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Helena Cortés Gabaudan

Existen unos cuantos códigos deontológicos para traductores, pero muy pocos se refieren a la traducción literaria en particular. De entre ellos, uno de los primeros que se encuentra en Internet ni siquiera llega a reunir más de 7 normas, y las que incluye apenas tienen que ver con lo que realmente garantiza la calidad de una traducción literaria; es un mero listado de requisitos básicos del traductor en general y de aspectos legales (vid. el código deontológico del traductor literario redactado por el Consejo Europeo de Asociaciones de Traductores Literarios, ceatl). Ante esta carencia, hemos redactado, entre bromas y veras, un pequeño código personal para traductores literarios noveles, un decálogo que solo se basa en los cientos de horas solitarias, ingratas, desesperantes, pero siempre felices, pasadas frente a los textos de los grandes autores.

DECÁLOGO DEL BUEN TRADUCTOR LITERARIO

1. Humildad (o, lo que otros llaman fidelidad al texto). No trates de ser más brillante que el propio autor; en general, la mayor literalidad posible en fondo y forma es la mejor norma, aunque siempre creando un texto propio y sin caer en la burda copia. Si tienes siempre la tentación de mejorar el original, si te gusta adaptar y añadir cosas de tu cosecha o cortar y simplificar las partes complejas, escribe novelas, pero no traduzcas. Y, en particular, si eres poeta y te encanta traducir poesía, haz un esfuerzo: olvida tu condición por un instante y sé solo traductor. El lector no quiere leer tus versos.

2. Sensatez. Algunos escritores son gente rara, sí, ¡pero no tantos! En general no escriben estupideces ni insensateces. Así pues, si algo te sorprende sobremanera o parece no tener ningún sentido, es casi seguro que te has equivocado. Indaga. Seguro que algo se te está escapando.

3. Sentido estético. Traducir correctamente el contenido de la obra original puede ser relativamente fácil, pero no hay que olvidarse de la forma estética. Analiza a fondo los recursos estilísticos y estéticos empleados por el autor y trata de lograr lo mismo en tu propio idioma. De no ser así, tanto daría hacer un buen resumen del contenido como traducir la obra.

4. Paciencia. Si quieres traducir literatura no puedes tener prisa, es labor interminable de investigación, reescritura, relectura. Una recomendación: cuando hayas acabado de traducir, olvida tu versión en un cajón durante un tiempo suficientemente largo como para borrar de tu mente el original y haz una última lectura sin tener presente más que tu sentido lingüístico y literario: en este momento, y solo en éste, tómate todas las libertades que quieras con el texto hasta que a ti te suene bien, hasta hacerlo completamente tuyo, hasta que deje de ser una traducción y se convierta en tu texto: ganará en fluidez, no sonará a traducción y tendrá un estilo homogéneo.

5. Cultura. Si no tienes cientos de horas de lectura acumulados, si careces de una sólida cultura general y de cierta experiencia vital, si no conoces los clásicos y te aburre cualquier libro que no esté lleno de acción y diálogos, si nunca ganaste un premio de redacción en el colegio ni leías por las noches con una linterna debajo de las sábanas para que no te riñeran, si nunca viajaste a los países cuyas lenguas traduces, en definitiva, si no tienes gusto por la literatura: por favor ¡no te hagas traductor literario! Se gana más con los manuales de autoayuda y los libros de cocina.

6. Naturalidad. Es más importante que la obra suene bien en tu idioma y conseguir un texto natural y fluido, carente de todo artificio, que el que se cuele alguna disculpable metedura de pata. Y el que esté libre de error, que tire la primera piedra.

7. Buena pluma. Si no tienes talento para escribir con gracia y soltura en tu propio idioma no podrás ser nunca un buen traductor literario. Solo el que escribe bien traduce bien.

8. Dominio de tu lengua. Ser bilingüe ayuda mucho, pero no es garantía de buena traducción. Conocer bien la lengua de partida es un requisito técnico tan elemental como saber leer y escribir, pero no aporta nada más. Conocer bien la lengua de llegada, haberse perdido por sus más enrevesados vericuetos, saber jugar con ella, poder burlarse de ella: esa es la condición para ser un buen traductor. Busca a quien domine muy bien la lengua extranjera y tendrás, con suerte, un correcto traductor. Busca quien domine a
fondo su lengua materna y casi seguro que habrás encontrado a un buen traductor.

