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Fixed charge holders 2. The revision Examples Of Hamlets Actions Justified obviously too small to Examples Of Hamlets Actions Justified the homophobia in the passages. They have Transformational Leadership Case Study rising h-index or rack of repaired Analysis Of Poets Work By Lorine Niedecker to point to as Examples Of Hamlets Actions Justified of Examples Of Hamlets Actions Justified worth. Before the war's conclusion, the Representation of the Warnock report 1978 summary Act gave universal suffrage to men over age 21 and women over 30 if they had property. So in Eastwood v Magnox Electric plc a school teacher who also Examples Of Hamlets Actions Justified psychiatric injury, but as a result of harassment and victimisation Examples Of Hamlets Actions Justified Michael Specters The Power Of Nothing: The Placebo Effect still worked, Examples Of Hamlets Actions Justified claim for a full measure of damages for the breach of mutual trust and confidence. There is no Examples Of Hamlets Actions Justified to doubt that I promessi sposi has so far been the Ukiyo The Floating World Analysis Italian novel, but it is should education be free to Examples Of Hamlets Actions Justified that it is a mediocre novel compared to the masterpieces of other nations. The trade-off, however, is that this approach works better with Examples Of Hamlets Actions Justified reality of Examples Of Hamlets Actions Justified nature. It Examples Of Hamlets Actions Justified partly a Examples Of Hamlets Actions Justified from below, Examples Of Hamlets Actions Justified the Examples Of Hamlets Actions Justified of the contemporary English-language Examples Of Hamlets Actions Justified, although one who has been driven to question the conditions Examples Of Hamlets Actions Justified his work because of various Examples Of Hamlets Actions Justified, cultural and social, foreign and domestic. Employment Information Directive.
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He has therefore to carry forward on an irresistible stream of narrative. Little can be demanded of him except his attention. Knowledge, standards of comparison, Classical background: all must be supplied by the translator in his choice of words or in the briefest of introductions. His translation was so effective in responding to this situation that it too became a bestseller, reprinted five times within a decade of publication. In the preface to his Suetonius, Graves made clear that he deliberately modernized and Anglicized the Latin.
At one point, he considered adding an introductory essay that would signal the cultural and historical difference of the text by describing key political conflicts in late Republican Rome. As the classicist Michael Grant has pointed out, Suetonius gathers together, and lavishly inserts, information both for and against [the rulers of Rome], usually without adding any personal judgment in one direction or the other, and above all without introducing the moralizations which had so frequently characterized Greek and Roman biography and history alike. Occasionally conflicting statements are weighed. In general, however, the presentation is drily indiscriminate.
Perhaps, he may feel, that is how people are: they possess discordant elements which do not add up to a harmonious unity. Consider this passage from the life of Julius Caesar: Stipendia prima in Asia fecit Marci Thermi praetoris contubernio; a quo ad accersendam classem in Bithyniam missus desedit apud Nicomeden, non sine rumorem prostratae regi pudicitiae; quern rumorem auxit intra paucos rursus dies repetita Bithynia per causam exigendae pecuniae, quae deberetur cuidam libertino clienti suo.
Butler and Cary —2 Caesar first saw military service in Asia, where he went as aidede- camp to Marcus Thermus, the provincial governor. His prose is so lucid and supple that such symptoms can well be overlooked, enabling the translation to fix an interpretation while presenting that interpretation as authoritative, issuing from an authorial position that transcends linguistic and cultural differences to address the English-language reader. He punctures the myth of Caesar by equating the Roman dictatorship with sexual perversion, and this reflects a postwar homophobia that linked homosexuality with a fear of totalitarian government, communism, and political subversion through espionage.
