Translating Shakespeare’s Sonnets... 123 San Beda UniversitySan Beda Carissa C. Cabaysa, M.A. C. Cabaysa, Carissa This paper presents a set of translations for a set of translations presents This paper Interlingual translation, equivalent effect, Shakespeare sonnets, effect, equivalent translation, Shakespeare Interlingual Translating Shakespeare’s Sonnets Shakespeare’s Translating he concept of translation relates to diversified language structures, changing lexical meanings, and evolving Keywords: Abstract: versification, translation versification, meaning rather than structure, are based on scholars’ discussions based on scholars’ are structure, than meaning rather how The discussions include and connotations. of denotations the of context cultural and structure metrical or versification the the so-called produce This is meant to sonnets affect meaning. below. is explained which effect” “equivalent Shakespeare’s sonnets which are expressive of thoughts and expressive are which sonnets Shakespeare’s focus on which The translations, mortality. emotions on human T Translation Translation can be formally or dynamically oriented. While the

In translating Shakespeare’s sonnets, an inquiry into meanings former former aims at accuracy and correctness of the message delivered by a translation based on the source text, the latter aims at an Creating an Equivalent Effect in Translation an Equivalent Creating is required due not only chronological distance. Meanings to that existed in the past may have linguistic and cultural, but no longer exist. changed or may also to differs from that of a text being translated. being translated. that of a text from differs word word meaning associations complicate the Differences in gender translation perspectives attached to process. both concrete and abstract concepts confuse a translator whose cultural orientation carry meanings that are similar but not equal and words express connotations. In interlingual languages in translation, terms of words, differences grammar, actual language use, between and cultural cultural perspectives. Synonyms complicated. proves meanings of equivalence translation, In both intralingual and interlingual Introduction Cabaysa... a source text but in terms appropriate to their culture. Therefore, culture. their to appropriate terms in but text source a in expressed meanings same the experience to need just they text; source the of culture the understand to receptors. need not do its receptors The to message translated the of effect the as same the be should receptors original to message a of effect the that means This 126-128). Nida Eugene in Phillips & (Rieu effect” “equivalent the times and places specified. The lack of specific details, and the and details, are specific of lack nor The specified. places named, and times the not are sonnets the in addressees The 127-154. the in Sonnet 126. The character sonnets, of the woman is referred to in Sonnets the of lovelyboy” 126 “a called 2) (Callaghan man” young first “fair a is addressee the In sonneteer. the by assumed character a to or himself Shakespeare of representation a said possibly be is speaker The woman. a and specifically addressee, characters the speaker, the important three about talk which poems Shakespeare’s Sonnets the promotion ofhiddenideologies. support could both that obscurities prevents to and reader translationand translator of process cognitive the exposes it as ethical is explains, he This, translation. in meanings re-contextualize that determinants social the presenting involves which translation, in source and a target text, Venuti advocates the hermeneutic approach intended effect. author’s original the echoes language, translator’s the in also but work original the in only not words of meanings the in change of literary processes by original affected “transformation,”although whichits is an work of translation the that saying poetry beyond translation in creativity of concept of not the translation extends Benjamin “re-creation, the poetry. in 55) requirement ultimate Brower the (in as reproduction” Lattimore’s cites Nida while “creativetermtransposition” the uses Jakobson creation. new a as to be creative. Roman Jakobson and Nida mention poetic translation the receptor language(Bienvenido Lumbera 62). original text, but also consider experiences in the cultural context of the in those match that words choose only not should translator a hkser’ snes s dlbrtl sqecd e o 154 of set sequenced deliberately a is sonnets Shakespeare’s a between mediate that factors cultural and linguistic to Due understood translatingis orientation, of dynamictype the With 124 Translating Shakespeare’s Sonnets... 