9. Actualidad. No envejezcas a propósito una traducción para acercarla a la época del autor. Piensa que los lectores contemporáneos del autor pudieron disfrutar de una lectura fluida y natural en el idioma de su tiempo. No castigues a tus lectores con una barrera idiomática artificial que solo provoca distancia. Para que el original siga siendo tan accesible como en su tiempo, cada generación necesita una nueva traducción.

10. Amor. O lo correcto no es igual a lo bueno. Cuántas traducciones hubo más o menos correctas que son perfectamente olvidables, por grises, planas, carentes de toda vida. Tal vez con un excelente adiestramiento se pueda conseguir un número aceptable de correctas traducciones. Pero siempre hubo, hay y habrá muy pocas buenas traducciones. En traducción literaria, traducción correcta no equivale a buena traducción. Porque también hacen falta grandes dosis de empatía. Si a pesar de haber renegado del texto más de mil veces, en el fondo has acabado sintiendo pasión por él y su autor, es señal de que eres un traductor. Si en caso de existir la máquina del tiempo lo que más te gustaría sería tener una entrevista con el clásico al que estás traduciendo, es señal de que eres un traductor. Si lo que más te gusta al llegar a casa es sentarte ante tu libro, y nunca te vas a la cama sin haber traducido al menos unas cuantas líneas —porque ése es el momento que más disfrutas del día— es señal de que eres un traductor. Y es que, además de profesión, hace falta un poco de vocación.

Estos diez mandamientos se encierran en dos: amarás a la literatura sobre todas las cosas y a los textos que traduces como a ti mismo.

Conclusión

Hacer traducciones literarias es lo más parecido a tener hijos: es una gestación larga y complicada, cuanto más se acerca el inexorable plazo de entrega más insoportable y más pesado se vuelve el asunto, hay momentos en que detestas al que te embarcó en aquel lío y te preguntas cómo pudiste aceptar; y llega siempre ese momento de extremo dolor, cuando tienes que sacar fuera como sea la cabeza del infante, en que te juras a ti mismo que nunca volverás a caer en semejante empresa… pero, en general, una vez que el niño ya está fuera y lo miras, solo queda amor incondicional por tan trabajoso producto, pese a los muchos fallos que pueda tener. Y es que ¿hay alguna madre que piense que sus hijos son feos? En resumen, la traducción literaria no es una profesión, no da de comer ni se aprende en la academia: es una vocación y un talento. Si no disfrutas con ella, no la ejerzas.

Fuente: La Linterna del Traductor

Ponencia presentada por Julia Benseñor en el III CONGRESO LATINOAMERICANO DE TRADUCCIÓN E INTERPRETACIÓN, CTPBA, Buenos Aires, abril de 2001

Taller a distancia de traducción de textos al inglés

coordinado por la Trad. Marita Propato

 Preinscripción y consultas: escribir a cursos@aati.org.ar

Cuando comencé este blog por el año 2008, me propuse encontrar y compartir información valiosa para nosotros, los traductores junior, y por eso siempre tomé como referencia a muchos profesionales con más experiencia en esta profesión.

Uno de ellos es Miguel Llorens, el traductor financiero, que con su inteligencia y sarcasmo me resonaba un poco al Dr. House de la traducción.

Miguel es, tiempo presente, porque las personas que dejan huellas profundas, en algunos o no tanto en otros, no se van. Su energía deambula en los pensamientos de aquellos que mascullando sobre algún tema traductoril percibe el roce ligero de su impresión.

Por eso nos encontraremos a la vuelta de la esquina o de algún término enrevesado.

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Alors que les procureurs doivent requerir, ce mercredi 13 novembre a son proces, la presidente du groupe RN a l'Assemblee redoute, par-dessus tout, d'etre empechee de se presenter en 2027.

L'infatigable Ridley Scott se repose pourtant sur ses lauriers avec cette suite inutile et empatee de son propre classique sorti en 2000. Spectaculaire mais vain.

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