Translation is Absurd!

#1:As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.

• Diction: By using the word “as”, this translation makes Samsa’s realization of the transformation take place during the transition from a sleeping to waking state. This causes the transition to be less distinct; perhaps the transformation into a bug is a waking manifestation of his “uneasy dreams”.
• Syntax: The order of words in the latter part of this sentence is interesting: “He found himself transformed in his bed into a gigantic insect,”. By using this order instead of “he found himself in his bed, transformed into a,” the translator places emphasis on the location of the transformation, instead of the result of the transformation.
• Imagery/details: The preterite form awake used in this translation makes for effective imagery in the line, “As Gregor Samsa awoke one morning from uneasy dreams,”. The reader can picture the normal process of waking up, undergoing the sleepy morning rituals that occur when one is in the process of awaking.
• Structure: In this translation, the author introduces the character in the second word, “As Gregor”. This makes the readers first encounter the original identity of this character, through his name. In the words following this introduction, they see the situation the character is in, bad dreams, and a horrible transformation, but they have a chance to identify with the character before learning of the transformation,

In this translation, the translator initially introduces the readers to the main character with his name: Gregor Samsa. This allows us to quickly identify him as a normal human, like anyone else. The situation is further normalized by the process of waking up “As Gregor Samsa awoke one morning”. This allows the readers to empathize with the situation; they've been there before. And the use of “one morning” highlights that this occurred on one morning out of many comparatively normal mornings Samsa has woken up to.
From here, the line turns strange, but the translator introduces the terrifying situation gradually to the reader. He uses the word “uneasy” to describe the dreams Samsa is awaking from. This diction describes the dreams as relatively mild; not easy, but not terrifying. He then describes what he has found while awakening: that he has transformed. But the translator outlines the context of the transformation: in his bed, the connotation being that this transformation was not intentional. And finally, the diction used to describe the product of the transformation is vivid: “into a gigantic insect”. The word gigantic is extreme; it describes something of vast size. And the word insect that was chosen is relatively specific: an arthropod with six legs and usually a pair of wings, allowing for vivid imagery, and a drastic contrast from the human character presented by the name “Gregor Samsa”.


#2:Gregory Samsa woke from uneasy dreams one morning to find himself changed into a giant bug.

• Diction: When compared to the previous translation, I notice that this translator chooses to us the phrase, “giant bug” when describing Samsa’s transformation. This is a notably less specific description; bug describes a wide range of creepie crawlies. This allows the reader to decide for themselves what form Samsa’s transformation took. Perhaps it was meant to allow readers to project their personal fears and ideas into this situation, filling in the details left blank by this ambiguous word.
• Syntax: By placing the phrase “one morning” between “uneasy dreams" and “to find himself changed”, the translator allows some tension to build. The translator breaks up the abnormality of the situation with the normal phrase “one morning”, making the realization of the transformation more shocking.
• Imagery/details: This translation doesn’t provide as many vivid descriptors as the other three translations do. The imagery that is available is relatively ambiguous: giant provides an element of scale to the scene, besides this, there are few visual or sensory descriptors.
• Structure: I believe this sentence is a simple sentence with one independent clause.

By providing a more ambiguous translation, this translator allows the reader to fill in the visual and descriptive details of the situation. The imagery and details provided are sparse, especially in the description of the transformation: “giant bug”. Although this causes the opening line to be less vivid, it is perhaps truer to the original German and allows readers to draw their own conclusions.
The translator’s word choice throughout plays a role in how readers perceive the situation. To start, this translation says “Samsa woke” and then recognized the transformation, as opposed to the other translations that connect the verbs awake and found. This separation of the two actions makes the distinction between the realization and the waking process explicit; this transformation is not a waking dream, Samsa is fully awake when he notices the change. There are also no pauses in this sentence. Without commas, the reader zips through to the end realization: this man is now a bug! In my view, that’s more of a hook, no pause, just Samsa=bug!

#3:When Gregor Samsa awoke from troubled dreams one morning he found he had been transformed in his bed into an enormous bug.

• Diction: Again in this translation, the translator describes the transformed state as “bug”, allowing for the audience to form their own image of the creature. While the previous two translations have described Samsa’s dreams as “uneasy”, this translation calls them “troubled”. This has a more negative connotation than uneasy, implying that these dreams were truly scary, and not simply uncomfortable. 
• Syntax: This author again chooses to introduce the character within the first few words, allowing for some kind of connection before you find out, “oh he’s a bug”. 
• Imagery/details: In this translation, the translator provides more detail, mentioning that Samsa was in the bed, and that he was an “enormous” bug This allows us to mentally compare the size of the bed to the enormous bug; an unappealing image.
• Structure: I’m not good at this, so this may be wrong, but I think this is another simple sentence, because it is an independent clause with no commas or coordinating conjunctions.

The most significant element of this translation is the structure of the verb transform: “had been transformed”. This implies that someone or thing did the transforming. This, along with the seemingly protected environment of the transformation, the bed, creates an uneasy tone. The syntax of this translation, like the first two, provide a picture of relative normalcy at the beginning of the sentence, “awoke from troubled dreams one morning”. Once the scene is established, it is contrasted with the strangeness of the discovery.
Yet again, in this translation, there is no punctuation used beyond a period. This gives the first sentence no pause, creating an excellent hook. I think in describing the bug, this translator has found common ground, providing a generic definition of the creature, but using an adjective that still conveys the sense of dread that comes form an “enormous” bedbug.


#4:One morning, upon awakening from agitated dreams, Gregor Samsa found himself, in his bed, transformed into a monstrous vermin.

• Diction: Wow. Monstrous vermin! That’s a change! The denotation of vermin is: wild mammals and birds that are believed to be harmful to crops, farm animals, or game, or that carry disease, e.g., foxes, rodents, and insect pests. However, this more general term also has a connotation of a person or group that is not societally acceptable.
• Syntax: This, unlike the other three translations, places Gregor’s name after the description of him waking up. This places the name closer to the description: monstrous vermin, creating a closer connection between his previous identity and his new bug form.
• Imagery/details: This translation is one of three that describes the location of the transformation: the bed. This provides a cringe-worthy contrast between the comfort of a bed and the horribleness of a vermin.
• Structure: I’m unsure of the structure of this sentence, but it is the only translation that utilizes commas. This gives the reader time to think between each piece of information given. No double-take required like the other translations, you are slowly introduced to the scene, step by step.

This translation, with the use of commas and the loaded descriptor, monstrous vermin, has a more slow horror to it. The tone of the sentence is one of terror. The commas are what provide the dramatic pauses between each piece of information. It gives the sentence less of the shock value that the others have, it instead has a sense of growing dread.
And of course, the hyperbolic descriptors, “monstrous vermin” add to this tone. The word monstrous gives the insect a distinctly natural identity; its not just an oversized bug, its something worse. And the word vermin has so many societal connotations. By describing the bug as a vermin, the translator is connecting the monstrousness of the bug to the descriptor that is often used for humans in society.