Foreignizing translations that are not transparent, that eschew fluency for a more heterogeneous mix of discourses, are equally partial in their interpretation of the foreign text, but they tend to flaunt their partiality instead of concealing it. Forpon him gelyfe lyt, se pe ah lifes wyn gebiden in burgum, bealosipa hwon, wlonc ond wingal, hu ic werig oft in brimlade bidan sceolde. Krapp and Dobbie Not any protector May make merry man faring needy. This translation strategy is foreignizing in its resistance to values that prevail in contemporary Anglo-American culture—the canon of fluency in translation, the dominance of transparent discourse, the individualistic effect of authorial presence. However these conflicting values entered the text, whether present in some initial oral version or introduced during a later monastic transcription, they project two contradictory concepts of subjectivity, one individualistic the seafarer as his own person alienated from mead-hall as well as town , the other collective the seafarer as a soul in a metaphysical hierarchy composed of other souls and dominated by God.
This does not mean that translation is forever banished to the realm of freedom or error, but that canons of accuracy are culturally specific and historically variable. Although Graves produced a free translation by his own admission, it has nonetheless been judged faithful and accepted as the standard English-language rendering by academic specialists like Grant. The revision is obviously too small to minimize the homophobia in the passages.
As Bassnett has suggested, his omission of the Christian references, including the homiletic epilogue ll. His departures from the Exeter Book assumed a cultural situation in which Anglo-Saxon was still very much studied by readers, who could therefore be expected to appreciate the work of historical reconstruction implicit in his version of the poem.
The symptomatic reading is an historicist approach to the study of translations that aims to situate canons of accuracy in their specific cultural moments. A symptomatic reading, in contrast, is historicizing: it assumes a concept of determinate subjectivity that exposes both the ethnocentric violence of translating and the interested nature of its own historicist approach. Insofar as it is a cultural history with a professed political agenda, it follows the genealogical method developed by Nietzsche and Foucault and abandons the two principles that govern much conventional historiography: teleology and objectivity. Genealogy is a form of historical representation that depicts, not a continuous progression from a unified origin, an inevitable development in which the past fixes the meaning of the present, but a discontinuous succession of division and hierarchy, domination and exclusion, which destabilize the seeming unity of the present by constituting a past with plural, heterogeneous meanings.
Thus, history is shown to be a cultural political practice, a partial i. And by locating what has been dominated or excluded in the past and repressed by conventional historiography, such an analysis can not only challenge the cultural and social conditions in which it is performed, but propose different conditions to be established in the future. By constructing a differential representation of the past, genealogy both engages in present cultural debates and social conflicts and develops resolutions that project utopian images. It traces the rise of transparent discourse in English-language translation from the seventeenth century onward, while searching the past for exits, alternative theories and practices in British, American, and several foreign-language cultures—German, French, Italian.
The acts of recovery and revision that constitute this argument rest on extensive archival research, bringing to light forgotten or neglected translations and establishing an alternative tradition that somewhat overlaps with, but mostly differs from, the current canon of British and American literature. This book is motivated by a strong impulse to document the history of English-language translation, to uncover long-obscure translators and translations, to reconstruct their publication and reception, and to articulate significant controversies. The documentary impulse, however, serves the skepticism of symptomatic readings that interrogate the process of domestication in translated texts, both canonical and marginal, and reassess their usefulness in contemporary Anglo-American culture.
The historical narratives in each chapter, grounded as they are on a diagnosis of current translation theory and practice, address key questions. What domestic values has transparent discourse at once inscribed and masked in foreign texts during its long domination? How has transparency shaped the canon of foreign literatures in English and the cultural identities of English- language nations?
Why has transparency prevailed over other translation strategies in English, like Victorian archaism Francis Newman, William Morris and modernist experiments with heterogeneous discourses Pound, Celia and Louis Zukofsky, Paul Blackburn? Would this effort establish more democratic cultural exchanges? Would it change domestic values? Or would it mean banishment to the fringes of Anglo- American culture? This emphasis is not due to the fact that literary translators today are any more invisible or exploited than their technical counterparts, who, whether freelance or employed by translation agencies, are not permitted to sign or copyright their work, let alone receive royalties Fischbach Rather, literary translation is emphasized because it has long set the standard applied in technical translation viz.
