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Articles: Literature
Telugu Fiction in English translation
- Dr. Rajeshwar Mittapalli
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The Off-putting Factors Governing Translation (a) Translation makes too many demands. A myth we hold on to is that translation is infinitely easier when compared to creative writing and that the source text is somehow sacred and inviolable and any attempt at taking liberties with it is almost sacrilegious. But the truth is that the translator’s job is equally difficult and some times it is even more difficult than that of the writer. It is a taxing and time-consuming activity. The translator is expected to do justice to the source text by carrying over into the target language every shade of meaning including the subtlest cultural nuances and at the same time see to it that the translation in English is eminently readable. He has to engage himself, according to Lakshmi Holmstrom, “in the activity of interpretation and re-writing across languages, meanings and cultures in order to achieve a translation” and be not only bilingual but also bicultural for the purpose. (b) There is no pleasure in translation. Some theoreticians deny him even the pleasure of making his presence felt in his work. In his editorial to the special issue of Revaluations Prafulla Kumar Mohanty says, “If the presence of the translator is felt the original author dies. To save the original author in the target language, the translator must make himself invisible….” (c) Translation does not make sound economic sense. The best of our talented and creative young men and women are averse to literary translation even as a part-time job because there is no sponsorship, no fame and no financial prospects in it. They are more readily attracted to greener pastures like the TV and films where it is possible to make a fast buck. (d) No professional recognition. As has been said earlier literary translation does not constitute a profession in India. Even in the universities publication of translated fiction cannot be claimed as contribution to scholarship for purposes of appointment to teaching positions and later for promotion. What can be done to Remedy the Situation? First of all translation should not be viewed as a ‘second hand’ job. The greatest authority on translation, Susan Bassnett says, “I think it’s a grave mistake to think of translation as some kind of a slavish activity…. Translation, I’d say is very definitely a recreation.” My own experience tells me that, where the author is alive and willing to co-operate, certain liberties can be taken with the source text in the interest of readability in English. I would like to cite the example of my translation and editing of Naveen’s short stories published as Lifescapes. While translating these stories certain liberties were taken, under the strict and close supervision of the author, in order that the English translation presents no problems to the readers. In a way Naveen himself can be said to have willingly collaborated in translating these stories. Even if the translation appears to deviate at places from the original it still remains Naveen’s own. This to my mind is a more fruitful way of translating fiction than the uncritical adherence to the principle of fidelity which often turns the translated text into some kind of a puzzle to the reader with many strained expressions, awkward structures and unfamiliar diction. Another example is Vasireddy Sita Devi’s short story “Aame Navvindi” which I translated for the Sahitya Akademi’s journal Indian Literature under the title “Her Smile.” For fear of expansion I will confine myself here only to how I translated the title of the story and rendered the image of a goat used throughout the story. The literal translation of the title would have read “She Laughed.” But this would have certainly not conveyed the sense of “Aame Navvindi. ”It would have looked not just inappropriate but even awkward. Then, throughout the story, the image of ‘goat’ or ‘kid’ (meka pilla) has been used to refer to the heroine, in order to suggest her innocence and helplessness. I translated this as ‘lamb’ because ‘goat’ has negative connotations in English. The story was a big hit when it was published in English. Therefore, instead of resorting to a plethora of notes and glossaries, introductions and afterwards, taking some liberties with the source text, strictly subject to the approval of the author, seems to be an easier way out. In case of dead authors, perhaps nothing can be done, but with living authors innovations are possible.

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