The author proposes a model for describing the literary translator’s activity which he calls the Rosetta Complex. He considers that the translator’s work is not limited to two language systems. However, his work necessarily implies an extended use of all those languages he has studied. The concept of 'translation of translation' becomes clear when considering the Rosetta Stone, since no one can say which of the three languages it encompasses is indeed the translation and which the translation of the translation. Therefore, the Rosetta Complex is defined as the direct or indirect influence of all languages of which the translator has knowledge upon his version of a specific language text translated into another specific language. This concept will be studied more in-depth in part two of this article.