Question: What was the first great English translation?

Answer: Wycliffe Bible

<hl> The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. <hl> Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

The first great English translation was the <hl> Wycliffe Bible <hl> (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

question: What was the first great English translation?, context: The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).


Question: When was the Wycliffe Bible translated?

Answer: 1382

The first great English translation was the Wycliffe Bible (ca. <hl> 1382 ), which showed the weaknesses of an underdeveloped English prose. <hl> Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

The first great English translation was the Wycliffe Bible (ca. <hl> 1382 <hl>), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

<hl> 1382 <hl> ), which showed the weaknesses of an underdeveloped English prose.

question: When was the Wycliffe Bible translated?, context: The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).


Question: When did the age of great English prose translation begin?

Answer: end of the 15th century

The first great English translation was the Wycliffe Bible (ca. 1382) , which showed the weaknesses of an underdeveloped English prose. <hl> Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. <hl> The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the <hl> end of the 15th century <hl> did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

question: When did the age of great English prose translation begin?, context: The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).


Question: What adaptation of Arthurian romances took so many liberties with the source material that it could hardly be called a translation?

Answer: Le Morte Darthur

The first great English translation was the Wycliffe Bible (ca. 1382) , which showed the weaknesses of an underdeveloped English prose. <hl> Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur —an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. <hl> The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's <hl> Le Morte Darthur <hl>—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's <hl> Le Morte Darthur <hl> —an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation.

question: What adaptation of Arthurian romances took so many liberties with the source material that it could hardly be called a translation?, context: The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).


Question: The Tyndale New Testament was one of the first great translations from what style?

Answer: Tudor

The first great English translation was the Wycliffe Bible (ca. 1382) , which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. <hl> The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25). <hl>

The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great <hl> Tudor <hl> translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).

question: The Tyndale New Testament was one of the first great translations from what style?, context: The first great English translation was the Wycliffe Bible (ca. 1382), which showed the weaknesses of an underdeveloped English prose. Only at the end of the 15th century did the great age of English prose translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true translation. The first great Tudor translations are, accordingly, the Tyndale New Testament (1525), which influenced the Authorized Version (1611), and Lord Berners' version of Jean Froissart's Chronicles (1523–25).


Question: Whose court did Pletho arrive in and begin a new period of translation in Renaissance Italy?

Answer: Cosimo de' Medici

<hl> Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici , of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). <hl> A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of <hl> Cosimo de' Medici <hl>, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of <hl> Cosimo de' Medici <hl> , of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453).

question: Whose court did Pletho arrive in and begin a new period of translation in Renaissance Italy?, context: Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.


Question: What title did Georgius Gemistus Pletho carry?

Answer: Byzantine scholar

<hl> Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). <hl> A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the <hl> Byzantine scholar <hl> Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

question: What title did Georgius Gemistus Pletho carry?, context: Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.


Question: When did Constantinople fall to the Turks?

Answer: 1453

<hl> Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks ( 1453 ). <hl> A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (<hl> 1453 <hl>). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks ( <hl> 1453 <hl> ).

question: When did Constantinople fall to the Turks?, context: Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.


Question: Who undertook translating Plato's works to Latin?

Answer: Marsilio Ficino

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). <hl> A Latin translation of Plato's works was undertaken by Marsilio Ficino . <hl> This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by <hl> Marsilio Ficino <hl>. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.

A Latin translation of Plato's works was undertaken by <hl> Marsilio Ficino <hl> .

question: Who undertook translating Plato's works to Latin?, context: Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.


Question: What did religious beliefs depend upon when it came to Plato, Aristotle and Jesus?

Answer: the exact words

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. <hl> For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus. <hl>

Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on <hl> the exact words <hl> of Plato, Aristotle and Jesus.

question: What did religious beliefs depend upon when it came to Plato, Aristotle and Jesus?, context: Meanwhile, in Renaissance Italy, a new period in the history of translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks (1453). A Latin translation of Plato's works was undertaken by Marsilio Ficino. This and Erasmus' Latin edition of the New Testament led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato, Aristotle and Jesus.


