language and the target language, which differences tend to be greater between two languages belonging to different language families.

Often the source language is the translator's second language, while the target language is the translator's first language. In some geographical settings, however, the source language is the translator's first language because not enough people speak the source language as a second language. For instance, a 2005 survey found that 89% of professional Slovene translators translate into their second language, usually English. In cases where the source language is the translator's first language, the translation process has been referred to by various terms, including "translating into a non-mother tongue", "translating into a second language", "inverse translation", "reverse translation", "service translation", and "translation from A to B". The process typically begins with a full and in-depth analysis of the original text in the source language, ensuring full comprehension and understanding before the actual act of translating is approached.

Translation for specialized or professional fields requires a working knowledge, as well, of the pertinent terminology in the field. For example, translation of a legal text requires not only fluency in the respective languages but also familiarity with the terminology specific to the legal field in each language.

While the form and style of the source language often cannot be reproduced in the target language, the meaning and content can. Linguist Roman Jakobson suggests that the limits are not of translation ''per se'' but rather of ''elegant'' translation.

Source and target texts

In translation, a source text (ST) is a text written in a given source language which is to be, or has been, translated into another language, while a target text (TT) is a translated text written in the intended target language, which is the result of a translation from a given source text. According to Jeremy Munday's definition of translation, "the process of translation between two different written languages involves the changing of an original written text (the source text or ST) in the original verbal language (the source language or SL) into a written text (the target text or TT) in a different verbal language (the target language or TL)". The terms 'source text' and 'target text' are preferred over 'original' and 'translation' because they do not have the same positive vs. negative value judgment.

Translation scholars including Eugene Nida and Peter Newmark have represented the different approaches to translation as falling broadly into source-text-oriented or target-text-oriented categories.

Back-translation

A "back-translation" is a translation of a translated text back into the language of the original text, made without reference to the original text. Comparison of a back-translation with the original text is sometimes used as a check on the accuracy of the original translation, much as the accuracy of a mathematical operation is sometimes checked by reversing the operation. But the results of such reverse-translation operations, while useful as approximate checks, are not always precisely reliable. Back-translation must in general be less accurate than back-calculation because linguistic symbols (words) are often ambiguous, whereas mathematical symbols are intentionally unequivocal. In the context of machine translation, a back-translation is also called a "round-trip translation." When translations are produced of material used in medical clinical trials, such as informed-consent forms, a back-translation is often required by the ethics committee or institutional review board.

Mark Twain provided humorously telling evidence for the frequent unreliability of back-translation when he issued his own back-translation of a French translation of his short story, "The Celebrated Jumping Frog of Calaveras County". He published his back-translation in a 1903 volume together with his English-language original, the French translation, and a "Private History of the 'Jumping Frog' Story". The latter included a synopsized adaptation of his story that Twain stated had appeared, unattributed to Twain, in a Professor Sidgwick's ''Greek Prose Composition'' (p. 116) under the title, "The Athenian and the Frog"; the adaptation had for a time been taken for an independent ancient Greek precursor to Twain's "Jumping Frog" story.

When a document survives only in translation, the original having been lost, researchers sometimes undertake back-translation in an effort to reconstruct the original text. An example involves the novel ''The Saragossa Manuscript'' by the Polish aristocrat Jan Potocki (1761–1815), who wrote the novel in French and anonymously published fragments in 1804 and 1813–14. Portions of the original French-language manuscript were subsequently lost; however, the missing fragments survived in a Polish translation, made by Edmund Chojecki in 1847 from a complete French copy that has since been lost. French-language versions of the complete ''Saragossa Manuscript'' have since been produced, based on extant French-language fragments and on French-language versions that have been back-translated from Chojecki's Polish version.

Many works by the influential Classical physician Galen survive only in medieval Arabic translation. Some survive only in Renaissance Latin translations from the Arabic, thus at a second remove from the original. To better understand Galen, scholars have attempted back-translation of such works in order to reconstruct the original Greek.

