Imam Reza (PBUH) Int. Uni. Spring 2013

1. Imam Reza(PBUH) Int. Uni.Spring 2013 Application of Lefevere’s Seven Strategies On Translating “Beasts Of England” From Orwell’s Animal FarmDr. AsgarzadehGohar Lavasani

2. “We know that translation is just as necessary as criticism for literary works for their expression, their completion, their perpetuation, their dissemination, though there is a more obvious empirical necessity. It is important to note that criticism and translation are structurally related.” Berman

3. Beasts of England Significance • The song is both a battle cry for the rebellion on Manor Farm and an anthem that helps the animals keep the spirit of the rebellion alive in their hearts. "Beasts of England", the original anthem of the Animal farm corresponds to the famous socialist anthem, The Internationale, but also alludes to Shelley's Men of England. In the book, the pig Old Major explains his dream of an animal-controlled society three nights before his death. • “The animals sing "Beasts of England" frequently after the rebellion, especially after meetings. At one point when Clover the horse questions the direction of Animal Farm, she sings "Beasts of England" which causes the other animals to join in. (The song's tune is described in the novel as sounding like a combination of "La Cucaracha" and "Oh My Darling, Clementine".)” • “After "Beasts of England" has been used to express criticism of the direction of Animal Farm, Napoleon tries to supplant the song, arguing that such an anthem is antiquated and no longer needed after the rebellion has been completed. The anthem is first replaced by the short "Animal Farm!" and later by "Comrade Napoleon", while "Beasts of England" is eventually outlawed. The phasing out of "Beasts of England" as the anthem of Animal Farm corresponds to the Soviet Union's 1944 replacement of The Internationale with the National Anthem of the Soviet Union.”

4. André AlphonsLefevere • Born in Belgium, 1945. • Had studied at the University of Ghent (1964–1968) and then obtained his PhD at the University of Essex in 1972. • Died unexpectedly of acute leukemia at the age of fifty on March 27, 1996, in Austin, Texas.  • When he died he was Professor of Germanic Studies at the University of Texas at Austin

5. André AlphonsLefevere • “The 1970s saw the publication of several important contributions by Lefevere to this target-oriented, systemic, functional, essentially descriptive field of scholarly investigation, two of which, at least, have achieved classic status: Translating Poetry: Seven Strategies and a Blueprint (1975) and Translating Literature: The German Tradition from Luther to Rosenzweig (1977).” • “Published in 1992: Translation/History/Culture: A Sourcebook, an annotated collection of texts on translation through history; Translating Literature: Practice and Theory in a Comparative Literature Context, an introductory coursebook for students; and Translating, Rewriting, and the Manipulation of Literary Fame, the book that could be arguably considered his major contribution to translation theory.”

6. André AlphonsLefeverePublications • Constructing Cultures (with Susan Bassnett). London: Multilingual Matters, 1997 • Translating Literature: Practice and Theory in a Comparative Literature Framework. New York: MLA, 1992 • Translation, Rewriting, and the Manipulation of Literary Fame. London/New York:Routledge, 1992 • Ed. Translation: Culture/History: A Source Book. London/New York: Routledge, 1992 • Essays in Comparative Literature. Calcutta: Papyrus, 1989 • NederlandsePoëzie. Amsterdam: Coutinho, 1989 • Translating Literature: The German Tradition. Assen: Van Gorcum, 1977 • Literary Knowledge. Assen: Van Gorcum, 1977 • Translating Poetry: Seven Strategies and a Blueprint. Amsterdam: Van Gorcum, 1975

7. Lefevere’s (1975) Seven Strategies For Poetry Translation • Each strategy is devoted to one aspect of poetry and they cover all the poetic features: formal and contextual. • “The literal, metrical and rhymed translation which focus on the form of the poems. But the rest of the strategies emphasize on transferring the exact contextual meaning of a poem into the target language.” • “Sen & Shaole (2010) state that, Lefevere’s classification of methods is useful for the cases in which either the source or the target language is English. They also add that the strategies are comprehensive enough and the elaboration on each strategy is well-defined.”

8. Lefevere’s (1975) Seven Strategies For Poetry Translation • 1. Phonemic Translation: reproducing the source language sound in the target language. • 2. Literal Translation: word for word translation. • 3. Metrical Translation: reproducing the source language meter. • 4. Verse to Prose Translation: Distorting the sense, communicative values and syntax of the source text. • 5. Rhymed Translation: transferring the rhyme of the original poem into target language. • 6. Blank/free verse translation: finding just the proper equivalents in the target language with a proper semantic result. • 7. Interpretation: version and imitation. Version occurs when the absence of source language text is retained and the form is changed. Imitation occurs when the translator produces the poem of his own.

9. Persian Translations & 7 Strategies • The forth strategy is not used on any circumstances in the two Persian translations. • Both Persian translators have used the second and sixth strategies, i.e. literal and free translation, as the major approaches for translation. Interpretation also has been used as a major strategy for translation. • The point is none of the translation has made any effort in reproducing formal features of poetry, that is using strategies one, three and five. • In the following sections we will define a number of formal and figurative features of poetry and point out some of them for comparison between the two Persian translations and the original text in brief. • Note: Only the first two verses of The Beasts of England are under discussion in this presentation.

