Journal articles on the topic 'Bengali poetry, translations into english'

Indian English literature generally refers to that body of writing, which is produced in the English language by the litterateurs of an Indian origin. It is however, understandable that creative translations should also be located into the corpus of Indian English literature. Historically speaking, what gave the first solid footing to Indian English poetry was Rabindranath Tagore’s Gitanjali, and this came in the form of creative translation. After Rabindranath we find another accomplished poet of twentieth century Bengal to practice creative translation of his Bengali poetry into English. This poet is Jibanananda Das, whose English- language poetry in the form of creative translation is yet to receive a broader audience. The present paper seeks to study three of these creative translations titled Meditations (Manosarani in Bengali), Darkness (Andhakar in Bengali) and Sailor (Nabik in Bengali), which seem to form a complex sequel in respect of Jibanananda’s deep concern for the socio-cultural unrest that characterized the general fabrics of life in Bengal after the Partition of 1947. Moreover, these poems appear equally contemporary in the twenty first century, when the disruptive forces of corruption, falsehood, debauchery, political coercion and cultural denigration are more severely at work to corrode and annihilate the cultural roots of Bengal. So, the purpose of the present study is two-fold: first, to show how the creative translations of Jibanananda continue to strike the note of a universal humanity in the present times, and second, to voice for their inclusion in forthcoming anthologies of Indian English poetry. For, these poems composed by one of the greatest poets of modern Bengal would make room for readers from all over India to savour the taste of a fine artistry that transcends the limits of every ideological bias.

Bengali ranks among the first ten spoken languages in the world with a native speaker numbering about 230 million people. With UNESCO declaring 21st February as International Mother Language Day to commemorate the laying down of lives by five Bangladeshi students for the cause of their mother tongue, Bengali has come into the radar of worldwide attention . Though significant amount of prose, poetry have been written in Bengali language and large number of newspapers in Bengali get published daily, technically it is still considered a Low Resource Language (LRL) unlike English or French which are High Resource Language (HRL). The reason is not far to seek as corpora in varied domains such as short stories, sports, politics, agriculture etc is less in number and even when they are available, the size is less. Machine translation (MT) is difficult to perform in Bengali as parallel corpora from Bengali to other languages and vice versa is few and far between and when they are available they suffer from the problems of size and quality. This work is aimed at implementing one state of the art model in Neural Machine Translation (NMT) which is called the self-attention transformer model to perform translation from English to Bengali and vice versa. Though a couple of research work has been published in the recent years on MT from English to Bengali, they are mostly domain specific. This paper does not focus on any specific domain for NMT from English to Bengali and as such may be conceived as a more of general domain NMT from English to Bengali which is more difficult than domain specific NMT. Performance evaluation of the model was done using BLEU version-4 vis-à-vis translations of well known English-Bengali MTsystems.

Born in Calcutta in 1856 and dying only twenty-one years later of tuberculosis, the young Bengali writer Toru Dutt wrote novels and poems in English and French, translated French poetry into English, and toward the end of her life revisited Bengali myths and tales from the Ramayana in her poetry. Her multilingual poems and translations have traditionally been interpreted as seeking to dissolve or fragment cultural differences. This essay instead argues for Dutt seeking to consolidate difference, reconceived as possibility: by distributing her poems to friends in England and receiving gifts of poems in return, Dutt sought to create a transnational friendship economy involving the material exchange of poetic texts. She then theorises this exchange in the work itself, arguing in novels, poems and inexact translations for regarding the resistant materiality of poetry and language both as imperfect tools that can nonetheless be utilised to forge community and understanding – however utopian, however fragile and temporary – across seemingly incommensurable cultural differences, perhaps even across the inequities of imperial history.

