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questionssuchas:whatkindsoftranslationsweremade,bywhom,forwhom,
why,andwithwhateffect?
TranslatingShakespeare:thetechnicalitiesandbeyond
TherangeoftechnicalproblemsthatthetranslatorofShakespearemaybe
facedwithisquiteformidable,includingastheydothemanytextualcruxes,
Shakespeare’sobscureculturalandintertextualallusions,hisarchaismsand
daringneologisms,hiscontrastiveuseofwordsofAngloSaxonandRomance
origin,hisuseofhomelyimages,ofmixedmetaphorsandofiterativeimagery,
therepetitionsofthematickeywords,thepersonifications(whichinsome
languagesmayleadtocontradictionsbetweennaturalsexandgrammatical
gender),Shakespeare’spuns,ambiguitiesandmalapropisms,hisplaywithy
andthformsofaddress,hisellipticalgrammarandgeneralcompactnessof
expression,hisflexibleiambicpatterns(noteasilyreproducibleincertainother
prosodicsystems)andthemusicalityofhisverse,thepresenceofperformance
orientedtheatricalsignsinscribedinthetext,theembeddingofdialectsand
foreignlanguages,andsoon.
Realenoughthoughthesetechnicalproblemsmaybeinmanycases,theyare
notthebeallandendallofthequestionoftranslatingShakespeare.First,
severalofthemarespecifictoparticularlanguagepairs.Second,astranslators
ofOvid,RabelaisorJoycewillreadilyconfirm,noneofthepotentialproblems
listedaboveislimitedtothecaseofShakespeare.Lastbutnotleast,the
problemsexperiencedbytranslatorsinpracticehavearelativestatusinsofar
astheyarealwayssubjecttocertainpriordecisions.Forexample,thedifficulty
offindinganoptimalprosodicequivalentforShakespeare’siambicverse
obviouslydependsonthepreliminarychoiceofverseoverprose,andhistory
teachesusthatespeciallyphilologicallyorientedShakespearetranslatorshave
oftenpreferredproseasthemostsuitabletextualformatthroughout.As
opposedtotheseallproseversions,verseofsomekindhasoftenbeenusedfor
renderingsintendedforthe‘stage’ratherthanthe‘page’,includingthepassages
whereShakespeareactuallyhadhischaractersspeakinprose.Ofcourse,all
proseandallverserenderingsequallyoverrideShakespeare’sdeliberate
combinationofbothforms.Thenotionthatthisverycombinationhadtobe
reproducedintranslationwasappliedmethodicallyforthefirsttimeinthe
GermanSchlegel–Tieckproject(1797–1833)(seeGERMANTRADITION),
whichdrewontheRomanticviewoftheworkofartbeinganindivisible
structureinwhichformandcontenthavefullyfusedintoastrictlyunique
organism,springingfromthecreativepowersoftheauthorandthereforebeing
beyondandaboveanyexternalsystemofrules(suchasthatofneoclassicism,
forinstance).Thetruetranslatorthereforehastoaimforanintegralrendering
thatrecreatesthisorganisminthereceivinglanguage,andthisrequires
relentlessattentiontoform(includingShakespeare’sprosodicmodulations)as
wellastocontent.Itisnoteworthythatthesystematicobservationof
Shakespeare’sprose/versedistinctionsisafairlyrecentphenomenoninseveral
ofthemajorShakespearecultures,suchastheFrench(e.g.JeanMichel
Déprats)andtheSpanish(e.g.AngelLuisPujante).
Itisalsousefultobearinmindthatmanyoftheproblematicfeaturesinquestion
haveattimesdisturbedShakespeare’sEnglishspeakingreadersandrewriters
aswell,appearingnolessperplexing,alienatingorunacceptabletothemthanto
hisoverseasreadersandtranslators.Indeed,modernlanguageversionsin
EnglishoftheShakespeareMadeEasykind(whichinJakobson’sfamous
typologymaycountasaformofintralingualtranslation)seemtofulfilan
increasinglyrealfunction.Inotherwords,theunderstandingandevaluationof
Shakespearerestsontextual,culturalandideologicalcodesandonsemiotic
mechanismswhicharetosomeextentindependentofthelinguisticbarrier
(unlessonewishestocallEarlyModernEnglishadifferentlanguagefrom
contemporaryEnglish)andwhichthereforetendtoconfronteditors,critics,
directors,adaptersandotherEnglishspeakingrewritersofShakespearewith
muchthesamedilemmasasthetranslatorsabroad.Notsurprisingly,acertain
rapprochementseemstobetakingplacebetweenthestudyofthecriticaland
theatricalafterlivesofShakespeareinEnglishandthestudyofhistranslations
(Hoenselaars2006),eventhoughalargepartoftheanglophone