125 9 'Gainst death and all-oblivious enmity 9 'Gainst death and all-oblivious shall still find room praise your pace forth; 10 Shall you of all posterity in the eyes 11 Even 4 Than unswept stone, besmear'd with sluttish time. besmear'd with sluttish stone, 4 Than unswept statues overturn, shall war 5 When wasteful of masonry, out the work root 6 And broils shall burn quick fire nor war's 7 Nor Mars his sword memory. of your record 8 The living 1 Not marble, nor the gilded monuments 1 Not marble, rhyme; this powerful 2 Of princes, shall outlive in these contents bright shall shine more 3 But you Sonnet 55 focuses on the power of poetry to preserve the In this paper, elements in the translation are presented in the Despite Despite differences in the message of six of Shakespeare’s memory of the addressee. memory of the addressee. Sonnet 55 translation; (4) brief explanation of ideas in the translation. explanation (4) brief translation; spirit stays with the addressee, also through the poem. through also with the addressee, spirit stays order of: (1) source text; (2) interpretation of the source text; (3) memory and worth of the addressee who leaves memory the and Implied world. of worth the who leaves addressee in Sonnets 71 and 72 is the persona’s memory remaining through Likewise, Sonnet poetry. 74 explicitly expresses how the persona’s sonnets, the notion of a passing away Sonnet predominate. 55, However Sonnet as 60, and Sonnet 63 state, poetry preserves the Understanding and Translating the Sonnets and Translating Understanding at the world from within and crafts his imagination on relationships relationships on imagination his crafts and within from world the at (16 -18). his characters without describing are not viewed as purely fictional. Callaghan explains these features features these explains Callaghan fictional. purely as viewed not are of the sonnets as the nature of lyric Lyric poetry poetry. expresses mental and emotional perceptions about people, as the poet looks the realities behind the poems and the identities of the characters. sonnets the rendered, are emotions the which at intensity the to Due emotional involvement in the sonnets have led to speculations about speculations to led have sonnets the in involvement emotional Cabaysa... over marble nor monuments overlain with gold, to “outlast time.” “outlast to gold, with overlain monuments nor marble over Translation 55 ofSonnet in poetryandwithinthesight ofthosewho love hisimage. till.” (Seymour-Smith 139-40) Till judgment day, the addressee lives will either support, or weaken the poet’s words as suggested by “so, the world reaching its end. This will be judgment day, when the truth communicate the notion of time with the coming of generations and as suggested by the ninth to the tenth lines. Lines eleven and twelve hostility,and death over victorious out come to envisioned be can poetry in lives who person The poetry.destroy would fire of that be could statues as nor swords of destructivenature the neither but well wardestroyed by as This, fortification. to referring term military a as used was masonry” of “work in “work” that mentions the also unlike Booth soiled. be cannot poem the in spirit that the coffin, a in body suggest These associated. is smearing the which smearedwith idea stone,or the on smearing, of act the of agent the substance a as perceived be could which obscene, be to is suggested four line in “Time” coffin. a suggests it that something, contain to poem a of capacity the suggesting “in” with poem, the of lines” “these contents.”mean these could “in contents”toparallel “These be takenis actuallyIt aselliptical. in unswept “than stone”, which is can stone” unswept “than that says Booth but stone” “unswept to compared superficially is four,“you” and three lines In indefinite. interpretation the makes “contents” of form plural the to contrary “rhyme”of form singular the but two, line in 228) …rhyme”(Booth “this to refermay three line in contents” these “In 120) (Callaghan h frt w lns f h pe epes h pwr f poetry of power the express poem the of lines two first The Sonnet 55istranslated asfollows. 