SOSYAL BİLİMLER ENSTİTÜSÜ
İNGİLİZ DİLİ VE EDEBİYATI ANABİLİM DALI
TRANSLATION PROCESS:
TRANSFERRING CULTURE OR ADAPTATION
Muhammet ÖZKUL
YÜKSEK LİSANS TEZİ
Danışman
Yrd. Doç. Dr. Yağmur KÜÇÜKBEZİRCİ
I would like to express my heartfelt gratitude and thanks to; My dear supervisor Asst. Prof. Dr. Yağmur Küçükbezirci for his patience, kindness and helpful approach in my graduation thesis. Whatever studied in this
thesis would have been shortcoming if he didn’t help me with his invaluable patience, knowledge and experience. Not only the sources he had provided me but
also his motivating attitude played an important role in this study;
My teacher Asst. Prof. Dr. Gülbün Onur for sharing her immense knowledge and experiences during her lectures we attended;
Asst. Prof. Dr. Sema Zafer Sümer who has always enlightened us about the American Literature and made us love it with her precious knowledge and
comments;
My parents Iraz and Orhan Özkul for their everlasting motivation and support.
And my special thanks go to my adorable daughter Aya Defne Özkul for the lovely and precious time she spent with me between my study sessions.
ÖZET
Bu çalışma çevirinin bir kültür transferi mi yoksa bir adaptasyon mu olduğu sorusuna cevap bulmayı amaçlamaktadır.
Öncelikle çeviri sürecinin tanımı yapılmak suretiyle, çeviri sürecinin nasıl işlediği, iyi bir çevirmenin nelere dikkat etmesi, hangi özelliklere sahip olması gerektiği ve iyi bir çeviri yapabilmek için nelere dikkat edilmesi gerektiği ele alınmıştır.
Çeviri süreci boyunca kullanılan çeviri metotları ele alınmış ve özellikle çeviri sürecinde en fazla kullanılan iki çeviri metodu olan Anlamsal Çeviri Metodu ve İletişimsel Çeviri Metodu bir kez daha kıyaslanarak aralarındaki farklar incelenmiştir.
Atasözleri, deyimler, şiirler ve romanlar gibi farklı edebi türlerden orijinal metinler ve bu metinlerin farklı çevirmenler tarafından yapılmış tercümeleri incelenerek aralarındaki anlamsal ve yapısal farklılıklarla beraber orijinal metindeki kültürel unsurların çeviri sürecinde nasıl ele alındıkları değerlendirilmiştir.
Küreselleşen dünyada vazgeçilmez bir unsur olan medya ve multimedya tarafından kültürel unsurların bazılarının neler olduğu ve nasıl aktarıldığı ele alınmıştır.
Son olarak yapılan çalışmalar özetlenmiş netice olarak nasıl bir çıkarımda bulunulduğu açıklanmıştır.
ABSTRACT
This study aims to find an answer for the question asking whether the translation is a cultural transfer or adaptation.
First of all by defining and understanding the translation process, how this process works, what kind of qualities must a good translator have and during the translation process which details a translator must be careful about and which facts he/she must take into consideration are explained.
Translation methods which are used during the translation process are explained. And especially two important and most commonly used methods, semantic translation method and communicative translation method are explained one more time in a contrastive way and the differences between these two methods are studied.
Original texts and their translations by different translators in different literary types like proverbs, idioms, poems and novels have been studied according to semantic and syntactic differences besides the translation of the cultural details.
As an undoubted fact of the world which is becoming more global, some of the cultural details and their translations in media and multimedia are evaluated.
At last the study is concluded and the results of the study are evaluated.
FOREWORD
Culture and language has a very close relation and as a result of this close relation through the history there are lots of cultural details in a language. The most important feature and the most valuable works of art of a language are literary works which without any doubt have lots of cultural figures inside. And most of these works have been translated to other languages as a result of international affairs and relations.
In this study we are going to understand the translation process and we are going to evaluate different points of view from different theorists.
Of course in a translation there are many methods to be applied by a translator. These methods have been used and improved through the history and we are going to study and understand these methods especially the most common ones.
At every profession there are some criteria for the professionals and the profession. Even in the history there may be examples of translators, who do the translation as a hobby, but most of the translators do the translation as a profession. In this respect we are going to study the criteria and the qualities of a good translator and translation.
Literary works, as they have lots of cultural items inside are going to be evaluated in this study. For idioms and proverbs there are not many versions of translations but especially poems and novels have versions. We are going to evaluate different translations of these poems and novels from different translators.
Through the history and the translations, as there are so many cultural details inside, a question arises in our minds; is translation process, an adaptation or a cultural transfer?
We are going to try to find out the answer of this question in our study and we are going to support the answer with the examples.
TABLE OF CONTENTS ACKNOWLEDGEMENT ... i ÖZET ... ii ABSTRACT... iii FOREWORD ... iv TABLE OF CONTENTS ...v CHAPTER I 1.1. Background and Goal of the Study ... 1
1.2. Statement of the Methodological Procedure ... 2
1.3. Statement of Research Questions ... 3
1.4. The Concise Layout of the Study... 4
CHAPTER II 2. DEFINITION OF TRANSLATION ...5 CHAPTER III 3. TRANSLATION METHODS...8 3.1. Word-for-word translation ... 8 3.2. Literal translation ... 9 3.3. Faithful translation ... 9 3.4. Free translation ... 9 3.5. Adaptation ... 9 3.6. Semantic translation ... 10 3.7. Communicative translation... 10
CHAPTER IV
4. CHARACTERISTICS OF A GOOD TRANSLATION ...11
CHAPTER V 5. SEMANTIC AND COMMUNICATIVE TRANSLATION METHODS...15
5.1. Idioms... 23
5.2. Proverbs... 31
5.3. Poems ... 37
5.4. Novels ... 70
5.5. Multimedia and Media ... 92
CONCLUSION ...98
BIBLIOGRAPHY...101
CHAPTER I
1.1. Background and Goal of the Study
Translation is an important bridge between the nations and cultures. For thousands of years people needed to understand each other even though they are from different nations and cultures as a result of travel, trade, international relations and etc. This need and desire of the people created the translation with translators.
Translation, whoever is translating, is a hard job because of the differences between the languages and cultures. Translation is not only done by professionals for professional purposes but also teachers, academicians, engineers, students and etc. also need translation sometimes and for different purposes. So, to understand the process of translation and as a result of this, understanding and studying the methods which are going to be used during this process is also important.
During the translation process, the capability of the translator is important. A translator has to be able to analyse and know himself/herself. In this respect if he/she is not capable enough he/she has to get help from different professionals like historians, anthropologists and etc.
