This article offers a reading of the relationship between original and translated poetry in the work of the seventeenth-century author, diplomat, and translator, Richard Fanshawe. It argues that the physical space between original and translated poetry published in the same volume becomes itself a site of signification. It focuses in particular on the original poem ‘On the Earle of Straffords Tryall’ and the translated sonnet ‘The Fall,’ and on the two examples of self-translation ‘The Escuriall / In Aedes magnificas’ and ‘On His Majesties Great Shippe/ Ad eximiae magnitudinis Navem.’ The relationship between the two sets of poems can be better understood by taking into account their relative positions in the 1648 volume in which they were published, examining them both as independent pieces and as a unit, resulting in a new and extended reading of both sets of poems. In the process, this article argues that in Fanshawe’s work, and in mid-seventeenth-century English literature more broadly, the relationship between original and translated literature occupies a space between independence and continuity, and that translators took to their task with the same energy and creativity as writers of original verse.

中文翻译：

---

之间的空间。在理查德·范肖的原诗和翻译诗之间创造意义

本文提供了对 17 世纪作家、外交官和翻译家理查德·范肖（Richard Fanshawe）作品中原始诗歌和翻译诗歌之间关系的解读。它认为，在同一卷中出版的原始诗歌和翻译诗歌之间的物理空间本身就成为了一个意义场所。它特别侧重于原诗《论斯特拉福兹特里厄尔伯爵》和翻译的十四行诗《堕落》，以及自译《埃斯库里亚 / 在伊蚊中》和《大船陛下》的两个例子。 Ad eximiae magnitudinis Navem。考虑到它们在 1648 年出版的卷中的相对位置，将它们作为独立的作品和一个单元进行检查，可以更好地理解这两套诗之间的关系，导致对这两套诗的新的和扩展的阅读。在这个过程中，本文认为，在范肖的作品中，以及更广泛的 17 世纪中叶英国文学中，原著和翻译文学之间的关系占据了独立性和连续性之间的空间，译者以同样的精力去完成他们的任务。和作为原创诗歌作者的创造力。