'Sense for sense' translation has been around since St. Jerome himself. Translating Horrible Histories takes this to the extreme!
Marsha Way, Andrea Díaz Loyo, Sonia González Aizpuro, Luis Jesús Herrera Hernández, Luis Adrián Ruíz Corona, Gabriel Sánchez
In 1905 the writer George Santayana wrote, “He who does not know history is doomed to repeat it.” In order to help people remember the past, the BBC created the series Horrible Histories, which teaches history in a fun way, emphasizing the most disgusting and most ridiculous aspects of history. In 2009, the British Broadcasting Company (BBC) began airing a live-action television program called ‘Horrible Histories’, based on books of the same title written by Terry Derry and published by Scholastic.
The purpose of the program, as well as the books, is to teach history, while the vehicle for teaching is by the use of facts that are comical and grotesque. The shows pull out the ‘grossest’ aspects of history and play on them to create sketches and songs. One example is a segment entitled ‘Stupid Deaths’ in which Death judges how stupid people’s deaths were in order to allow them into the afterlife. The viewer learns who the historical character was, what they did in life that was so important or what was happening during their life, and how they died. Some of those appearing before Death are King Edward II, stabbed in the bottom by an enemy waiting inside his toilet, Franz Reichelt, who tested out his parachute cape by jumping from the Eiffel Tower, and the Countess of Coventry, who kept using more and more lead-based makeup to cover up the damage from lead-based makeup. Although the programs do not use only historical facts, they certainly catch the audience’s attention.
And they caught ours, as translators, who watched the programs and thought- What would I do with that? Five video segments were chosen to be subtitled. These videos were chosen based on the challenges presented for the translator.
The translation of historic texts is made easier due to its use of transactional language. Dr. Ibrahim Saad (2003) explains that transactional language is a neutral and expositor language. It has predictable grammar, specific vocabulary, for the transmission of facts. In other words, it is how it is. Normally, translation of history deals with a past tense narrative, active voice, meaning the language structures vary little. Also, sentence structure tends to remain very constant and again, predictable (S-V-O). Terminology for historical texts is quite specific in word choice.
The challenges for translating historic texts are minimal as compared to other types of discourse. So what happens when the transactional language of history is mixed with literary language, figurative language, doble entendre, modern slang, abbreviations and other colloquial and comical uses of the language, what Dr. Saad calls ‘the less predictable forms of language’? Each video chosen presented a specific challenge and here the challenge was to keep the historical facts and find the equivalent most appropriate for the target culture.
Chasqui messengers (Challenge: Chinese whispers)
As children, many of us remember playing ‘Chinese whispers’ or ‘Around the world’, a game in which one person would whisper a message to another, who would then whisper it to another, and so on until the last person would say the message out loud so everyone could have a laugh about how much the message had changed.
The Chasqui messengers used a type of relay to convey messages. The sketch shows the message being transformed very much the same way as the game. However, even translating the first line literally, the sounds of the source language (SL), English, are different from Spanish (the target language, or TL) and do not lead into the next message literally.
This is the dilemma, and the solution was to create a relay in Spanish, allowing each sentence to create the new phrase, allowing for cultural adaptation (Britney Spears vs. Celia Cruz, for example) and maintaining the comedy throughout. If translated literally in each message, the game and the natural transformation are not seen and the comedy is lost.
Message is- Invaders are nearing the coast, defenses must be reinforced, send 50 men with spears under cover of night, and please, hurry.- Now go.
El mensaje es: Invasores acercándose a la costa; las defensas se deben reforzar; enviar cincuenta lanceros cuando no haya luz y por favor que se apuren.- Ahora, ve.
Chasqui messenger service. Message is- Invaders are nearing the coast, the fences must be reinforced, send fifty spears under cover of night, please hurry.- Sweet.
Servicio de mensajería Chasqui. El mensaje es: Invasores acercándose a la costa; las defensas deben ser reforzadas; enviar cincuenta lancheros cuando no haya luz. Por favor, ¡arre!- Gracias.
Invaders are hearing the most, the fence is dusty, feel the force, send fifty spears under the cover of rice, please hurry.
