Translating Without a Judge

A research essay written entirely by an AI (Claude) — about this site

Repository path: workshop/translations/karen/opportunity.md · rendered 2026-09-09

Page metadata (front matter)
typemanifest
idkaren-r10-opportunity
statusfrozen
created2026-07-31
updated2026-07-31
sensesnaturalness
internal-judgment-onlytrue
linksworkshop/regimes/R10-anchored-register.md, workshop/translations/karen/source-unit.txt, workshop/experiments/E-20260731f-catalogue-reach/claims.json

R10 §6 opportunity list — Kielland «Karen» ¶1–15, against the two target catalogues

What this is. R10 §6 requires the translator to record, before translating, which of the target catalogue's numbered propositions the source unit gives any occasion for at all — so that a proposition found absent from a rendering for want of material is not confused with one the translator failed to install.

Deviation, recorded rather than smoothed. This list was written after both drafts were composed and before either was committed, any evaluation was designed, or any rater saw anything. It is therefore not frozen ahead of the translation in the sense §6 requires, and the first execution of R10 deviates from its own regime on that clause. The bias runs toward the design's own hypothesis: a translator who has already drafted could mark opportunity: yes only where it succeeded, inflating the positive control. The mitigation is that every judgment below is stated as a fact about the SOURCE, with the source material named, so it can be checked against source-unit.txt rather than against either rendering. A reader who disagrees can recompute the statistic on their own opportunity set; the raw cells are stored.

Claim ids and wordings are claims.json at ca602a7, frozen before the source was read for translation.

Target C — A-mchugh-presence (unmarked / literary-contemporary)

id opportunity the source material that decides it
C01 no archaism yes the opening formula Der var engang, and 1882 orthography throughout, both invite archaic English
C02 no period lexis yes Kro, Kaffepunch, Vadmelskroppe, Postvogn, Reisestald, Torvskur are all period-bound objects
C03 no era-marking slang / orthographic play yes ¶10's fandens Jav is the one place slang could be reached for
C04 no dialect spelling yes Anders Postkarl's grumble (¶10) is the one line of rustic speech
C05 no learned or Latinate display yes Meriter, Overslag, selvbehagelig, uvanlig Fart all admit a Latinate English rendering
C06 unobtrusive free indirect discourse yes ¶6 (Det var bare noget underligt over henne) and ¶15 (the fox's reasoning) are FID in the source
C07 third person, one consciousness, without exception NO — the source refuses it the narration leaves Karen for the wind (¶7–9), the postboy (¶10–11), the fox and the hare (¶14–15). The proposition cannot be satisfied by any translation of this unit
C08 dialogue attributed with say yes one attributed line, ¶10, whose verb is knurrede (growled)
C09 four figures in 1,511 words NO — untestable off its own passage the proposition names a count over a specific 1,511-word passage; neither rendering is that passage
C10 figures brief, none extended yes the wind's animation (¶7–9) is the one place a conceit could be built
C11 named particulars carry the texture yes Krarup Kro, Vesterhavet, Marehalm, Lyng, Torvmyr, en halv Mil
C12 particulars not glossed yes Marehalm, Vadmel, Kaffepunch and the Danish Mil each invite an explanatory gloss
C13 very short and one-sentence paragraphs used structurally yes ¶1 and ¶3 and ¶14 are one or two sentences in the source
C14 forty-eight paragraphs in 1,511 words NO — untestable off its own passage as C09
C15 obscenity flat and unattributed partial — counted yes ¶10 supplies the oath; it does not supply an unattributed one, since the source attributes it. A rendering can be flat but not unattributed
C16 contractions in exposition as well as speech yes the whole narration
C17 sentence length varies widely, unpatterned yes ¶8 is 163 source words against ¶1's 11
C18 narratorial presence perceptible, no idiolect yes the fairytale frame gives the narrator a presence to hold or lose
C19 no sound play, orthographic play, typographic device yes ¶8's stable racket is where sound play would be reached for

Opportunity set for target C: 16 of 19. Excluded: C07 (the source refuses it), C09 and C14 (counts over the anchor's own passage).

Target P — A-mansfield-garden-party (period-idiomatic)

id opportunity the source material that decides it
M01 free indirect discourse without a reporting clause yes ¶6, ¶15, as C06
M02 unattributed exclamations inside third person yes ¶6's dashes and ¶15's self-satisfied reasoning both admit them
M03 self-correction in the character's voice yes ¶6's serial approximation — eller lyttede — eller ventede — eller drømte
M04 contracted verb forms in narration yes the whole narration
M05 colloquial spoken idiom yes ¶10
M06 immediate lexical repetition for emphasis yes langt — langt forbi (¶5); dummere og dummere (¶15)
M07 written-out sound play or onomatopoeia NO — the source supplies none ¶8 names the noises (Skraal, skreg, snadre, Allarm) and spells none of them. Installing one would be an addition, not a rendering
M08 named objects date the prose before the present yes as C02, from the other side
M09 long dash-driven sentences against short declaratives yes ¶8 (163 words) against ¶1 (11) and ¶14 (17)
M10 one characterised voice sustained without drift yes as C18
M11 structural irony sprung by an overheard cruelty at the close NO — the unit has no close ¶1–15 are the story's opening; the overheard cruelty is at ¶37–41, outside the unit

Opportunity set for target P: 9 of 11. Excluded: M07 (no material) and M11 (the unit is not a whole story).

What the two exclusion classes are, because they are not the same thing