Abstract

Literary translation, especially poetic translation, is one of the rare domains where aesthetic, literary, and technical fields meet. This characteristic makes it the sort of work where a number of theoretical and practical problems converge. It is necessary to approach the issue on three essential planes. The first is theoretical: translation is an operation defined by rules; the second, functional: translation is a practical procedure, which is to say an a posteriori task; the third, specific: poetic translation is itself a poetic activity.Let us begin with the last. From the point of view of literary creation, there is actually no specific difference between the original text and that of the translation. For poet and translator alike take part in a creative act, each laboring according to his means and tastes. For each of them linguistic competence and poetic competence are essential. Indeed, the act of translating is based on a “task of purification of words and ideas” which requires the application of mental effort on the one hand to the problems and the constraints of the poetic art as such, and on the other hand, to the descriptive and analytic nature of language, which is also music. Which is to say that one should not see translation as a simple operation of a lexical order. Nor should one forget that each language requires a specific lexical classification.