This modality requires the close search of at least the basic concepts of communication, equivalence and fidelity and the relationship between the originals and the final translated texts.
In the literary translation, the style is especially important as regards the contents of the message to be transmitted, thus binding the translation to the preservation of the style once it supports the meaning. The non-literary translation can include the use of different strategies to allow the best linguistic similitude between the original and the translated text. In the literary translation, however, the equivalence aimed at is not limited to the linguistic closeness: the connotation, the aesthetic effect and the many other stylistic variables are essential to the translation.
In the elaboration of the literary translation, the compensation element is of clear importance as a strategic means for the achievement of equivalence. For instance, when translating a rhymed text in the original version, the difficulty in obtaining a similar rhymed text in the translation language might be compensated by alliterations and assonances which can maintain the musicality of the original. Similarly, the cultural context of a literary stretch complements the desired linguistic and stylistic equivalence. The translation shall have to consider the literary aspects as well as the ideological implications related to all possible choices in order to either properly transpose or adapt due to cultural elements. It is the reason why a conscious translator has to steadily build for himself a sound and always updated general culture.
Did you know that ...
Traducere, in Latin, literally means to guide somebody by the hand to the other side, to another place?
It was also said that the translator is a plagiarist who uses the only legal form of plagiarism, a shy artist who only manages to overcome his inhibitions through a t�te-�-t�te with another artist.
According to Renato Poggloli, �the translator is a character in search of an author with whom he can identify himself. In a more poetic way, he is like a living vessel filled with a fluid which is being poured into the most adequate reservoir for which it has not been built or to whom it does not belong�.
The syntactic analysis, so often ridiculed, applied to an old complex period can bring the interpretation capacity to its higher level. �Can there be a more captivating enigma than the translation of a Latin sentence in which all the words and syntactic relationships identify themselves but that nevertheless shall only reveal their secret to whom proves to be capable of putting forth an extraordinary mental effort? Once abolished, this type of exercise was never substituted by any other one. We must believe in the autonomous existence of words�.