4 Higitsabatong nadungisan ngpanahon. 3 Magniningningka samga tugma 2 Angdadaigsabisang isangtula; 1 Hindimarmolomga bantayog nanatubogsaginto 14 You live inthis,anddwell inlovers' eyes. 13 So,tillthejudgmentthatyourself arise, 12 Thatwear thisworld outto theendingdoom. 126 Translating Shakespeare’s Sonnets... 127 babangon nangingibig. 4 In sequent toil all forwards do contend. do contend. all forwards 4 In sequent toil once in the main of light, 5 Nativity, being crown'd, wherewith maturity, to 6 Crawls fight, his glory eclipses 'gainst 7 Crooked his gift confound. doth now 8 And Time, that gave, 1 Like as the waves make towards the pebbled shore, towards make as the waves 1 Like their end; to hasten 2 So do our minutes goes before, 3 Each changing place with that which 12 Hanggang sa katapusan. sa katapusan. 12 Hanggang na sa iyo’y sa huling paghuhukom 13 Hanggang ng mga paningin ka nasa dito, ka 14 Nabubuhay 7 Talim ng ispada o init ng digmaan ispada o init ng 7 Talim silaban. kayang alaala sa tula, di 8 Iyong at pakikipagkaalit 9 Sa kamatayan papupurihan ay 10 Ikaw angkan 11 Sa mata ng mga 5 Mga rebulto, itutumba ng digmaan, ng itutumba rebulto, 5 Mga ng kagulo, gigibain bato, 6 Kutang Like Like Sonnet 55, Sonnet 60 states how verse withstands the The translation focuses on the immortality of the spirit contained spirit the of immortality the on focuses translation The Sonnet 60 and the recreation of the context. of the context. and the recreation death. birth to from of one’s life progress context context of the source text. Understanding that “work of masonry” referred to military fortification assists in the conceptualization of the context of Sonnet 55, enabling translation into “kutang bato” equivalent equivalent effect involves understanding cultural not the only in known the terms of message meanings in like details also but general, an attempt at rhyme and rhythm could be sensed in the translation, translation, the in sensed be could rhythm and rhyme at attempt an the creation of an effect equivalent to that of the original focuses on the semantic aspect of the text. A challenge in translating for an in the poem, which remains unscathed battles by worldly and even by death. The idea of the poem Although as three. a line in container tugma” is mga preserved sa in ka “magniningning the expression Cabaysa... the words “toil” and “contend” in line four communicate a powerful “confound”destroy.whichwith means and this explainsthat Booth ends line The quatrain. second the in horoscope a in both man of and sun the of journey the to and quatrain, first the in waves like be to described “minutes” to relates eight line of beginning the at fight.” The glory of both the sun and the man is under attack. “Time” expressionrealizedthe is in glorythat “’gainsthis meaning a harm, signifying term astrological an is seven line in eclipses” “crooked be to crown a reading, century seventeenth Considering of head. the over sparkling idea the with agrees This reached. is ambition “crooked” in line seven and implies the prime of a person’s life when from the preceding verbal descriptions, alliterates with “crawl,” and preceding“Crowned,”the contend”lines. in towhichdifferappears do “forwards and to,”towards,” “hasten “make through expressed (Booth, a motion” “forwardand growth baby’s the implying line, sixth the of beginning the at “crawls” with continues sonnet destiny.The one’s suggesting as resemblingperson’sa movementslife,its and followingthe in lines 239-41). Sonnets destiny one’s show the could to which referring chart astrological as century, seventeenth the in “nativity” of idea the is mind to brought Also sun. the of birth the or sunrise torefer refer to a baby,therefore while “the main of light”can suggests that nativity could Nativity time. and space in existence its suggesting line. “Nativity” in line five is personified through the use of “once in” “waves” are inexorable, further suggested by the rhythm of the first Booth views as expressive of how the passing of both “minutes” and could be preserved in a poem. The poem begins with a simile, which sonnet, the characteristics of youth that goes with the passing of life the in stated As (122). ends ultimately and birth, from progresses of the number of minutes in an hour, suggesting the pace at how life Callaghan thinks the number 60 in the title of the sonnet reminds 14 Praising thy worth, despite hiscruelhand. 