Of course the purpose of the translation is also important during the translation process. The purpose of the translation either sets the translator freer or restricts. Although there are many issues to be careful about, a translator always has to be careful about the purpose of the translation at the same time.
Also a translator’s background of knowledge of language and culture is also important during the translation process. Sometimes even the gender of the translation can affect the translation. The environment, topography, religion, customs, habits and etc are all affective during the translation process.
The differences of the languages are also an important fact during the translation process. There may be some syntactic and semantic differences during the
translation. The translator has to solve this ambiguity also during the translation process.
Culture and cultural items in a translation are also a big problem for a translator. The choices done by the translator will without any doubt, affect the translation process. Nearly in every written works of art there are cultural items or influences. During the translation the translator must give a decision about them. He can omit them, make an explanation in parenthesis or give an explanation by a footnote. If it is possible he/she can adapt them. Which is going to be the best decision?
In this respect this study aims to define the translation and the translation process from different points of views. The problems of the translation and in what way the translator has to bare and come over them. Also what kind of qualities he/she must have is another subject in this work.
Besides all, the close relation of culture and translation is analysed in different literary types with the translations of different translators.
As a result, this study aims to show the relation of culture and translation through the translations of different translators. To analyse, criticise and compare their choices with the cultural items in their translation will be another subject of this study.
1.2. Statement of the Methodological Procedure
The following methodological procedure is followed in this study.
The definition of the translation from different points of views is analysed and the definition of the translation is explained. Also the theories and the methods of translation are studied. The most common and appropriate two methods are compared.
Literary works of art which have been translated by different translators are analysed. While analysing these works of art, first all of the texts are read and understood carefully. In the light of information gathered before, the texts and the cultural items are evaluated according to their sentences, over-translations, under-translations, omitted and added words, translated idioms and proverbs, jargons, obscure terms and shifts.
1.3. Statement of Research Questions
Translation especially in today’s world, which is becoming more global in the last decades, is an important work.
Sometimes more than the works of arts, correct translation of them can be important in order to give the message as it is in the original work.
So to understand the translation process, methods which are going to be applied in the process and the problems a translator can face is an important fact.
Cultural facts in a translation are another important fact and every translator uses a different approach according to his/her limits, knowledge, experience and purpose.
As translation is an important fact in the relations and understanding of the people and nations many problems are aimed to be answered during this study and these can be listed as below;
1. What is translation?
2. What are the theories applied in a translation? 3. Qualities of a good translation and translator? 4. How do the translators translate the cultural items? 5. Is translation and adaptation or a cultural transfer?
1.4. The Concise Layout of the Study
To understand the answer to the question whether the translation is an adaptation or culture transfer;
In chapter 1, the aim of this study, methodology to be used, the questions that arise in mind about the translation process and concise layout of this study are explained.
In chapter 2, we tried to understand the definition of the translation. The problems that can be faced during the translation process are analysed and also the definitions and opinions of different theorists are also analysed.
In chapter 3, methods of translation are explained and understood. The importance of the methods and common features of these methods are analysed.
In chapter 4, the features which make a translation better and the features a good translator must have are stated and evaluated.
In chapter 5, the two most common methods, semantic translation method and the communicative translation method are evaluated and compared. And the literary works like idioms, proverbs, poems and novels are criticised according to their translation methods and cultural items. Also the cultural elements in media and multimedia and their translations are stated and criticised.
In chapter 6, there is a conclusion and evaluation of the study and the answer of the question whether the translation is an adaptation or culture transfer which forced us to make this study.
CHAPTER II
2. DEFINITION OF TRANSLATION
Translation is the process of changing a piece of written or spoken language into a different language.
According to Larson the language to be translated is called the source language (SL) and the language into which the piece is going to be translated is called the target language (TL).
Translation by dictionary definition is; changing from one state or form to another, to turn into one’s own or another’s language (The Merriam-Webster Dictionary, 1974).
Longman dictionary of contemporary English defines it as “the process of changing something into a different form”.
And Oxford Wordpower Dictionary (1997:660) defines it as “translation consists of something spoken or written from one language to another”.
And the dictionary explanations often used for the word translation are; “alternation, explanation, interpretation, paraphrase, change and etc.”
While translating a piece, one must be very careful about the meaning. In order to keep the meaning same the translator has to be fluent in both language and he or she must be very capable of using the forms in both languages.
When we say form of the language we mean words, phrases, clauses, sentences, paragraphs, verbs, adjectives and etc. which are written or spoken. So we can say that a translation is a summary of the work on lexicon, grammatical structure, communication situation and cultural context, analysing it and determining the
meaning and then reconstructing the same meaning what the author has intended in the target language with the appropriate usage of the form of target language.
We can show this process in a diagram below;
Text in Text in
Source language Target Language
TRANSLATION
Understanding Re-expressing
the meaning the meaning
MEANING
But of course there are some issues that the translator has to be careful about the translation. The most important one is, understanding what is meant to be said in the source language. Then he or she has to re-express the same meaning in the target language. Of course the last step must be to reflect the meaning of the source language with the closest meaning to the target language.
So it is clear that a translator;
a. Must be very careful about the meaning and the form of the source language,
b. Must understand and re-evaluate the meaning and the feeling of what the writer or speaker has intended.
c. Must be very careful about the meaning and the form of the target language in order to give the same meaning and feeling of the original piece.
As we say meaning and feeling, these two words are the most difficult facts that a translator has to be careful about. A written or spoken piece in the source language always has to give the same meaning and feeling in the target language. Sometimes even punctuation has to be the same in both source and the target languages in order to give the same meaning. So the translator has to understand exactly what is the meaning and the feeling he/she is going to use in the target language. During the translation process he/she has to be sure about this fact and he/she has to use the perfect form of the target language with the same meaning and impact.
At this point of view we can say that translation itself is an art because it is a work that is like painting a picture with the same paints and same brushes and both of the pictures must be same. But on the other hand we can regard translation as a science because it is like taking a picture and painting what has been filmed.
Doesn’t matter what one thinks about the translation, it is a hard work to be appreciated unless it gives the same meaning and the feeling of the source language in the target language.
Here comes the ability and the knowledge for the translator. The ability itself is creating the same impact. The knowledge is the way one uses the form of the target language in the same way of the source language but with totally different rules.
CHAPTER III
3. TRANSLATION METHODS
As a translator, one must be very careful about the job he/she is doing. Because translation is not a puzzle made of words and the job is not only exchanging the words with the appropriate ones in another language.
A translator must use different translation methods for different texts. The most important fact the translator should be careful is the aim of the writer or the written text. A good translation has to give the same feelings of the text in source language also in the target language. In order to give the impact sometimes a translator can even use a few different methods in a whole translation. Although there are slight differences between the methods given here, they are named differently by different scientists.
