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Resumen: This article focuses on Josep Maria de Sagarra's translations of Shakespeare's plays. It starts by offering an overview of clandestine translation under Franco's regime, it considers the social impact of later reeditions and analyzes the translation criteria employed in his translations of Shakespeare's plays: Sagarra's is a natural fictive orality meant not to be read aloud but rather to be staged, and his use of formal resources like rhythm and rhyme distinguish him from his predecessors (Magí Morera i Galícia and Cèsar August Jordana) and followers (Marià Manent). Finally, the article analyzes the reception that Sagarra's translations have had.

Resumen: The airn of this article is to identify the translation strategies involved in the adaptation of Shakespeare's pentameter into Catalan. The paper compares Shakespeare's pentameter (which is characterised by flexibility, naturalness and evolution over time) with the adaptation made by Catalan translators: the most usual line, the decasyllable (sually containing a masculine caesura on the 4th syllable) is felt to be too rigid and monotonous by some translators, and is regarded as too short to accommodate the meaning ofShakespeares péntametric line. In order to overcome these limitations, some translators use two techniqoes: polimetry and alternative line breaks. These practices have some advantages: they promote metrical variety and, in the case of polimetry, they allow the translator to lengthen the line; the result is verse that, in terms of flexibility, variety and naturalness, resembles Shakespeare's much more than verse made up exclusively of traditional 4+6 decasyllables. Yet, polimetry and the combination of caesured and uncaesured lines have some disadvantages: if practised in excess, these translation procedures inhibit the perception of rhythm and, in the case of polimetry, ignore the metrical evolution that exists between Shakespeare's early and his middle and late plays.