Homophonic translation

Homophonic translation is generally used humorously, as bilingual punning (macaronic language). This requires the listener or reader to understand both the surface, nonsensical translated text, as well as the source text—the surface text then sounds like source text spoken in a foreign accent.

Homophonic translation may be used to render proper nouns in a foreign language. If an attempt is made to match meaning as well as sound, it is phono-semantic matching.

Examples

Frayer Jerker (1956) is a homophonic translation of the French Frère Jacques. Other examples of homophonic translation include some works by Oulipo (1960–), Frédéric Dard, Luis van Rooten's English-French Mots D'Heures: Gousses, Rames (1967) (Mother Goose's Rhymes), Louis Zukofsky's Latin-English Catullus Fragmenta (1969), Ormonde de Kay's English-French N'Heures Souris Rames (1980) (Nursery Rhymes), John Hulme's German-English Morder Guss Reims: The Gustav Leberwurst Manuscript (Mother Goose's Rhymes), and David Melnick's Ancient Greek-English Men in Aida (1983) (Homer's Iliad).

An example of homophonic transformation in the same language is Howard L. Chace's "Ladle Rat Rotten Hut", written in "Anguish Languish" (English Language) and published in book form in 1956.

English-Latin

A British schoolboy example of Dog Latin:

Other names proposed for this genre include "allographic translation", "transphonation", or (in French) "traducson", but none of these is widely used.

English-French

Here is van Rooten's version of Humpty Dumpty:

The individual words are all correct French. (*fallent is an obsolete form of the verb falloir; Reguennes is an invented proper name), and some passages follow standard syntax and are interpretable (though nonsensical), and the result is not proper French.

Hebrew-Italian

The Italian rabbi Leon of Modena composed at age 13 an octave by the name of "Kinah Sh'mor", meaningful in both Hebrew and Renaissance Judeo-Italian, as an elegy for his teacher Moses della Rocca. The first four verses are below.

Ghil'ad Zuckermann's "Italo-Hebraic Homophonous Poem" is meaningful in both Italian and Hebrew, "although it has a surreal, evocative flavour, and modernist style".

Here is another example of a sentence which has two completely different meanings if read in Latin or in Italian: