Методическое пособие По дисциплине «Перевод художественных текстов»

There can be no argument that the translator of literary works should achieve a close relationship between the theory and practice of translation. The translator necessarily takes into account such matters as the aim of the translation, the temporal and geographic gap between the creation of the source text and possible readers of the target text, the cultural gap between the original author and the reader of the translation, the kind of reader the target text is intended for, etc.

Prose is the kind of literature not cast in poetical measure of rhythm. Prose has the rhythm of its own, based on a different principle to poetry: it is syntactic and compositional rather than metrical.

From the point of view of composition, one should measure such features as the structure and distribution of descriptions in a text; the character and comparative length of dialogues; the character and comparative length of account of events; the number of authorial digressions; etc. Even the size and number of paragraphs are rhythmically important. The variety of personal names, the proportion of verbs and nouns, and the number of adjectives also contribute to the complex rhythm of a work of literary prose. A succession of similar sentences may make the text sound monotonous; too many exclamatory sentences may result in affected rather than affective rhythm. Perhaps one of the most perfidious enemies of good prose rhythm is an unnecessary word or wordiness as such. Too many words in a text are perceived as a nuisance, produce an effect of incoherence between form and content, and make the reader weary or irritated.

We can distinguish such types of prose rhythm as epic, lyrical, picaresque, philosophical, etc. Epic rhythm manifests itself in extensive descriptions, a large number of characters, a variety of dialogues and monologues, a detailed account of events, and substantial authorial digressions. The characters are mostly well modeled and varied in types. The action develops unhurriedly, in details, while the plot may be rather simple or, on the contrary, intricate. Overall, such a rhythm may remind us of a symphony with its rises and falls and with a diversity of instruments, from a solo clarion to the complete orchestra. Translating a piece of such prose, the translator needs to use the of a techniques conductor in order not to let the orchestra run wild.

The lyrical type of the rhythm appears in the predominance of description and monologues over account of events and dialogues. Authorial digressions may also occur but have a lighter tone and impressionistic manner. Characters in this type are less resolute and more sensitive than those in an epic composition. We may find a musical parallel to it in a symphonic poem or a fantasy, though sometimes it may sound like the lonely voice of a flute. To translate prose based on such a rhythm one need be very sensitive to the order of words or clauses in a sentence, the impressionistic value of words in a description or digression, or the comparative functions of exclamatory and other emphatic structures in both the source and target languages.

The picaresque type is vivid and dynamic with a lesser role allotted to descriptions. Its characteristic features are brief dialogues, swift progress of events, and rapid change of places and moods of action. The plot develops fast, sometimes reminding one of a kaleidoscopic pattern. The stylistic devices mostly used in such a narrative are plays on words, irony, antiphrasis, hyperbole, litotes and the like as effective instruments of satire and humor. Contrast is not infrequently used to create a special effect of affection or comic irony. One of the most difficult aspects of such a text for translation lies in probable gaps between the national senses of humor or personal receptiveness of the translator to irony in words and situations. For this type of prosaic rhythm the choice of words as translation substitutes strongly depends on the dynamics of the text; longer words in the target language may appear inappropriate if they do not fit the swift episode of the composition.

Slowest and most sophisticated of all is the rhythm of a philosophical piece of prose. It uses longer sentences, the logical structure of which may be quite complicated. The vocabulary of such pieces is often very specific, rare words included, as well as quotations in foreign languages.

It is not an easy task to assess the rhythm of a prose piece as a type of narrative but it is possible for a n attentive reader. What makes translation of creative prose even more difficult is its cultural background that may be strange or even wholly alien to the target culture. When we translate a piece of literary prose, we take into consideration its narrative type and do whatever is possible to reconcile the national traditions within this type. When those traditions coincide or do not differ greatly, it may be easy to follow the source text narrative. When the source tradition differs greatly from the target one, it is productive to pursue a middle course between the source and target traditions in the target text. When the source tradition has no correspondence in the target culture, it is a challenge for a translator to fill the gap by creating a target text that might adequately represent the source tradition as something valuable, productive or just fascinating.

The architectonics of the prose source text needs to be fully reconstructed by a translator unless the target text is merely a form of literary digest. The succession of chapters, length of narration, descriptions and dialogues, authorial digressions, and other components should be thoroughly measured and presented in the target text without arbitrary additions or omissions, let alone any replacement.

The association of the source text with other cultural phenomena or texts may be implicit. One such complication is quotation in a foreign language. For instance, many prose pieces in English literature are rich in French or Latin words, phrases or formal literary quotations given without translation in the source text. Another associative problem appears in the connection with overt and covert quotations and allusions to sources not familiar to the target culture, or at least, not so obvious. In such a case the translator has the double task of recognizing the source quotation and identifying its translation, i. e., in supplying a note with the name of the translator chosen or the publication details.

Another problem that a translator may face with literary prose is cultural assumptions. A target reader belonging to a different cultural tradition may perceive an ironical or humorous source text as chaotic or dull if the target culture does not share common conceptions of irony. The same may appear true with text of high emotional tension if the emotions are associated with phenomena strange or alien to the target culture.