Invasores bronceándose en la costa; la defensa de vencer; huelga de hadas, enviar cincuenta lanchas con la siñora Luz, plis, ¡arre!
The invaders are hearing a ghost.
Invasores sangrando por las costras;
This fence is rusty.
las defensas sin brasier;
Pee on the horse. Send fifty spears under cover of rice, and peas.
hadas en huelga. Enviar lanchas con serie Cruz, y azúcar.
What news?
¿Qué hay de nuevo?
The invaders in earrings are ghosts, this fence was rusted by a peeing horse, send Britney Spears covered in pea and rice curry.
Las inyecciones duelen en la pompa; hadas hacen huelga sin brasier; envíen lanchas por Celia Cruz y azúcar.
Well, you heard the man.
¡Ya lo escuchaste!
Gladiator Blindfold (Literal vs. Figurative)
The figurative vs. literal aspects of expressions are seen in daily communication. Expressions such as “break a leg” to wish good luck in the theatre, or “I have to see a man about a dog” to indicate a trip to the toilet, are a normal part of language. Figurative language involves “a deviation from what speakers of a language apprehend as the ordinary, or standard significance or sequence of words, in order to achieve some special meaning or effect” (Abrams 1988: 63). Hence, a literary translation would be expected to retain in the target text (TT) the level of literariness in the source language (SL) of the source text (ST). For this kind of exercise, Nida’s theories of equivalence help us see the need to find an equivalent in the TL, not giving the literal meaning, ruining the humor, but rather finding a figurative expression in the TL that serves the same function.
The dilemma was to find these equivalences and the extra challenge was added that they match the gestures made by the gladiator character. The solution was to brainstorm expressions meaning ‘kill him’ in different words.
I want you to go out there and wipe the floor with him.
Quiero que salgas y lo hagas picadillo.
You want me to wipe the floor with him?
¿Quieres que lo haga picadillo?
Don’t literally wipe the floor with him, that’s gonna take ages and look silly, but go out there and show him who’s boss.
No lo hagas literalmente picadillo. Eso va a tomar una eternidad y va a saber asqueroso. Pero ¡sal y enséñale quién es el jefe!
Show him who’s boss? What…I….?
¿Quién es el jefe? ¿Yo…?
Don’t try and give him a job. Just go out there and give him a good licking.
No le vas a dar un trabajo. Sólo ¡sal y haz que chupe faros!
You want me to lick him?
¿Chupar faros?
Just go out there and kill him you big lug!
¡Sólo sal y mátalo, grandísimo animal!
Kill him, yeah!
¡Matar! ¡Sí!
Now you go out there and get him.
Ahora sal y acaba con ellos. Vamos.
Right. Well, go ahead and give him hell!
Bueno, ¡sal y mándalo al infierno!
Yeah! Give him hell!
¡Sí! ¡Mandarlo al infierno!
Tabellari messengers (SMS language)
Historically, cultures have used runners to send messages back and forth. Today, we enjoy cell phones. How better to make the parallel between our modern forms of communication with ancient forms. The video ‘Tabellari messenger’ treats the slaves as if there were cell phones, sending abbreviated text messages. Although some abbreviations are known and shared from English, such as LOL, others are not, and therefore an equivalent abbreviation needs to be used.
The dilemma is that the literal/direct abbreviation will not be understood. The solution is to find equivalents in SMS language in the TL.
Tabellarii messenger, tan tan tan tan.
What is your message?
Mensajero tabelario, tin tan ton ton. ¿Cuál es su mensaje?
Hi, Hales, my BFF. TLK L8R. Smiley face.
Hola Hales, mi BFF. Ymam lgo, carita feliz
Hi, Hales, my BFF. TLK L8R. Smiley face.
Hola Hales, mi BFF. Ymam lgo, carita feliz
Perfect. Send.
Perfecto. Enviar.
Tabellarii messenger. Tan tan tan tan.
Message reads- Hi, Hales, my BFF. TLK L8R. Smiley face.
Mensajero tabelario, tin tan ton ton. Nuevo mensaje: Hola Hales, mi BFF. Ymam lgo, carita feliz.
Reply with- GR8.
Responde con: Gnl.
Is that it?
¿Eso es todo?
Yeah, send.