13 Andyet to timesinhopemy verse shallstand, 12 Andnothingstandsbutfor hisscytheto mow. 11 Feeds ontherarities ofnature's truth, 10 Anddelves theparallels inbeauty'sbrow, 9 Timedothtransfix theflourishsetonyouth, Line five speaks of the daily appearance of the sun AnEssay onShakespeare’sSonnets 128 (Shakespeare’s 137) Translating Shakespeare’s Sonnets... 129 katapusan; 13 Gayon man, tula ko’y tatayong kanlungan, tatayong man, tula ko’y 13 Gayon man. ka maglaho kapurihan, mga 14 Ng iyong 8 Sa panahong sumisira sa kabunyian. 8 Sa panahong sumisira gumuguhit sa kabagong-tauhan 9 Panaho’y sa alindog ng kabataan, 10 Sumisira na katangian, likas 11 Dumadagit sa mga naiiwan; walang karit 12 Sa kanyang 3 Bawa’t minuto’y pumapalit sa sumulong nang sandali, pumapalit sa sumulong nang minuto’y 3 Bawa’t at pakikipaglaban. na paggawa 4 Sa patuloy ng araw, sa pagsikat 5 Pagsilang sa paggulang, 6 Umuusad hanggang ng tadhana, hatol 7 Lumalaban sa mapanirang 1 Tulad sa lakas ng pagdaloy ng mga alon sa batuhan, ng mga ng pagdaloy sa lakas 1 Tulad sandali’y matuling na tumutungo sa 2 Ang mga The translation preserves the comparison between the waves The translation of the sonnet focuses on how time impresses and impresses time how on focuses sonnet the of translation The and minutes through the expressions “tulad,” “lakas ng pagdaloy,” this for it continues to carry the thought of the ephemeral. carry the thought it continues to this for of Sonnet 60 Translation man (130-43). feeds on youth till it totally leaves nothing, but poetry contradicts beauty’s brow,” time is beauty’s just brow,” transfixing wrinkles in a face that used The scythe one’s show and to youth. cruel hand of soon time would one’s take life but the poem the will worth of youthful preserve the of military trenches; thus “delves the the parallels” fight against recalls the to eclipses. But mind because the “parallels” are “in “Flourish,” “Flourish,” the object of transfix relates to “crowned” and “glory” both suggestive of the prime of youth. In “and delves the parallels “delve” which in means beauty’s dig, brow,” while parallels remind in the preceding quatrain results to “transfix” as being “pierce through.” interpreted “Transfix the flourish” can be understood as the lines that pierce through a well ornamented astrological map. the waves the and waves of time. One labors as he / she crawls and fights an eclipse. “Time doth transfix” stated like “time… doth… confound” motion. motion. “Toil” and “contend” suggest the continuous struggle of Cabaysa... o eetr, qiaet o ht f h oiia t is receptors. its to original the pakikipaglaban”expressespaggawaat na patuloy at “Sunud-sunod of that to effect equivalent an produce receptors, to to translation the for concept inevitable an one is time of proceed movement powerful minutesthe against fight passage; The other. the continuous after a in na-“ suggests sumulong two sa line “Pumapalit tumutungo.” na “matuling and euy a gn, gis te eann lns saig bu the about stating lines, remaining the against gone, has beauty when life a about arewhich 8, to 1 lines betweencontradiction the 63 Sonnet vessel where thespiritendures. the youth overcoming thedestructionoftime. praise will poem the but perishes one till charm youthful through twelve;todestroys nine time lines piercein will youthdetailed it is How effect. equivalent the weakened have could which pagdilim” explanation ng “lupit into Without translated been have translation. could term the research, in from challenge a illustrates text source the in eclipses” “cruel of connotation The tadhana. ng hatol mapanirang as translated is times, old in chart astrological the to nativity,refersto which relating as eclipses cruel of idea The time. of and waves the of struggle continuous the motion, powerful the Booth mentions “Against” as a key word in Sonnet 63. It suggests a as poetry of speaks 63 Sonnet sonnets, preceding the Like 14 Andthey shalllive, andhe inthemstillgreen. 