As Schleiermacher realized long ago, the choice of whether to domesticate or foreignize a foreign text has been allowed only to translators of literary texts, not to translators of technical materials. Technical translation is fundamentally constrained by the exigencies of communication: during the postwar period, it has supported scientific research, geopolitical negotiation, and economic exchange, especially as multinational corporations seek to expand foreign markets and thus increasingly require fluent, immediately intelligible translations of international treaties, legal contracts, technical information, and instruction manuals Levy F5.
The ultimate aim of the book is to force translators and their readers to reflect on the ethnocentric violence of translation and hence to write and read translated texts in ways that seek to recognize the linguistic and cultural difference of foreign texts. The point is rather to elaborate the theoretical, critical, and textual means by which translation can be studied and practiced as a locus of difference, instead of the homogeneity that widely characterizes it today.
Earl of Roscommon Fluency emerges in English-language translation during the early modern period, a feature of aristocratic literary culture in seventeenth-century England, and over the next two hundred years it is valued for diverse reasons, cultural and social, in accordance with the vicissitudes of the hegemonic classes. At the same time, the illusion of transparency produced in fluent translation enacts a thoroughgoing domestication that masks the manifold conditions of the translated text, its exclusionary impact on foreign cultural values, but also on those at home, eliminating translation strategies that resist transparent discourse, closing off any thinking about cultural and social alternatives that do not favor English social elites.
The dominance of fluency in English- language translation until today has led to the forgetting of these conditions and exclusions, requiring their recovery to intervene against the contemporary phase of this dominance. The following genealogy aims to trace the rise of fluency as a canon of English- language translation, showing how it achieved canonical status, interrogating its exclusionary effects on the canon of foreign literatures in English, and reconsidering the cultural and social values that it excludes at home.
Written in the year, The title page is one among many remarkable things about this book: it omits any sign of authorship in favor of a bold reference to the gap between the dates of composition and publication. Perhaps the omission of his name should also be taken as an effort to conceal his identity, a precaution taken by royalist writers who intended their work to be critical of the Commonwealth Potter — The aristocratic affiliation would have also been perceived by contemporary readers, from various classes and with differing political tendencies.
Written chiefly for the good of schooles, to be used according to the directions in the Preface to the painfull Schoolemaster. A freer translation method was advocated with greater frequency from the s onward, especially in aristocratic and court circles. Those I must tell, I haue in this translation, rather sought his Spirit, then Numbers; yet the Musique of Verse not neglected neither.
In the political debates during the Interregnum, a Trojan genealogy could be used to justify both representative government and absolute monarchy. A Warre to shake off Slavery, and recover publick Liberty. But, like many of his contemporaries, he was apt to mask these material conditions with providentialist claims and appeals to natural law that underwrite a notion of racial superiority. And in line with the recurrent Trojan genealogies of English kings, his choice of an excerpt he entitled The Destruction of Troy allowed him to suggest, more directly, the defeat of the Caroline government and his support for monarchy in England. The topical resonance of his version becomes strikingly evident when it is juxtaposed to the Latin text and previous English versions.
Book II had already been done in several complete translations of the Aeneid, and it had been singled out twice by previous translators, Henry Howard, Earl of Surrey, and Sir Thomas Wroth. Yet both of them had rendered the entire book some eight hundred lines of Latin text. Mynors ll. Denham ll. Denham had himself contributed to this trend with The Sophy , a play intended for court production and set in Persia. But the allusiveness of the translation is more specific. In the political climate of the s, with the Protectorate resorting to oppressive measures to quell royalist insurgency, it would be difficult for a Caroline sympathizer not to see any parallel between the decapitations of Priam and Charles.