When historians suspect that a document is actually a translation from another language, back-translation into that hypothetical original language can provide supporting evidence by showing that such characteristics as idioms, puns, peculiar grammatical structures, etc., are in fact derived from the original language. For example, the known text of the ''Till Eulenspiegel'' folk tales is in High German but contains puns that work only when back-translated to Low German. This seems clear evidence that these tales (or at least large portions of them) were originally written in Low German and translated into High German by an over-Metaphrase, metaphrastic translator.

Supporters of Aramaic primacy—the view that the Christianity, Christian New Testament or its sources were originally written in the Aramaic language—seek to prove their case by showing that difficult passages in the existing Ancient Greek, Greek text of the New Testament make much more sense when back-translated to Aramaic: that, for example, some incomprehensible references are in fact Aramaic puns that do not work in Greek. Due to similar indications, it is believed that the 2nd century Gnostic Gospel of Judas, which survives only in Coptic language, Coptic, was originally written in Greek.

John Dryden (1631–1700), the dominant English-language literary figure of his age, illustrates, in his use of back-translation, translators' influence on the evolution of languages and literary styles. Dryden is believed to be the first person to posit that English sentences should not end in prepositions because Latin sentences cannot end in prepositions. Dryden created the proscription against "preposition stranding" in 1672 when he objected to Ben Jonson's 1611 phrase, "the bodies that those souls were frighted from", though he did not provide the rationale for his preference. Dryden often translated his writing into Latin, to check whether his writing was concise and elegant, Latin being considered an elegant and long-lived language with which to compare; then he back-translated his writing back to English according to Latin-grammar usage. As Latin does not have sentences ending in prepositions, Dryden may have applied Latin grammar to English, thus forming the controversial rule of Preposition stranding#The Debate about P-stranding, no sentence-ending prepositions, subsequently adopted by other writers.

Translators

Competent translators show the following attributes:
*a ''very good'' knowledge of the language, written and spoken, ''from which'' they are translating (the source language);
*an ''excellent'' command of the language ''into which'' they are translating (the target language);
*familiarity with the subject matter of the text being translated;
*a profound understanding of the etymological and idiomatic correlates between the two languages, including Register (sociolinguistics), sociolinguistic register when appropriate; and
*a finely tuned sense of when to ''metaphrase'' ("translate literally") and when to ''paraphrase'', so as to assure true rather than spurious ''#Equivalence, equivalents'' between the source and target language texts.

A competent translator is not only bilingual but bicultural. A language is not merely a collection of words and of rules of grammar and syntax for generating Sentence (linguistics), sentences, but also a vast interconnecting system of connotations and culture, cultural references whose mastery, writes linguist Mario Pei, "comes close to being a lifetime job." The complexity of the translator's task cannot be overstated; one author suggests that becoming an accomplished translator—after having already acquired a good basic knowledge of both languages and cultures—may require a minimum of ten years' experience. Viewed in this light, it is a serious misconception to assume that a person who has fair fluency in two languages will, by virtue of that fact alone, be consistently competent to translate between them.

Emily Wilson (classicist), Emily Wilson, a professor of classical studies at the University of Pennsylvania and herself a translator, writes: "[I]t is [hard] to produce a good literary translation. This is certainly true of translations of ancient Greek and Latin, Roman texts, but it is also true of literary translation in general: it is very difficult. Most readers of foreign languages are not translators; most writers are not translators. Translators have to read and write at the same time, as if always playing multiple instruments in a One-man band, one-person band. And most one-person bands do not sound very good."

When in 1921, three years before his death, the English-language novelist Joseph Conrad – who had long had little contact with everyday spoken Polish – attempted to translate into English Bruno Winawer's short Polish-language play, ''The Book of Job'', he predictably missed many crucial nuances of contemporary Polish language.

