Lost and Regained in Translation
This chapter argues that the translation of poetry can work as an instrument to identify the genius of the original poem, in particular to single out aural effects that are part of meaning and are lost in translation. First, the longstanding controversy over whether it is possible to translate poetry is addressed: while Frost’s dictum that ‘poetry is what is lost in translation’ provides a starting point, the theories of Dryden and Steiner are fundamental to the enquiry. Three translations of Paradise Lost are examined: two interlingual versions, the German of Haak (1681) and the French of Himy (2001), and the intralingual translation by Danielson (2008). The foreign-language versions throw light on Milton’s original by way of shock effect, while Danielson’s English paraphrase offers an opportunity to distinguish minute sound effects that are part of the poem’s meaning and central to Milton’s genius.