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assuchonlywhentheoverlappingidentityofitsauthorandtranslatorisbrought
tolight:untilthen,thetextissimplyatranslation.Pseudotranslatorscan
thereforesubstantiallypreservetheauthoritativenessassociatedwithoriginal
authorswithoutbeingsubjecttothesamerestrictions.Thisallowsthem,as
Santoyo(1984:46–8)observes,toexploittheprestigeofsupposedoriginalsin
ordertoovercomereaders’reservations(asinthecaseofElcaballeroCifar,
pseudotranslatedinthefourteenthcenturyfromChaldeanintoLatin:thatis,
fromanextremelyancientwork–authoritativeinitself–throughthemediation
ofanequallyauthoritativelanguage).Italsoallowsthemtokeeptheirnames
secretforsocialreasons–asinthecaseofHoraceWalpole,sonofaformer
PrimeMinister,whoascribedhisTheCastleofOtrantotoOnuphrioMuralto
(in1764)–orforhumorouspurposes,asNathanielHawthornedidbyascribing
Rappacini’sDaughterin1844to‘Monsieurdel’Aubepine’,atranslationof
hissurnameintoFrench.Pseudotranslationsalsoallowtheirwriterstocriticize
thenormsandtraditionsoftheirowncountriesbyadoptingthepersonaofthe
‘ingenuoustraveller’(cf.the1684novelL’esploratoreturcobyGiovanni
PaoloMarana,ascribedtotheArabspyMahmut).
Toury(1995)identifiesotherreasonsforauthorsresortingtothisdevice.One
suchreasonistheintentiontotrytheirhandatnewgenreswithout
compromisingtheirpreviousreputation:agoodexampleisGengaeldsensveje
byKarenBlixen,whoascribedher1944noveltoPierreAndrézelandits
translationintoDanishtohersecretaryClaraSvendsen.Anotherreasonisan
author’s‘fearofcensorialmeasures’,asinthecaseofthesatiricalLettres
Persanes(1721)byMontesquieu,whodidnothesitatetopillorybothpolitical
andreligiousaspectsofcontemporaryFrenchsociety,includingthemonarchical
systemitself(seeCENSORSHIP).Touryalsonotesthattheprestigeofthe
allegedsourcetext(orgenre)canbepartlytransferredtoitspseudotranslation,
sothatthelattercanestablishitselfasamodelofthesameliterarygenreinthe
targetculture,turningfrommetatextintoprototext.
Pseudotranslationshaveoftenservedasprototypesfornewliterarygenres.This
wasthecaseinItaly,whereBoiardo’sOrlandoInnamorato(1483,a
pseudotranslationfromFrench)providedamodelforchivalrouspoetry;in
Spain,withCervantes’DonQuijote(1605,ascribedtotheArabhistorianCide
HameteBenengeli),oftenreferredtoasthe‘firstmodernnovel’;andin
Germany,whereHolzundSchlaf’sPapaHamlet(1889,apseudotranslation
fromNorwegian)wasoneofthemostimportantforerunnersofthesocalled
‘konsequenterNaturalismus’.
Venuti(1998b)includesnewconceptionsofauthorshipamongtheinnovations
thatpseudotranslationscanintroduceintothetargetculture,thusgoingbeyond
theformalandcontentaspectsofthetextsandhighlightingthesocialroleand
positionoftheirauthors,aswellasissuesofpatronage,readershipandbook
market.Thisfunctionofpseudotranslationsisillustratedbythenumerous
eighteenthcenturynovelsdedicatedtothefigureofthephilosophe ,usually
ascribedtoFrenchorEnglishauthors.Oneofthemosteloquentexamples,the
novelLeLordImpromptu(1767)byCazotte,isparticularlyinteresting
becauseofthewayparatextsareusedtoframenotonlythefictitioussource
textbutalsoitsfictitiousauthor(Rambelli2004).Cazottestatesinhispreface
thathetranslatedtheworkfromtheEnglishnovelTheWhiteWitcherast,byan
anonymouswriter.In1805,LeLordImpromptuwastranslatedintoItalianby
ananonymouswriterwhodecidedtogobacktotheallegedoriginaltitle
(translatedasLamagiabianca)andtofurtherelaboratethefigureofitsalleged
author,whomhecalledFassdown.TheItaliantranslatoraddedtothenovela
dedicatoryletterbythefictitiousFassdowntoanItalianfriend,andasecond
letterbyaFrenchacquaintanceofFassdown,theabbotParruqueBlonde,to
theanonymoustranslator.Allthese‘disguises’allowtheItalianwriterto
describeandcomparethedifficultiesexperiencedbyintellectualsinfindinga
newsocialpositionafterthedisappearanceofthecourtiersysteminthree
differentculturalpolysystems(Italian,FrenchandBritish).DuPont(2005)
offersadetaileddiscussionofsimilarattemptstoframeanonfictitiouswriter,
RobertGraves,astheauthorofapseudotranslation,usingvariousstrategiesto
explainstylisticdifferencesbetweenexistingwritingsbyGravesandthe
pseudotranslationattributedtohim.