• 
  Always learn as much as possible about the author and literary tradition of the source text.
  
• 
  Do not start to translate straight off with the first sentence of the text until you have read it at least twice.
  
• 
  Study semantic, stylistic and rhythmic values of the names in the text so as not to pass over the chance to select the right forms for them in the target language.
  
• 
  Consider not only the forms but also expressive functions of the words and sentences in the text.
  
• 
  While making pre-translation analysis, identify all units of the text which may present a translation problem of a certain linguistic status.
  
• 
  Consider the comparative associative force of the equivalent vocabulary units.
  
• 
  Thoroughly measure the rhythmic pattern of the text on all levels of perception, from sounding of names to general compositional structure.
  
• 
  Do not forget to read aloud what you have written in translation to compare it with the source rhythmic and phonic image.
  
• 
  Try to find a similar text in the target cultural tradition that will prove useful in your translation efforts.
  

Task for comparison:

Everybody said it was a real beautiful oath, and asked Tom if he got out of his own head. He said, some of it, but the rest was out of pirate – books and robber – books, and every gang that was high – toned had it.

Some thought it would be good to kill the families of boys that told the secrets. Tom said it was a good idea, so he took a pencil and wrote it in. Then Ben Rogers says:

"Here's Huck Finn, he hain't got no family; what you going to do 'bout him?"

"Well, hain't he got a father?" says Tom Sawyer.

"Yes, he's got a father, but you can't never find him these days. He used to lay drunk with the hogs in the tanyard, but he hain't been seen in these parts for a year of more."

They talked it over, and they was going to rule me out,
because they said every boy must have a family or somebody to
kill, or else it wouldn't be fair and square for the others. Well,
nobody could think of anything to do—everybody was stumped,
and set still. I was most ready to cry; but all at once I thought
of a way, and so I offered them Miss Watson.—they could kill
her. Everybody said:

"Oh, she'll do. That's all right. Huck can come in."

Then they all stuck a pin in their fingers to get blood to sign with, and I made my mark on the paper.

"Now," says Ben Rogers, "what's the line of business of this Gang?"

"Nothing, only robbery and murder," Tom said,

"But who. are we going to rob?—houses, or cattle, or—“

"Stuff! stealing cattle and such things ain't robbery; it's burglary,” says Tom Sawyer. “We.ain't burglars. That ain't no sort of style. We are highwaymen. We stop stages and carriages on the road, with masks on, and kill the people and take their watches and money."

"Must we always kill the people?”

"Oh, certainly. It's best. Some authorities think different, but mostly it's considered best to kill them—except some that you bring to the cave here, and keep them till they're ransomed.”

"Ransomed? What's that?"

"I don't know. But that's what they do. I’ve seen it in books; and so of course that's what we've got to do.”

"But how can we do it if we don't know what it is?"

"Why, blame it all, we've got to do it. Don't I tell you it's in the books? Do you want to go to doing different from what's in the books, and get things all muddled up?"


Марк Твен

Гекельберри Финнің басынан кешкендері

Екінші тарау

Бұл антқа барлығымыз да қуанып, риза болдық. Осындай тамаша антты өзің ойлап шығардың ба деп сұрадық Томнан. Том кейбір жерлерін өзі ойлап шығарғанын, ал қалғанын теңіз талаушылары мен қарақшылар туралы ескі кітаптардан оқығанын, әрбір әжептәуір шайка осындай ант беруге тиіс екенін айтты. Балалардың біреуі шайкаға опасыздьқ істеген баланың бүкіл семьясын қоса өлтірген жөн болар еді дегенді шығарды. Том бұл өте дұрыс пікір деп айтты. Бен Роджерс тұрып:

Мына Гек Финнді қайтеміз? Мұның туысқандары
жоқ, бұл үшін кімді өлтіреміз? — деді.

Мұның әкесі бар ғой,—деді Том Сойер.

—Барын бар-ау, бірақ оны қайдан іздеп табасың.
Бұрын ол мас болып, осында тері илейтін жерде шошқа
арасында жатушы еді, бір жылдан бері көрінбей кетті ғой.
Қарақшылар кеңесе келіп, әрбір қарақшының тиісті кезде өлтіруге болатын туысқан адамы болуы тиіс, сондықтан мені шайкаға алу шайканың басқа мүшелеріне қиянат істегендік болады деп тауып, тізбеден шығармақшы болды. Жыларман болып отырғанымда мисс Ватсон есіме түсе кетті. Егерде мен күнәлі бола қалсам, мисс Ватсонды өлтіруге болады ғой, бұл ойымды барлығы да мақұлдады.

-Өте жақсы!—деді қарақшылар.— Мисс Ватсон кәдеге жарайды. Дұрыс. Гекті шайкаға алуға болады.

Осыдан кейін әрқайсымыз бір тамшы қан шыға-
рып, анттың аяғына өз атымызды қанмен жазу үшін сау-
сағымызға ине сұқтық. Мен де қағазға өз белгімді салдым.

