By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched quarter of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and artistic writing, arguing for a reassessment of where of translation in Baudelaire’s writing process. instead of a sideline in Baudelaire’s inventive actions, translation is hence proven to be a principal kind of twin writing on the middle of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the paintings feedback are all in keeping with an method of writing that's primarily spinoff but additionally transformative. therefore the Baudelairean test illustrates the bounds of romantic notions of originality, creativity and genius, reminding us that every one writing is intrinsically intertextual. It additionally exhibits the complexity of translation as a sort of production on the middle of recent writing.
The publication is among the first of its variety to hyperlink the examine the translational task of an enormous author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation ways and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of production and genius. It bargains, for that reason, a brand new point of view either on translation heritage and on literary heritage.
Alchemy and Amalgam might be of curiosity to scholars of translation, comparative literature and French reviews.
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Additional info for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
At a more complex level, Baudelaire’s presence in the target text ranges from claiming the text as his own to adding a passage of his choice to the translation, as is the case in Le Jeune Enchanteur. In the case of the Poe translations, his intervention is even more complex. Indeed the choice of the author to be translated, followed by the choice of texts from that author’s corpus, reveal his awareness of the creative possibilities of a contact between his sensitivity and Poe’s, while his generally close translating strategies still enable the incursion of his own poetic preoccupations.
Reminders of the translation nature of the text may also be found in coinages or phrases rarely used in French. 74 69 EAP, p. 954. EAP, p. 39. 71 EAP, p. 29. 72 EAP, p. 207. 73 EAP, p. 614. 74 EAP, p. 284. 70 40 Alchemy and Amalgam From this study of the target texts, one can conclude that Baudelaire’s translations are the meeting point between Baudelaire and Poe: the texts read as Baudelairean creations, but contain also in themselves strong elements of the foreign which point out their true nature.
Poe, p. 384, EAP, p. 505 (emphases added). 87 Mary Ann Caws, ‘Insertion in an Oval Frame’, p. 110. 86 L’amour du métier? 45 Mary Ann Caws in the socket / bec pair may be compensated by the term ‘glacis’, evocative of a possibly morbid ‘glacé’. There are many other passages reminiscent of the style of Baudelaire’s poetry, and the prose poems in particular: The chateau into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appennines, not less in fact than in the fancy of Mrs Radcliffe.