Some of the translation methods are as follows:
3.1. Word-for-word translation
The aim of this method is to translate the text in the same word order as in the source language also in target language.
In this explanation and also according to the facts we mentioned about the translation earlier we can say that this method can not be applied on a text itself. The most important purpose of this method can only be a pre-translation activity. First the translator uses this method and then translates it with the new form in the target language.
Because in order to make a good translation the translator must use all the ways to give the same impact in the target language and to do this of course the translator has to change the form.
3.2. Literal translation
This method is a different kind of word-for-word translation. But different from the word-for-word translation in this method the unit is the sentence. This means the translator has to be faithful lexically but to give the same impact and the meaning he/she can make differences in the form of the language.
3.3. Faithful translation
The translator in this method translates the exact contextual meaning of the original text within the constraints of the grammatical structures of the target language. So we can say that form is not important but the translator has to be faithful to the intention of the original text.
3.4. Free translation
In free translation style or the form is not important. The most important feature is the message, impact, feeling and the aim of the writer. In order to do this, as it can be understood from its name the translator is free to do any change in the original text when translating it to the target language.
So to give the same message of the original text in source language without any constraints the translator can make any lexical or grammatical change on the text as soon as he/she gives the same impact.
3.5. Adaptation
This is a method of translation where the translator needs to make changes more than lexical and grammatical items. Especially the translators use this method when translating poems or plays. While using this method the translator does not change the plot, characters or themes. They change and adapt the cultural differences of the source language to the target language.
3.6. Semantic translation
In this method the aim of the translator is to establish a semantic equivalence in the translation of the source language to the target language. It can also be considered as a type of literal translation but of course there are differences. Literal translation is a kind of word for word translation but semantic translation is not. Unlike literal translation semantic translation should express meaning.
Semantic translation should also have an aesthetic value and the natural sound of the text. In semantic translation the translator reproduces the contextual meaning of the source language also in the target language of course with the limits of semantics and syntax in the target language.
As it aims the original flavour of the source language in the text in the target language most of the legal documents and scientific articles are translated semantically. On the other hand a translator can not translate literary works semantically since he/she is going to have difficulty in conveying connotative and metaphoric aspects of the text.
3.7. Communicative translation
In this method the translator tries to translate the text contextually equal to the other language in which the content and the language are both easily acceptable and comprehensible to the reader.
Communicative translation attempts to render the exact contextual meaning of the original in such a way that both content and the language are readily acceptable and comprehensible to the reader (Newmark, 1988).
Although the methods are named differently, we can group the translation methods under the two headings such as semantic (word for word, literal) translation and communicative (adaptation, faithful and free) translation. A comparative analysis of both translation methods and examples will be given in chapter 4.
CHAPTER IV
4. CHARACTERISTICS OF A GOOD TRANSLATION
There are some important facts as the criteria of a good translation.
First of all in a good translation a translator must not reveal its non native source. Easily it must be translated and understood by the reader as it is in its original context and form after the translation.
A good translation must be read with ease and pleasure. The translation due to some reasons must not be boring or very different from the reading pleasure. That’s why the translator has to be very careful about what he/she is translating. He has to give the same message and the impact but in manner that the reader must enjoy while reading.
In a good translation the style and the form of the translation must be close the original one. While translating of course every language differs from each other in many ways but what a translator has to do is to translate the text in the closest style and form to the target language.
The translation has to give the same meaning. To do this sometimes a translator can omit or add some from the source language. But the aim of the translation is not summarizing what is going to be translated. That’s why in a translation there must not be omitted or added parts.
In this respect a translator first of all must have enough knowledge of literary and non-literary textual criticism because he has to assess the quality of the text before he/she decides how to interpret and then translate it.
A good translator for a good translation must understand the form and the feeling of the text of course. Some believe that technical and literary translations are
different and in technical translations a translator must deal with the content more than the form whereas in a literary translation he/she must deal with the form more than the content.
At any case, a good translator has to deal with both any kind of translation. A technical translation can be less literary, lets say less understandable as a result of a bad translation, so the translator has to deal with the meaning also in order to give the same literary form to the translation. And it can be the same, maybe more, also with a literary text, because more than a translation the translator has to assess the literary quality and the moral seriousness of a text.
A translator has to be able to use the grammatical and lexical items of both the source and the target language in order to keep the same power and the meaning of the text. During the translation process there are lots of facts effecting the translation like cultural items. A good translator even with the cultural items inside the source language has to express the same meaning in the target language.
Peter Newmark describes a good translator as;
1. “Requires a knowledge of literary and non literary text cohesion”, otherwise he cannot make judgements and cannot differentiate possible interpretations.
2. Should constantly improve his style of writing.
3. Must possess a potential capability to make judgements on literary quality of the text.
4. Must have good knowledge of logic.
5. Must be so competent in two languages that can determine the degree of the author’s faithfulness on observing dominating norms of his community and also be able to determine the best target-language style that suits the author’s work best.
6. Must be familiar with figurative, technical and colloquial senses of the two languages.
7. Must differentiate between primary meaning, secondary/collocational meaning, and core and peripheral meanings.
8. Must be familiar with the following techniques;
a. transcription (Loan words, adaptation, transfer)
b. one-to-one translation
c. through-translation (loan translation)
d. lexical synonymy (translation by a close target language equivalent)
e. componential analysis
f. transposition (replacing one grammatical writing with the other)
g. modulation (variation in point of views)
h. compensation (how to recover for semantic losses)
i. defining
j. paraphrasing
k. expansion (how to elaborate and clarify intricacies by grammatical expansions)
l. contraction (how to narrow lexicon where required to avoid redundancy)
m. discourse rearrangements
And finally Newmark advocates that while translating a translator must follow the steps below;
1. Must be sure that he/she has understood the text knowing the intension of the text, the intension of the readers by reading the text, the readers’ social and cultural strata, sex, and specific occupations they are engaged in.
2. Must determine the text category whether it is expressive, descriptive or informative or vocative.
3. Must determine if some parts of the text are ironical or nonsensical.
4. Must determine what type of meaning he/she has to take into account; linguistic, referential, connotative or pragmatic.
5. Must make his/her own interpretation of the parts of the text which are semantically vague.
6. The translator may find it useful to refer to who does what to whom, where, where, when, how, with what result? And where appropriate why?
CHAPTER V
5. SEMANTIC AND COMMUNICATIVE TRANSLATION METHODS
The best way to analyse whether the translation is an adaptation or a culture transfer is to understand and evaluate the differences between the two types of translation methods exactly.
Newmark (1981:22) proposes two types of translation; communicative translation and semantic translation. In communicative translation, the translator’s efforts are directed toward more adaptation of two languages. His aim is to make the same impact, to make the readers feel the same atmosphere and to make the readers’ get the same impression from the translated text as it is in the original text in the source language. This means and shows that adaptation is the key concept in communicative translation as there is a message between the translator and the readers within the frame of shared knowledge and cultural focus. On the other hand, in semantic translation, the translator does not corrupt the original text and makes word by word translation. Therefore semantic translation results in transferring the culture.
