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Continuing his reflection and work on rhythm, the author shows how a poetics oftranslation can overcome the limits of a theory of sign based on the meaning/formdichotomy. As an alternative to this approach, which situates the poem and thetranslation in a logic of discontinuity, the author proposes that language andtranslation he reconsidered from the viewpoint of the continuity of discourse andthe unity of rhythm. Consequently, translation consists in translating not whatwords say, hut what they do. As an example, the author applies this approach to thetranslation of the famous first two verses of Psalm 22

Traduire ce que les mots ne disent pas, mais ce qu'ils font