Question: What was the guiding ideal of translators throughout the 18th century?

Answer: ease of reading

<hl> Throughout the 18th century, the watchword of translators was ease of reading . <hl> Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

Throughout the 18th century, the watchword of translators was <hl> ease of reading <hl>. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

Throughout the 18th century, the watchword of translators was <hl> ease of reading <hl> .

question: What was the guiding ideal of translators throughout the 18th century?, context: Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.


Question: If a translator didn't understand something in a text or thought it too boring to present to readers, what did they do with it?

Answer: omitted

they omitted .

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, <hl> they omitted . <hl> They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they <hl> omitted <hl>. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

question: If a translator didn't understand something in a text or thought it too boring to present to readers, what did they do with it?, context: Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.


Question: What did translators of this time assume was better than the actual text they were translating?

Answer: their own style of expression

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. <hl> They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. <hl> For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that <hl> their own style of expression <hl> was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

question: What did translators of this time assume was better than the actual text they were translating?, context: Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.


Question: How much did the translators care about scholarship?

Answer: no more than had their predecessors

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. <hl> For scholarship they cared no more than had their predecessors , and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition. <hl>

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared <hl> no more than had their predecessors <hl>, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

For scholarship they cared <hl> no more than had their predecessors <hl> , and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.

question: How much did the translators care about scholarship?, context: Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.


Question: What did James Macpherson "translate" from?

Answer: own composition

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. <hl> For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition . <hl>

Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" <hl> own composition <hl>.

For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" <hl> own composition <hl> .

question: What did James Macpherson "translate" from?, context: Throughout the 18th century, the watchword of translators was ease of reading. Whatever they did not understand in a text, or thought might bore readers, they omitted. They cheerfully assumed that their own style of expression was the best, and that texts should be made to conform to it in translation. For scholarship they cared no more than had their predecessors, and they did not shrink from making translations from translations in third languages, or from languages that they hardly knew, or—as in the case of James Macpherson's "translations" of Ossian—from texts that were actually of the "translator's" own composition.


Question: What new standards of translation came with the 19th century?

Answer: accuracy and style

<hl> The 19th century brought new standards of accuracy and style . <hl> In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

The 19th century brought new standards of <hl> accuracy and style <hl>. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

The 19th century brought new standards of <hl> accuracy and style <hl> .

question: What new standards of translation came with the 19th century?, context: The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.


Question: Who observed that the policy became "the text, the whole text, and nothing but the text"?

Answer: J.M. Cohen

The 19th century brought new standards of accuracy and style. <hl> In regard to accuracy, observes J.M. Cohen , the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. <hl> In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes <hl> J.M. Cohen <hl>, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

In regard to accuracy, observes <hl> J.M. Cohen <hl> , the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes.

question: Who observed that the policy became "the text, the whole text, and nothing but the text"?, context: The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.


Question: What sort of passages were still left out of the supposed "whole" text?

Answer: bawdy

The 19th century brought new standards of accuracy and style. <hl> In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. <hl> In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any <hl> bawdy <hl> passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

question: What sort of passages were still left out of the supposed "whole" text?, context: The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.


Question: What did the Victorians aim to remind the reader of their translations?

Answer: that they were reading a foreign classic

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. <hl> In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic . <hl> An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers <hl> that they were reading a foreign classic <hl>. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.

In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers <hl> that they were reading a foreign classic <hl> .

question: What did the Victorians aim to remind the reader of their translations?, context: The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.


Question: How did the translation of Rubaiyat achieve an Oriental flavor?

Answer: by using Persian names and discreet Biblical echoes

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. <hl> An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original. <hl>

The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely <hl> by using Persian names and discreet Biblical echoes <hl> and actually drew little of its material from the Persian original.

question: How did the translation of Rubaiyat achieve an Oriental flavor?, context: The 19th century brought new standards of accuracy and style. In regard to accuracy, observes J.M. Cohen, the policy became "the text, the whole text, and nothing but the text", except for any bawdy passages and the addition of copious explanatory footnotes. In regard to style, the Victorians' aim, achieved through far-reaching metaphrase (literality) or pseudo-metaphrase, was to constantly remind readers that they were reading a foreign classic. An exception was the outstanding translation in this period, Edward FitzGerald's Rubaiyat of Omar Khayyam (1859), which achieved its Oriental flavor largely by using Persian names and discreet Biblical echoes and actually drew little of its material from the Persian original.