There are many differences between semantic and communicative translation methods.
Semantic translation is more likely to be used for expressing texts like legal documents but communicative translation is used for informative and sensitive texts.
First of all; semantic translation is author-centred which means the aim of the translator shall be to translate word by word most of the time but on the other hand communicative translation aims to give the same impact on the reader and to do changes, to add and omit parts for this is acceptable unless the reader has the same taste from the translation in the target language.
For semantic translation the form of the text is important and this can be considered more detailed and complex by a translator whereas the message of the text is the only important fact to be considered through a translation process in communicative translation. Thus, it is more simple, clear and brief in communicative translation.
Semantic translation is most of the times both linguistic and encyclopaedic whereas communicative translation is more functional, creative, effective and powerful.
In semantic translation the translated text must be the most appropriate and mostly like the original text but in communicative translation the translated text must be better, more understandable and more effective, than the original text.
Semantic translation most of the time causes loss of meaning because the form is more important but communicative translation is generally more effective and meaningful as meaning is more important and the translator is more natural and creative.
Semantic translation without changing the form is more like an interpretation whereas communicative translation tends to be more explanatory, creative and functional.
In semantic translation, the text is translated according to or in the limits of translators’ linguistics level whereas in communicative translation the text is translated according to the readers’ linguistic level as giving the same feeling of the original text to the reader at their level is more important.
Semantic translation is usually preferred for legal documents, scientific articles, and other important statements but communicative translation is preferred for all kinds of literary works in order to adapt them to the target the language at the readers’ level. By this way, it may be more effective and necessary for literary texts.
To understand these differences better here are examples to both semantic and communicative translation method.
A performance bond sample which is translated in semantic translation method is a good example for semantic translation method and the poem Annabel Lee by Edgar Allen POE as a good example of communicative translation method.
PERFORMANCE BOND _ _/_ _/_ _ _ _
No:...
Since [name of the bank or private finance organization] has guaranteed the performance bond amount ...YTL1 [amount of performance bond] that the contractor [name of the contractor], who has undertaken the work of [name of the work] as the result of the tender held by your contracting entity, is obliged to submit in order to fulfil; the decision of the Council of Ministers dated … November …… numbered ………, which has been issued according to the 3rd and temporary … articles of law numbered …… and temporary 1st article of the law numbered …, law numbered …, the tender document and contract provisions, in case the contractor has not fulfilled his commitment partially or completely in accordance with the mentioned laws, tender document and contract provisions,
without the need to make a formal protest, to obtain the permission of the law or the said party and to pay attention to any dispute arising among the said party and your Contracting Entity and the legal proceedings and results of this dispute, we hereby declare and commit in the name and on behalf of the [name of bank/private finance organization] that we, as the authorized representative with the authority to sign for the [name of bank or private finance organization] shall pay the amount written above in cash and in whole to your contracting entity or to your order immediately and without delay upon your first written demand together with the legal interest accruing from the date of your demand until the actual payment date. This letter of guarantee shall be valid until _ _/_ _/ _ _ _ _2. In case this period is not sufficient; 2
In case of indemnification of this letter, the amount of letter shall be paid to you as ………3.
[name of bank or private finance organization]
[name of branch of bank or private finance organization] Branch [bank/private finance organization] Authorities
KESİN TEMİNAT MEKTUBU
_ _/_ _/_ _ _ _
No:...
İdarenizce yapılan ihale sonucunda [işin adı] işini taahhüt eden yüklenici [yüklenicinin adı]‘nin …. sayılı Kanunun …’üncü ve geçici ..’üncü maddeleri ile …. sayılı Kanunun geçici 1’inci maddelerine göre çıkarılan … Kasım …. gün ve …… sayılı Bakanlar Kurulu Kararı ve …. sayılı Kanun ile ihale dokümanı ve sözleşme hükümlerini yerine getirmek üzere vermek zorunda olduğu kesin teminat tutarı [kesin teminatın tutarı] YTL’yi¹ [bankanın veya özel finans kurumunun adı] garanti ettiğinden, yüklenici; taahhüdünü anılan Kanunlar ile ihale dokümanı ve sözleşme hükümlerine göre kısmen veya tamamen yerine getirmediği taktirde,
Protesto çekmeye, hüküm ve adı geçenin iznini almaya gerek kalmaksızın ve [yüklenicinin adı] ile idareniz arasında ortaya çıkacak herhangi bir uyuşmazlık ve bunun akıbet ve kanuni sonuçları dikkate alınmaksızın, yukarıda yazılı tutarı ilk yazılı talebiniz üzerine derhal ve gecikmeksizin idarenize nakden ve tamamen, talep tarihinden ödeme tarihine kadar geçen günlere ait kanuni faiziyle birlikte ödeyeceğimizi [bankanın veya özel finans kurumunun adı] imza atmaya yetkili temsilcisi ve sorumlusu sıfatıyla ve [banka/özel finans kurumu] ad ve hesabına taahhüt ve beyan ederiz. Bu teminat mektubu _ _/_ _/_ _ _ _² tarihine kadar geçerli olacaktır. Bu sürenin yeterli olmaması halinde; ²
İş bu teminat mektubunun tazmini halinde; mektup tutarı...³ olarak tarafınıza ödenecektir.
[bankanın veya özel finans kurumunun adı] [banka/özel finans kurumunun] Şubesi [banka/özel finans kurumu] Yetkililerinin
ANNABEL LEE
It was many and many a year ago,
In a kingdom by the sea
That a maiden there live whom you may know
By the name of “Annabel Lee”;
And this maiden she lived with no other thought
Than to love and be loved by me.
I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love,
I and my “Annabel Lee”-
With a love that the winged seraphs of heaven
Coveted her and me.
And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful “Annabel Lee”;
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and me-
Yes! - that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my “Annabel Lee”.
But our love it was stronger by far than the love
Of those who were older than we-
Of many far wiser than we-
And neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful “Annabel Lee”:
For the moon never beams, without bringing me dreams
Of the beautiful “Annabel Lee”;
Of the beautiful “Annabel Lee”:
And so, all the night-tide, I lie down by the side
Of my darling -my darling- my life and my bride,
In her sepulchre there by the sea-
In her tomb by the sounding sea.
