Self-paced
The translator of poetry must realize that word-for-word equivalents do not exist across languages, any more than piano sounds exist in the violin. ███ ██████ ████ ████████ ████ ████████████ ███ ████ █████ ██ ███ ██████ ███ ████ ██ ███ █████████ ██ ██████ ██ ███ ██████ ███ █████████████ ██ ███ ██████ ██ ████ ██ ██ ███ ████████ ████████████
Stimulus Summary: Analogy
The stimulus sets up an analogy, though we're not given the conclusion or "point" of the analogy. We're told that translators of poetry should recognize that "word-for-word equivalents" don't exist in different languages, just like "piano sounds" don't exist in the violin. Yet, we're told, the violin can play the "same music" as the piano, but only if the violinist is guided both by the violin's own "nature and possibilities" and by the original composition for the piano.
1.
As applied to the act ██ ███████████ ██████ ████ ███ ████████ ████ ████████ ███ ███████ █████ ███ ████ ██ ██████████ ██ ██████ ████
a
poetry cannot be ███████████ ██████████ ████████ ██████ ██████ ██ ██ ████████ ██ █████ ████ ████████ ████████
Incorrect. The analogy is not trying to point out how poetry is different from music. It's actually pointing out a similarity between the translation of poetry and the translation of music.
b
some languages are ██████████ ████ ███████ ███ ████ ████████ ██ ██████ ███████████ ████ ██████
Incorrect. (B) "blurs the lines" between poetry and music: the argument isn't talking about some languages being musical. It's saying that, just like music can be "translated" from one instrument to another if certain necessary conditions are met, so too can poetry be translated from one language to another if certain conditions are met.
c
the translator should ██ █████████ █████████ ████ ███████████ ███ ███████ ███ █████ ████████ ██ ███ █████████ ███ ████ ████████████ ███ ███████ ███████
Incorrect. The analogy doesn't give us enough detail for us to say that a translator should focus "primarily" on rhythms and sound patterns of poetry, rather than meaning. For this to be the conclusion, the stimulus would have to tell us that the violinist would have to focus on certain characteristics of the piece of music rather than others. But this isn't what the stimulus says: instead, the stimulus says that the violinist should focus both on the original piece of music (we're not told what specific aspects) and on the qualities of the instrument, the violin.
d
the translator must ███████ ███ ██████ ██ ███ ████████ ███ ████ ███ █████████ ██ ██████████ ████ ████████████ ███ ████████ ████ █████ ███ ████████ ██ ██████████
Correct. This lines up well with the analogy. Just as the violinist must focus both on the original composition and the qualities of the violin itself, so too must the translator focus both on the original poem and on the qualities of the language into which it is being translated.
e
poetry is easier ██ █████████ ██ ██ ███████ ██ █████████████ ████████ ██ ███████ ████████████ ██████ ████ ██ ██████████ ███████████
Incorrect. The analogy doesn't give us any basis for saying that poetry is easier to translate if it focuses on one thing instead of another.