The translator's role, in relation to the original text, has been compared to the roles of other interpretive artists, e.g., a musician or actor who interprets a work of musical or dramatic art. Translating, especially a text of any complexity (like other human activities), involves ''interpretation'': choices must be made, which implies interpretation. Mark Polizzotti writes: "A good translation offers not a reproduction of the work but an interpretation, a re-representation, just as the performance of a Play (theatre), play or a sonata is a representation of the Play (theatre), script or the Sheet music, score, one among many possible representations." A translation of a text of any complexity is – as, itself, a work of art – unique and unrepeatable.

Conrad, whose writings Zdzisław Najder has described as verging on "auto-translation" from Conrad's Polish and French linguistic personae, advised his niece and Polish translator Aniela Zagórska: "[D]on't trouble to be too scrupulous ... I may tell you (in French) that in my opinion ''il vaut mieux interpréter que traduire'' [it is better to interpret than to translate] ...''Il s'agit donc de trouver les équivalents. Et là, ma chère, je vous prie laissez vous guider plutôt par votre tempérament que par une conscience sévère ...'' [It is, then, a question of finding the equivalent expressions. And there, my dear, I beg you to let yourself be guided more by your temperament than by a strict conscience....]" Conrad advised another translator that the prime requisite for a good translation is that it be "idiomatic". "For in the idiom is the ''clearness'' of a language and the language's force and its picturesqueness—by which last I mean the picture-producing power of arranged words." Conrad thought C.K. Scott Moncrieff's English translation of Marcel Proust's ''À la recherche du temps perdu'' (''In Search of Lost Time''—or, in Scott Moncrieff's rendering, ''Remembrance of Things Past'') to be preferable to the French original.

Emily Wilson writes that "translation always involves interpretation, and [requires] every translator... to think as deeply as humanly possible about each verbal, poetic, and interpretative choice." Translation of other than the simplest brief texts requires painstakingly close reading of the source text and the draft translation, so as to resolve the ambiguities inherent in language and thereby to asymptotically approach the most accurate rendering of the source text.Christopher Kasparek, translator's foreword to Bolesław Prus, ''Pharaoh (Prus novel), Pharaoh'', translated from the Polish, with foreword and notes, by Christopher Kasparek, Amazon Kindle e-book, 2020, ASIN:BO8MDN6CZV.

Part of the ambiguity, for a translator, involves the structure of human language. Psychologist and neural science, neural scientist Gary Marcus notes that "virtually every sentence [that people generate] is ambiguity, ambiguous, often in multiple ways. Our brain is so good at comprehending language that we do not usually notice." An example of linguistic ambiguity is the "pronoun disambiguation problem" ("PDP"): a machine has no way of determining to whom or what a pronoun in a sentence—such as "he", "she" or "it"—refers. Such disambiguation is not infallible by a human, either.

Ambiguity is a concern both to translators and – as the writings of poet and literary critic William Empson have demonstrated – to literary criticism, literary critics. Ambiguity may be desirable, indeed essential, in poetry and diplomacy; it can be more problematic in ordinary prose.

Individual expression (linguistics), expressions – words, phrases, sentence (linguistics), sentences – are fraught with connotations. As Empson demonstrates, any piece of language seems susceptible to "alternative reactions", or as Joseph Conrad once wrote, "No English word has clean edges." All expressions, Conrad thought, carried so many connotations as to be little more than "instruments for exciting blurred emotions."

Christopher Kasparek also cautions that competent translation – analogously to the dictum, in mathematics, of Kurt Gödel's incompleteness theorems – generally requires more information about the subject matter than is present in the actual source text. Therefore, translation of a text of any complexity typically requires some research on the translator's part.

A translator faces two contradictory tasks: when translating, to strive for omniscience concerning the text; and, when reviewing the resulting translation, to adopt the reader's unfamiliarity with it. Analogously, "[i]n the process, the translator is also constantly seesawing between the respective linguistic and cultural features of his two languages."

Thus, writes Kasparek, "Translating a text of any complexity, like the performing of a musical or dramatic work, involves ''interpretation'': choices must be made, which entails interpretation. Bernard Shaw, aspiring to felicitous understanding of literary works, wrote in the preface to his 1901 volume, ''Three Plays for Puritans'': 'I would give half a dozen of Shakespeare's plays for one of the prefaces he ought to have written.'"

