A Critical Analysis: Goethe and Benjamin's Translation Theories

This essay critically analyzes the translation theories of Johann Wolfgang von Goethe and Walter Benjamin, two influential figures in translation studies. Goethe's tripartite framework, emphasizing the translator's role in conveying meaning, is contrasted with Benjamin's focus on reproducing the aesthetics of the original work. The essay highlights their differing perspectives on the relationship between the source language text (SLT) and the target language text (TLT), exploring how Goethe's approach aligns with Romanticism while Benjamin's leans towards a more classical perspective. The discussion covers key concepts such as the importance of content, structure, and linguistic dynamics, providing a comparative analysis of their contributions to the field of translation and their enduring relevance in understanding the complexities of cross-cultural communication.

Running head: TRANSLATION THEORIES OF BENJAMIN AND GOETHE
Translation Theories of Benjamin and Goethe
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1TRANSLATION THEORIES OF BENJAMIN AND GOETHE
In the world of literature, translation theories are considered to be extremely crucial in
the world of translation studies. Not only is it a systematic viewpoint of approaching theory,
but it also comprises of information belonging to the various field of studies that go hand-in-
hand with translation (Pym, 2017). The main reason translation is emphasized upon is to
render meaning to a text in another language in a manner which suits the author’s intention.
Due to its nature, translation studies is also widely regarded as an inter-discipline that touches
upon subjects like comparative literature, gender studies, linguistics and semiotics. This
discussion critically analyses the translation theories of Johann Wolfgang van Goethe
and Benjamin Walter. Moreover, their translation theories are scrutinized in order to locate
the disparities within these theories.
Being an active and prolific translator all of his life, the ideas of Johann Wolfgang
von Goethe pertaining to the ideas of translation are found throughout the corpus of his
works, most prominently, in Notes to the West – Ostlicher Divan (1819). Formulating his
theories on the basis of Germany’s contacts with the orient, Goethe created a translation
framework which was tripartite in nature (Duff, 2014). Goethe’s rationale for creating such a
framework was that every literature has to undergo three specific phases during translation;
these phases operate in a circular fashion and can also be found to take place simultaneously
with respect to different foreign languages or genres. In addition, Goethe regards translation
as the process which conveys the unity of thought. Even though, he regards translation as an
imitation of the original language, he also conceptualizes that translation attempts to utilizing
a various sets of signs. Goethe also theorized that in order to translate the spirit and style of
the original work, the translator is required to utilize equivalents such as syntax and idioms.
However, most importantly Goethe held the belief that translation does not only extract
meaning out of the original text, but it is a procedure of conveying wording styles, rhythmic
elements and the text simultaneously.

2TRANSLATION THEORIES OF BENJAMIN AND GOETHE
In the first phase of translation, readers become acquainted and accustomed to the
foreign cultures on their own terms. An example of this aspect of translation was given by
Goethe himself, where he pointed out how Luther’s German translation of the Bible made it
possible for foreign matter to enter into the lives and sensibilities of its readers in a subtle
fashion. The second stage involves the translator then entering a foreign consciousness and
then reconstructing it on their own terms, drawing from his own varied set of experiences,
and assimilate the foreign consciousness as if it were a part of themselves; the example to this
step which Goethe provides were Wieland and the French school of translators. Goethe also
termed this second stage as “parodistic” in nature. The third stage was thought to be
inevitable and the highest stage in the entire translation process by Goethe, there is perfect
identity between SLT and TLT, so that the translation could exist on its own strength.
This can be compared and contrasted with Walter Benjamin’s approach towards the
act of translation. His essay The Task of the Translator (1921), Benjamin commences his
polemic by stating that the translator must necessarily appreciate the art with which the work
being translated has been composed, and that this appreciation of art does not depend upon
interpreting its content in order to derive a message from it; art is therefore not primarily
about communication. It is only then that the translator can truly begin to start the translation
project. After having established translation as a form of art in its own right, the second step
in Benjamin’s schema involves analysing the very consequences that emerges after
formulating the act of translation as an art form.
In Benjamin’s mind, all past exercises in translation has been merely done to
communicate the original meaning of the composition in the translated version and it was a
futile exercise at that, the job of the translator is to express and expose the basic, innate
relationship that tends to exist between languages. A successful translation does not outshine
the original work, but rather, the translation transmits the linguistic dynamics and aesthetics

3TRANSLATION THEORIES OF BENJAMIN AND GOETHE
of the original into the language into which the translator is seeking to translate the work into
(Benjamin, 2014). Moreover, Benjamin regards language as a means of communication
‘mental life.’ Thus, translation becomes extremely crucial because it is an attempt to translate
thoughts into another language (Fawcett, 2014). Hence, Benjamin showcases his theories
through his translation of various works.
Therefore, to briefly compare the two approaches towards the translation of texts that
are represented by the techniques applied by Goethe and Benjamin, there are some very
noticeable differences. Goethe’s framework of translation involves the translator to pay close
attention to the content and structure of the work under translation, whereas Benjamin
focuses upon reproducing the aesthetics of the original work into the translation. While
Goethe’s style of translation seems to follow the trends embraced in Romanticism,
Benjamin’s theory of translation is more classic in nature. These translation theories regards
the minute as well as the generalities as equally crucial in the context. Hence, it can be
identified that both of these theories have recommended an appropriate and elaborate
procedure for translation.
Hence, it can be deduced that the concept of translation, put forward by Goethe and
Benjamin, are considered to be essential when studying translation theory. Both Goethe and
Benjamin has minutely analysed the field of translation and mapped out the various
distinctive features of translation in their theories. Even though the topic remains the same,
there are certain variations that may be discovered when both of their theories are minutely
examined. Furthermore, translation theory also evaluates the translated work on the basis of
the original work that it is deriving from. Moreover, these translation theories aid many
authors and readers to establish meaning out of various translated works. Therefore, it can be
concluded that even though Goethe and Benjamin both conveyed their version of translation,
there are various disparities that may be witnessed.

4TRANSLATION THEORIES OF BENJAMIN AND GOETHE
References
Benjamin, A. (2014). Translation and the Nature of Philosophy (Routledge Revivals): A New
Theory of Words. Routledge.
Duff, D. (2014). Modern genre theory. Routledge.
Fawcett, P. (2014). Translation and language. Routledge.
Pym, A. (2017). Exploring translation theories. Routledge.