Sí, enviar.
So whether it’s business…
Por lo tanto, si se trata de negocios…
Enemies approaching. Send help. Send reinforcements. Send!
El enemigo se aproxima, envíen ayuda, envíen refuerzos. Enviar.
Or just a friendly chat…
…o sólo un chat amigable.
OMG! YG2BK! Wink and smiley face.
¡O sea! 0 q ver. Guiño y carita feliz.
The Tabellarii are always there for you. At the bargain price of a little food and water each month, you can enjoy unlimited messages.
Los tabelarios siempre están a su disposición con el cómodo pago de una porción de comida y agua al mes, puede disfrutar de mensajes ilimitados.
Tabellarius!
¡Tabelario!
Tabellarius!
¡Tabelario!
But like with all slaves, the Tabellarii come with a life-long concept…
Además todos los esclavos tabelarios vienen con una extensa garantía…
Oh, no! Heart attack! Sad face.
¡Oh no! ¡Infarto! ¡Carita triste!
…which expires when they do once you’ve worked them to death.
…la cuál se acaba una vez que los pone a trabajar hasta morir.
I think he’s run out of juice.
Who are you?
Creo que se le acabaron las pilas
¿Quién eres tú?
Bing bing bong bing. Free upgrade!
Din don din din. Actualización gratis.
Smiley face!
¡Carita feliz!
Tabellarii messenger…
Connecting Rome…on foot.
Mensajero tabelario... conectando a Roma... a pie.
Victorian names (Proper names)
The typical practice in names is to not translate, leaving the name in the SL and therefore applying a type of foreignization. Names may be transcribed directly as from the SL, either respecting the phonology and orthography of the original or the same name may be adapted in its spelling and phonology. The name may be substituted or translated, being replaced by another name.
What governs the fact that the name be translated or not? No general answer exists, but rather each text must be studied to decide if translation is the best way to preserve understanding and enjoyment. In this video, it is essential to translate the names since they are the focus of the video. The purpose is to show how ridiculous the names were parents gave their children in the Victorian era. The translation had the added challenge that the names fit into the dialogue.
Alright, settle down.
Mr. Butler isn’t here today, so I’ll be taking the register.
Now, I don’t know any of you, so be sure to call out when you hear your name.
Muy bien, orden.
El profesor Mozo no estará aquí hoy, así que yo pasaré lista.
Como no conozco a ninguno, hablen cuando escuchen su nombre.
Raspberry Lemon.
Lettuce Berger.
Bouvril.
Frambuesa Limón.
Lechuga Romana.
Margarina.
I’m sorry, I think I must have picked up a shopping list.
Disculpen creo que tome una lista del mandado.
No Miss, those are children’s names. They’re not answering cause they’re off sick.
No, maestra, esos son nombres de niños. No contestaron porque están enfermos.
Bouvril and Raspberry?
Honestly, Christian names have gotten really weird since Victoria became queen.
Well, ok, on with the register.
¿Margarina y Frambuesa?
Qué raros se han vuelto los nombres desde que Victoria está en el trono.
Bueno, sigo con la lista. ¿Okey?
Here, Miss.
Presente.
Sit down, what are you talking about?
¡Siéntate! ¿Qué estás diciendo?
You said “Ok with the register. I’m OK. OK Johnson.
Usted dijo “Okey”. Soy Okey. Okey Johnson.
Well, OK, unless I give permission, never get out of your seat.
Bueno, Okey, a menos que yo dé permiso, nunca se debe levantar del asiento.
Yes, Miss?
¿Sí, maestra?
Why are you standing up?
¿Por qué te levantas?
You said, “Never get out of your seat.” I’m Never, Never Rookcrook.
Usted dijo, “Nunca se debe levantar del asiento.” Yo soy Nunca, Nunca Rookcrook.
Has nobody got an ordinary name in this classroom?
Yes?
¿Nadie en este salón tiene un nombre normal?
Dime.
Toilet.
¿Baño?
Alright, be quick.
Está bien, pero ve rápido.
No, that’s my name.
I think that’s quite a normal name. My sister’s called Baboon.
No, así me llamo.
Creo que es un nombre bastante normal. Mi hermana se llama Babuino.
