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Sample translations submitted: 1
English to Romanian: The Historical Romance
Source text - English When a writer calls his work a Romance, it need hardly be observed that he wishes to claim a certain latitude, both as to its fashion and material, which he would not have felt himself entitled to assume had he professed to be writing a Novel. The latter form of composition is presumed to aim at a very minute fidelity, not merely to the possible, but to the probable and ordinary course of man’s experience. The former – while, as a work of art, it must rigidly subject itself to laws, and while it sins unpardonably so far as it may swerve aside from the truth of the human heart – has fairly a right to present that truth under circumstances, to a great extent, of the writer’s own choosing or creation. If he thinks fit, also, he may so manage his atmospherical medium as to bring out or mellow the lights and deepen and enrich the shadows of the picture. He will be wise, no doubt, to make a very moderate use of the privileges here stated, and, especially, to mingle the Marvellous rather as a slight, delicate, and evanescent flavour, than as any portion of the actual substance of the dish offered to the public. He can hardly be said, however, to commit a literary crime even if he disregard this caution.
Nathaniel Hawthorne. Preface to The House of Seven Gables (1851).
Translation - Romanian Atunci cînd un scriitor îşi numeşte opera „roman cavaleresc” este foarte evident că el doreşte să i se acorde o anume libertate în ce priveşte stilul şi materialul folosite, pe care nu şi-ar fi permis să şi le asume dacă ar fi pretins că scrie un roman. De la roman se aşteaptă să tindă spre o autenticitate foarte exactă nu numai a faptelor verosimile, dar mai ales a celor banale, din viaţa de zi cu zi. În romanul cavaleresc – care, fiind o operă de artă, trebuie să se supună strict legilor, şi totuşi face greşeli de neiertat întrucît trădează adevărul inimii – autorul are în mod normal dreptul de a înfăţişa acest adevăr, într-o mare măsură, aşa cum el doreşte să îl creeze. La fel, atunci cînd consideră adecvat, poate în aşa fel coordona atmosfera romanului, încît să scoată în evidenţă sau să atenueze luminile, şi să închidă şi să înmulţească umbrele. El va fi, fără îndoială, înţelept să folosească moderat aceste privilegii formulate aici şi, mai ales, să amestece Fantasticul mai curînd ca pe o aromă uşoară, delicată şi abia sesizabilă, decît în măsura în care îl găsim astăzi în orice operă oferită publicului. Oricum, este greu de spus că se comite o crimă literară dacă se ignoră aceast avertisment.
Nathaniel Hawthorne. Prefaţă la Casa celor şapte frontoane (1851).
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