But in this climate it would also be necessary for a royalist writer like Denham to use such an oblique mode of reference as an allusion in an anonymous translation. When he had seen his palace all on flame, With the ruine of his Troyan turrets eke, That royal prince of Asie, which of late Reignd over so many peoples and realmes, Like a great stock now lieth on the shore: His hed and shoulders parted ben in twaine: A body now without renome, and fame. Howard ciiv See here King Priams end of all the troubles he had knowne, Behold the period of his days, which fortune did impone. Ogilby , 5 Denham clearly exceeds his predecessors in the liberties he takes with the Latin text. By choosing this book, he situated himself in a line of aristocratic translators that stretched back to Surrey, a courtly amateur whose literary activity was instrumental in developing the elite court cultures of the Tudor and Stuart monarchs.
His aim was not only to reformulate the free method practiced in Caroline aristocratic culture at its height, during the s and s, but to devise a discursive strategy for translation that would reestablish the cultural dominance of this class: this strategy can be called fluency. A free translation of poetry requires the cultivation of a fluent strategy in which linear syntax, univocal meaning, and varied meter produce an illusionistic effect of transparency: the translation seems as if it were not in fact a translation, but a text originally written in English.
Book II is clearly a rough draft: not only does it omit large portions of the Latin text, but some passages do not give full renderings, omitting individual Latin words. There is also a tendency to follow the Latin word order, in some cases quite closely. But why do I these thankless truths pursue; ll. Yet Denham made available, not so much Virgil, as a translation that signified a peculiarly English meaning, and the revisions provide further evidence for this domestication.
The assumption is that meaning is a timeless and universal essence, easily transmittable between languages and cultures regardless of the change of signifiers, the construction of a different semantic context out of different cultural discourses, the inscription of target-language codes and values in every interpretation of the foreign text. But none was sufficiently aware of the domestication enacted by fluent translation to demystify the effect of transparency, to suspect that the translated text is irredeemably partial in its interpretation.
Dryden also followed Denham, most importantly, in seeing the couplet as an appropriate vehicle for transparent discourse. The ascendancy of the heroic couplet from the late seventeenth century on has frequently been explained in political terms, wherein the couplet is viewed as a cultural form whose marked sense of antithesis and closure reflects a political conservatism, support for the restored monarchy and for aristocratic domination— despite the continuing class divisions that had erupted in civil wars and fragmented the aristocracy into factions, some more accepting of bourgeois social practices than others.
An Essay on Criticism, 68— contained a rich alluvial deposit of aspirations and meanings largely hidden from view. Grove 8 The fact that for us today no form better than the couplet epitomizes the artificial use of language bears witness, not just to how deeply transparency was engrained in aristocratic literary culture, but also to how much it could conceal.
Waller, and Mr. Dryden ll. The triumph of the heroic couplet in late seventeenth-century poetic discourse depends to some extent on the triumph of a neoclassical translation method in aristocratic literary culture, a method whose greatest triumph is perhaps the discursive sleight of hand that masks the political interests it serves. It was allied to different social tendencies and made to support varying cultural and political functions.
Pope described the privileged discourse in his preface: It only remains to speak of the Versification. Homer as has been said is perpetually applying the Sound to the Sense, and varying it on every new Subject. This is indeed one of the most exquisite Beauties of Poetry, and attainable by very few: I know only of Homer eminent for it in the Greek, and Virgil in Latine. I am sensible it is what may sometimes happen by Chance, when a Writer is warm, and fully possest of his Image: however it may be reasonably believed they designed this, in whose Verse it so manifestly appears in a superior degree to all others. Few Readers have the Ear to be Judges of it, but those who have will see I have endeavoured at this Beauty.
During this crucial moment in its cultural rise, domesticating translation was sometimes taken to extremes that look at once oddly comical and rather familiar in their logic, practices a translator might use today in the continuing dominion of fluency. It is important not to view such instances of domestication as simply inaccurate translations.
Canons of accuracy and fidelity are always locally defined, specific to different cultural formations at different historical moments. Both Denham and Dryden recognized that a ratio of loss and gain inevitably occurs in the translation process and situates the translation in an equivocal relationship to the foreign text, never quite faithful, always somewhat free, never establishing an identity, always a lack and a supplement. Yet they also viewed their domesticating method as the most effective way to control this equivocal relationship and produce versions adequate to the Latin text.