Translators may render only parts of the original text, provided that they inform readers of that action. But a translator should not assume the role of Censorship, censor and surreptitiously delete or bowdlerize passages merely to please a political or moral interest.Billiani, Francesca (2001)

Translating has served as a school of writing for many an author, much as the copying of masterworks of painting has schooled many a novice painter. A translator who can competently render an author's thoughts into the translator's own language, should certainly be able to adequately render, in his own language, any thoughts of his own. Translating (like analytic philosophy) compels precise analysis of language, language elements and of their usage. In 1946 the poet Ezra Pound, then at St. Elizabeth's Hospital, in Washington, D.C., advised a visitor, the 18-year-old beginning poet W.S. Merwin: "The work of translation is the best teacher you'll ever have." Merwin, translator-poet who took Pound's advice to heart, writes of translation as an "impossible, unfinishable" art.

Translators, including monks who spread Buddhist texts in East Asia, and the early modern European translators of the Bible, in the course of their work have shaped the very languages into which they have translated. They have acted as bridges for conveying knowledge between cultures; and along with ideas, they have imported from the source languages, into their own languages, loanwords and calques of grammar, grammatical structures, idioms, and vocabulary.

Interpreting

Interpreting is the facilitation of speech communication, oral or sign language, sign-language communication, either simultaneously or consecutively, between two, or among three or more, speakers who are not speaking, or signing, the same language. The term "interpreting," rather than "interpretation," is preferentially used for this activity by Anglophone interpreters and translators, to avoid confusion with other meanings of the word "wikt:interpret, interpretation."

Unlike English, many languages do not employ two separate words to denote the activities of writing, written and live-communication (speech communication, oral or sign language, sign-language) translators. Even English does not always make the distinction, frequently using "translating" as a synonym for "interpreting."

Interpreters have sometimes played crucial roles in human history. A prime example is La Malinche, also known as ''Malintzin'', ''Malinalli'' and ''Doña Marina'', an early-16th-century Nahua peoples, Nahua woman from the Mexican Gulf of Mexico, Gulf Coast. As a child she had been sold or given to Maya peoples, Maya slave-traders from Xicalango, and thus had become bilingual. Subsequently, given along with other women to the invading Spaniards, she became instrumental in the Spain, Spanish conquest of Mexico, acting as interpreter, adviser, intermediary and lover to Hernán Cortés.

Nearly three centuries later, in the United States, a comparable role as interpreter was played for the Lewis and Clark Expedition of 1804–6 by Sacagawea. As a child, the Lemhi Shoshone woman had been kidnapped by Hidatsa Indians and thus had become bilingual. Sacagawea facilitated the expedition's traverse of the North American continent to the Pacific Ocean.

The famous Chinese man of letters Lin Shu (1852 – 1924), who knew no foreign languages, rendered Western literary classics into Chinese with the help of his friend Wang Shouchang (王壽昌), who had studied in France. Wang interpreted the texts for Lin, who rendered them into Chinese. Lin's first such translation, 巴黎茶花女遺事 (''Past Stories of the Camellia-woman of Paris'' – Alexandre Dumas, fils's, ''The Lady of the Camellias, La Dame aux Camélias''), published in 1899, was an immediate success and was followed by many more translations from the French and the English.

Sworn translation

Translating for legal equivalence, Sworn translation, also called "certified translation," aims at legal equivalence between two documents written in different languages. It is performed by someone authorized to do so by local regulations, which vary widely from country to country. Some countries recognize self-declared competence. Others require the translator to be an official state appointee. In some countries, such as the United Kingdom, certain government institutions require that translators be accredited by certain translation institutes or associations in order to be able to carry out certified translations.

Telephone

Many commercial services exist that will interpret spoken language via telephone. There is also at least one custom-built mobile device that does the same thing. The device connects users to human interpreters who can translate between English and 180 other languages.