10. Form • Meter of a poem is its rhythmical pattern. This pattern is determined by the number and types of stresses, or beats, in each line. • Rhythm is significant in poetry because poetry is emotionally charged and intense. Generally, rhyme means the occurrence of the same or similar sounds at the end of two or more words. Abrams (1993) cites: "In English versification, standard rhyme consists of the repetition, in the rhyming words, of the last stressed vowel and of all the speech sounds following that vowel: late-fate; follow-hollow. End rhymes, by far the most frequent type, occur at the end of a verse-line. Internal rhymes occur within a verse-line." (p.273) • Unfortunately, except for the sound «ی» which is repeated at the beginning of the first two verses from Amirshahi'sTrasnlation, this feature is lost, being compensated for the sake of meaning in translation. • Versification is the system of rhyme and meter in poetry. • The Beasts of England  has the rhyme scheme of ABCB, CDAD, EFGF, HIJI, AKAK, LMNM, ABCB. Supposedly there is no consistent rhyme in the two translations.

11. Other Points • Enjambment or run-on lines, are those line in a poem which are not end-stopped, here an example occurs at the third line of the first verse. This is not the case in the Persian translations, Salehhosseinihas used a comma and created a pause, and Amirshahihas made no effort to create this run-on effect. • Punctuation, plays an important role in English poetry. However in both translations the mechanics has either been copied or underestimated, regardless of the effect it could have on the Persian audience.

12. Meaning (Figurative Language) • Metaphor is defined in Abram’s (1993) asa word or expression that in literal usage denotes one kind of thing is applied to a distinctly different kind of thing, without asserting a comparison. So, metaphor happens when one thing is spoken of, was something else. • Imagery is one of the dominant elements of poetry is the usage of images by a poet. They express their feelings or experiences by means of various images. Perrine (1963, p.599) says, “Imagery may be defined as the representation through language of sense experience.” Thus, imagery can be defined as sense experience. • Prosody;Abrams (1993) writes: Prosody signifies the systematic study of versification in poetry; that is, a study of the principles and practice of meter, rhyme, and stanza forms. Sometimes the term "prosody" is extended to include also the study of speech sound patterns and effects such as alliteration, assonance, euphony, (Shall be discussed later on.) and onomatopoeia. (p.247) • Simile; is a figure of speech in which two things are compared using the word "like" or "as" to draw attention to similarities about two things that are seemingly dissimilar.  

13. Meaning (Figurative Language) • Personification; According to Abrams (1993, p.99), “Another figure related to metaphor is personification, or in the Greek term, prosopopeia, in which either an inanimate object or an abstract concept is spoken of as though it were endowed with life or with human attributes or feelings.” Thus it means giving human traits to nonhuman or abstract things. • This figure of speech is used in the “Beasts Of England”. The whole text is giving animals the power to act as humans, to think and decide on their destiny. This is also the case in this poem. Nevertheless, both Persian translators had to perform the same in their translations.

14. Selection (First Two Verses) Beasts of England, beasts of Ireland, Beasts of every land and clime, Hearken to my joyful tidings Of the golden future time. Soon or late the day is coming, Tyrant Man shall be o'erthrown, And the fruitful fields of England Shall be trod by beasts alone. P. 7 حیوان سراسر گیتی همه خاموش و گوش به من می دهم مژده ای مسرت بخش خوشتر از این نیست و نبود سخن هان به امید آنچنان روزی کین بشر محو گردد و نابود وین همه دشت های سبز جهان خاصه ما شود چه دیر و چه زود امیرشاهی، ص 14

15. Selection (First Two Verses) Beasts of England, beasts of Ireland, Beasts of every land and clime, Hearken to my joyful tidings Of the golden future time. Soon or late the day is coming, Tyrant Man shall be o'erthrown, And the fruitful fields of England Shall be trod by beasts alone. P. 7 به گوش ای وحوش ایرلند و انگلیس، شما ای ستوران این سرزمین، نوید رهایی نثار شما، ز ایّام زرّین بدین سرزمین. ز طاغوت انسان رها شوید رهایی سرانجام بخت شماست چمن های سر سبز این سرزمین، لگدکوب سمهای سخت شماست. صالح حسینی، ص 14

16. Main References • George Orwell, Animal Farm • مزرعه حیوانات، ترجمه صالح حسینی، چاپ پنجم: 1389 • قلعه حیوانات، ترجمه امیر امیر شاهی، چاپ چهاردهم: 1391 • Lefevere (1975) Translating Poetry: Seven Strategies and a Blueprint. Amsterdam: Van Gorcum, • Abrams, A Glossaray of Literary Terms • SholehKolahi, Application of Lefevere’s Seven Strategies in English Translations of SohrabSepehri’s Poems • Baker and Saldanha, (2010). Routledge Encyclopedia of Translation Studies. 2nd ed. • Bloom’s Guides On Animal Farm • A Dictionary Of Literary Symbols • Antoine Berman, Toward Translation Criticism • Orwell's Preface to Animal Farm (THE FREEDOM OF THE PRESS) • Denton, John. “In Memoriam André Lefevere“. Retrieved January, 16 2012

17. “Cherish Every Second Of Your Life,As They Will Pass & Never Come Back.” Thank You