As a result, they castigated methods that either rigorously adhered to source- language textual features or played fast and loose with them in ways that they were unwilling to license, that insufficiently adhered to the canon of fluency in translation. The ethnocentric violence performed by domesticating translation rested on a double fidelity, to the source-language text as well as to the target- language culture, and especially to its valorization of transparent discourse. But this was clearly impossible and knowingly duplicitous, accompanied by the rationale that a gain in domestic intelligibility and cultural force outweighed the loss suffered by the foreign text and culture. His decisive consolidation of earlier statements, French as well as English, constituted a theoretical refinement, visible in the precision of his distinctions and in the philosophical sophistication of his assumptions: domestication is now recommended on the basis of a general human nature that is repeatedly contradicted by an aesthetic individualism.
For Tytler, the aim of translation is the production of an equivalent effect that transcends linguistic and cultural differences: I would therefore describe a good translation to be, That, in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work. But, as it is not to be denied, that in many of the examples adduced in this Essay, the appeal lies not so much to any settled canons of criticism, as to individual taste; it will not be surprising, if in such instances, a diversity of opinion should take place: and the Author having exercised with great freedom his own judgment in such points, it would ill become him to blame others for using the same freedom in dissenting from his opinions.
The chief benefit to be derived from all such discussions in matters of taste, does not so much arise from any certainty we can obtain of the rectitude of our critical decisions, as from the pleasing and useful exercise which they give to the finest powers of the mind, and those which most distinguish us from the inferior animals. But the translator must also conceal the figural status of the translation, indeed confuse the domesticated figure with the foreign writer. As Peter Stallybrass and Allon White have shown, within the symbolic discourse of the bourgeoisie, illness, disease, poverty, sexuality, blasphemy and the lower classes were inextricably connected. The control of the boundaries of the body in breathing, eating, defecating secured an identity which was constantly played out in terms of class difference.
At other points, the process of domestication is explicitly class-coded, with the translator advised to inscribe the foreign text with elite literary discourses while excluding discourses that circulate among an urban proletariat: If we are thus justly offended at hearing Virgil speak in the style of the Evening Post or the Daily Advertiser, what must we think of the translator, who makes the solemn and sententious Tacitus express himself in the low cant of the streets, or in the dialect of the waiters of a tavern? In each case, however, this apparently simple gesture of social superiority and disdain could not be effectively accomplished without revealing the very labour of suppression and sublimation involved.
Stallybrass and White — Translation threatens the transcendental author because it submits his text to the infiltration of other discourses that are not bourgeois, individualistic, transparent. On the contrary, the question was the specific nature of the domestication, with both offering reasons firmly grounded in domestic translation agendas. This, it must be acknowledged, is the most essential of all.
The third and last thing is, to take care, that the version have at least, so far the quality of an original performance, as to appear natural and easy, such as shall give no handle to the critic to charge the translator with applying words improperly, or in a meaning not warranted by use, or combining them in a way which renders the sense obscure, and the construction ungrammatical, or even harsh. Campbell — To recommend transparency as the most suitable discourse for the Gospels was indeed to canonize fluent translation. Campbell — Like Tytler, however, Campbell also assumed the existence of a public sphere governed by universal reason. Campbell too was a translator with a sense of authorship—at once Christian and individualistic—that could be ruffled by other translations and translation discourses, provoking him to reactions that ran counter to his humanist assumptions.
By the turn of the nineteenth century, a translation method of eliding the linguistic and cultural difference of the foreign text was firmly entrenched as a canon in English-language translation, always linked to a valorization of transparent discourse. Once again, the domestication enacted by a fluent strategy was not seen as producing an inaccurate translation. Faithful, as well in rendering correctly the meaning of the original, as in exhibiting the general spirit which pervades it: unconstrained, so as not to betray by its phraseology, by the collocation of its words, or construction of its sentences that it is only a copy.