Abstract This paper presents a series of observations arising from the experience of translating Jibanananda Das's Bengali poetry into English. Though the emphasis is on the practice of translation the observations in question are foregrounded against the perspective of theories of translation studies. The first part of the paper demarcates the scope of the paper in theoretical terms. Several possible approaches to translations of Jibanananda Das (in terms of process, end product, and sociological connotation) are considered with a view to focusing on practical observations. In the course of this process of theoretical delimitation some sense of the linguistic and literary context within which Jibanananda worked, and which the translator must appreciate, is conveyed. The second part is guided to a large extent by Roman Jakobson's notion that the activity of translating is influenced more by what languages must convey rather than by what they can convey. Consequently, this part identifies those features of the source and target languages which pose the greatest difficulties for the translator. It is assumed throughout that the practice of literary translation is largely a decision-making process: examples from the poetry of Jibanananda Das are cited and the range of decisions facing the translator are clarified where ever necessary. Four features of the Bengali language as compared to the English language are examined at some length: neutral pronouns of Bengali as opposed to gender-specific pronouns of English; culture-specific words; sadhu and calit used in Bengali (and analogously formal and informal modes of address); and symbolic forms (or echo-type onomatopoeic words or expressives) in Bengali and English. In the third part a translator's practice with regard to the specifically poetic features, over and above the inevitable linguistic features, of texts like Jibanananda's is considered briefly. Résumé Le présent article contient une série d'observations formulées à partir de la traduction en anglais de la poésie de Jibanananda Das. Bien que l'auteur mette l'accent sur la pratique de la traduction, ces observations s'inscrivent dans la perspective des théories relatives aux études de la traduction. Dans une première partie, l'auteur définit le cadre théorique de l'article. Les traductions de la poésie de Jibanananda Das sont approchées sous différents angles (processus traductionnel, produit final et connotations sociologiques) de manière à pouvoir se concentrer sur les aspects pratiques. La délimitation d'un cadre théorique doit permettre la découverte du contexte linguistique et théorique dans lequel s'inscrivent les oeuvres de Jibanananda et qui doit être apprécié à sa juste valeur par le traducteur. La seconde partie de l'article est dominée par un principe de Roman Jakobson, à savoir que l'activité traductionnelle est davantage influencée par ce que les langues doivent faire passer plutôt que par ce qu'elles sont capables de faire passer. Par conséquent, dans cette seconde partie, l'auteur désigne les aspects qui, dans la langue d'origine et dans la langue d'arrivée, posent le plus de difficultés au traducteur. L'auteur considère que la pratique de la traduction littéraire est en grande partie un processus décisionnel. A ce propos, il cite des exemples empruntés à la poésie de Jibanananda Das et explicite, chaque fois qu'elles s'avèrent nécessaires, les décisions auxquelles est confronté le traducteur. Quatre caractéristiques de la langue bengali sont comparées à l'anglais et examinées en détails: les pronoms neutres en bengali par opposition aux pronoms de genre en anglais; termes typiques de la culture; usage de sadhu et de calit en bengali (et, par analogie, formes de politesse ou tutoiement); et formes symboliques (ou expressions ou onomatopées de type écho) en bengali et en anglais. Dans la troisième partie, l'auteur aborde brièvement la pratique de la traduction, plus spécifiquement en ce qui concerne les aspects poétiques, par-dessus et au-delà des caractéristiques linguistiques inévitables, de textes tels que ceux de Jibanananda.

I intend to study three translations, which includes Rabindranath Tagore’s prose-translation in Gitanjali: Song Offerings (1912), Brother James Talarovic’s Christianized translation in Show Yourself to My Soul (1983) and William Radice’s contemporary initiative in Gitanjali: Rabindranath Tagore (2011), of Tagore’s poem “Aji Jharer Rate Tomar Abhisar” to analyze the relation of the translations with the original. Identifying them as Anglophone translations, I have tried to analyze the rationale behind these translations. By incorporating Naomi Seidman’s viewpoints in Faithful Renderings: Jewish Christian Difference and the Politics of Translation, I have traced the colonized, Christian missionary, and capitalist motives of the translations. Seidman’s analysis of the strategic ambivalence Jewish translators adopted to confront the hegemony Christian discourse uses postcolonial theory to understand the unequal relation between the source language and target language. In my analysis of the translations of “Aji Jharer Rate Tomar Abhisar,”I have identified an unequal transaction between the original Bengali poems and the translations, which also illustrate the translators’ colonialist strategy to make an unfamiliar culture resonate with the sensibilities of English-speaking poetry-lovers.

