Character Transformation in Literary Translations

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Character development is an art, one that requires careful manipulation of aspects of literature in order to craft the being an author intends, yet with translation views and meanings can change, creating, hopefully similar, but potentially different characters. “Goddess of song, teach me the story of a hero. This was the man of wide-ranging spirit who had sacked the sacred town of Troy and who wandered afterwards long and far” (Shewring 1). This introduction from Shewring immediately sets an idea in the reader’s mind as to what kind of person Odysseus is: a hero. The further explanation of his wide-ranging spirit implies that Odysseus is one to travel, particularly because of his wandering after sacking the city of Troy. “Sing in me, Muse, and through me tell the story / of that …show more content…

/ Both parties later swore to terms of peace / set by their arbiter, Athena, daughter / of Zeus who bears the stormcloud as a shield- / though still she kept the form and voice of Mentor” (Fitzgerald 426). Fitzgerald’s ending to The Odyssey uses syntax to place emphasis on Athena and her position as mentor to Odysseus. This difference creates a striking difference in ideation as to Athena’s role in Odysseus’s adventure, and to what kind of goddess she is. If she truly was a protector, why did she allow Odysseus and his crew to struggle through so many obstacles just to return home? Fitzgerald creates a more judicious idea, that as a mentor Athena allowed Odysseus to struggle in order to teach him and to make his homecoming all the sweeter. Through either interpretation, it is clear that this choice of syntax can greatly sway the importance of Athena’s role in The Odyssey and how events unfolded. “Subtle Odysseus answered her: ‘Queen, it is hard to tell such things after a parting so long ago. It is some twenty years since he left my palace and departed from my country. Nevertheless, I will tell you how my remembrance paints him…” (Shewring

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