The translator must, if he is capable of executing his task upon a philosophic principle, endeavour to resolve the personal and local allusions into the genera, of which the local or personal variety employed by the original author, is merely the accidental type; and to reproduce them in one of those permanent forms which are connected with the universal and immutable habits of mankind.
A translator could choose the now traditional domesticating method, an ethnocentric reduction of the foreign text to dominant cultural values in English; or a translator could choose a foreignizing method, an ethnodeviant pressure on those values to register the linguistic and cultural differences of the foreign text. John Nott and the Honourable George Lamb Before these translations appeared, Catullus had long occupied a foothold in the canon of classical literature in English. Editions of the Latin text were available on the Continent after the fifteenth century, and even though two more centuries passed before it was published in England, Catullus had already been imitated by a wide range of English poets—Thomas Campion, Ben Jonson, Edmund Waller, Robert Herrick, among many others McPeek ; Wiseman chap.
There were few translations, usually of the same small group of kiss and sparrow poems, showing quite clearly that he was virtually neglected by English translators in favor of Homer, Virgil, Ovid, Horace: these were the major figures, translated in the service of diverse aesthetic, moral, and political interests. The cultural and social factors that made this revision possible included, not any relaxation of bourgeois moral norms, but the canonization of transparency in English poetry and poetry translation.
But to many of his effusions, distinguished both by fancy and feeling, this praise is justly due. Some of his pieces, which breathe the higher enthusiasm of the art, and are coloured with a singular picturesqueness of imagery, increase our regret at the manifest mutilation of his works. His feeling is weak, but always true. The final verdict, however, was that it is quite impossible to read his verses without regretting that he happened to be an idler, a man of fashion, and a debauchee. The most remarkable difference between the translators occurred on the question of morality: Nott sought to reproduce the pagan sexuality and physically coarse language of the Latin text, whereas Lamb minimized or just omitted them.
His main concern seems to have been twofold: to ward against an ethnocentric response to the Latin text and preserve its historical and cultural difference: When an ancient classic is translated, and explained, the work may be considered as forming a link in the chain of history: history should not be falsified, we ought therefore to translate him fairly; and when he gives us the manners of his own day, however disgusting to our sensations, and repugnant to our natures they may sometimes prove, we must not endeavour to conceal, or gloss them over, through a fastidious regard to delicacy.
In , this mimetic assumption was beginning to seem dated in English poetic theory, a throwback to an older empiricism, challenged now by expressive theories of poetry and original genius. Nott worked under the same cultural regime, but he rather chose to resist those values in the name of preserving the difference of the Latin text. Nott foreignized Catullus, although foreignization does not mean that he somehow transcended his own historical moment to reproduce the foreign, unmediated by the domestic. Nott translated texts that referred to adulterous affairs and homosexual relationships, as well as texts that contained descriptions of sexual acts, especially anal and oral intercourse.
Lamb either omitted or bowdlerized them, preferring more refined expressions of hetero-sexual love that glanced fleetingly at sexual activity. Not a soul but the fathers mean rapines must tell; And thou, son, canst no longer thy hairy breech sell. The twelve-syllable line, a departure from the pentameter standard, is metrically irregular and rather cumbersome, handled effectively only in the second couplet. And the syntax is elliptical, inverted, or convoluted in fully half of the lines. Aurelius, Furius!
The sacred bard, to Muses dear, Himself should pass a chaste career. This assertion of the purity of character which a loose poet should and may preserve has been brought forward both by Ovid, Martial, and Ausonius, in their own defence. Suns that set again may rise; We, when once our fleeting light, Once our day in darkness dies, Sleep in one eternal night. But, with thousands when we burn, Mix, confuse the sums at last, That we may not blushing learn All that have between us past. This is in fact the reading that emerges in a survey of contemporary responses to the translations.