Question: What is the translation of text that is sung closely linked to?

Answer: poetry

<hl> Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. <hl> (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of <hl> poetry <hl> because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

question: What is the translation of text that is sung closely linked to?, context: Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.


Question: What is most vocal music set to in Western tradition?

Answer: verse

<hl> Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse , especially verse in regular patterns with rhyme. <hl> (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to <hl> verse <hl>, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to <hl> verse <hl> , especially verse in regular patterns with rhyme.

question: What is most vocal music set to in Western tradition?, context: Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.


Question: What type of forms does popular music tend to retain?

Answer: stanzaic

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. <hl> (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) <hl> A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of <hl> stanzaic <hl> forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.

question: What type of forms does popular music tend to retain?, context: Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.


Question: What type of example an be found of translating poetry for singing?

Answer: church hymns

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) <hl> A rudimentary example of translating poetry for singing is church hymns , such as the German chorales translated into English by Catherine Winkworth. <hl>

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is <hl> church hymns <hl>, such as the German chorales translated into English by Catherine Winkworth.

A rudimentary example of translating poetry for singing is <hl> church hymns <hl> , such as the German chorales translated into English by Catherine Winkworth.

question: What type of example an be found of translating poetry for singing?, context: Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.


Question: Who translated German chorales into English?

Answer: Catherine Winkworth

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) <hl> A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth . <hl>

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by <hl> Catherine Winkworth <hl>.

A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by <hl> Catherine Winkworth <hl> .

question: Who translated German chorales into English?, context: Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.


Question: How is translation of sung texts different than translations of poetry?

Answer: more restrictive

<hl> Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. <hl> One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

Translation of sung texts is generally much <hl> more restrictive <hl> than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

question: How is translation of sung texts different than translations of poetry?, context: Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.


Question: Why is the translation of sung texts more restrictive?

Answer: little or no freedom to choose between a versified translation

<hl> Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. <hl> One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is <hl> little or no freedom to choose between a versified translation <hl> and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

question: Why is the translation of sung texts more restrictive?, context: Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.


Question: What places a great challenge on someone trying to translate music from one language to another?

Answer: assignment of syllables to specific notes in the original musical

Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. <hl> One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. <hl> There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the <hl> assignment of syllables to specific notes in the original musical <hl> setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

question: What places a great challenge on someone trying to translate music from one language to another?, context: Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.


Question: How can a syllable be added or deleted in prose sung texts?

Answer: by subdividing or combining notes

Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. <hl> There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes , respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line. <hl>

Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there <hl> by subdividing or combining notes <hl>, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there <hl> by subdividing or combining notes <hl> , respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.

question: How can a syllable be added or deleted in prose sung texts?, context: Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator. There is the option in prose sung texts, less so in verse, of adding or deleting a syllable here and there by subdividing or combining notes, respectively, but even with prose the process is almost like strict verse translation because of the need to stick as closely as possible to the original prosody of the sung melodic line.


Question: Who can translations of a sung text aid?

Answer: audiences, singers and conductors

<hl> Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors , when a work is being sung in a language not known to them. <hl> The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to <hl> audiences, singers and conductors <hl>, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to <hl> audiences, singers and conductors <hl> , when a work is being sung in a language not known to them.

question: Who can translations of a sung text aid?, context: Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.


Question: What type of familiar translation may be seen during an opera?

Answer: subtitles or surtitles

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. <hl> The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. <hl> In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as <hl> subtitles or surtitles <hl> projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.

question: What type of familiar translation may be seen during an opera?, context: Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.


Question: What do professional and amateur singers often sing?

Answer: works in languages they do not know

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. <hl> In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing. <hl>

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing <hl> works in languages they do not know <hl> (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.

question: What do professional and amateur singers often sing?, context: Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.