By Edgar Allan POE
ANNABEL LEE
Senelerce senelerce evveldi Bir deniz ülkesinde
Yaşayan bir kız vardı bileceksiniz İsmi; Annabel Lee
Hiç birşey düşünmezdi sevilmekten Sevmekten başka beni
O çocuk ben çocuk, memleketimiz O deniz ülkesiydi
Sevdalı değil karasevdalıydık Ben ve Annabel Lee Göklerde uçan melekler
Kıskanırlardı bizi
Bir gün işte bu yüzden göze geldi O deniz ülkesinde
Üşüdü bir rüzgârından bulutun Güzelim Annabel Lee
Götürdüler el üstünde Koyup gittiler beni
Mezarı oradadır şimdi O deniz ülkesinde
Biz daha bahtiyardık meleklerden Onlar kıskanırdı bizi
Evet! Bu yüzden 'Şahidimdir herkes ve deniz ülkesi' Bir gece rüzgârından bulutun
Üşüdü gitti Annabel Lee Sevdadan yana kim olursa olsun
Yaşça başça ileri Geçemezlerdi bizi
Ne yedi kat göklerdeki melekler Ne deniz dibi cinleri Hiç biri ayıramaz beni senden
Güzelim Annabel Lee Ay gelir ışır, hayalin erişir
Güzelim Annabel Lee Orda gecelerim uzanır beklerim Sevgilim sevgilim hayatım gelinim
O azgın sahildeki Yattığın yerde seni...
Translated by Melih Cevdet ANDAY
As it is obviously observed in the example of Performance bond by semantic translation method, there are not many changes in form and syntax but in communicative translation of Annabel Lee the translator changes the form and the syntax easily according to the needs of the readers and culture in which the translation is going to be read.
The understanding of the reader is more important than the form and the syntax of the original text in communicative translation. Semantic translation gives importance to keep the form and syntax of the original text more than the understanding of the reader.
In order to discuss whether the translation is an adaptation or culture transfer, the process will be searched under the headings of idioms, proverbs, poems, novels, media and multimedia. As the translation field is very wide, this study will be limited with these headings.
5.1. Idioms
The Merriam-Webster dictionary (2011) defines idiom as:
1: a: the language peculiar to a people or to a district, community, or class: dialect
b: the syntactical, grammatical, or structural form peculiar to a language
2: an expression in the usage of a language that is peculiar to itself either grammatically (as no, it wasn't me) or in having a meaning that cannot be derived from the conjoined meanings of its elements (as Monday week for “the Monday a week after next Monday”)
3: a style or form of artistic expression that is characteristic of an individual, a period or movement, or a medium or instrument
And defines its origin as; Middle French & Late Latin; Middle French idiome, from Late Latin idioma individual peculiarity of language, from Greek idiōmat-, idiōma, from idiousthai to appropriate, from idios.
In Oxford Advanced Learner’s Dictionary (2011) there are three definitions of idiom.
1. A group of words whose meaning is different from the meanings of the individual words.
2. The kind of language and grammar used by particular people at a particular time or place.
3. The style of writing, music, art, etc. that is typical of a particular person, group, period or place.
An idiom is generally a colloquial metaphor, a term requiring some foundational knowledge, information, or experience, to use only within a culture, where conversational parties must possess common cultural references. Therefore, idioms are not considered part of the language, but part of the culture. As culture typically is localized, idioms often are useless beyond their local context; nevertheless, some idioms can be more universal than others, can be easily translated, and the metaphoric meaning can be deduced. (Wikipedia: 2011)
As it can easily be understood from the definitions of the word “idiom”, idioms have always been one of the most difficult forms to be translated from one language to another language for the translators as they are special expressions composed of the words forming a meaning when they all came together. So when translating an idiom a translator must be very careful about the idiom because the words and the whole when they come together are most of the time totally different.
At this point of view we can say that idioms also carry a very special and important meaning in them. Because they have been formed after a very long period and they also have been a part of experiences that’s why it can be explained as the kind of language and grammar used by particular people at a particular time or place and the style of writing, music, art, etc. that is typical of a particular person, group, period or place.
In English it is estimated that there are nearly 25000 idiomatic expressions. If you take this fact into consideration it will be much easier to understand how a
translator’s job is hard while doing translation especially of a text in the source language full of idioms.
While translating an idiom we have to use the communicative translation method because any other translation method applied to the translation shall cause a mess as the words of an idiom are not meaningful themselves but they form a meaning all together.
So we can say that while translating idioms from target language to the source language most of the time almost in every translation a translator has to use the communicative translation method in order to give the same impact, expression and the feeling to the reader in the target language. By this means it is nearly impossible for a translator to translate the idioms by semantic translation method as they can not give the same expression.
As a result of this we can say that idiom translations or the texts which have many idiomatic expressions can not be cultural transfers unless they don’t have same idiomatic expressions in the target language. But of course if an idiomatic expression does not have the same idiomatic expression in target language then the translation may be considered as a culture transfer. Because, as we have mentioned before, every idiomatic expression is a result of a past experience, cultural lifestyle and historical event. That’s why while translating an idiomatic expression that doesn’t have the same idiomatic expression the translator has to use the semantic translation method of even if the translator uses the communicative method he/she has to give an explanation about the idiomatic expression even in the text of even as a footnote.
Let’s have a look at some of the idioms and their Turkish translations in both semantic and communicative methods.
“Kick the bucket”
Semantic translation: Kovaya vurmak
Communicative translation: Ölmek, nalları dikmek
“Between the devil and the deep sea”
Semantic translation: Şeytan ve derin deniz arasında.
Communicative translation: Aşağı tükürsen sakal yukarı tükürsen bıyık.
“You cannot teach an old dog new tricks”
Semantic translation: Yaşlı bir köpeğe yeni numaralar öğretemezsin.
Communicative translation: Ağaç yaş iken eğilir.
“The devil take the hindmost”
Semantic translation: Şeytan sondakini alır.
Communicative translation: Altta kalanının canı çıksın
“Where there is life, there is hope”
Semantic translation: Nerede hayat var ise orada umut var.
“To keep one’s finger crossed”
Semantic translation: Birinin parmağını çapraz yapmak.
Communicative translation: İyi şans dilemek.
“Once a thief, always a thief”
Semantic translation: Bir kez hırsız, her zaman hırsız.
Communicative translation: Alışmış kudurmuştan beterdir.
“Put someone in the picture”
Semantic translation: Birini resime koymak.
Communicative translation: Olayın iç yüzünü anlatmak.
“To be blue”
Semantic translation: Mavi olmak.
Communicative translation: Karamsar olmak.
“To be in a red”
Semantic translation: Kırmızı içinde olmak.
“Barking up the wrong tree”
Semantic translation: Yanlış ağaca havlamak.
Communicative translation: Cevabı yanlış yerde aramak.
“Set a thief to catch a thief”
Semantic translation: Bir hırsızı yakalamak için bir hırsız kurmak.
Communicative translation: Çivi çiviyi söker.