13 Hisbeautyshallinthese blacklinesbeseen, 12 Mysweet love's beauty, though my lover's life: 11 Thatheshallnever cutfrom memory 10 Against confounding age's cruelknife, 9 For suchatimedoInow fortify 8 Stealing away thetreasure ofhisspring; 7 Are vanishing, orvanished outofsight, 6 Andallthosebeautieswhereof now he's king 5 Hathtravelled on to age's steepy night; 4 Withlinesandwrinkles;when hisyouthful morn 3 Whenhourshave drained hisbloodandfilledbrow 2 WithTime's injurious hand crushedando'erworn; 1 Against my love shallbeasIamnow, 130 Translating Shakespeare’s Sonnets... 131 244). Based on this, lines one to four could be could four to one lines this, on Based 244). lungtian. 12 Alindog ng mahal ko, bagama’t kanyang buhay: kanyang bagama’t 12 Alindog ng mahal ko, berso, luksang mamamalas sa mga ganda’y 13 Kanyang ito’y sa mga at siya mabubuhay, ito’y ang mga 14 At 7 At lahat ng kariktang siya ang naghahari siya lahat ng kariktang 7 At ng tagsibol yaman mga uumitin mapapawi, 8 Maglalaho, pinagtitibay aking ito, ng mga 9 Sa harap talim ng panahon, 10 Laban sa mapanirang sa alaala tabasin kanyang 11 Nang di kailanman 1 Salungat sa aking pag-ibig na pang-habambuhay 1 Salungat ng panahong ng mapanakit na kamay 2 Kasabay hapo, lalagusan ng dugo, siyang 3 Iiwan noo guhit ang kanyang 4 Uukitan ng mga ng araw 5 Kapag ang pagsikat tungo sa hatinggabi, 6 Naglakbay The translation retains the contradiction between the loved The poem is translated as follows. The poem is translated the beloved in the poem. the beloved preserved preserved in the lines of the poem. “Lungtian,” corresponding green which is to symbolic of life, suggests the continuing memory of one’s life devoid of beauty and the afterlife that is filled with beauty with filled is that afterlife the and beauty of devoid life one’s Translation of Sonnet 63 Translation “black lines” suggests death while “lines” could be associated with verse. Beyond death, the beauty of the loved one would flourish in the poem. effect effect of age for which the persona establishes a defense, so the beauty that of the loved one will remain in his memory. “Black” in had journeyed to “age’s steepy night” begins also is ten Line a disappear. would beauty metaphor youthful how suggests for aging. It but with this “Against” time what is contradicted is the destructive understood understood as stating that contradictory to how the persona’s love one’s image into unchanged, time will change will the loved remain that with lines and wrinkles How on the his “youthful brow. morn” one, one, is stated to mean “in anticipation of the time Sonnets Shakespeare’s when” (Booth, beauty of the loved one which remains beyond life. “Against” in line “Against” life. beyond remains one which beauty of the loved Cabaysa... Sonnet 71 Sonnet Sonnet 71states aboutthepersona’s death. the addressee to suffer grief which is expressed in line eight. “Your eight. line in expressed is which grief suffer to addressee the want not does contradictorily speaker The five. line in remember reasontofornot and addresseetellingone the line to in not mourn the explain eight to six Lines (Oxquarry). mortality of reminds and death announces bell the two, line to three line Connecting death. understood as “give notice” actually reminds that life is destined for In the third line, the choice of the words “Give warning” which can be deepening the grief of “the shallow young man” (in at Schoenfeldt aimed have356). might sonnet the Hence, realize. to difficult attempt to forget causes one to remember that he should forget, making the Eco’sessaythe in claim “Artentitled mentions Forgetting”of attemptthe that She so. do to told being after forget to difficult is it that mentions writer.states Watsonits it of reminds itself which as verse the reading message very this contradicts not,” –“remember thing same the however,tells line, which fifth The death. his upon speaker the forget to addressee the for is which states, generally death. Quatrain one of Sonnet 71 carries the message that the poem beloved, a of death the of speak sonnets preceding the While ont 1 xrse te pae’ cnen rltn t his to relating concerns speaker’s the expresses 71 Sonnet 14 Andmockyou withmeafter Iamgone. 13 Lestthewiseworld shouldlookinto your moan, 12 Butletyour love withmy ev’n life decay, 11 Donotsomuchasmy poornamerehearse, 10 WhenI,perhaps, compoundedamwithclay, 9 Oif,Isay, you lookuponthisverse, 8 Ifthinkingonmethenshouldmake you woe. 7 ThatIinyour sweet thoughts would beforgot, for Ilove6 Thehandthatwritit, you so, 5 Nay, ifyou read thisline,remember not 4 From thisvileworld withvildestworms to dwell. 