Since the image has no "cause," the image has no past, and, subsequently, is an object in and of itself, separate from its maker and separate from the object it describes. He believed that the image erupts from the mind of the poet, that the poet is not entirely in control of the image and therefore is not seen as "causing" the image to come into being. He even went so far as to claim that "Intellectual criticism of poetry will never lead to the center of where poetic images are formed" ("Poetic Imagination" 7). The image then could not be intellectualized so much as experienced. Whereas before the image was seen merely as a representation of an object in the world, Bachelard believed that the image was its own object and that it could be experienced by a reader who allowed him or herself the opportunity to "dream" the image (the "reverie" of reading poetry). Bachelard believed that the image originated straight out of human consciousness, from the very heart of being. Perhaps one of the most complete philosophical inquiries (and the one that seemed to create a dramatic break from classical philosophy) was that of Gaston Bachelard. The first question is one best left to psychologists and philosophers of language. This is very often also a concrete detail. (Hilda Doolittle) in the early 20th century that focused on "direct treatment of the thing, whether subjective or objective." H.D.'s "Sea Garden" is often seen as a good example of this style.Ī detail in a poem that has a basis in something "real" or tangible, not abstract or intellectual, based more in things than in thought.Ī detail that draws on any of the five senses. A warehouse of facts, with poet and liar in joint ownership." (Ambrose Bierce, 60)ģ) "Imagination is not, as its etymology would suggest, the faculty of forming images of reality it is rather the faculty of forming images which go beyond reality, which sing reality." (Gaston Bachelard, "On Poetic Imagination and Reverie," 15)Ī school of poetry and poetics made popular by Ezra Pound, Amy Lowell and H.D. The aim of the translation is to ensure that both texts communicate the same message taking into account such criteria as faithfulness and transparency.1) The mental laboratory used for the creation of images and new ideas.Ģ) "n. Some transformations are not determined by interlinguistic relationship but cultural or even personal preferences on the part of the translator. Poetic translation involves an unpredictable area of transformations in the target language the perception of a translator. One of the eternal problems is the choice of the method of translation. a translator intentionally sacrifices the closeness to the original for the sake of the rhythmics and inner development of an image, though all the images in a line can be translated easily. peculiarities of the language material of the poem under translation eliminate the possibility to create a close syntactical variant of translation without prejudice to its artistic value When we speak about the translation of images first and foremost we shoul bear in mind that deviations from the structure of images in the original can be subdivided into 2 main groups: That is why poetic imagery is practically always conceptual. It’s a subjective picture of the world that includes an individual himself, other people surroundings and chronological sequence of actions and events.Ī poetic image is a language of feelings and physical sensations-with the help of a profound image we can see, smell, and touch. Image in poetry is a mental representation, picture of association of ideas evoked in a literary work idea produced by the imagination a mental picture or a figure of speech, such as a simile or metaphor. Translation of poetry-ways of preserving imagery