To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.

This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. My emphasis will be on Jibanananda Das (1899-1954) arguably the most celebrated poet in Bengali literature who was well versed in the contemporary Western Canons of Poetry. Jibanananda’s defamiliarization of the rural Bengal Landscape, his use of exotic foreign images owe a debt to contemporary European poets. Interestingly, Jibanananda had reviewed an English translation of German author Thomas Mann’s novel “Dr Faustus’ for a Bengali magazine “Chaturanga”. In the Bengali review he states that despite prevalent misconceptions (some critics considering the novel to be superior to the original Faust epic by Goethe) Goethe’s Faust was the first text to capture the hope, despair and crisis in the modern world and articulate it in such a manner that “true” literature of the age was created in its new light. In Jibanananda’s estimation, Thomas Mann deserves credit for treating the Faust legend in a unique and creative way.

Аннотация: В данной статье прослеживается эволюция переводов индийской литературы на русский язык, осуществленные в ХХ веке с санскрита, с урду, с хинди, с гуджарати, с ория, с маратхи, с бенгальского, а также с английских переводов. На кыргызский язык произведения индийской литературы были переведены с русских трансформаций во второй половине ХХ века. В статье анализируется эквивалентность оригиналов и переложений на русский и кыргызский языки, дана оценка значимости и художественной ценности переложений. Также оценивается интеллектуальный труд русских и кыргызских переводчиков, открывших для современных читателей богатый мир индийского художественного слова. Ключевые слова: перевод, литература, индийский рассказ, труд, значимость, переводчик, автор, поэзия, популярность, традиция, герой, культура, достояние. Аннотация: Бул макалада ХХ кылымда санскриттен, урду, хинди, гуджарати, ория, маратхи, бенгал жана англис тилдеринен индия адабиятынын орус тилине котормолорунун эволюциясына байкоо салынат. Индия адабиятынын чыгармалары кыргыз тилине ХХ кылымдын экинчи жарымында орус котормолорунан которулган. Макалада оригинал менен орус, кыргыз тилдерине котормолорунун экви- валенттүүлүгү талданат, котормолордун адабий баалуулуктарына баа берилет.Ошондой эле индия көркөм сөзүнүн бай дүйнөсүн азыркы окурмандарга ачып берген орус жана кыргыз котормочуларынын интеллектуалдык эмгегине баа берилет. Түйүндүү сөздөр: котормо, адабият, индия ангемеси, эмгек, маанилуулук, котормочу, автор, поэзия, популярдуулук, салт, каарман, маданият, баалуулук. Annotation: This article traces the evolution of translations of Indian literature into Russian, carried out in the twentieth century from Sanskrit, from Urdu, from Hindi, from Gujarati, from Oriya, from Marathi, from Bengali, as well as from English translations. The works of Indian literature were translated into Kyrgyz from Russian transformations in the second half of the 20th century. The article analyzes the equivalence of originals and transcriptions into Russian and Kyrgyz languages, assesses the significance and artistic value of transcriptions. The intellectual work of Russian and Kyrgyz translators, who have opened up the rich world of Indian art words to modern readers, is also evaluated. Keywords: translation, literature, Indian story, work, significance, translator, author, poetry, popularity, tradition, hero, culture, wealth.

Biplab Majumdar is the author of nearly 100 books of poetry, prose, rhyme, translation, novels and short stories. His works are published both in Bengali and English. The contents of this latest volume, Cosmic Convergence, are divided into two parts: Part-A covers the year from January to December and Part-B contains 12 poems on a variety of subjects. The poems are followed by 3 pages of selected comments on Biplab Majumdar’s by a variety of eminent authors. This volume makes possible an assessment of the scope and stature of Majumdar’s work. These poems-often witty and beautiful- are an achievement, a testament to Majumdar’s ongoing power to engage us in his vision. They confirm Majumdar’s reputation as one of India’s finest poets. From evocations of the daily wonders of life to explorations of spirituality, feelings and sensibilities. His celebration of idiom and understanding of the modern mind may help us to understand ourselves.