3 Give warning to theworld thatIamfled 2 Thanyou shallhearthesurly sullenbell 1 Nolongermournfor mewhen Iamdead 132 Translating Shakespeare’s Sonnets... p. 258; Oxquarry) 133 Shakespeare’s Sonnets Shakespeare’s pansinin, pumanaw, 1 O, lest the world should task you to recite, to should task you lest the world 1 O, should love in me that you 2 What merit lived me quite, forget death, dear love, my 3 After 13 Upang huwag pantas na mundo, panaghoy mo’y mo’y pantas na mundo, panaghoy 13 Upang huwag nang dahil sa akin. hamakin ika’y 14 At 8 Gunita ko kung dulot nito’y pighati. dulot nito’y kung 8 Gunita ko tula nitong 9 Sa pagbasa humimlay, sa lupa’y 10 Sa sandaling ako sambitin, iwasang ngalan kong 11 Aba pag-ibig ay bayaang 12 Sa halip, tulad ng aking buhay, 3 Upang ipagbigay alam itong paglisan itong alam 3 Upang ipagbigay kasamaan. ng kanlungan 4 Sa mundong bersong katha, nitong 5 Sa pagbasa akda, may itong gunitain 6 Iwasang isaisantabi iyong ang nais ko’y pag-ibig, 7 Sa labis kong 1 Huwag mo na akong tangisan, sa aking kamatayan tangisan, sa aking mo na akong 1 Huwag ng tunog ng batingaw 2 Na susundan Sonnet 72 expresses thoughts and feelings similar to those in The fifth and sixth lines attempt to retain the contradiction in Following is the Tagalog version of Sonnet 71. version the Tagalog is Following Sonnet 72 intention of sparing the addressee from mockery by the world. the world. by mockery from of sparing the addressee intention Sonnet 71. stating the call to forget. The translation ends with the speaker’s Translation of Sonnet 71 Translation speaker. (Booth, speaker. equating the addressee’s love with the persona’s life. In the couplet,the In life. persona’s the with love addressee’s the equating the addressee is advised to forget, to avoid world’s the mockery ironically that “wise” could result from his relationship with the addressee’s addressee’s affection for the speaker. “Ev’n” in line twelve, which means “exactly at the same time suggests “of the same length,” love,” love,” viewed as a synonym of “life” in this line also refers to the Cabaysa... also refer to the addressee as “nor me nor you” means neither you neither means you” nor me “nor as addressee the to refer also twelveline is readily understood as referringin to the speaker but more”it could no “Andlive love. for him of him well speak forget than to rather latter the on calls untrue, be may love addressee’s the that speaker,fearing the that implies it, after that to and lines love” “true precedes eight line followed by in “false in line nine. Connecting line nine “truth”to the preceding how is denoting noted Further “niggard” eight, line In stingy, suggests the exclusion purposes. of flattery from the truth euphonic for of “me” instead chosen been have to seen is “I” while burials, soldiers’ the hanging of inscriptions, trophies, and badges of honor on heroic “by to what I deserve” (258-59). In close line seven, “hang” is seen as relatingis to which desert” own mine “than six; line in “desert” characterizing the speaker as virtuous. This is the object of the verb as lie the of content the suggests and “lie” the describes “virtuous” show valueof nothing tohave bypossessed speaker.been the can five,line In addressee the that mean also may It worth. no of be to in engaging in a relationship with the speaker, the addressee shows is, the addressee can find nothing of value in the speaker. Another is, worthyprove,”“nothing ways. threeOne in interprets Booth which to continued me” “foryoustateswhichin third line the in reasonis message The loving. worth continues with persona the persona’s request the to be makesforgotten completely. what The explain to challenged being addressee the of possibility the communicating two and one lines in begins message This valuing. worth qualities lacks who him rememberingfrom addressee the discourages It 71. According to Booth,Sonnet72 continues themessage of Sonnet 14 Andsoshouldyou, to love thingsnothingworth. 13 For Iamshamedby thatwhich Ibringforth, 12 Andlive nomore to shamenormeyou. 11 Mynamebeburiedwhere my body is, 10 Thatyou for love speakwell ofmeuntrue, 9 Olestyour truelove may seemfalse inthis, 8 Thanniggard truthwould willingly impart. 7 Andhangmore praise upondeceasedI, 6 To domore for methanmineown desert, 5 Unlessyou would devise somevirtuouslie, 4 For you inmecannothingworthy prove; 134 (Oxquarry). Translating Shakespeare’s Sonnets... 