The article comments on Andrea Zanzotto’s translation of Hor. carm. 1, 22, with the purpose of examining the ways in which the poet-translator attempted to preserve and reproduce the tone of the Horatian text. On the one hand, Zanzotto adheres as closely as possible to the lexicon and syntax of the Latin original, rendering the semantic force of certain Latin key words in terms studiedly drawn from literary Italian and inserted in a translation movement that aims almost at syntactic equivalence with the Horatian style. On the other hand, he tries to recompose in a different mosaic the Horatian callidae iuncturae, redefining the dispositio in the search for a new symmetrical scheme that, where possible, replicates certain phonic and morphological correspondences present in the original and, where not, somehow replaces or balances their more stylistically relevant permutations. Thus, the paper aims to analyse the translation model made by Zanzotto for the Italian version of the ode to Fuscus, reflecting overall on the reasons that may have led the translator toward certain choices.

L'ode 1, 22 di Orazio nella traduzione di Andrea Zanzotto

PANDOLFO P
2022-01-01

Abstract

The article comments on Andrea Zanzotto’s translation of Hor. carm. 1, 22, with the purpose of examining the ways in which the poet-translator attempted to preserve and reproduce the tone of the Horatian text. On the one hand, Zanzotto adheres as closely as possible to the lexicon and syntax of the Latin original, rendering the semantic force of certain Latin key words in terms studiedly drawn from literary Italian and inserted in a translation movement that aims almost at syntactic equivalence with the Horatian style. On the other hand, he tries to recompose in a different mosaic the Horatian callidae iuncturae, redefining the dispositio in the search for a new symmetrical scheme that, where possible, replicates certain phonic and morphological correspondences present in the original and, where not, somehow replaces or balances their more stylistically relevant permutations. Thus, the paper aims to analyse the translation model made by Zanzotto for the Italian version of the ode to Fuscus, reflecting overall on the reasons that may have led the translator toward certain choices.
Zanzotto, Orazio, traduzione, ode, Fusco
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.11770/342987
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