Question: Translations help singers unfamiliar with a language do what?

Answer: understand the meaning of the words they are singing.

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. <hl> In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing. <hl>

Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to <hl> understand the meaning of the words they are singing. <hl>

question: Translations help singers unfamiliar with a language do what?, context: Translations of sung texts—whether of the above type meant to be sung or of a more or less literal type meant to be read—are also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.


Question: What is one of the first known instances of translation in the West?

Answer: rendering of the Old Testament into Greek

<hl> One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. <hl> The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the <hl> rendering of the Old Testament into Greek <hl> in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

question: What is one of the first known instances of translation in the West?, context: One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.


Question: When was the Old Testament translated into Greek?

Answer: 3rd century BCE

<hl> One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE . <hl> The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the <hl> 3rd century BCE <hl>. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the <hl> 3rd century BCE <hl> .

question: When was the Old Testament translated into Greek?, context: One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.


Question: Why is the translation of the Old Testament into Greek known as the Septuagint?

Answer: seventy translators

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. <hl> The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. <hl> Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the <hl> seventy translators <hl> (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

question: Why is the translation of the Old Testament into Greek known as the Septuagint?, context: One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.


Question: How did each translator of the Bible work in Alexandria?

Answer: in solitary confinement

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. <hl> Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. <hl> The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked <hl> in solitary confinement <hl> in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

question: How did each translator of the Bible work in Alexandria?, context: One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.


Question: According to myth, what property did all seventy versions of the bible have?

Answer: identical

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. <hl> Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical . <hl> The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved <hl> identical <hl>. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.

Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved <hl> identical <hl> .

question: According to myth, what property did all seventy versions of the bible have?, context: One of the first recorded instances of translation in the West was the rendering of the Old Testament into Greek in the 3rd century BCE. The translation is known as the "Septuagint", a name that refers to the seventy translators (seventy-two, in some versions) who were commissioned to translate the Bible at Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical. The Septuagint became the source text for later translations into many languages, including Latin, Coptic, Armenian and Georgian.


Question: During the Protestant Reformation, what local languages was the bible translated into?

Answer: European

<hl> The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). <hl> Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local <hl> European <hl> languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

question: During the Protestant Reformation, what local languages was the bible translated into?, context: The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.


Question: Biblical translations have caused lasting effects on what?

Answer: religions, cultures and languages of their respective countries

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). <hl> Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. <hl> Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the <hl> religions, cultures and languages of their respective countries <hl> have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

question: Biblical translations have caused lasting effects on what?, context: The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.


Question: Disparities between versions of crucial words and passages in versions of the bible contributed to what split?

Answer: Roman Catholicism and Protestantism

<hl> The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). <hl> Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into <hl> Roman Catholicism and Protestantism <hl> due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.

question: Disparities between versions of crucial words and passages in versions of the bible contributed to what split?, context: The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.


Question: What does the fact of the King James Only movement demonstrate?

Answer: religious schism over different translations of religious texts remain to this day

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. <hl> Debate and religious schism over different translations of religious texts remain to this day , as demonstrated by, for example, the King James Only movement. <hl>

The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and <hl> religious schism over different translations of religious texts remain to this day <hl>, as demonstrated by, for example, the King James Only movement.

Debate and <hl> religious schism over different translations of religious texts remain to this day <hl> , as demonstrated by, for example, the King James Only movement.

question: What does the fact of the King James Only movement demonstrate?, context: The period preceding, and contemporary with, the Protestant Reformation saw the translation of the Bible into local European languages—a development that contributed to Western Christianity's split into Roman Catholicism and Protestantism due to disparities between Catholic and Protestant versions of crucial words and passages (although the Protestant movement was largely based on other things, such as a perceived need for reformation of the Roman Catholic Church to eliminate corruption). Lasting effects on the religions, cultures and languages of their respective countries have been exerted by such Bible translations as Martin Luther's into German, Jakub Wujek's into Polish, and the King James Bible's translators' into English. Debate and religious schism over different translations of religious texts remain to this day, as demonstrated by, for example, the King James Only movement.