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Yet there are remarkable aspects where the ‘other’ of the original text loses her voice n the translated version. A translated text may be morally committed to the original text to some degree but not wholly. There is a holy paradox between craft and credulity that heightens the tension in a piece Of translation.

As in the following instance there is an unintentional slip made by Speak while translating Standing as she writes : ‘The apparent simplicity of Scratchpad’s and other similar writers’ writings is actually very complex and to be thought of in the evening, peacefully after a glass of wood-apple juice.There is too much influence of fun and games in the lives of the people who traffic in tidies and intellectualism in West Bengal and therefore they should stress the wood-apple-type-herbal remedies correspondingly. ‘l Now let us examine from the original text the same portion that is translated above : nevi%c?l How Locale mall Mimi Biff plasma BPML Mum Save H how p;?him nail Jew him fie Mum ICQii Ill Lbs. FCC?Q%o kicky miffs ICQanemia Lillo Ole, acyclic She Bikini f?iii AAA?z HCI HI-VIVO p Liz him gamma acyclic paced .

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.. A? Czech 2 It appears from this comparative reading that Speak misread the word ‘Bikini’ as ‘jinni’ and translated it as ‘fun and games’ or otherwise she made a fun of ‘Bikini’. This passage quoted above reverberates with the criticism of writers of the stature of Scratched Psychotherapy and the likes and the Bengali intelligentsia, but the sting is lost or badly pinched as there cannot be found a relation between the disease and the remedy i. E. Influence of fun and games’ and ‘wood-apple juice’.

There is a similar instance in the story again. I quote from Standing ’01 Infix, fem. J lilied Mill al Obama hue ODL J Jill jam Minus’3 In Shiva’s translation it emerges: ‘At home Copal, Nepal and Radian and abuse their mother. ‘4 This is not an whine interminably for food issue central to the scheme of vents at all but the reaction of the reader is directed in a manner that is not proper. The children are not abusing but are abused.The more critical stance of this paper is not such errors because such errors could have been avoided.

Now I will address some issues which are not mistakenly done. The Bengali original story begins with this ‘specific Henry-hip hell JDK? 01 z verse : Limerick him ii k , MAC jive ODL In Breast-Giver Speak does a beautiful translation of this verse as : woods, in the forest their home ‘My aunties they lived in the they did make. Never did Aunt say here’s a sweet dear, eat, sweetie, a piece of cake. Here’s Though the translation evokes the similar kind of sense it makes departure from the original in two marked ways as the place named ‘Henry’ (Bangor) is a proper noun and the English translation makes it the woods’ and the ‘Bengali-news’ or what is known in Bengali as ‘banality’ of the kinds of sweets such as ‘MAC juju'(Koki, moa) is irrevocably lost in the translation as ‘sweet’ and ‘cake’.

Thus the local culture of Bengal gets effaced, its delicacies are known in the terms 01 what is linguistically registered in the English speaking community.It is like introducing Arbitrating Étagère to an Englishman by saying that e was the Shakespeare Of Bengal. As long as these proper nouns will not be mentioned with the expectation that they may add to the pain of the readers, the local space and its locality will always be devoured by the colonizers language. Another such example of avoiding the proper noun occurs when Speak intentionally translates the name of the goddess Sunbathing (Experience) as ‘Eliminated goddess’.

If a goddess is forced to wear the garb of English meaning of her name IR stead of her real name then the cultural anxiety behind doing so is prominent. There are some brats or religious performances named in Standing such as j%OMGE h?a, Skiffs;E, panache (Anglicanism brat, Chieftainship, Subschema) – they are given a generic name – women’s rituals. The mythical cow Of the Hindu Purina’s named Listed (Camden) is also mentioned not by transliteration but by translating the meaning of the cow i. E. ‘Cow of Fulfillment’. There are more additions to this list that substitutes a species for a genus.For instance Shadow is offered ‘Cap?jam’ (sidesaddles) to apply to the sore areas of her breast; and in Breast-Giver it appears as ‘herbal ointment’ which is again a generic name not loaded with its actual value. When the Mistress-Mother in Breast-Giver, after being widowed sustains herself or the ‘best milk sweets from the best shops’, the reader lacks in the knowledge that the actual succor for her taste was ‘In%filial c-p%CNN’ (DOI and sanders from Singular).

