For example, the English "sat on a wall" /ˌsæt ɒn ə ˈwɔːl/ is rendered as French "s'étonne aux Halles" [setɔn o al] (literally "gets surprised at the Paris Market").
[2] 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),[3] and David Melnick's Ancient Greek-English Men in Aida (1983) (Homer's Iliad).
(*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), but the result is in fact not meaningful French.
The Italian rabbi Leon of Modena composed at age 13[8] 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.
Ghil'ad Zuckermann's "Italo-Hebraic Homophonous Poem"[10] is meaningful in both Italian and Hebrew, "although it has a surreal, evocative flavour, and modernist style".
Nicolet, אני קוֹלֵט che tale dá: קטע לידה ... My heart is languishing, the fire is a witness.
Here is another example of a sentence which has two completely different meanings if read in Latin or in Italian: An accidental homophonic transformation is known as a mondegreen.
The term has also been applied to intentional homophonic translations of song lyrics, often combined with music videos, which have gained popularity on the internet.