Internet

Web-based human translation is generally favored by companies and individuals that wish to secure more accurate translations. In view of the frequent inaccuracy of machine translations, human translation remains the most reliable, most accurate form of translation available. With the recent emergence of translation crowdsourcing, translation memory techniques, and internet applications, translation agencies have been able to provide on-demand human-translation services to Small and medium businesses, businesses, individuals, and enterprises.

While not instantaneous like its machine counterparts such as Google Translate and Babel Fish (website), Babel Fish (now defunct), web-based human translation has been gaining popularity by providing relatively fast, accurate translation of business communications, legal documents, medical records, and software localization. Web-based human translation also appeals to private website users and bloggers. Contents of websites are translatable but URLs of websites are not translatable into other languages. Language tools on the internet provide help in understanding text.

Computer assist

Computer-assisted translation (CAT), also called "computer-aided translation," "machine-aided human translation" (MAHT) and "interactive translation," is a form of translation wherein a human translator creates a #Source and target texts, target text with the assistance of a computer program. The machine supports a human translator.

Computer-assisted translation can include standard dictionary and grammar software. The term, however, normally refers to a range of specialized programs available to the translator, including translation memory, terminology-management, concordancer, concordance, and alignment programs.

These tools speed up and facilitate human translation, but they do not provide translation. The latter is a function of tools known broadly as machine translation. The tools speed up the translation process by assisting the human translator by memorizing or committing translations to a database (translation memory database) so that if the same sentence occurs in the same project or a future project, the content can be reused. This translation reuse leads to cost savings, better consistency and shorter project timelines.

Machine translation

Machine translation (MT) is a process whereby a computer program analyzes a source text and, in principle, produces a target text without human intervention. In reality, however, machine translation typically does involve human intervention, in the form of pre-editing and post-editing.See th
annually performed NIST tests since 2001
and Bilingual Evaluation Understudy With proper terminology work, with preparation of the source text for machine translation (pre-editing), and with reworking of the machine translation by a human translator (post-editing), commercial machine-translation tools can produce useful results, especially if the machine-translation system is integrated with a translation memory or translation management system.

Unedited machine translation is publicly available through tools on the Internet such as Google Translate, Babel Fish (website), Babel Fish (now defunct), Babylon Software, Babylon, DeepL Translator, and StarDict. These produce rough translations that, under favorable circumstances, "give the gist" of the source text. With the Internet, translation software can help non-native-speaking individuals understand web pages published in other languages. Whole-page-translation tools are of limited utility, however, since they offer only a limited potential understanding of the original author's intent and context; translated pages tend to be more erroneously humorous and confusing than enlightening.

Interactive translations with Pop-up ad, pop-up windows are becoming more popular. These tools show one or more possible equivalents for each word or phrase. Human operators merely need to select the likeliest equivalent as the mouse glides over the foreign-language text. Possible equivalents can be grouped by pronunciation. Also, companies such as Ectaco produce pocket devices that provide machine translations.

Relying exclusively on unedited machine translation, however, ignores the fact that communication in natural language, human language is wikt:context, context-embedded and that it takes a person to comprehend the context of the original text with a reasonable degree of probability. It is certainly true that even purely human-generated translations are prone to error; therefore, to ensure that a machine-generated translation will be useful to a human being and that publishable-quality translation is achieved, such translations must be reviewed and edited by a human. Claude Piron writes that machine translation, at its best, automates the easier part of a translator's job; the harder and more time-consuming part usually involves doing extensive research to resolve ambiguity, ambiguities in the source text, which the grammatical and lexical (semiotics), lexical exigencies of the target language require to be resolved. Such research is a necessary prelude to the pre-editing necessary in order to provide input for machine-translation software, such that the output will not be garbage in garbage out, meaningless.

The weaknesses of pure machine translation, unaided by human expertise, are Logology (science of science)#Artificial intelligence, those of artificial intelligence itself. As of 2018, professional translator Mark Polizzotti held that machine translation, by Google Translate and the like, was unlikely to threaten human translators anytime soon, because machines would never grasp nuance and connotation. Writes Paul Taylor: "Perhaps there is a limit to what a computer can do without knowing that it is manipulating imperfect representations of an external reality."

