Oxford: Clarendon Press, 1986. 65-86. Watt, David. ‘Introduction: The Anglo-American Relationship’. The Special Relationship.
The style in which the poem is rendered is reminiscent of a folk tale’s recital since we are told the story through an obscure traveller and the reader is naturally drawn into the mysticism and mystery. However, in this way, Shelley distances the audie... ... middle of paper ... ...initely. So the wreckage which remained scarcely survived the sands of time. So in this way, the reader perceives that a legacy through a mere monument is a legacy which fades. So what is left of Ozymandias?
Modern Critical Interpretations- F. Scott Fitzgerald’s The Great Gatsby. New York: Chelsea House Publishers, 1986. Print.
New York: Alfred A. Knopf, 2009. Print. Levine, Philip. What Work Is: Poems. New York: Knopf, 1991.
securing funding and dealing with publishers). According to Holmes (1988:9), poetry is the “most complex of all linguistic structures, [in which] a whole range of significations, and not simply the signification most obvious or most logical, fuse to create the total ‘meaning’ and the total effect.” The use of ambiguity and polysemy (which according to Landers (2001:97) is “one of the hallmarks of literature”) is less of a concern for translators working with prose texts (Holmes, 1988:9), as context usually clarifies which specific signification is intended. However, if the source text (whether poetry or prose) is ambiguous or polysemous, this should be replicated in the target text so that it too is open to a variety of interpretations (Boase-Beier, 2009:195) and does not “reduce the dynamic role of the reader” (Hatim and Mason, 1990:11). One of the most important issues for any literary translator, not only p... ... middle of paper ... ...Literature Context.