Abstract The present research analyses Hungarian and English target-language translations of contemporary Finnish poems. The translation solutions of culturally-bound lexical elements are compared in both Finnish-Hungarian and Finnish-English translation directions. The analysis is carried out using a text corpus comprising Hungarian and English translations of Finnish poems published after 1950. The text corpus consists of 160 Finnish source poems and their 160 Hungarian and 160 English target-language translations. The objective of the research is to reveal the cultural aspects of the translation of poetry and to answer the question as to what types of translation solutions literary translators use when translating culturally-bound lexical elements in Finnish poems into Hungarian and English. Results show that English-language translators of contemporary Finnish poems more frequently use translation solutions which are less creative and do not stray far from the original source language text. Hungarian translators, on the other hand, are more courageous in deviating from the source text and adapting their translations to the target language. This can be explained by reference to the two translation contexts or as a result of genre-specific reasons.

<em>Using Bengali texts and their English translations done by a set of English speaking native Bengali translators and another set of native English translators, we analyze how two specific Bengali emotion words (obhiman and lajja) have mapped onto English. In translating lajja translators use only three English words while for obhiman they choose an array of words with no consistency. This indicates that no English word represents a concept that is close to obhiman’s meaning suggesting that the concept represented by a particular emotion word in one language may not be totally captured in another language. Additionally, the findings indicate emotion words represent concepts with fuzzy borders (as suggested in scripts hypothesis) instead of dots in affect grids as envisioned in evaluation-potency-activity measurements. Such concepts vary in the spectrum of events they denote and in the degree to which they overlap. Subsequently, we, drawing from skopos theory, argue that cultural contexts in translation studies need to be considered rather than looking for exact equivalence of these emotion words.</em>

This paper endeavours to find resonances between Wordsworth's treatment and responses to Nature and Jibanananda's fascination with rural Bengal. A lecturer in English, he tried to bring the West to the Bengali psyche and consciousness utilizing the unique strategy of de-familiarizing the Bengali landscape. In effecting this achievement Jibanananda's familiarity with English poetry is of paramount importance. He has analogical and genealogical similarities with Keats and Wordsworth's particularly Wordsworth, in the celebrations of solitude, of nature.

The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.

This study aims to find out the extent of the acceptability of the poetry translation in the novel. One research question is formulated: To what extent is the poetry translations in The Trials of Apollo: The Hidden Oracle acceptable based on Larsons criteria of an acceptable translation. Qualitative research by using the text analysis was conducted. The data of this research were taken from both the English and Indonesian version of The Trials of Apollo: The Hidden Oracle novel. In order to answer the research question, the researchers compared the translation between the English and Indonesian poetry using the theory of acceptability by Larson. The results show that there are 36 poetry translations which are categorized as acceptable and three poetry translation which are unacceptable. The 36 poetry translations incorporate at least two out of the three poetry translations acceptability criteria, while the three poetry only fulfil one poetry translation acceptability criterion.DOI: 10.24071/ijhs.2019.030107

Abstract Taking English translations of Anna Akhmatova’s poems as a case study, this article investigates whether the lyric present (a specific use of simple present forms in poetry) is the preferred present tense in poetic translations from Russian into English. Akhmatova’s verbal craft is remarkably relevant for the issue at hand because of her extensive exploration of temporal levels. The article examines what stylistic effects stem from a translator’s choice between the lyric present and the present progressive. In order to provide a more general view of English translations, the study includes data concerning the frequency of progressives contained in two different English editions of Akhmatova’s poetry. These data are presented in the comparative perspective, together with data collected from English and American poetry and from English renditions of several Russian poets.

The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.

Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.

Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. 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New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. 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(Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. 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Evaluating translations of poetry will always be difficult. The paper focuses on the problems posed by French surrealist poetry, where the reader was held to be as important as the writer in creating interpretations, and argues that evaluations involving these poems inevitably require reader-response data. The paper explores empirically, in the context of André Breton’s “L’Union libre”, whether a modification of Think-Aloud procedure, called Note-Down, applied both to the original text and to three English translations, can contribute useful information to a traditional close reading approach. The results suggest that comparative Note-Down protocols permit simple cost-benefit analyses and allow one to track phenomena, like the persistence of an effect through the text, which might be hard to obtain by other methods.

