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Do I have to compare to you with the day of a summer?
You are more beautiful and more moderate.
The rough winds shake the dear buds of May,
and the hiring of the summer has all too short date.
Formerly too hot the eye of the sky shines,
and is often its darkened gold dye,
and each fair of fair decreases formerly,
by chance or the changing course of nature untrimmed.
But your summer eternal fade,
neither destroy the possession of that fair which you have,
nor death will praise you wander with his nuance,
while in the eternal lines to time you grow.
Provided that the men can breathe or the eyes can see,
thus long lives this, and this gives you the life.
Now, if we take that and shoot it into German and back, we get:
Do I have to compare with you with the day of a summer?
They are more beautiful and more moderately.
The dear buds of May shake the rough hoist,
and the adjustment of the summer has completely to short date.
In former times too hot the eye of the sky shines
and is frequently its colluded gold colouring,
and each fair of the fair is reduced in former times,
coincidentally, or the modifying course of nature untrimmed.
However your summer time out eternal fades,
neither destroys the possession of fair what you has,
still death will praise you more wander with its nuance,
while into the eternal to determine you grow line.
Presupposed the fact that the men can breathe, or who can see eyes,
then lives long this, and this gives you the life span.
"Published under the auspices of the International Federation of Translators
(FIT), Translators through History is organized around nine themes
that illustrate the main areas in which translators have distinguished
themselves through the ages. Nearly fifty scholars from twenty different
countries have helped to compile this survey which takes the reader through
Europe, the Americas, and into Africa, India and China. "
"Reuven Tsur has developed a theory of Cognitive Poetics, and applied
it to rhyme, sound symbolism, poetic rhythm, metaphor, poetry and altered
states of consciousness, period style, genre, archetypal patterns, translation
theory, the
implied critic's decision style, and critical competence. In his books
and articles he applied his theories to English, French, German, Hungarian,
and Hebrew poetry, ranging from the eleventh to the twentieth century.
His Perception-Oriented Theory of Metre includes a theory of the rhythmical
performance of poetry which, after 25 years of agonising search, he found
a way to submit to an instrumental investigation. Currently he is involved
in this instrumental research."