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A translator always risks inadvertently introducing source-language words, grammar, or syntax into the target-language rendering. On the other hand, such "spill-overs" have sometimes imported useful source-language calques and loanwords that have enriched target languages. Translators, including early translators of sacred texts, have helped shape the very languages into which they have translated.[2]

Because of the laboriousness of the translation process, since the 1940s efforts have been made, with varying degrees of success, to automate translation or to mechanically aid the human translator.[3] More recently, the rise of the Internet has fostered a world-wide market for translation services and has facilitated "language localisation".[4]

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When [words] appear... literally graceful, it were an injury to the author that they should be changed. But since... what is beautiful in one [language] is often barbarous, nay sometimes nonsense, in another, it would be unreasonable to limit a translator to the narrow compass of his author's words: 'tis enough if he choose out some expression which does not vitiate the sense.[7]

When a target language has lacked terms that are found in a source language, translators have borrowed those terms, thereby enriching the target language. Thanks in great measure to the exchange of calques and loanwords between languages, and to their importation from other languages, there are few concepts that are "untranslatable" among the modern European languages.[10] A greater problem, however, is translating terms relating to cultural concepts that have no equivalent in the target language.[15] For full comprehension, such situations require the provision of a gloss.

The translator's role as a bridge for "carrying across" values between cultures has been discussed at least since Terence, the 2nd-century-BCE Roman adapter of Greek comedies. The translator's role is, however, by no means a passive, mechanical one, and so has also been compared to that of an artist. The main ground seems to be the concept of parallel creation found in critics such as Cicero. Dryden observed that "Translation is a type of drawing after life..." Comparison of the translator with a musician or actor goes back at least to Samuel Johnson's remark about Alexander Pope playing Homer on a flageolet, while Homer himself used a bassoon.[16]

In the 13th century, Roger Bacon wrote that if a translation is to be true, the translator must know both languages, as well as the science that he is to translate; and finding that few translators did, he wanted to do away with translation and translators altogether.[17]

Compounding the demands on the translator is the fact that no dictionary or thesaurus can ever be a fully adequate guide in translating. The Scottish historian Alexander Tytler, in his Essay on the Principles of Translation (1790), emphasized that assiduous reading is a more comprehensive guide to a language than are dictionaries. The same point, but also including listening to the spoken language, had earlier, in 1783, been made by the Polish poet and grammarian Onufry Kopczyski.[19]

The translator's special role in society is described in a posthumous 1803 essay by "Poland's La Fontaine", the Roman Catholic Primate of Poland, poet, encyclopedist, author of the first Polish novel, and translator from French and Greek, Ignacy Krasicki:

Though earlier approaches to translation are less commonly used today, they retain importance when dealing with their products, as when historians view ancient or medieval records to piece together events which took place in non-Western or pre-Western environments. Also, though heavily influenced by Western traditions and practiced by translators taught in Western-style educational systems, Chinese and related translation traditions retain some theories and philosophies unique to the Chinese tradition.

Once the untranslatables have been set aside, the problems for a translator, especially of Chinese poetry, are two: What does the translator think the poetic line says? And once he thinks he understands it, how can he render it into the target language? Most of the difficulties, according to Link, arise in addressing the second problem, "where the impossibility of perfect answers spawns endless debate." Almost always at the center is the letter-versus-spirit dilemma. At the literalist extreme, efforts are made to dissect every conceivable detail about the language of the original Chinese poem. "The dissection, though," writes Link, "normally does to the art of a poem approximately what the scalpel of an anatomy instructor does to the life of a frog."[29]

Chinese characters, in avoiding grammatical specificity, offer advantages to poets (and, simultaneously, challenges to poetry translators) that are associated primarily with absences of subject, number, and tense.[30]

It is the norm in classical Chinese poetry, and common even in modern Chinese prose, to omit subjects; the reader or listener infers a subject. The grammars of some Western languages, however, require that a subject be stated (although this is often avoided by using a passive or impersonal construction). Most of the translators cited in Eliot Weinberger's 19 Ways of Looking at Wang Wei supply a subject. Weinberger points out, however, that when an "I" as a subject is inserted, a "controlling individual mind of the poet" enters and destroys the effect of the Chinese line. Without a subject, he writes, "the experience becomes both universal and immediate to the reader." Another approach to the subjectlessness is to use the target language's passive voice; but this again particularizes the experience too much.[30]

Dilemmas about translation do not have definitive right answers (although there can be unambiguously wrong ones if misreadings of the original are involved). Any translation (except machine translation, a different case) must pass through the mind of a translator, and that mind inevitably contains its own store of perceptions, memories, and values.Weinberger [...] pushes this insight further when he writes that "every reading of every poem, regardless of language, is an act of translation: translation into the reader's intellectual and emotional life." Then he goes still further: because a reader's mental life shifts over time, there is a sense in which "the same poem cannot be read twice."[30]

Nevertheless, in certain contexts a translator may consciously seek to produce a literal translation. Translators of literary, religious, or historic texts often adhere as closely as possible to the source text, stretching the limits of the target language to produce an unidiomatic text. Also, a translator may adopt expressions from the source language in order to provide "local color".

While current Western translation practice is dominated by the dual concepts of "fidelity" and "transparency", this has not always been the case. There have been periods, especially in pre-Classical Rome and in the 18th century, when many translators stepped beyond the bounds of translation proper into the realm of adaptation. Adapted translation retains currency in some non-Western traditions. The Indian epic, the Ramayana, appears in many versions in the various Indian languages, and the stories are different in each. Similar examples are to be found in medieval Christian literature, which adjusted the text to local customs and mores.

In recent decades, prominent advocates of such "non-transparent" translation have included the French scholar Antoine Berman, who identified twelve deforming tendencies inherent in most prose translations,[39] and the American theorist Lawrence Venuti, who has called on translators to apply "foreignizing" rather than domesticating translation strategies.[40]

Often the source language is the translator's second language, while the target language is the translator's first language.[46] In some geographical settings, however, the source language is the translator's first language because not enough people speak the source language as a second language.[47] For instance, a 2005 survey found that 89% of professional Slovene translators translate into their second language, usually English.[47] In cases where the source language is the translator's first language, the translation process has been referred to by various terms, including "translating into a non-mother tongue", "translating into a second language", "inverse translation", "reverse translation", "service translation", and "translation from A to B".[47] The process typically begins with a full and in-depth analysis of the original text in the source language, ensuring full comprehension and understanding before the actual act of translating is approached.[48]

When historians suspect that a document is actually a translation from another language, back-translation into that hypothetical original language can provide supporting evidence by showing that such characteristics as idioms, puns, peculiar grammatical structures, etc., are in fact derived from the original language. For example, the known text of the Till Eulenspiegel folk tales is in High German but contains puns that work only when back-translated to Low German. This seems clear evidence that these tales (or at least large portions of them) were originally written in Low German and translated into High German by an over-metaphrastic translator.

Emily Wilson, a professor of classical studies at the University of Pennsylvania and herself a translator, writes: "[I]t is [hard] to produce a good literary translation. This is certainly true of translations of ancient Greek and Roman texts, but it is also true of literary translation in general: it is very difficult. Most readers of foreign languages are not translators; most writers are not translators. Translators have to read and write at the same time, as if always playing multiple instruments in a one-person band. And most one-person bands do not sound very good."[65] ff782bc1db