Du Fu's influence in Chinese classical poetry is very far-reaching, and he is honored as the "Sage of Poetry" by later generations, and his poems are also known as the "History of Poetry". As a typical representative of traditional Chinese culture, Du fu's poems are loved by the public, and different translations have made the world better understand the culture of ancient Chinese poems. Based on the hermeneutic motion of George Steiner, this paper selects two English translations of Du Fu's poems by Mr. Xu Yuanchong, a domestic translator, and Mr. Watson, a foreign sinologist as the objects. Through the comparative study of the two translations, this paper explores how the four hermeneutic steps of “trust”, “aggression”, “incorporation” and “compensation” in Steiner’s hermeneutic motion are represented in their translations. It provides a new perspective for the study of Du Fu’s poetry translation into English and promotes the dissemination of ancient Chinese poems.

The aim of the work is the analysis of translations of Herbert’s poems into English by Miłosz with a focus on preserving the so-called roughness of his style. This term encompasses non-obvious and awkward structures, which, according to Miłosz, were one of the most important elements of Herbert’s style and, therefore, needed to be present in the English versions. The text contains a comparative analysis of two poems by Herbert: “Elegy of Fortinbras” and “Apollo and Marsyas,” with their translations into English. The translations were compared with the originals, taking into account their general form, the vocabulary, and the syntax. The analysis of vocabulary and syntax showed that to maintain the style of the original, the translator changed places where literary roughness was present. The translations into English were also more conventional and rooted more in European culture (while Polish contexts were moved to the background). One can thus conclude that the idea of spreading Polish literature across other cultures was more important for Miłosz than the translation of literary roughness.

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

This article explores the English translations of contemporary Ukrainian war poetry featured in the two anthologies Lysty z Ukrainy (Letters from Ukraine, 2016) and Words for War: New Poems from Ukraine (2017), through the prism of Jacques Derrida’s concept of “relevant.” It argues that although the economy of the original poems could not always be sustained, these translations nonetheless remain relevant primarily thanks to what they do rather than what they say. After contextualizing the recent (re)emergence of war poems as a genre of Ukrainian literature and providing an overview of the two translation anthologies, the article compares the Ukrainian originals with their English translations and discusses the various translation challenges. It then returns to Derrida’s own case study to extend the modifier “relevant” beyond its “economic” parameters to apply it more broadly to translation’s socio-political significance. It concludes with a discussion of how the two anthologies in question reflect the state of the reception of contemporary Ukrainian literature in the English-speaking world and how the translations they feature inform our understanding of the (un)translatability of poetry.

Abstract: This article explores several thematic synergies across Hindu and Muslim devotional sensibilities through an analysis of selected songs from two influential Bengali poet-thinkers: Rabindranath Tagore (1861–1941) and Kazi Nazrul Islam (1899–1976). This study offers an exploratory engagement with these songs in the form of new translations from the original Bengali and reflections that suggest fertile theological parallels between their verses. Through a close reading of these selected songs, certain common themes are discernible, such as the paradoxes of intimacy and painful distance as constitutive of the divine-human relation, the world as suffused with the creative word(s) of God, and the illumination of the heart as key to the spiritual life. These themes can be organized under the broader relational rubric of "call-and-response:" God's call to humanity is voiced in various ways in the world, eliciting a reciprocal response that is both devotional and loving. While these songs are marked by distinctive scriptural imageries, including references to both the Upanishads and the Qur'ān, their mutual resonances speak to shared sensibilities that are modulated by characteristically Bengali idioms and symbolisms.

This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.

A fragment of a play written on the Buddhist legend of prince Sudhana and the kinnarī has been microfilmed by the Nepal-German Manuscript Preservation Project. It was probably written at the end of the eleventh century in Bengal by a Buddhist scholar called Śāntākaragupta. The present article contains a critical edition and an English translation of the fragment, as well as an analysis of the intertextuality of the play and especially the literary influences that shaped the author’s poetic diction.