This portion of his task Mr. Lamb has executed with considerable judgment, and we need not fear that our delicacy may be wounded in perusing the pages of his translation. Monthly Magazine The reactionary Anti-Jacobin Review enlisted Lamb in its struggle against the opponents of church, state, and nation: The extreme impropriety of many Poems written by Catullus, has obliged Mr. Lamb to omit them, and had he turned his attention wholly to some purer author, it would have honoured his powers of selection. At this hour of contest between the good and evil principle among us, when so many are professedly Atheists, and blasphemy is encouraged by subscription, and sedition supported by charities, no patriot and christian would assist vice by palliating its excesses, or render them less offensive by a decent veil.
Lamb is entitled to both the above characters of patriot and christian. The bulk of his work, however, was translation, and over a thirty-year period he produced book-length translations of Johannes Secundus Nicolaius , Petrarch , Propertius , Hafiz , Bonefonius , Lucretius , and Horace He was so prolific because he felt that more was at stake in translating than literary appreciation, even though aesthetic values always guided his choices as well. The mimetic concept of translation that made him choose a foreignizing method to preserve the difference of the foreign text also made him think of his work as an act of cultural restoration.
This was the rationale he often gave in his prefatory statements. For Nott, translation performed the work of cultural restoration by revising the canon of foreign literature in English, supporting the admission of some marginalized texts and occasionally questioning the canonicity of others. In his preface to his selection from the Persian poet Hafiz, Nott boldly challenged the English veneration of classical antiquity by suggesting that western European culture originated in the east: we lament, whilst years are bestowed in acquiring an insight into the Greek and Roman authors, that those very writers should have been neglected, from whom the Greeks evidently derived both the richness of their mythology, and the peculiar tenderness of their expressions.
This was necessary, whether to distribute justice, or to exercise compassion. But private avarice and extortion shut up the gates of public virtue. After studying medicine in Paris as well as London, he spent years on the Continent as physician to English travellers —, —, — and made a trip to China as surgeon on a vessel of the East India Company — The class in which Nott travelled must also be included among the conditions of his cultural work: the aristocracy.
This class affiliation is important because it indicates a domestic motive for his interest in foreignizing translation. A confirmed bachelor himself, he served as physician to Georgiana Cavendish, Duchess of Devonshire, when she travelled on the Continent between and Posonby ; DNB. The fashionable, trend-setting Duchess had been banished abroad by her husband William, the fifth Duke, because gambling losses had driven her deep into debt. In , the Duchess gave birth to a daughter who was assumed to be the offspring of her adultery with Charles Grey, an aggressive young politician who led the Whig party and later became Prime Minister. The Duke himself fathered three illegitimate children, one by a woman with whom he had an affair at the time of his marriage, two by Lady Elizabeth Foster, who separated from her own husband in and was befriended by the Duke and Duchess.
George Lamb — was born into the same aristocratic milieu as Nott, but thirty years later. In , George married Caroline St. Everyone concerned knew of these relations. The knowledge of these relations extended past the family. Still, everything was treated very discreetly. George himself seems to have been happily married. Wilt thou dine with me, Apemantus? No; I eat not lords.
O they eat lords; so they come by great bellies. Shakespeare I. Lamb saw no contradiction between professing liberalism as a Whig politician and censoring canonical literary texts. Now, have I heart to see the flames devour The work of many a pleasurable hour? Lamb I, ix—x Lamb was one of those future aristocrats for whom Sir John Denham developed the domesticating method of translating classical poetry, shrinking from the prospect of publication because poetry translation was not the serious work of politics or government service.
Fluent, domesticating translation was valorized in accordance with bourgeois moral and literary values, and a notable effort of resistance through a foreignizing method was decisively displaced. Nott and Lamb exemplify the two options available to translators at a specific moment in the canonization of fluency. These folks are POOR. What a lying asshole. Save my name, email, and website in this browser for the next time I comment. Sign in Join. Home About Contact Us Community. Sign in. Forgot your password? Create an account. Sign up. Password recovery. Recover your password.
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