“Money breads money”
Semantic translation: Para parayı besler.
Communicative translation: Para parayı çeker.
“To count on someone”
Semantic translation: Birinin üstüne saymak.
Communicative translation: Birine güvenmek.
“To feel the pulse”
Semantic translation: Nabzı hissetmek.
“To upset the apple cart”
Semantic translation: Elma arabasını üzmek.
Communicative translation: Bir çuval inciri berbat etmek.
“To drop someone a line”
Semantic translation: Birisine bir çizgi düşürmek.
Communicative translation: Birine kısa mekup yazmak.
“To be full of beans”
Semantic translation: Tohum dolu olmak.
Communicative translation: Hayat dolu olmak.
“To miss the boat”
Semantic translation: Gemiyi kaçırmak.
Communicative translation: Treni kaçırmak.
“To pull the wool over one’s eyes”
Semantic translation: Birinin gözlerine pamuk koymak.
“To pull one’s leg”
Semantic translation: Birinin ayağını çekmek.
Communicative translation: Makaraya sarmak.
“To let the cat out of the bag”
Semantic translation: Köpeği çantadan salıvermek.
Communicative translation: Baklayı ağızdan çıkarmak.
“To put one’s foot in”
Semantic translation: Birinin ayağını içeri koymak.
Communicative translation: Pot kırmak.
“To talk casually”
Semantic translation: Dikkatsizce konuşmak.
Communicative translation: Ulu orta konuşmak.
“To leave no stone unturned”
Semantic translation: Hiç bir taşı çevirmeden bırakmamak.
5.2. Proverbs
A brief popular saying that gives advice about how people should live or that expresses a belief that is generally thought to be true is the definition of proverb in The Merriam Webster Learner’s dictionary (2011) and defined as a brief popular epigram or maxim: ADAGE (a saying often in metaphorical form that embodies a common observation).
And Oxford Advanced Learner’s Dictionary defines the word “proverb” as a well-known phrase or sentence that gives advice or says something that is generally true.
The common point in all definitions is that a proverb gives advice to those about the life, experiences, beliefs, maybe morals and society.
Most of the languages have their own proverbs and all these proverbs are formed after a long period of observation, experience and life.
The first use of the proverbs can even be dated to the Aristotle.
While translating a proverb from the source language to the target language most of the time a translator uses or has to use the communicative translation method in order to give the same impact, expression and feeling. But of course different from the idioms even if you use the semantic translation method a reader in the target language can understand what is indented to be told. For example when you translate “when in Rome, do as Romans do” anyone in Turkey shall understand that you mean “Behave according to the conditions you are in”. But of course if the translators aim is, and has to be, to give the same expression for everyone reading the text in the target language then the translator must translate it as “ya bu deveyi güdersin ya da bu diyardan gidersin” or “köprüyü geçene kadar ayıya dayı de” or “arap eli öpmekle arap olunmaz”.
So sometimes there may be a few options or there may be a few choices or substitutes instead of a proverb in the target language. So the translator has to choose the correct one according to the text.
In case there is not an equivalent in the target language the translator even has to translate it semantically or in communicative methods. And most of the time with the worry and need of giving the exact impact the translator uses the communicative method and tries to chose the most effective and equivalent words in the translation.
As a result we can say that mostly proverb translations are not culture transfers but adaptations.
Here are some examples of proverbs and their semantic and communicative translations.
“The early bird gets the worm”
Semantic translation: Erken kuş kurdu alır.
Communicative translation: Sona kalan dona kalır / Erken kalkan yol alır.
“Once burnt twice shy”
Semantic translation: Bir kez yanan iki kez utanır.
Communicative translation: Sütten ağzı yanan yoğurdu üfleyerek yer.
“Nothing venture, nothing have”
Semantic translation: Hiç cesaret, hiç sahiplik.
“As you sow, so you shall reap”
Semantic translation: Ektiğin gibi biçeceksin.
Communicative translation: Ne ekersen onu biçersin.
“Christmas comes but once a year”
Semantic translation: Yılbaşı yılda bir kez gelir.
Communicative translation: Papaz hergün pilav yemez.
“It is not over until the fat lady sings”
Semantic translation: Şişman bayan şarkı söyleyene kadar bitmiş değildir.
Communicative translation: Dereyi görmeden paçayı sıvama.
“An apple a day keeps the doctor away”
Semantic translation: Günde bir elma doktoru evden uzak tutar.
Communicative translation: Güneş girmeyen eve doctor girer.
“All that glitters is not gold”
Semantic translation: Parlayan herşey altın değildir.
“As you make your bed, you lie on it”
Semantic translation: Yatağını kendin yaptın o zaman yat üstünde.
Communicative translation: Kendi düşen ağlamaz.
“Among the blind the one-eyed man is King”
Semantic translation: Körlerin arasında tek gözlü kraldır.
Communicative translation: Adamın olmadığı köyde keçiye Abdurrahman Çelebi derler.
“Dead mice feel no cold”
Semantic translation: Ölü fare soğuk hissetmez.
Communicative translation: Ölmüş eşşek kurttan korkmaz.
“A burnt child dreads the fire”
Semantic translation: Yanmış çocuğun ateşten ödü kopar.
Communicative translation: Sütten ağzı yanan yoğurdu üfleyerek yer.
“Give a dog a bad name and hang him”
Semantic translation: Bir köpeğe kötü bir isim ver ve onu as.
“A stich in time saves nine”
Semantic translation: Zamanında bir ilmik dokuzunu kurtatır.
Communicative translation: Bir mıh bir nal, bir nal bir at kurtarır.
“The worthless need no protection”
Semantic translation: Değersiz olanın korunmaya ihtiyacı olmaz.
Communicative translation: Acı patlıcanı kırağı çalmaz.
“Easy come, easy go”
Semantic translation: Kolay gelen, kolay gider.
Communicative translation: Haydan gelen huya gider.
“It never rains, but pours”
Semantic translation: Asla yağmaz, fakat boşalır.
Communicative translation: Aksilikler hep üst üste gelir.
“The apples on the other side of the wall are the sweetest”
Semantic translation: Duvarın diğer tarafındaki elmalar en tatlılarıdır.
“Beggars cannot be choosers”
Semantic translation: Dilenciler seçenler olamaz.
Communicative translation: Dilenciye hıyar vermişler eğri diye beğenmemiş.
“Cheats never prosper”
Semantic translation: Yalan asla başarılı olmaz.
Communicative translation: Yalancının mumu yatsıya kadar yanar.
“Coming events cast their shadows before”
Semantic translation: Gelecek olaylar önceden gölge yapar.
Communicative translation: Perşembenin gelişi Çarşambadan belli olur.
“Don’t count your chickens before they hatch”
Semantic translation: Yumurtlamadan tavularını sayma.