In his Bengali treatise on poetry named Kobitar Kotha/Why I Write there is evidence of vernacular poet Jibanananda (1899-1954). Jibanananda was familiar with the poetic cannons of European poetry. He emphasizes, in his treatise on poetry, on “experience” along with “imagination” as intrinsic to the creative process of poetry. The affinity of English Romantic poet William Wordsworth’s (deliberation on nature of Poetry and the definition of a Poet in Preface to The Lyrical Ballads and Jibanananda’s two articles on the same subject-Kobitar Kotha/The Story of Poetry and Keno Likhi/Why I Write is remarkable. This paper seeks to identify some areas of commonality in this sphere.

Bankim Chandra Chatterjee(1838–94) is widely recognized as one of the preeminent novelists of nineteenth-century India. A literary forerunner of the much-celebrated Rabindranath Tagore, he authored fourteen Bengali novels which set the benchmark for Bengal's foray into novelistic territory. Bankim acquired national and international repute over the course of his lifetime, and not only were his novels translated into other Indian languages over the course of the nineteenth century, but translations of his work also appeared in Russia from as early as the 1870s (Novikova ii). While Bankim's fame rests on the strength of his Bengali writings multiply translated as they were, his first novel,Rajmohan's Wife(1864), was written in English. Interestingly,Rajmohan's Wife, usually considered the first Indian novel in English, is now seldom read, a neglect replicating the scant attention that the novel garnered when it was first serialized in the 1860s.

This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.

The English socio-cultural context was crucial to the dissemination of the work of George Seferis in Europe. Early translations appeared in both French and English, but it was the English versions that propelled Seferis toward international recognition and the Nobel Prize, and gave rise to translations into more peripheral literatures such as Spanish. The wide social circle Seferis enjoyed in the English-speaking world was a key factor in his early success in the United Kingdom. Other determinants were British intellectuals’ empathy for the Greeks during the Colonels’ dictatorship and their liking for modern poetry similar to that of T. S. Eliot.

The selection of English translations of Mozetič' poetry includes poems from the cycles Gallery of Discarded Things, Lošinj, The Cloud of Knowing, De-dications: Pax de deux, and The Way of the Cross for the Blind. Translations by Nada Grošelj and Uroš Mozetič.

This essay is an exploration of some of the social and cultural factors that have played a role in the production, publication and reception of English translations of contemporary Chinese poetry, from the beginning of the 1980s to today. The aim is to link translations to the broader context, highlighting modalities and expectations of reception that have evolved within the social structures through which the translation of contemporary Chinese poetry has been circulating: the publishing industry, universities, the periodical press, public intellectual debates, and the market. The article does not try to establish if this or that expectation are either real or perceived features of the source texts. Nor does it deal with translators’ individual interpretations, their private readings. Instead, adopting a wider sociocultural approach, the analysis proposes to shed light on the industrial and commercial dimension—the public life—of contemporary Chinese poetry in English translation.

The article juxtaposes three different English translations of two Ilse Aichinger’s poems – prepared by Michael Hamburger, James C. Alldridge and by the authors of the article, Wolfgang Görtschacher and David Malcolm. Görtschacher and Malcolm draw our attention to a special feature of Aichinger’s poems – their conciseness, and to the problems this quality may pose to the process of translation. The article examines predominantly semantic, syntactic, and cultural differences between German and English equivalents proposed by the three (four) translators, but also emphasizes the fact that translation is never fi nished, only published.

Though he himself is not a poet, Gaoxin Huang (1936-) has published a dozen of translated poetry collections. Huang has further developed the poetry translation strategy of “yidun daibu” (substituting pause for foot) on the basis of his predecessors and proposed quantitative standards of poetic meter and the “Emulation Method”. This study attempts to examine Huang’s poetry translation style with a corpus-based quantitative and qualitative study. For the study two corpora are constructed: a bilingual parallel corpus of 100 English poems with their Chinese translations and a monolingual comparable corpus of Chinese translations of 100 English poems and 280 original Chinese poems. Data on lexicon, syntax and phonology are collected from the two corpora to address the stylistic characteristics of Huang’s poetry translation at the lexical, syntactic and phonological levels. Huang’s translation employs a richer vocabulary than the original English poems, and the choice of words is more akin to the original Chinese poems. Huang does not replicate the original poem, but preserves the original poem’s harmony of structure, rhythm, and word count by substituting the Chinese pause for the English foot and making full use of the Chinese conjunctions.

