![]() The disturbance grows: the creature's wine-stained cheeks are hollow, his fangs gleam, and as he comes more and more to life, we see him as a kind of ancient Greek stringed instrument-a cithara-whose vibrations circulate in the blonde arms, uniting corporeal and musical erotic excitement. If the classical faun and the classical paraphernalia of his crown represent an old ideal of beauty, the crazy movement of the eyes disturbs that ideal. But the movement begins in the head, with the surreal action of the eyes, which roll back and forth around the forehead crowned with blossoms and laurel. We move to a visceral core of energy that releases movement (“Walk around”). The poet invites us to contemplate the faun from the head down, moving from the eyes to cheeks, fangs, chest, arms, belly, genitals, legs. As the faun's anatomy takes shape before our eyes, however, the creature grows less mild and gracious, more disturbing and dangerous. This little faun, not Pan himself but a minor derivative, is "gracieux" – graceful, gracious – an apparently safe quality it would only be by pressing hard on the word "gracieux" that we might touch on any source of lively religious energy-"grace," pagan or Christian. The opening invocation sets off no alarms. What does he do with it? He brings it to life, awakening a myth. Here, the self-proclaimed poet of modernity (“We must be absolutely modern,” he had written in A Season in Hell) presents us with the figure of a faun: just the sort of neoclassical kitsch we'd expect him to despise. ![]() ![]() In brief, the intention of this thesis is not to prove which is the best translation among those studied, but to indicate certain major problems arising from the translation of the Illuminations of Rimbaud that all translators of poetry need to bear in mind.Modernity always defines itself in relation to a past that it attacks and transforms. In this analysis, in order to compare the nine translations of the Illuminations of Arthur Rimbaud, we hA.ve used the following analytical categories: the selection of the French edition of the work and the layout of the English translations in comparison with the original edition the title of the work, the titles of the poems, and the order of the poems in the French and English editions the punctuation and typographical arrangement sound and phonostylistics and a general category, other errors in interpretation of the Illuminations, The thesis deals with certain types of difficulties and possible solutions. Given the limitations of a thesis at the Honours level, it was not possible to analyse in a rigorous manner all aspects of every one of the nine translations more precisely, we offer to the reader some reflections concerning the nine translations, and some ideas that lead us toward a methodology. A search of the literature and theses in France and elsewhere indicates that much has been written about Rimbaud, but little specifically about the translation of the Illuminations into English, and no study has ever been made comparing the nine translators which we have selected above. The nine translations of the Illuminations that we have studied in the thesis are those by: Louise Varese (1946,1957), Olivier Bernard (1962,!997), Wallace Fowlie (1966), Enid Rhodes Peschel (1973), Bertrand Mathieu (1991), Paul Schmidt (2000), Dennis J. The thesis also aims to give some insight into the extraordinary variety of techniques used by these nine translators. The work will highlight some of the qualities and defects in the nine translations. The objective is to highlight certain difficulties confronted by all translators of poetic texts. The aim of the thesis is to analyse nine translations of the Illuminations by Arthur Rimbaud including the latest translation by Wyatt Mason.
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