Book contents
- Frontmatter
- Dedication
- Acknowledgements
- Contents
- Introduction
- Translations in A Midsummer Night's Dream
- Elizabethan Translation: the Art of the Hermaphrodite
- From Stage to Page: Character through Theatre Practices in Romeo and Juliet
- Translating the Elizabethan Theatre: the Politics of Nostalgia in Olivier's Henry V
- Tempestuous Transformations
- ‘…tinap ober we leck giant’: African Celebrations of Shakespeare
- (Post)colonial Translations in V. S. Naipaul's The Enigma of Arrival
- Sentimental Translation in Mackenzie and Sterne
- Hazlitt's Liber Amoris; or, the New Pygmalion (1823): Conversations and the Statue
- Translating Value: Marginal Observations on a Central Question
- Browning's Old Florentine Painters: Italian Art and Mid-Victorian Poetry
- Thackeray and the ‘Old Masters’
- William Morris and Translations of Iceland
- Aestheticism in Translation: Henry James, Walter Pater, and Theodor Adorno
- Helena Faucit: Shakespeare's Victorian Heroine
- ‘More a Russian than a Dane’: the Usefulness of Hamlet in Russia
- Translation and Self-translation through the Shakespearean Looking-glasses in Joyce's Ulysses
- Self-Translation and the Arts of Transposition in Allan Hollinghurst's The Folding Star
- Translation in the Theatre I: Directing as Translating
- Translation in the Theatre II: Translation as Adaptation
- Notes on Contributors
- Index
Translating Value: Marginal Observations on a Central Question
- Frontmatter
- Dedication
- Acknowledgements
- Contents
- Introduction
- Translations in A Midsummer Night's Dream
- Elizabethan Translation: the Art of the Hermaphrodite
- From Stage to Page: Character through Theatre Practices in Romeo and Juliet
- Translating the Elizabethan Theatre: the Politics of Nostalgia in Olivier's Henry V
- Tempestuous Transformations
- ‘…tinap ober we leck giant’: African Celebrations of Shakespeare
- (Post)colonial Translations in V. S. Naipaul's The Enigma of Arrival
- Sentimental Translation in Mackenzie and Sterne
- Hazlitt's Liber Amoris; or, the New Pygmalion (1823): Conversations and the Statue
- Translating Value: Marginal Observations on a Central Question
- Browning's Old Florentine Painters: Italian Art and Mid-Victorian Poetry
- Thackeray and the ‘Old Masters’
- William Morris and Translations of Iceland
- Aestheticism in Translation: Henry James, Walter Pater, and Theodor Adorno
- Helena Faucit: Shakespeare's Victorian Heroine
- ‘More a Russian than a Dane’: the Usefulness of Hamlet in Russia
- Translation and Self-translation through the Shakespearean Looking-glasses in Joyce's Ulysses
- Self-Translation and the Arts of Transposition in Allan Hollinghurst's The Folding Star
- Translation in the Theatre I: Directing as Translating
- Translation in the Theatre II: Translation as Adaptation
- Notes on Contributors
- Index
Summary
It took rather longer than I care to admit before I was prepared to concede that Ruskin's ‘intrinsic value’ is itself a term without intrinsic value. The phrase is at best a promissory note, at worst a semantic relic to ward off the evil eye of commodity. One would suspect that I was taken with, and by, the idea of a talismanic key; an idea which I then read into Ruskin's words in order to find there the confirmation that I desired. Eisegesis instead of exegesis. Put somewhat differently, questions of value are inseparable from matters of translation; and translation itself involves more than the matching up of equivalent verbal signs.
It would be less than honest not to acknowledge that there is a personal edge to my academic concern with the nature of the intrinsic. It is not always easy to maintain, on questions that press harshly upon the self, that disinterestedness of observation which many would understand—and justly—to be an essential prerequisite for any description of value, or indeed for any honest attempt to arrive at such a description. Among the requisites for true criticism, according to Hume, are a ‘mind free from all prejudice’, ‘a delicate taste of wit or beauty’, ‘a due attention to the object’; but this admirable prescription, and an honest endeavour to put it into practice, were ineffective against Hume's own prejudicate opinion that Bunyan is inferior to Addison and that any attempt to claim otherwise would be ‘absurd and ridiculous’.
One cannot, however, argue ex hypothesi that such quaint prejudicates have been replaced, two and a half centuries later, by the self-evidently superior practices of what we are to call science de la littérature. Ricks is right to argue that an objectivity which elides ‘personal values’ to ‘personal preferences’ and which, having further equated the false compound with ‘interest’ and ‘prejudice’, proposes its elimination in the best interests of mental hygiene, is itself interested and prejudiced and ‘implacably hostile to literature’.
In saying that questions of value are inseparable from matters of translation, I do not propose to limit that suggestion to the problems of translating from, say, Pascal's French into late seventeenth-century or modern English. Translation, conventionally understood, presents in a sustainedly demanding form matters which require vigilance of all users of language.
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- Translating LifeStudies in Transpositional Aesthetics, pp. 199 - 214Publisher: Liverpool University PressPrint publication year: 2000