Classical Chinese poetry has become a brilliant jewel in the history of Chinese literature due to its unique beauty of rhythm and rich ideological connotations, and has become an indispensable part of Chinese civilization. High-quality English translations of poetry can help the world to better understand Chinese literature and gain a more comprehensive understanding of Chinese civilization, thereby promoting cultural exchanges between countries. Translation transformation theory was proposed by John Catford in the 1960s, who divided it into hierarchical transformation and categorical transformation, and systematically expounded the rationale for transformation phenomena in The Linguistic Theory of Translation. Practice has proved that translation transformation theory has important guiding significance for the translation process. This article takes Mr. Xu Yuanchong’s translation of classical Chinese poetry into English as an example to explore the transformation phenomenon in the process of text translation and the guiding significance of translation transformation theory for the translation of classical Chinese poetry, attempting to provide some reference for excellent English translations of traditional Chinese culture.

Poetry features prominently amongst the works published with the support of the Argentine Foreign Ministry's ‘Programa Sur de apoyo a las traducciones’, including collections by internationally feted writers such as Jorge Luis Borges, as well as what might be called ‘semi-canonical’ authors such as Alejandra Pizarnik and Juan Gelman, and contemporary poets, including Tamara Kamenszain and Mori Ponsowy. The article explores the roles that these publications suggest for the translator of poetry, from within the ‘Sur’ programme and beyond. The article asks, further, whether the differing circumstances of translation and publication are reflected in the translation strategies on display.

As one of the valuable literary legacies of China, Tang poetry contains rich linguistic and cultural knowledge. Translating it into English not only helps spread the excellent traditional culture of China to the outside world, but also promotes people to delve into and re-experience its profound meaning, thus making it last forever. This study explores the two English translations of "Shu Xiang" from the perspective of Eco-Translatology, evaluating the advantages and disadvantages of each translation in terms of "three-dimensional" transformation. Feeling the uniqueness of language through comparison and understanding the profoundness of culture through analysis, thereby enhancing cultural confidence. It provides reference for the translation of Chinese literary classics into English, and promotes the research on relevant models for the internationalization of Chinese literature and culture. The research results indicate that Xu Yuanchong's translation has the highest degree of integrated adaptive selection. The study also demonstrates that the theory of Eco-Translatology can be used to analyze English translations of poetry and provide a new perspective for the translation of poetry.

In the years immediately following the Spanish Civil War, the domestic poetry market underwent a lengthy and traumatic transformation stemming directly from the conflict and the Francoist regime’s implementation of systematic censorship. The death and exile of many of the preeminent poets from previous generations, along with the closure and relocation to Latin America of many publishing houses, left a considerable cultural void which would be partly filled with translated texts, most of them from authors writing in English. This article outlines some of the main results of a comprehensive study into the impact of censorship on the Spanish translations of English-language poetry between 1939 and 1983. Although the quantitative data point to a high authorisation rate for translated poetry, the regime used several mechanisms to curb the public’s exposure to ideas deemed harmful which profoundly impacted the translation and reception of those texts.

There are many English versions of poems on the market with different styles, but the quality of the translated poems is quite different. This paper mainly makes a comparative analysis of English translations of Li Bai's "Invitation to Wine" by using Dr Wang Feng's "Harmony-Guided Three-Level Poetry Translation Criteria" and concludes that when translating poems into English, we should not only achieve harmony at the macro level, and the similar style and artistic conception at the meso-level, but pay attention to the representation of various beauties at the micro-level. Through the analysis, the authors hope to verify the guiding role of "Harmony-Guided Three-Level Poetry Translation Criteria" in poetry translation and promote the English translation of Chinese poetry.

