Christopher Charman

“Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs. Three centuries later, another man, in another country, was trying to render these rhythms and metaphors in a different tongue. This process entailed a prodigious amount of labour, for the necessity of which no real reason could be given. It was as if someone, having seen a certain oak tree (further called Individual T) growing in a certain land and casting its own unique shadow on the green and brown ground, had proceeded to erect in his garden a prodigiously intricate piece of machinery which in itself was as unlike that or any other tree as the translator's inspiration and language were unlike those of the original author, but which, by means of ingenious combination of parts, light effects, breeze-engendering engines, would, when completed, cast a shadow exactly similar to that of Individual T - the same outline, changing in the same manner, with the same double and single spots of sun rippling in the same position, at the same hour of the day. From a practical point of view, such a waste of time and material (those headaches, those midnight triumphs that turn out to be disasters in the sober light of morning!) was almost criminally absurd, since the greatest masterpiece of imitation presupposed a voluntary limitation of thought, in submission to another man's genius.”
― Vladimir Nabokov, Bend Sinister