The author of this article disregards the theoretical discussion about
most of the so-called problems posed by the translation of poetry. On the
one hand, the translator is viewed as someone who should enforce a poetic
will as he pursues his aim; on the other, what really matters is the outcome,
i.e., the language into which the original poem has been rendered. But,
above all, this final language or practical result of the translating process is
understood to be some intermediate creation bridging up both the
fictitiously distorted source language as well as the non-existing target
language; it is within the purely ideal conveyance of the latter that the
original text in question is sought to be rendered. Without these two equally
figmented factors putting pressure on the translator's task, the
Zwischensprache (intermediate language or final re-creation) would never
come to existence in translating poetry.