Literary translation

Translation of literature, literary works (novels, short story, short stories, theatre, plays, poetry, poems, etc.) is considered a literary pursuit in its own right. Notable in Canadian literature ''specifically'' as translators are figures such as Sheila Fischman, Robert Dickson (writer), Robert Dickson, and Linda Gaboriau; and the Canadian Governor General's Awards annually present prizes for the best English-to-French and French-to-English literary translations.

Other writers, among many who have made a name for themselves as literary translators, include Vasily Zhukovsky, Tadeusz Boy-Żeleński, Vladimir Nabokov, Jorge Luis Borges, Robert Stiller, Lydia Davis, Haruki Murakami, Achy Obejas, and Jhumpa Lahiri.

In the 2010s a substantial gender imbalance was noted in literary translation into English, with far more male writers being translated than women writers. In 2014 Meytal Radzinski launched the ''Women in Translation'' campaign to address this.

History

The first important translation in the West was that of the Septuagint, a collection of Jewish Scriptures translated into early Koine Greek in Alexandria between the 3rd and 1st centuries BCE. The dispersed Jews had forgotten their ancestral language and needed Greek versions (translations) of their Scriptures.

Throughout the Middle Ages, Latin was the ''lingua franca'' of the western learned world. The 9th-century Alfred the Great, king of Wessex in England, was far ahead of his time in commissioning vernacular Anglo-Saxon language, Anglo-Saxon translations of Bede's ''Historia ecclesiastica gentis Anglorum, Ecclesiastical History'' and Boethius' ''Consolation of Philosophy''. Meanwhile, the Christian Church frowned on even partial adaptations of St. Jerome's ''Vulgate Bible, Vulgate'' of c. 384 CE, the standard Latin Bible.

In Asia, the spread of Buddhism led to large-scale ongoing translation efforts spanning well over a thousand years. The Tangut Empire was especially efficient in such efforts; exploiting the then newly invented block printing, and with the full support of the government (contemporary sources describe the Emperor and his mother personally contributing to the translation effort, alongside sages of various nationalities), the Tanguts took mere decades to translate volumes that had taken the Chinese centuries to render.

The Arabs undertook Graeco-Arabic translation movement, large-scale efforts at translation. Having conquered the Ancient Greece, Greek world, they made Arabic versions of its philosophical and scientific works. During the Middle Ages, translations of some of these Arabic versions Latin translations of the 12th century, were made into Latin, chiefly at Córdoba, Spain, Córdoba in Spain.J.M. Cohen, p. 13. King Alfonso X of Castile, Alfonso X the Wise of Kingdom of Castile, Castile in the 13th century promoted this effort by founding a ''Schola Traductorum'' (School of Translation) in Toledo, Spain, Toledo. There Arabic texts, Hebrew texts, and Latin texts were translated into the other tongues by Muslim, Jewish, and Christian scholars, who also argued the merits of their respective religions. Latin translations of Greek and original Arab works of scholarship and science helped advance European Scholasticism, and thus European science and culture.

The broad historic trends in Western translation practice may be illustrated on the example of translation into the English language.

The first fine translations into English were made in the 14th century by Geoffrey Chaucer, who adapted from the Italian language, Italian of Giovanni Boccaccio in his own ''Knight's Tale'' and ''Troilus and Criseyde''; began a translation of the French-language ''Roman de la Rose''; and completed a translation of Boethius from the Latin. Chaucer founded an English poetry, poetic tradition on ''Literary adaptation, adaptations'' and translations from those earlier-established literary languages.

The first great English translation was the ''Wycliffe Bible'' (c. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's ''Le Morte Darthur''—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor period, Tudor translations are, accordingly, the ''Tyndale Bible, Tyndale New Testament'' (1525), which influenced the ''Authorized Version'' (1611), and Lord Berners' version of Jean Froissart's ''Chronicles'' (1523–25).