135 258-59). 258-59). kapuripuri, kapuripuri, sasambitin; Pagka’t sa kaugnayan mo sa akin wala kang halagang halagang kang mo sa akin wala sa kaugnayan Pagka’t 9 Upang hindi tila huwad ang tunay mong pag-ibig, ang tunay 9 Upang hindi tila huwad wiwikain, iyong puri ko’y dahil sa pag-ibig, 10 Kung ko, ng katawan sa libingan ko 11 baon ngalan o ako. ikaw sa kahihiyan, mabuhay 12 Kaysa sa akin, gayundin 13 Kahihiyan halaga. ang umibig sa walang 14 Sa iyo, 5 Maliban kung magbitiw ng mga kasinungalingang kasinungalingang ng mga magbitiw 5 Maliban kung pa ng tsapa ng dangal aki’y maghandog sa 6 At ang sa aki’y nararapat, ano sa kung 7 Higit ito katotohanan. sa pawang 8 Taliwas 1 Sakaling maatasang magpahayag, 1 Sakaling bumihag sa iyo’y kong katangian 2 Mga limutin, akong tuluyan 3 Sa aking pagliban, 4 In communicating the lack of worth expressed in the source Sonnet 72 is translated below. is translated Sonnet 72 “kasinungalingan” but also, suggestively, the persona. It could mean could It persona. the suggestively, also, but “kasinungalingan” could precede or succeed the noun described. “Kapuripuri” follows describes only not word the hence, here; “kasinungalingan” noun the on the third line. Virtuous in the source text, which describes the lie and is mentioned to characterize the persona, is translated In as following “kapuripuri,” “kasinungalingan.” Filipino, the adjective relationship, relationship, the addressee proves nothing of value about himself; and (3) the addressee has persona. nothing The valuable last to interpretation, utter of course, about is the understood based could mean that: (1) the about addressee his can relationship utter with nothing the persona; of (2) value in engaging in the text, text, the translation considers the multiple meanings in the fourth line. “..sa kaugnayan mo sa akin, wala kang halagang sasambitin” Translation of Sonnet 72 Translation openly openly talk about his for the love speaker who is worthless (Booth, Sonnets Shakespeare’s nor me. The addressee is also viewed as shameful as he would not Cabaysa... that if the addressee cannot say anything honorable about him, he him, about honorable anything say cannot addressee the if that worthlessness of perception persona’s the on focuses translation The persona. the for felt has addressee the love of kind the at hint “pawang katotohanan” in line 8. The juxtapositioning of these words wordsrelateto these text, source the in As 9. line in before“tunay” appears ako.”intentionally“Huwad” kapuripuri “kasinungalingang should keep calm about the persona’s death. One reason is that the that is reason One persona’sdeath. the about keepcalm should third line of the sonnet is explained to introduce why the addressee life,of familyline or the whileline, interest for.concern means This third sonnet, the in line the referto could form, the singular its in “line” away.”line, In me carry shall bail all as “Without release, by temporary suggested for chance any without officer police a by nabbed were he if as away.is persona It the “apprehension,”takes when or “stop” tranquil” or “arrest” “be deadly” ruthless, or painful, “cruel, upset” or fell” ( “that be not Booth “do by as translated 260-261) pp. is 1977, contented” be “But death. anticipated persona’s the of speaks which 73, Sonnet of message the to relates 74 Sonnet poetry preserving thememoryofpersonabeyond hiddeath. would better notsay anything atall. h bgnig xrsin f ont 4 Bt e contented” be “But 74 Sonnet of expression beginning The about thought same the of expression another is 74 Sonnet 14 Andthatisthis,andthiswiththeeremains. 13 Theworth ofthatiswhich itcontains, 12 Too baseoftheeto beremembered. 11 Thecoward conquestofawretch's knife, 10 Theprey ofworms, my body beingdead; 9 Sothenthouhastbutlostthedregs oflife, 8 Myspiritisthine,thebetter partofme: 7 Theearthcanhave butearth,which ishisdue; 6 Thevery partwas consecrate to thee: 5 Whenthoureviewest this,thoudostreview 4 Whichfor memorial stillwiththeeshallstay. 3 Mylife hathin this linesomeinterest, 2 Withoutallbailshallcarrymeaway, 1 Butbecontented when thatfell arrest 136 Translating Shakespeare’s Sonnets... 