The main problem you have to face when translating
Moby Dick is the singularity of its prose, its oddness. As you try to render it
in another language you have to choose between a more conventional option and a
more unusual one. Given that Melville’s language was in fact unusual, it might
seem that the second option is the right one. But the problem is that the
oddness of Melville’s language was a very artistic oddness, and the one of your
translation might very well end in nothing but clumsiness. So, most translators
tend to opt for a safer conventional prose. A radical translation would be one that tries to render Melville's neologisms with neologisms in the end language or that tries to do the same with sentences hardly understandable in the source language. I still can remmember the time it took for me to decide how to translate sentences like this one:
Can we, then, by the citation of some of those
instances wherein this thing of whiteness – though for the time either wholly
or in great part stripped of all direct associations calculated to impart to it
aught fearful, but, nevertheless, is found to exert over us the same sorcery,
however modified; – can we thus hope to light upon some chance clue to conduct
us to the hidden cause we seek?
or even more simple phrases like infantileness of ease undulates through a Titanism
of power.Fernando