<em>Sanguo Yanyi</em>, a Chinese classical historical novel, contains a total of 207 poems. This paper presents a comparative analysis of the portrayal of Liu Bei in the English translations of the novel from the perspective of poetry translation. By examining the translations by Brewitt-Taylor and Moss Roberts, we aim to explore the nuances and variations in Liu Bei's image as portrayed in the poems. Selected examples are analyzed to highlight Liu Bei's image characteristics, including his adeptness, benevolent nature, and ambitious demeanor. The translations are compared in terms of their focus on readability versus fidelity to the original text. The findings contribute to a deeper understanding of the interpretation and representation of Liu Bei's character in English-language adaptations of Sanguo Yanyi, shedding light on the challenges and possibilities of poetry translation in a historical and cultural context.

Through a quantitative survey, this paper will examine the translation of poetry in Brazil in the last forty years, comparing poetry translated from English with poetry translated from other languages, showing the considerable growth in this area, and demonstrating that translated poetry can be considered a new genre in Brazilian literature. In order to do this, I attempted to discover translations of poetry published between 1965 and 2004, including reeditions of previously published works.

This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.

This article analyses the disputed and currently unresolved issue of who was responsible for the first translations into English of the work of Federico García Lorca. These were versions of two of the Gypsy Ballads, which were published anonymously in August 1929 in the New York based Hispanic journal Alhambra, shortly after Lorca’s arrival in the city. The article first presents the background to these translations and the publication in which they appeared, and examines the respective biographical merits and circumstantial claims of the two candidates to be Lorca’s first translators into English, Philip Cummings and Ángel Flores. The article then analyses the textual characteristics of the translations, compares and contrasts them with the translational styles of both candidates in their other Spanish-English poetry translations, and offers some conclusions as to who was most likely to have been Lorca’s first translator into English.

The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.

This paper presents QuickAI-Chat, an innovative iOS chatbot application designed to facilitate seamless conversations in five languages: English, Hindi, Bengali, Punjabi, and Tamil. The application's unique feature lies in its ability to bridge language barriers, enabling users to interact effortlessly across diverse linguistic landscapes. QuickAI-Chat leverages state-of-the-art natural language processing techniques to provide a user-friendly interface and accurate translations, ensuring a smooth and efficient communica- tion experience. The application's multilingual capability opens up new avenues for cross-cultural ex- changes and has the potential to revolutionise digital interactions in linguistically diverse communities. Keywords: QuickAI-Chat, OpenAI, Chatbot, Multilingual

Many literati consensually consider Ezra Pound a very significant figure in bringing Eastern poetry into the English world. His Cathay and In A Station of the Metro manifest his engagement in Chinese and Japanese poetry respectively. Rarely have scholars systematically discussed and evaluated the interconnection between the three languages poetry displayed in Pounds work. Therefore, this article aims to provide a comparative and comprehensive analysis of Pounds works, Chinese ancient poems and haikus. It begins with an overview of poetry and then moves to introducing how English and Eastern poetry differ. In the discussion, Chinese and Japanese poetry have been explored respectively and jointly. This article, from the perspective of one with mastery or intermediacy in all three languages, aims to provide some more accurate and aesthetic translations of Chinese poems by poets including Wang Wei, and haikus by haijins such as Bash. These translations (unless specified, original) better serve to compare and contrast Pounds poems and their Eastern counterparts. A series of close, dialectic analyses demonstrate that Pound both possessed merits and defects in approaching Eastern Poetry. This study provides a more thorough account of this significant literary crossover, from which it is hoped that future studies discover how Pound developed and/or popularised certain styles in this process.

The translation of one literary work from its mother language to a target language is certainly a key area of research in literary studies and comparative literature. The translation of literary works, specifically poetry, is extremely flexible and requires intricate operations of language. Not only do translators have to take into account of the structural elements of a poem, but also more obscure elements such as imagery and theme. This paper will explore the key elements of poetry translation, and the indispensable constituents of a successful translation of poetry, and focus primarily on the comparison of English and Chinese poetry along with their translations. The poetry that will be examined are Sonnet 130 written by Shakespeare and its Chinese translations, The Raven by Edgar Allan Poe, and the famous Chinese poem Yellow Crane Tower. Through the examination and analysis of these poems, a clearer definition of poetry translation can be achieved.