137 260-62). Watson explains that Sonnet 74, 10 Bihag ng mga uod, makalupa kong laman; kong uod, makalupa 10 Bihag ng mga ng patalim ng isang aba, 11 Nasakop alaala. sa iyong upang mabuhay 12 Napakahamak na diwa, nasa taglay ay nito 13 Ang saysay alaala. sa iyong bersong mabubuhay 14 Laman nitong 5 Kapag ito’y iyong binalikan, alalahanin binalikan, iyong 5 Kapag ito’y itinalaga: 6 Bahaging sa iyo’y ukol; ng lupa, lupang sa kaniya’y 7 Maaangkin ko: sa katauhan mahadlika iyo, ko’y 8 Diwa tining na iniiwan, mo’y ang kawalan gayon 9 Kung 1 Ipanatag iyong kalooban sa marahas na pagdakip na sa marahas kalooban 1 Ipanatag iyong hanggan, walang sa bilangguang 2 Na sa aki’y tatangay binabasa, 3 Aking alintana nasa bersong mabubura. 4 Na magsisilbing alaalang hindi The translation of Sonnet 74 follows. The translation Shakespeare’s Sonnets, Shakespeare’s Tagalog Translation of Sonnet 74 Translation Tagalog persona remains to be looked back to (in Schoenfeldt, 356). back to be looked to persona remains among others, anticipate a time when persons like the young man whom Shakespeare addresses in his sonnets, will bring again what is past. The sonnet ensures that to a of representation the mind speak of the ignobility of the of body the contrary persona’s spirit to in the the importance ( poem, which “with thee remains” those who mourn for the dead. The seventh line which states, “The states, which line seventh The dead. the for mourn who those to the utterance, relates but earth, earth is which can his have due,” twelve to eight Lines return.” shalt thou dust to art, thou dust “from religious religious context of the burial rites mentioned in the seventh line. The expression also imitates the Christian tradition of comforting the fifth to the sixth lines, where the persona asks the to addressee review the part he has dedicated to him, Shakespeare uses the Booth establishes to the according which “consecrated”, expression descendants descendants is reason for the addressee to consider a benefit from the death of the persona. The verse is stated to be a reminder that would be eternal as suggested by “still” modifying “memorial.” In live live on, which is the message of the fourth line. Another is that the verse, taken as valuable property like an estate for inheritance by latter’s life is part of the verse so that through this, his memory would would memory his this, through that so verse the of part is life latter’s Cabaysa... iyo’y itinalaga.” While the earthly existence of the persona ends up ends persona the “sa of existence earthly iyo’ythe itinalaga.” by While expressed addressee the to consecrated is the what leading to colon reader a with ends 6 Line captive. the imprisons who line is meant to maintain this idea second of the “bilangguan..”a in of capture use The like persona. that the of captures that a policeman Watson, Amanda. Watson, Seymour-Smith, Martin. Oxquarry Books Ltd. ______. Stephen. Booth, rhythm andrhyme ofsecondaryconcern. poetic renders language another to translating in effectequivalent the on focus The texts. source the of those to similar effects tonal and semantic producing in appropriate words the concatenate to challenge another is It translation. in challenge a presents phrases wordsand of meanings affect which time, and perceptionscultural of being remembered and forgotten are universal themes, the gap in messages of appreciation empathic for another human being, and the thought an to readers lead experience of anticipating These the end of life’s at passage. Although within. this, looking the of from stance relationships sonneteer’s in the to discussed readers Shakespeare bring of paper this sonnets The Tagalog. of that from translating in imperative is This Shakespeare’s sonnets which have been written in a culture distant text. original the in meanings the into delve must one sonnet, each of message the of receptors Conclusion addressee. where it is due, his spirit, the noble part of him is consecrated to the The translation attempts to retain the thought of death as a force o rdc a efc ta i coet o ht f h oiia to original the of that to closest is that effect an produce To Schoenfeldt. WestSchoenfeldt. Sussex: Blackwell, 2010. laghan, Dympna. Press, 1969. Shakespeare’sSonnets. AnEssay onShakespeare’sSonnets. “Full Character’d”: Competing FormsMemory. of Shakespeare’s Sonnets. Shakespeare’s Sonnets. Shakespeare’s Sonnets. Bibliography 138 London: YaleLondon: University Press, Cal 1977. Accessed December26,2016. London: Heinneman,1963. Oxford: Blackwell, 2007. odn Yl University Yale London: Ed. Michael Ed. -