Question: The translator of poetry must realize that word-for-word equivalents do not exist across languages, any more than piano sounds exist in the violin. The violin can, however, play recognizably the same music as the piano, but only if the violinist is guided by the nature and possibilities of the violin as well as by the original composition.
As applied to the act of translating poetry from one language into another, the analogy above can best be understood as saying that
(A) poetry cannot be effectively translated because, unlike music, it is composed of words with specific meanings
(B) some languages are inherently more musical and more suitable to poetic composition than others
(C) the translator should be primarily concerned with reproducing the rhythms and sound patterns of the original, not with transcribing its meaning exactly
(D) the translator must observe the spirit of the original and also the qualities of expression that characterize the language into which the original is translated
(E) poetry is easier to translate if it focuses on philosophical insights or natural descriptions rather than on subjective impressions
“The translator of poetry must realize that word-for-word equivalents”- is a GMAT question about critical thinking. A candidate may choose to either find evidence that would undermine the argument or present an argument that is illogical in order to respond to the question. The GMAT critical reasoning gauges a candidate's aptitude for logic and analysis. Candidates must identify the argument's advantages and disadvantages as well as its logical flaws for this topic. Out of the 36 GMAT verbal questions, 10–13 critical reasoning questions are found
Answer: (D)
Explanation:
Option – A: Incorrect
According to this, poetry cannot be translated well because, unlike music, it is made up of words with distinct meanings. The question stem makes no mention of poetry being ineffectively translated. The question stem is implying that there are no word-for-word translations between languages. As stated in the music-based analogy, the translator must be aware of this in order to adjust the translation. As a result, this option is ruled out.
Option – B: Incorrect
According to this, some languages are by nature more musical and well suited for the composition of poetry than others. Nothing in the text suggests that other languages might naturally lend themselves to poetry and music. It shouldn't be too challenging to rule out this choice.
Option – C: Incorrect
According to this approach, the translator should focus more on mimicking the original's rhythms and sound patterns than on accurately translating its meaning. Here, the phrase "not with transcribing its meaning exactly" might catch one off guard. The emphasis here, however, is not on the rhythms and sound patterns of the original composition. Finding an analogy that demonstrates how important it is to concentrate on the nature and potential of the new language while being guided by the original composition is the main goal of this project. In conclusion, this option is also ruled out.
Option – D: Correct
According to this option, the translator must observe and respect both the spirit of the original and the distinctive features of the language into which the original is being translated. In this option, the clauses "spirit of the original" and “qualities of expression that characterize the (new) language to nature” can easily be attributed to “possibilities of the violin as well as by the original composition”. Therefore, this is the right answer.
Option – E: Incorrect
The argument put forth in favor of this option is that poetry is simpler to translate if it concentrates on philosophical insights or natural descriptions as opposed to subjective impressions. Here, the primary focus is not on the viability of translation or the conditions necessary for viability. As a result, this option is ruled out.
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