The translator of poetry must realize that word-for-word equivalents d

Question

The translator of poetry must realize that word-for-word equivalents do not exist across languages, any more than piano sounds exist in the violin. The violin can, however, play recognizably the same music as the piano, but only if the violinist is guided by the nature and possibilities of the violin as well as by the original composition.

As applied to the act of translating poetry from one language into another, the analogy above can best be understood as saying that

(A) poetry cannot be effectively translated because, unlike music, it is composed of words with specific meanings

(B) some languages are inherently more musical and more suitable to poetic composition than others

(C) the translator should be primarily concerned with reproducing the rhythms and sound patterns of the original, not with transcribing its meaning exactly

(D) the translator must observe the spirit of the original and also the qualities of expression that characterize the language into which the original is translated

(E) poetry is easier to translate if it focuses on philosophical insights or natural descriptions rather than on subjective impressions

Bunuel · Accepted Answer

Official Explanation

This argument contains two counter-premise indicators—“however” and “but.” The author opens the argument implying that the violin cannot play the “same” music as the piano. Then the counterpremise indicator “however” introduces a qualification of this claim; namely that the violin can play recognizably the same music. “But” introduces a further qualification: the violinist should be “guided by the nature and possibilities of the violin as well as by the original composition.” This is the key to the question. By analogy the translator of poetry should be guided by (observe) the nature (spirit) of the original as well as the nature (qualities) of the language into which the original is translated. Hence  the answer is (D).  Note that (D) paraphrases the last clause of the argument.

(A) may be true but is irrelevant; it’s also baited with same language from the passage—“music.”

(B) is not stated in or implied by the passage.

(C) is second-best. The clause “  not   with transcribing its meaning exactly” is supported by the argument’s opening, “The translator of poetry must realize that word-for-word equivalents do not exist across languages.” But the author does not state that the translation should be “primarily concerned with reproducing the rhythms and sound patterns of the original.” Note the subtle use of the same language ploy: the analogy is to the translation of the meanings of words, not their sound patterns or rhythm—i.e., musical qualities.

(E) sounds like an English professor wrote it. Most often such pretentious answer-choices can be summarily dismissed.

panopticon · Answer

The translator of poetry must realize that word-for-word equivalents do not exist across languages, any more than piano sounds exist in the violin. The violin can, however, play recognizably the same music as the piano, but only if the violinist is guided by the nature and possibilities of the violin as well as by the original composition.

As applied to the act of translating poetry from one language into another, the analogy above can best be understood as saying that

(A) poetry cannot be effectively translated because, unlike music, it is composed of words with specific meanings.
 Nowhere in the question stem does it say that poetry "cannot be effectively translated". What the question stem is saying is that "word-for-word equivalents do not exist across languages", therefore, the person who is translating must realize this to adapt the translation to, as stated in the music-based analogy, "the nature and possibilities of the new medium (violin, or language), as well as by the original composition".

(B) some languages are inherently more musical and more suitable to poetic composition than others.
 It should not be too difficult to eliminate this option. Nowhere does it say that other languages may have qualities that are inherently better for music and poetry.

(C) the translator should be primarily concerned with reproducing the rhythms and sound patterns of the original, not with transcribing its meaning exactly.
 One may be caught here by the last portion "not with transcribing its meaning exactly". However, we are not focused on the "rhythms and sound patterns" of the original composition. We are looking for an analogy that states that when translating poetry, it is important to focus on the nature and possibilities of the new language while being guided by the original composition.

(D) the translator must observe the spirit of the original and also the qualities of expression that characterize the language into which the original is translated.
 In this option we can directly attribute "spirit of the original" and "qualities of expression that characterize the (new) language" to "nature and possibilities of the violin as well as by the original composition"

(E) poetry is easier to translate if it focuses on philosophical insights or natural descriptions rather than on subjective impressions.
 We are not focused on the feasibility of translation, or the conditions required for feasible translation.

auradediligodo · Answer

Hi everyone,

The reasoning above is the following.

When translating a poem into another language the method  word for word  does not work. The same reasoning is applied in the case violin-piano. Here  note for note  wouldn't work as well. But by taking into consideration the original meaning and by knowing the possibilities and nature of violin a good reproduction is possible.

We can   infer   that the same reasoning can be applied to poem's translations.   -->   By taking into consideration the original meaning and by knowing the possibilities and nature of the translating language a good translation is possible.

Option D   is in line with pre-thinking and hence it is correct.

The translator of poetry must realize that word-for-word equivalents d

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The translator of poetry must realize that word-for-word equivalents d

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