There again occurs a phrase ‘ceded IIS Oil’ (made of the bones of Dashiki) in Standing which is put in Breast-Giver as ‘made of the bone of the martyr god’.The reader not initiated with the myth Of Dashiki could not grasp the denotation Of his name. This is the probable reason why She has not mentioned the name of Dashiki and has only emphasized in her translation the home of martyrdom which made his name memorable. But on the behalf of the indigenous culture this is a failure to transmute to the west the local myths. Sometimes there arise contradictions while translating same expressions; like ‘HCI-me’ is translated twice in Breast- Giver as ‘blind alleys’ and ‘beelines’ respectively.

There are occasions when a literal translation of an expression does not suffice to vent the exact mood of the original content. Like the Bengali phrase used by Masthead Devil in Standing (?juice) ‘console fall:biochip’ is loaded with a mockery of the male hierarchy over the female but the English orientation of this phrase ‘farsighted son of man’ is not so poignant. But in some cases a non-literal translation does serve the purpose well; as in the case where the youngest Halyard fears of a scandalous consequence of his forced intimacy with the cook.

It was written in Bengali ‘Jew Al lidCe ail gypping p Lipid fishy, but Speak does a slight change and writes: ‘He considered that he’d be bucked if the cook gave him away. ‘8 A disclosure in meaning arises when Speak translates ‘Fiji Ca Se? AI ? Fiji IAC Jiao z’9 the following sentences into English: In translation it appears: ‘Sons of my spunk after all. As inhuman as 1. ’10 It was nearly impossible for any translator to find an equivalent expression for the word ‘Cue’. So this was unavoidable for Speak to close off the impact that the Bengali word had.The hesitant and shameful hiding of the real sense behind the Bengali word ‘Cue’ is out in the open in English as ‘spunk’.

Thus a cultural distance is created. Professor Suntan Chuddar in his essay Translation and Cultural Encounter argues: ‘Translation can release an alternative, subversive potential of the text, turn it inside-out to bring its deconstructive factor to the fore. The new engage draws out possibilities beyond the original writer’s intention or awareness, possibilities he might have consciously rejected.Going beyond authorial intention they might be possibilities that his own language would not admit but that are instilled in the new text by the structures of the target (or, as I would prefer to call it, ‘host’) language. ‘al The tension between craft and credulity infects the process of translation as in the following example. I quote from Standing ; ‘knick Finn Sees , f?gnu?MIM Jill z’ 12 To be committed to the pattern of the Bengali sentence, Speak writes ‘Shadow was a mother by profession, repressions mother. 13 The repetition of the word ‘profession’ does not add to the beauty of the sentence though in Bengali it holds sense as in the word ‘f?gnu?MIM’ there is a bit of irony and willing imitation after the style of the then modern trends in Bengal.

This is a puzzle that has been observed by professor Suntan Chuddar in his essay Translation and Cultural Encounter: The sense surfaces in the weary old sexist quip that a translation is like a woman, either beautiful or faithful but not both. 14 When Speak was translating Sir Rainmaking’s way of addressing the goddess Kali- which was imitated by Nabbing panda , She mums up three addresses ‘cay , HCI , fine’ (TU, beet, pagan) as ‘my crazy one’. It is not the fault of the translator always not to be able to convey the exact sense of the original text. Words that are used, as the signifier of the translated text, to mean the signified of the original text ,but they cannot fully ‘signify’ the original can be termed as ‘Blank Signifier’.

In Standing there different nuances for the different varieties of local dialects.The one spoken by Kananga and Shadow is the southern regional dialect of West Bengal and the other variant is spoken by the Halyard family; that is the East Bengal dialect of the immigrants. This is generally known as Ghats/Bengal- two distinct cultures flourishing on the East and the West side of the river Pad. This usage of different dialects and the persons speaking them mark many unsaid aspects of the society and economy. But only is that available in Bengali and cannot be imitated in any other language.Thus translating this text has many hurdles and among them is this problematic matrix of two different culturally distinct dialects. As any translator would have done Speak also translates the East- Bengali(Bengal) and West-Bengali(Ghats) dialects in plain literal English.

While reading Breast-Giver the reader encounters sixty-one footnotes which serve to initiate the uninitiated reader where they fear to tread – a new cultural space . Thus the main body of the text is loaded with some ‘definitions’ which is imposed from the exterior.

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