Communicative translation: Dereyi göremeden paçayı sıvama.
“The apple doesn’t fall far from the tree”
Semantic translation: Elma ağaçtan uzağa düşmez.
5.3. Poems
Literary translation is one of the most important and most variable kind of translation due to the fact that every literary work has its own aesthetic and expressive items.
Metaphors, language, word choices, the idea to be expressed and the emotions to be given in the text and many more important features are the problems that a translator faces with while translating a literary text.
Poetry which is one of the most effective and emotional types literature has always been hard to translate because of the emotional flow through the words and lines in it. That’s why the translators prefer to use communicative translation method in order to give the nearest impact, nearest effect, nearest expressions and nearest flavour to the poem in the target language.
The main aim of the translator is to give the same atmosphere with the original text in the target language. By this means the translator sometimes add or omit sentences or words and sometimes can make changes in the sentences or lines in the poem.
Also some features like alliteration and assonance are important in a poem. The translator if possible shall try to keep these features of the poem during the translation process but of course it is one of the most important problems he/she is going to face with as the phonic features of the languages are not the same. Rhyme and rhythm are also important in poetry. Most of the time in the translations of the poems we do not see these kind of features as the sound system is totally different from the source language but sometimes it may be possible to create the same rhythm or rhyme for the translator.
As a result we can say that to translate a poem from the source language to the target language the translator has be very capable of both languages, has to have enough knowledge about the literary arts in both language and has to understand and reflect the feeling and the soul in the original poem exactly in the translated one.
During the translation process he/she is free to do any kind of change in text unless he/she gives the same feeling, expressions, impact and atmosphere. While doing this he/she must do the correct choice of poetic form. And he is free and must be capable of reproducing the figurative speech, concrete images, including metaphor and simile as well as phonic features such as alliteration and assonance.
In the following pages we are going to see the original and translated poems from English to Turkish or from Turkish to English.
AT GALWAY RACES
There where the course is,
Delight makes all of the one mind, The riders upon the galloping horses, The crowd that closes in behind: We, too, had good attendance once, Hearers and hearteners of the work; Aye, horsemen for companions, Before the merchant and the clerk Breathed on the world with timid breath. Sing on: somewhere at some new moon, We'll learn that sleeping is not death, Hearing the whole earth change its tune, Its flesh being wild, and it again
Crying aloud as the racecourse is, And we find hearteners among men That ride upon horses.
GALWAY AT YARIŞLARINDA Dörtnala gidenler atların eyerinde, Arkadan ilerleyen kalabalık, Bütünleşiyor, yarış yerinde, Sevinç, sağlıyor birlik:
Bizi de izleyenler vardı eskiden
Dinleyenler, çabamızda yüreklendirenler; Atlılar ve de, bize yoldaşlık eden,
Çekingen nefesini tüccar ile memur
Üzerine solumamışlarken henüz dünyanın. Şakıyın: Ay bir yerlerde yenilenmek üzere Ölüm olmadığını öğreneceğiz uyumanın, İşitiliyor değiştirmekte ezgisini yerküre, Vahşileşiyor eti ve o yine avaz avaz Haykırıyor olduğu gibi yarış pistinde Ve bizi yüreklendirenler buluyoruz Gidenler arasında atlar üstünde.
GALWAY AT YARIŞLARINDA
Orada, atların yarıştığı çayırda,
Aramızda birlik yaratıyor duyduğumuz sevinç. Atlılar dörtnala atlarının sırtında,
Yüreği ağızlarında arkadan bakanların: Bizim de seyircilerimiz vardı eskiden, Dinleyen, işimizde bizi yüreklendiren; Yoldaşlık ederdik binicilerle
Yeryüzü tüccarın, kalem efendisinin Kesik soluklarıyla buğulanmadan.
Sürdürün türkünüzü: bir yerde doğarken yeni bir ay, Göreceğiz uyumanın ölmek olmadığını,
Duyarak yeryüzünün yeni bir hava tutturduğunu - Yeryüzü hep delikanlı çünkü -
Sonra bağıranlar çıkacak yarışlardaki gibi, Ve insanlar olacak bizi yüreklendiren, Atını sürüp gidenlerden?
Translated by Cevat ÇAPAN
The two translations of the poem of William Butler YEATS show us that there are differences between two translators.
The poem translated by Osman Tuğlu is more effective in the way the sound it makes. The words are chosen carefully in order to keep the rhyme and the rhythm as close as the original one. But in the translation of Cevat Çapan we see the translator aimed to give the same feeling as the original poem does. From this point of view the poem translated by Cevat Çapan can be considered more communicative than the poem translated by Osman Tuğlu as it has been translated without the worry of keeping the rhyme and rhythm.
But more than a translation the poem translated by Cevat Çapan is like a new one. During the translation process a translator has to make necessary changes but the changes, omitted and added words and etc. seems more than the poem translated by Osman Tuğlu which means while translating the poem Cevat Çapan reflected his feelings and understanding more than translating the poem.
So for these two translations we can say that the first poem translated by Osman Tuğlu which seems to be translated more semantically is a better translation than the second poem translated by Cevat Çapan which is translated more communicatively.
A DREAM WITHIN A DREAM
Take this kiss upon the brow! And, in parting from you now, Thus much let me avow- You are not wrong, who deem That my days have been a dream; Yet if hope has flown away In a night, or in a day, In a vision, or in none, Is it therefore the less gone? All that we see or seem
Is but a dream within a dream.
I stand amid the roar Of a surf-tormented shore, And I hold within my hand Grains of the golden sand- How few! yet how they creep Through my fingers to the deep, While I weep- while I weep! O God! Can I not grasp Them with a tighter clasp? O God! Can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream?
RÜYA İÇİNDE RÜYA
Bu öpücük senin alnına kondu Ayrılıyoruz şimdi
Bazı şeyleri söylememe izin ver. Sen hatalı değilsin..Sanıyorum
Günlerim hep hayal içinde geçti. Yine de eğer umut bitmişse Bir gün veya bir gecede Gelecekte ve hiçlikte
Bu yüzden mi her şey biter? Gördüğümüz yada göreceğimiz Rüya içinde bir rüyaya döner..
Kıyıda dalgaların gürültüsü içinde Ayakta duruyorum
Parmaklarımın arasında
Altın kum tanelerini tutuyorum Azar azar kayıp gidiyorlar
Parmaklarımın arasından derinlere… Ağlıyorum, gözyaşlarım dökülüyor! Tanrım, onları daha sıkı
Tutamaz mıyım?
Onlardan birini, acımasız dalgalardan Kurtaramaz mıyım?
Bütün gördüğümüz göreceğimiz bu mu Bu mudur rüya içinde rüya görmek?
