Translation is a mode.
To comprehend it as mode one must go back to the original, for that contains the law governing the translation: its translatability. The question of whether a work is translatable has a dual meaning. Either: will an adequate translator ever be found among the totality of its readers? Or, more pertinently: does its nature lend itself to translation and, therefore, in view of the significance of the mode, call for it?

In principle, the first question can be decided only contingently; the second, however, apodictically. Only superficial thinking will deny the independent meaning of the latter and declare both questions to be of equal significance.

It should be pointed out that certain correlative concepts retain their meaning, and possibly their foremost significance, if they are referred exclusively to man. One might, for example, speak of an unforgettable life or moment even if all men had forgotten it.

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If the nature of such a life or moment required that it be unforgotten, that predicate would not imply a falsehood but merely a claim not fulfilled by men, and probably also a reference to a realm in which it is fulfilled. Analogously, the translatability of linguistic creations ought to be considered even if men should prove unable to translate them.

Given a strict concept of translation of certain linguistic creation is called for ought to be posed in this sense. For this thought is valid here: if translation is a mode, translatability must be an essential feature of certain works.

Translatability is an essential quality of certain works, which is not to say that it is essential that they be translated; it means rather that a specific significance inherent in the original manifests itself in its translatability. It is plausible that no translation, however good it may be, can have any significance as regards the original.

Yet, by virtue of its translatability the original is closely connected with the translation; in fact this connection is all the closer since it is no longer of importance to the original. We may call this connection is a natural one, or, more specifically, a vital connection. For a translation comes later than the original, and since the important works of world literature never find their chosen translator at the time of their origin, their translation marks their stage of continued life.

Fidelity and freedom
Fidelity and freedom in translation have traditionally been regarded as conflicting tendencies. This deeper interpretation of the one apparently does not serve to reconcile the two; in fact, it seems to deny the other all justification. For what is meant by freedom but that the rendering of the sense is no longer to be regarded as all important?

Only if the sense of a linguistic creation may be equated with the information it conveys dose some ultimate, decisive element remain beyond all communication, quite close and yet infinitely remote, concealed or distinguishable, fragmented or powerful. In all language and linguistic creations there remains in addition to what can be conveyed something that cannot be communicated; depending on the context in which it appears, it is something that symbolizes or something symbolized.