By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched region of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and inventive writing, arguing for a reassessment of where of translation in Baudelaire’s writing technique. instead of a sideline in Baudelaire’s artistic actions, translation is therefore proven to be a important type of twin writing on the middle of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the artwork feedback are all in line with an method of writing that's primarily by-product but in addition transformative. hence the Baudelairean scan illustrates the bounds of romantic notions of originality, creativity and genius, reminding us that every one writing is intrinsically intertextual. It additionally indicates the complexity of translation as a sort of production on the center of recent writing.
The publication is among the first of its sort to hyperlink the examine the translational job of an incredible author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation methods and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of construction and genius. It bargains, for that reason, a brand new point of view either on translation heritage and on literary heritage.
Alchemy and Amalgam should be of curiosity to scholars of translation, comparative literature and French reports.
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Additional info for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
502-05. EAP, p. 502. L’amour du métier? 41 Baudelaire rarely departs from the original text, and often follows it extremely closely, even to the extent of falling once into a blatant anglicism: the painter stood entranced before the work which he had wrought. 77 The repetition of ‘travail’ / ‘travaillé’ reproduces Poe’s repetition of ‘work’ / ‘wrought’, but such a repetition, which is quite common in the English language, is most infelicitous in the French language. This is, however, only a very rare example of awkwardness in ‘Le Portrait ovale’, and it could be argued that Baudelaire’s choice for such a repetition may have been dictated by a desire to reflect Poe’s style and an ignorance of this particularity of the English language.
51 sympathy for Poe, in the same way as, elsewhere, the essayist attacks his sources whenever he suspects a more or less implied criticism of his author. ), que dans de certains cas énormes le silence doit primer l’histoire, le biographe jette sur M. Poe une défaveur très grave. 104 To a lesser extent, Baudelaire’s aside (‘je trouve cette remarque bien américaine’) performs the same role, both reminding the reader of the hypotext of the essay, and establishing a distance between that hypotext and Baudelaire, who rejects his sources at the same time as he uses them.
71 EAP, p. 29. 72 EAP, p. 207. 73 EAP, p. 614. 74 EAP, p. 284. 70 40 Alchemy and Amalgam From this study of the target texts, one can conclude that Baudelaire’s translations are the meeting point between Baudelaire and Poe: the texts read as Baudelairean creations, but contain also in themselves strong elements of the foreign which point out their true nature. A close comparison between a sample translation and its source will help find out how this balance between the Baudelairean and the foreign is achieved in practice.