 | Alexander Frederick Bruce Clark - 1925 - 566 стор.
...admitted to be amplified but not altered. Such is Mr. Waller's translation of Virgil's Fourth Aeneid. The third way is that of imitation, where the translator...taking only some general hints from the original to run division on the ground-work, as he pleases. Such is Mr. Gowley's practice in turning two Odes of Pindar,... | |
 | Alexander Frederick Bruce Clark - 1925 - 570 стор.
...admitted to be amplified but not altered. Such is Mr. Waller's translation of Virgil's Fourth Aeneid. The third way is that of imitation, where the translator...not only to vary from the words and sense, but to forsnke them both as he sees occasion ; and taking only some general hints from the original to run... | |
 | H. James Jensen - 1969 - 141 стор.
...and sense of the original. Cowley's "Pindaric Odes" are examples. Dryden says, "The translator (if he has not lost that name) assumes the liberty not...sense, but to forsake them both as he sees occasion" (I. 268). It is "an endeavor of a later poet to write like one who has written before him on the same... | |
 | Stephen Prickett - 1986 - 324 стор.
...imitation, where the translator (if he has not now lost that name) assumes the liberty not only to vary the words and sense, but to forsake them both as he...only some general hints from the original, to run division on the ground - work as he pleases. Such is Mr Cowley's practice in turning two odes of Pindar,... | |
 | H. B. Nisbet, Claude Rawson - 2005 - 978 стор.
...admitted to be amplified, but not altered'. The third is imitation, 'where the translator (if he now has not lost that name) assumes the liberty not only...taking only some general hints from the original' may, as it were, invent variations upon a theme, as musicians do. It is 'an endeavour of a later poet... | |
 | Fritz Meier - 1989 - 612 стор.
...followed as his Sense", and finally "imitation", where "the Translator (if now he has not lost the Name) assumes the Liberty not only to vary from the...Sense, but to forsake them both as he sees Occasion". In discussing these three methods, Dryden shows considerable critical acumen and a wholesome awareness... | |
 | James Laughlin - 1991 - 270 стор.
...his sense"—that is, the translation of the signified; and finally, Imitation, "where the translator assumes the liberty not only to vary from the words...sense, but to forsake them both as he sees occasion"— one thinks of Pound's Propertius, for example. "All translation, I suppose," wrote Dryden, "may be... | |
 | Braj B. Kachru - 1992 - 416 стор.
...are not so strictly followed as his sense, and that too is admitted to be amplified, but not altered. The third way is that of imitation, where the translator...only some general hints from the original, to run division on the ground-work, as he pleases. That new literatures are at least bicultural formations... | |
 | Rainer Schulte, John Biguenet - 1992 - 264 стор.
...admitted to be amplified, but not altered. Such is Mr. Waller's translation of Virgil's Fourth /Eneid. The third way is that of imitation, where the translator...only some general hints from the original, to run division on the groundwork, as he pleases. Such is Mr. Cowley's practice in turning two Odes of Pindar,... | |
 | Charles Martindale - 1993 - 156 стор.
...so strictly followed as his sense, and that too is admitted to be amplified, but not altered . . . The third way is that of imitation, where the translator...only some general hints from the original, to run division on the ground-work, as he pleases . . . Concerning the first of these methods, our master... | |
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The third way is that of imitation, where the translator (if now he has not lost that name) assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only some general hints from the original,... 