Toilet and Baboon? Your parents must be evil.
¿Baño y Babuino? El que les puso así debe ser malvado.
No, that’s Evil over there.
No, Malvado está allá.
Yes?
Dime.
I’ve got an ordinary name, Miss. It’s Susan.
Yo tengo un nombre normal; es Susana.
Ah, that’s more like it.
¡Ajá! Ése sí es normal.
Susan Semolina-thrower.
Susana Lanzaharina
Right, let’s just try and get through this, shall we?
I’ll say your name, you’ll say “here”, and I’ll try not to say your names accidently, happy?
Correcto, sólo tratemos de terminar con esto, ¿podemos?
Yo digo sus nombres y ustedes dicen ‘presente’, y trataré de no decir sus nombres por accidente. ¿Está mejor?
Yes, Miss?
Dígame, maestra.
Don’t tell me your name’s Happy?
No me digas que tu nombre es Mejor.
Right. Register. Here we go.
Correcto, la lista, aquí vamos.
Freezer Breezer.
Viento Helado.
Here, Miss.
Presente.
Princess Cheese.
Princesa Queso.
Here, Miss.
Presente.
Minty Badger.
Tejón Mentolado.
Here, Miss.
Presente.
Scary Looker. I mean, I’m sorry, why would anyone name their child Scary Looker?
Ojos Raros. Dios mío, ¿por qué alguien le pondría a su hijo ‘Ojos Raros’?
[Child with wild eyes]
Forget I asked.
Now, I am Miss Farting Clack.
Ya veo.
Bueno, yo soy la maestra Pompasonoras.
Good morning, Miss Farting Clack.
Buenos días, maestro Pompasonoras.
Literally (Literal vs. Figurative)
The Vikings were known for being ruthless and cut-throat. The title of this video tells us of the translation dilemma- the Vikings sing a song using supposed figurative expressions, but after each one they sing “Literally!” meaning we shouldn’t take the figurative meaning, but rather the literal one. The solution is similar to those from Gladiator Blindfold- find equivalent expressions meaning ‘we’re going to kill you’.
We're tearing up this place tonight, literally!
Les vamos a robar el corazón, ¡literalmente!
We're gonna set this sleepy town alight, literally!
Vamos a encender la ciudad. ¡Literalmente!
We'll kill and steal and burn and drink cause us Vikings don't care what you think, woah oh oh!
Mataremos, robaremos, quemaremos y beberemos… porque a nosotros los vikingos nos da igual… ¡ohuu, ohuu, ohuu!
You're gonna lose your head, my friend, literally!
Mi amigo, te hare perder la cabeza, ¡literalmente!
We're gonna getcha in the end, literally!
Porque mi canción está para morirse. ¡literalmente!
And I'll drink a toast from your skull 'cause we're Vikings and that's how we roll!
Y después voy a beber y brindar con tu cráneo, porque somos vikingos y así nos gusta rockear… ¡ohuu, ohuu, ohuu!
We're gonna paint the whole town red, literally!
Vamos a arrasar con ustedes, ¡literalmente!
With the blood of the dead, literally!
Y morirán por nosotros, ¡literalmente!
We'll take everything that you own and get back on our ship, and go back home, woah, oh oh!
Tomaremos todas sus pertenencias, subiremos a nuestro barco y volveremos a casa. ¡Ohuu, ohuu, ohuu!
Subtitling itself presents a challenge. And if this were worked for television, the target audience would have to be considered even more, (children, teens) and possibly opt for dubbing, which has even more challenges.
As can be seen, the best equivalence is not always a literal translation or a word for word translation, but rather a translation of its sense. Our purpose was to find the most natural closest equivalent. The intention of the original and the translation was to teach history through humor, as well as to create interest while entertaining the audience. To carry this out, the literal message had to be changed, therefore evoking the same reaction from the target audience.
Abrams, M.H. (1988). A glossary of literary terms. New York: Holt, Rinehart and Winston.
Newmark, P. (1986). Approaches to Translation. Oxford: Pergamon Press.
Saad, I. (2003). Language and choice for learning/ translating English. Translation Journal, 7(4). http://www.bokorlang.com/journal/26liter.htm
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