In recent years, there has been a surge in new translations of classic literary works, such as One Hundred Years of Solitude and Love in the Time of Cholera by Gabriel Garcia Marquez, Crime and Punishment and The Brothers Karamazov by Dostoevsky, Don Quixote by Cervantes, In Search of Lost Time by Marcel Proust, and 1984 by George Orwell. This phenomenon raises questions about the ability of these translations to engage contemporary readers amidst linguistic and cultural developments.
Retranslation does not diminish the efforts of the original translators, such as Sami al-Droubi, but rather opens the floor for discussions on the importance of updating language and avoiding errors that may arise from the use of intermediary languages. Is the goal of these translations to correct shortcomings in older translations, or are there economic calculations behind this trend?
Event Details
Novelist and publisher Azza Tawil emphasizes that the fundamental difference between re-translating a classic work and purchasing translation rights for a contemporary work lies in the financial cost. Acquiring translation rights typically requires an upfront payment, along with annual payments calculated as a percentage of the cover price. In contrast, classic works, after a certain period following the death of their authors, enter the public domain, making it easier for publishers to retranslate them.
This situation benefits publishers, as they do not have to pay a significant percentage of their income, nor do they need to make an initial payment that could reach $100,000. This makes retranslation of classic works an attractive option for publishers.
Background & Context
Translator Khaled Al-Jubaili considers language to be a living entity that evolves continuously, noting that older translations may contain obsolete vocabulary. Therefore, new translations employ contemporary language, making the classic text more accessible. The new translator can also correct mistakes made by the previous translator and add footnotes that explain the text in greater depth.
In Russian literature, for instance, most major works are translated from intermediary languages, making the provision of a new translation directly from the original a positive step to avoid issues from previous translations.
Impact & Consequences
However, translators in Arab countries face challenges, as the number of new translations annually is low compared to foreign countries. This leaves them with two options: either translate new works that have not been translated before or retranslate famous works of poor quality.
Publishing houses have varying approaches; they may choose the easy option of republishing old translations or commission competent translators to produce a new translation clearly, with explanatory notes and contemporary language. They may also focus on conveying new literary output.
Regional Significance
The tastes of Arab readers are changing, as they now lean towards fluid writing, sometimes at the expense of eloquence. Nevertheless, there are still readers who prefer traditional lexical language. Youssef Nabil points to the importance of retranslating classic works in modern language to benefit from contemporary techniques that allow translators to access new information.
Ultimately, the retranslation of literary classics remains a contentious topic, intertwining cultural necessity with economic considerations. Each new translation represents a fresh reading of the text, contributing to the revival of classic literature and presenting it to a new generation of readers.