RÜYA İÇİNDE RÜYA
Al bu buseyi kaşın üzre sen! Ve işte şimdi ayrılıyorken, İzin ver itiraf edeceğim- Yanlış değildi söylediğin Günlerin bir rüyaydı derken; Uçup gittiyse umut yine de Geceleyin ya da gündüz, Hayalde, ya da hiçbirinde Peki kaybımdan eksilen ne? Rüya içinde bir rüyadır
Hep gördüğümüz, göründüğümüz.
Bir uğultunun ortasındayım Dalgaların dövdüğü bir kıyıda, Ve avucumda tuttuğum
Altın kum taneleri-
Azlar! Ama nasıl da kayıyorlar Derinliğe parmaklarımdan, Ağlarken – ben ağlarken! Tanrım! Sıkıca tutamaz mıyım Bırakmadan avucumdan? Tanrım! Kurtaramaz mıyım Birini acımasız dalgadan? Yoksa rüya içinde bir rüya mı Hep gördüğümüz, göründüğümüz?
Again between the two translations of Edgar Allan POE’s poem “A Dream within a Dream” and the second poem translated by Şükrü Kaya is translated better than the poem.
First of all, both of the translators used the communicative translation method in order to give the same feeling of the poem and more than the worries about the form both of them are interested in the feeling of the poem.
But in the first poem translated by Erdal Ceyhan, there are some wrong word choices in the target language which may cause change in the feeling the poet indented to give. For the word “kiss” intention of the writer is a soft and tender one more than a passionate or friendly kiss and the word “buse” is more appropriate for the kiss which is intended in the poem by the writer. Also the place described as “upon the brow” is likely to be the forehead but describing in Turkish as “just above the brow” as the second translator Şükrü Kaya translated fits better and gives more tender and nice understanding and feeling on the reader. This word choice can also be related with the cultural understanding and lifestyle and we can say that the word “buse” for and the description “just above the brow” makes the reader in the target language of a more pure and innocent love and kiss. Also in the first poem translated by Erdal Ceyhan the word “vision” is translated as “gelecek” which means future in Turkish and this changes the meaning of the line. The word “flown away” has been translated as “bitmek” which means “to end” and which is another wrong choice again. Because the poet intended to emphasize an abstract end not a material end, that’s why the second translation by Şükrü Kaya “uçup gitmek” gives a better understanding to the reader in the target language.
The correct translation for the sentence “of a surf-tormented shore” would be the one in the second poem translated by Şükrü Kaya. The poet especially stresses that the shores have been beaten by the waves. The first translation by Erdal Ceyhan more than this physical image emphasises the roar and emphasises the word more likely as a disturbing voice. So, the physical image that the poet intended to give has been lost in the first poem translated by Erdal Ceyhan.
As a result, instead of finding more mistakes in the translation we can say that even if a translator uses the communicative translation method he/she has to be careful about word choices and the sentences also has to be careful about the form of the translation. While doing these his/her knowledge of both languages and cultures is important.
CAP AND BELLS
The jester walked in the garden: The garden had fallen still; He bade his soul rise upward And stand on her window-sill.
It rose in a straight blue garment, When owls began to call:
It had grown wise-tongued by thinking Of a quiet and light footfall;
But the young queen would not listen; She rose in her pale night-gown; She drew in the heavy casement And pushed the latches down.
He bade his heart go to her,
When the owls called out no more; In a red and quivering garment It sang to her through the door.
It had grown sweet-tongued by dreaming Of a flutter of flower-like hair;
But she took up her fan from the table And waved it off on the air.
'I have cap and bells,' he pondered, 'I will send them to her and die'; And when the morning whitened He left them where she went by.
She laid them upon her bosom, Under a cloud of her hair,
And her red lips sang them a love-song Till stars grew out of the air.
She opened her door and her window, And the heart and the soul came through, To her right hand came the red one, To her left hand came the blue.
They set up a noise like crickets, A chattering wise and sweet, And her hair was a folded flower And the quiet of love in her feet.
KEP VE ZİLLER
Soytarı bahçeye girdi Bahçe sessizleşmişti; Ruhuna ‘çık yukarı’ dedi Bekle penceresinin eşiğinde.
Ruh düz mavi bir giysiyle yükseldi, Baykuşlar ötmeye başlarken: Akıllıca laflarla dillenmişti
Sessiz ve hafif ayak sesini düşünürken.
Fakat genç kraliçe dinlemedi; Soluk renkli geceliğiyle uzandı; Ağır pencere kanadını kapattı Ve aşağıya indirdi mandalları.
Soytarı kalbine, ‘git ona’ dedi, Baykuşlar artık ötmediği zaman, Kalp kırmızı ve titrek bir giysiyle gitti Kapısında şarkı söyledi.
Çiçek gibi saçlarının dalgalarını Düşleyerek tatlı dilli olmuştu; Fakat o, masadan yelpazeyi aldı Ve yelpazeleyerek dışarı attı.
‘Kep ve zillerim var’, diye düşündü soytarı, Onları göndereceğim ve sonra da öleceğim’; Ve sabah beyazlandığında
Koydu göğsünün üzerine
Sakladı saçında bir bulutun içinde,
Ve kırmızı dudakları bir şarkı söyledi kep ve zillere Havada büyüyünce dek yıldızlar.
Kapısını ve penceresini açtı, Kalp ve ruhu içeri aldı, Sağ eline kırmızı olanı geldi, Sol eline mavisi.
Cırcırböcekleri gibi bir koro kurdular, Gevezelik ettiler akıllı ve tatlı,
Saçları katlanmış bir çiçekti Ve ayaklarındaydı aşkın sükûneti.
ÇINGIRAKLI ŞAPKA
Girdi bahçeden içeri soytarı: Bahçeyi bürümüştü sessizlik; Buyurdu ruhuna yüksel yukarı Ve onun pencere eşiğine çık.
Bağrışmaya başlarken baykuşlar
Doğru yükseldi üstünde saf mavi elbisesi: Bilge dilli kılmıştı onu düşündüğü
Dingin ve hafif bir ayak sesi;
Genç kraliçe dinlemedi fakat;
Uçuk renk geceliğiyle yatağından kalktı; Kapadı ağır kanadını pencerenin
Ve mandalını taktı.
Yüreğine emretti soytarı, git ona, Baykuşlar bırakmışlarken bağırışı; Kırmızı titrek bir elbiseyle o da Şarkılar söyledi kapısına karşı.
Tatlı dilli kılmıştı hayali
Çiçek gibi saçların bir uçuşmasının; Fakat onu kraliçe havalara savurdu Yelpazesini alıp üzerinden masanın.
‘Çıngıraklı şapkam var.’ dedi
‘Ona yollayacağım ve öleceğim sonra’, Ve de gün ağarırken
