This article explores the translation of poetic rhythm: not the rhythm of the source text, but the rhythm of the translational act itself. This re-conception of translation’s rhythmic task is enabled by a translation designed for the polyglot, rather than for the monoglot, reader. In this new understanding of translational process, rhythm not only embodies the perceptual and cognitive experience of the translating subject, it also makes more intimate the relationship between language and voice, the linguistic and the paralinguistic. Furthermore, it has as much to do with the space of translation, its distribution on the page, as with its changing temporal modes. The translator, then, does not translate the rhythm of a text so much as a text’s capacity for rhythm, and that capacity includes both espousing the perspective of a translating ‘I’ and releasing what is not linguistically manifest in the source text. These propositions are tested in two translations of Leconte de Lisle’s ‘Midi’.

中文翻译：

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翻译中的节奏，有两个对莱孔特·德·莱尔的《迷笛》的描述

本文探讨诗歌韵律的翻译：不是原文的韵律，而是翻译行为本身的韵律。这种对翻译节奏任务的重新构想是通过为多语言而不是为会语言的读者设计的翻译来实现的。在这种对翻译过程的新理解中，节奏不仅体现了翻译主体的感性和认知体验，也使语言与声音、语言与副语言的关系更加密切。此外，它与翻译空间、它在页面上的分布以及它不断变化的时间模式都有很大关系。那么，译者翻译的不是文本的节奏，而是文本的节奏能力，这种能力既包括支持翻译“我”的观点，也包括在源文本中发布未在语言上表现出来的内容。这些命题在莱孔特·德·莱尔 (Leconte de Lisle) 的《迷笛》(Midi) 的两个译本中得到检验。