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Magin_Edward-thesis

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poem into consideration and does not consider other forms that are found in the receptor<br />

language (Holmes 1988:25-6).<br />

The next approach, the “analogous form,” is the process of matching the verse<br />

form of the poem to a verse form in the receptor language. This was the approach of von<br />

Willamowitz-Moellendorff. Holmes (1988:26) says that translators using this approach<br />

focus on “the function of [the poem’s] form within its poetic tradition.” Only then, with<br />

this information in mind, does the translator search for a verse form in the receptor<br />

language that has a similar function. Holmes calls these first two forms, the mimetic and<br />

the analogous, “form-derivative forms,” as both approaches focus on the form of the<br />

original text (Holmes 1988:26).<br />

Similar to the analogous form is the “organic form,” which Holmes (1988:27)<br />

describes as being “content-derivative.” With this approach, the content of the original<br />

poem is used, not the form. Holmes (1988:27) writes that the translator “starts from the<br />

semantic material, allowing it [the poem] to take on its own unique poetic shape as the<br />

translation develops.” Finally, the last form is known as a “deviant form” or<br />

“extraneous,” for it does not take into consideration either the form or the content of the<br />

original poem. Holmes (1988:27) says that “the translator making use of this approach<br />

casts the metapoem into a form that is in no way implicit in either the form or the content<br />

of the original.”<br />

2.2.4.1.3 Re-creative translation<br />

For many, referring to a poem as a “re-creative translation” is an oxymoron. If a<br />

poem has been re-created, how can it possibly be considered a translation? Many would<br />

say it is not even close to being an approximate rendition of the original. However, some<br />

scholars―past and present―find great value, and preference, in taking a poem and<br />

writing it in a way that brings it “up to date,” modernizing it for use in a new time. As we<br />

consider what people have written about “creative” and “re-creative” translation<br />

strategies, do bear in mind that the definitions may not be equal between writers. So

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