Manual Transplantings: Essays on Great German Poets with Translations

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Table of contents

• Viereck, Peter 1916-2006
• The Unseen World and Other Essays - XI. LONGFELLOW’S DANTE.[33] (by John Fiske)
• Exchange Discount Summary
• What Is Poetry?

The paradigm becomes clearly historical and remains this way throughout the remainder of his essay:. For it is [based] on history, not on nature, let alone on something as shaky as sentience and soul that the boundary of life is ultimately to be determined.

From this comes the task for the philosopher, to understand all natural life based on the more comprehensive [life] of history. In other words, for Benjamin history defines life. It is in this sense that he elucidates the historical framework of the life of works of art:. The history of great works of art realizes their descent from sources, their formation in the era of the artist, and the period of their fundamentally eternal Fortleben in the following generations. This last [aspect] is called, where it becomes apparent, fame.

Translations, that are more than mediations [of information], arise when in [its] Fortleben a work has reached the era of its fame. Thus, fame is Fortleben manifest. There is, again, no human agency implied. Benjamin asserts quite boldly that no translation would be possible if it aspired to similarity with the original. This is one of the key phrases in attempting to comprehend this enigmatic word. There has been no death, no damage, no catastrophe to the original. There is no afterlife. There is no survival. Neither is there a simple continuation of the original that was.

There is Fortleben , metamorphosis, evolution, transformation, renewal, renovation, supplementation. And, translation is a sign of this Fortleben stage. Not only has the origin of a literary work nothing to do with its creation or realization at the hands of its author or artist, but in its Fortleben, by definition, the original itself actually changes.

The original is not a fixed, stable text. Striving for similarity is pointless because original and translation are inherently different.

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Fortleben implies constant, dynamic change of the original. Weiterleben and Nachleben are static continuations of what was. Through the concept of the Fortleben of the original, Benjamin has dissociated translation from the original. He has taken the primacy of resemblance, of similarity out of translating. Translation has been emancipated from the chains of the original. The implications of Fortleben are tremendous.

Benjamin repeatedly dispenses with the basic tenets of translation theory, and his development of the unusual Fortleben concept can be seen as indicative of this break with traditional thoughts on translation. Thus, Fortleben implies independent and elevated creative status for translators. Traditional translation theory requires that the translator be invisible, that the translation be totally transparent. A good translation is like a pane of glass. It is an active, dynamic process that deals directly with the relationship of languages to each other, supplementing, strengthening pure language.

But if [languages] grow like this until the messianic end of their history, then it is translation that catches fire on the eternal Fortleben of works and on the endless revival of languages, in order to test repeatedly that sacred growth of languages: [to determine] how far what is hidden within them is distanced from revelation, how present it may become with the knowledge of this distance. Translation, the mark that a work of art in its Fortleben has reached its fame, is itself ignited, inspired by the eternal Fortleben of works. Fortleben is used only of works of art.

Languages grow, progress—linearly—through translation, to a messianic end of their history. Languages are historic entities; works of art are not.

Works of art have an eternal, endless stage of Fortleben , whereas languages go through repeated revivals, hence Aufleben. Of course they hardly recognized it as such, rather they turned their entire attention to criticism, which likewise represents an albeit lesser element in the Fortleben of works.

It is interesting that Benjamin, who is better known as a literary critic than as a translator himself, should relegate literary criticism to a lesser position than translation in the Fortleben of works. Granted that criticism and translation are related, but Fortleben has been misunderstood. Criticism and translation are not activities that are dedicated to ensuring the survival of a literary work. Translation and, by extension, criticism ignites itself on the eternal Fortleben of works.

There will be Fortleben , with or without translation and criticism. But not necessarily fame. The first English [29] and French translations did not appear until forty years after it was written, nevertheless there has been a flurry of academic activity centered on Die Aufgabe in the years following these translations. This analysis is correct, although it must be mentioned that Entfaltung follows Fortleben only once. Although it is true that a historical paradigm does inform Die Aufgabe, Benjamin has stated elsewhere unequivocally that works of art are themselves essentially ahistorical.

Fortleben cannot be equated to Geschichte. Comme le note Escoubas, [ This idea of translatability has been connected with Fortleben by others. Benjamin had specifically removed the absolute requirement for human agency from the concept of translatability, a quality inherent in the original work. Benjamin applies the term Nachreife only to words or language, never to literary works.

He specifies that translation emerges from the life of the original, and designates not constitutes the stage of its Fortleben. He recognizes the difficulty in translating Fortleben. Derrida bases his interpretation of Die Aufgabe largely on Aufgabe as duty of the translator, duty of an inheritor:. La survie des oeuvres, non pas des auteurs. During the Messenger Lecture at Cornell University in , Paul de Man provided one of the most influential and controversial interpretations of Die Aufgabe. What does he say, in the most immediate sense possible?

The translation belongs not to the life of the original, the original is already dead, but the translation belongs to the afterlife of the original, thus assuming and confirming the death of the original [ Why is this? What are those death pangs, possibly birth pangs, of the original? To the contrary, he repeatedly insists on the life of the original, on the life of works of art, on their Fortleben. If the original work dies, or falls apart, there can be no Fortleben ; nor does Benjamin speak of suffering and disarticulation in Die Aufgabe.

De Man does discuss Fortleben in the question period following his lecture. Needless to say, such controversial interpretations have occasioned much criticism. De Man values translation—or at least respects it—for the shadow of death it casts upon an original which was naive enough to think itself buoyantly articulate.

She completely disregards the aforementioned fact that Benjamin is adamant that translation would not be possible if it strove for similarity with the original.

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Where does Benjamin define translation as a process of destruction? Translation does not destroy the original. How can it? The original changes, yes, but never does Benjamin imply its destruction. To the contrary, he emphasizes eternal Fortleben for great works.

What Is Poetry?

This is, in a sense, an open acknowledgment of ewiges Fortleben. Translation is not doomed to failure but blessed with glorious perpetuation. As long as great works exist, translation will be repeatedly sparked. This then, in essence, is Fortleben : the original changes with each reading, calls forth new translations, new interpretations, new readings, endlessly.

Translation is a far-reaching activity, albeit often an invisible one.