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the ''New Testament'' led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Non-scholarly literature, however, continued to rely on ''adaptation''. France's ''Pléiade'', England's Tudor period, Tudor poets, and the Elizabethan translators adapted themes by Horace, Ovid, Petrarch and modern Latin writers, forming a new poetic style on those models. The English poets and translators sought to supply a new public, created by the rise of a middle class and the development of printing, with works such as the original authors ''would have written'', had they been writing in England in that day.

The Elizabethan period of translation saw considerable progress beyond mere paraphrase toward an ideal of Stylistics (linguistics), stylistic equivalence, but even to the end of this period, which actually reached to the middle of the 17th century, there was no concern for Words, verbal accuracy.J.M. Cohen, p. 14.

In the second half of the 17th century, the poet John Dryden sought to make Virgil speak "in words such as he would probably have written if he were living and an Englishman". As great as Dryden's poem is, however, one is reading Dryden, and not experiencing the Roman poet's concision. Similarly, Homer arguably suffers from Alexander Pope's endeavor to reduce the Greek poet's "wild paradise" to order. Both works live on as worthy ''English'' epics, more than as a point of access to the Latin or Greek.

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or ''pseudo''-metaphrase, was to constantly remind readers that they were reading a ''foreign'' classic. An exception was the outstanding translation in this period, Edward FitzGerald (poet), Edward FitzGerald's ''Rubaiyat of Omar Khayyam, Rubaiyat'' of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

In advance of the 20th century, a new pattern was set in 1871 by Benjamin Jowett, who translated Plato into simple, straightforward language. Jowett's example was not followed, however, until well into the new century, when accuracy rather than style became the principal criterion.

Modern translation

As a language evolves, texts in an earlier version of the language—original texts, or old translations—may become difficult for modern readers to understand. Such a text may therefore be translated into more modern language, producing a "modern translation" (e.g., a "modern English translation" or "modernized translation").

Such modern rendering is applied either to literature from classical languages such as Latin or Greek, notably to the Bible (see "Modern English Bible translations"), or to literature from an earlier stage of the same language, as with the works of William Shakespeare (which are largely understandable by a modern audience, though with some difficulty) or with Geoffrey Chaucer's Middle English, Middle-English ''The Canterbury Tales, Canterbury Tales'' (which is understandable to most modern readers only through heavy dependence on footnotes). In 2015 the Oregon Shakespeare Festival commissioned professional translation of the entire Shakespeare canon, including disputed works such as ''Edward III (play), Edward III'', into contemporary vernacular English; in 2019, off-off-Broadway, the canon was premiered in a month-long series of staged readings.

Modern translation is applicable to any language with a long literary history. For example, in Japanese the 11th-century ''The Tale of Genji, Tale of Genji'' is generally read in modern translation (see "The Tale of Genji#Modern readership, ''Genji:'' modern readership").

Modern translation often involves literary scholarship and textual revision, as there is frequently not one single canonical text. This is particularly noteworthy in the case of the Bible and Shakespeare, where modern scholarship can result in substantive textual changes.

Anna North writes: "Translating the long-dead language Homer used — a variant of ancient Greek called Homeric Greek — into contemporary English is no easy task, and translators bring their own skills, opinions, and stylistic sensibilities to the text. The result is that every translation is different, almost a new poem in itself." An example is Emily Wilson (classicist), Emily Wilson's 2017 translation of Homer's ''Odyssey'', where by conscious choice Wilson "lays bare the morals of its time and place, and invites us to consider how different they are from our own, and how similar."

Modern translation meets with opposition from some traditionalists. In English, some readers prefer the Authorized King James Version of the Bible to modern translations, and Shakespeare in the original of ca. 1600 to modern translations.

An opposite process involves translating modern literature into classical languages, for the purpose of extensive reading (for examples, see "List of Latin translations of modern literature").

Poetry

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. Douglas Hofstadter, in his 1997 book, ''Le Ton beau de Marot'', 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.).

The Russian-born linguist and semiotician Roman Jakobson

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