Les couacs de Phèdre : quand les grenouilles coassent

Aitia

关键词: translation;    Latinization;    Phaedrus;    Aesop;    ambiguity;    satire;   

DOI  :  10.4000/aitia.8436

来源: DOAJ

【 摘 要 】

All translation tends towards an appropriation of the translated text by the target language. This is the starting postulate of this paper which tries to identify the Latinization of the Aesopic fable in the translation given by Phaedrus (I, 2), in particular in relation to the aesthetic criteria established by Horatius and which predominated in the poetry of the 1st century AD. Phaedrus plays with this appropriation of the model, insofar as he chooses to stage Aesop as the narrator of this poem in a Greek context. The Latin fabulist is indeed all the more easily able to divert Aesopic material, as it is very familiar to the Roman reader, thus leaving him room for implicitness and ambiguity in his translation. However, this diversion of the Aesopic model is not gratuitous: Phaedrus tries to found the Latin genre of the fable. Hence his use of fable-type epithets which help to standardize the Aesopic bestiary into a coherent system, especially with regard to the symbolism of the frog, the embodiment of both the inconsistency of the people and the impudence of weak beings. Phaedrus gives a satirical tone to the symbolic dimension inherent in the fable and which allows it to convey popular wisdom, thus forcing the reader to take on interpretive responsibility. However, up to La Fontaine, satire was a constitutive element of the genre which leads us to say that, though he borrows his material from Aesop, Phaedrus nevertheless founded the modern genre of the fable.

【 授权许可】

Unknown