{'fraction_non_alphanumeric': 0.04147031102733271, 'fraction_numerical': 0.0, 'mean_word_length': 5.555555555555555, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Lyrical Mode of Translating

The translator has a minor part in Woolf’s fiction, but recurs throughout her novels, from Ridley (The Voyage Out) to Dodge (Between the Acts). Similarly, essays, reviews, and letters show her cross-cultural and trans-historic thinking via Greek, French, and Russian translations. She helped define Hogarth Press’s energetic commissions of translations and engaged in translations and co-translations herself. All these translational transactions share a vivid sense of the alluring sounds, cadences, and scripts of words spoken ‘foreignly’, heard across temporal, geographical or atmospheric boundaries. Translating invokes an intensely dialogic, sensuous encounter with the materiality of language-forms experienced as an almost musical performance, lifting words from the page and voicing them. This chapter explores the cultural and political resonances of Woolf’s translator as a ‘Wandering Anon’, ‘a simple singer, lifting a song or a story from other people’s lips, in the uncouth jargon of their native tongue’ (‘Anon’).