—Сонымен, қарақшылардың бітіретін жұмысы не болды? — деп сұрады Бен Роджерс.

—Талау, тонау, кісі өлтіру! — деп жауап берді Том.

-Кімді, нені тонаймыз? Үйлерді талаймыз ба, әлде малын айдап әкетеміз бе, әлде...

-Не деп былшылдап отырсың! — деп, Том зекіп тастады.— Мал ұрлау деген жай ғана ұрлық болады. Біз
ұсақ-түйек ұрлаушылар емеспіз. Біз қарақшылармыз
Бұл анағұрлым маңыздырақ. Біз маска киеміз де, үлкен жолдардың бойын күзетеміз, почта тасушыларға, жолаушыларға тап береміз, кісі өлтіріп, сағатын, ақшасын аламыз!

— Содан әрдайым өлтірумен боламыз ба?

Әрине. Өлтіргеніміз дұрыс. Рас, кейде басқаша да
істелетін көрінеді, ал әдетте қарақшылар өлтіруге тиіс...
Тіпті кейбіреулерін осы үңгірге алып келіп, төлеу алған-
ша ұстауымызға болады.

-Төлеу дейсің бе? Төлеу деген немене?

-Білмеймін, білмеймін... Бірақ қарақшылар осылай
істейтін көрінеді. Барлық кітаптарда да осылай дейді, сондықтан біз де осылай істеуіміз керек.

-Өзіміз білмейтін нәрсені біз қалай істейміз?

— Бәрібір біз істеуіміз керек. Кітапта осылай деп жазылған деп айтып отырмын ғой мен сендерге.

Марк Твен

Приключение Гекельберри Финна

Глава 2
Все сказали, что клятва замечательная, и спросили Тома, сам он ее придумал или нет. Оказалось, кое-что он придумал сам, а остальное взял из книжек про разбойников и пиратов, - у всякой порядочной шайки бывает такая клятва.

Некоторые думали, что хорошо бы убивать родных у тех мальчиков, которые выдадут тайну. Том сказал, что это не дурная мысль, взял и выписал ее карандашиком.

Тут Бен Роджерс и говорит:

-А вот у Гека Финна никаких родных нет; как с ним быть?

-Ну и что ж, ведь отец у него есть? – говорит Том Сойер.

-Да отец – то есть, только где ты его теперь разыщешь? Он, Бывало, все валялся пьяный на кожевенном заводе, вместе со свиньями, но вот уже больше года его что–то не видно в наших краях.

Посоветовались между собой и уж совсем собрались меня вычеркнуть, потому что, говорят, у каждого мальчика должны быть родные или кто- нибудь, кого можно убить, а то другим будет обидно. Ну, и никто ничего не мог придумать, все стали в тупик и молчали. Я сперва чуть не заплакал. А потом вдруг придумал выход: взял да и предложил им мисс Уотсон – пускай ее убивают. Все согласились.

-Ну что ж, она годится. Теперь все в порядке. Гека принять можно.

Тут все стали колоть себе пальцы булавкой и расписываться кровью, и я тоже поставил свой значок на бумаге.

-Ну, а чем же эта шайка будет заниматься? - спрашивает Бен Роджерс.

-Ничем, только грабежами и убийствами.

-А что же мы будем грабить? Дома, или скотину, или…

-Чепуха! Это не грабеж, если угонять скотину и тому подобное, это воровство, - говорит Том Сойер. - Мы не воры. В воровстве никакого блеску нет. Мы разбойники. Наденем маски и будем останавливать дилижансы и кареты на большой дороге, убивать пассажиров и отбирать у них часы и деньги.

-И непременно надо их убивать?

- Ну еще бы! Это самое лучшее. Некоторые авторитеты думают иначе, но вообще считается лучше убивать – кроме тех, кого приведем сюда в пещеру и будем держать, пока не дадут выкупа.

-Выкупа? А что это такое?

-Не знаю. Только так уж пологается. Я про это читал в книжках, и нам, конечно, тоже придется так делать.

-Да как же мы сможем, когда не знаем, что это такое?

-Ну, как – нибудь уж придется. Говорят тебе, во всех книжках так, не слышишь, что ли? Ты что же, хочешь делать все по – своему, не так, как в книжках, чтобы мы совсем запутались?

EXERCISES FOR COMPARISON

• 
  Read more about Mark Twain and his works, especially The Adventures of Huckleberry Finn
  

• 
  Analyze the stylistic and conceptual features of the source text and choose the key words in it.
  
• 
  Identify special features of Twain's syntax and their con­nections with characters and situation.
  
• 
  Identify the major components and type of rhythm in the source text, including its vocabulary, syntax, style and cultural background.
  
• 
  Figure out the major concepts of the text.
  
• 
  Compare the choice of words in the source and target texts and observe the difference in the range of meaning and sty­listic value that may occur in translation.
  
• 
  Pay attention to the colloquial words and analyse whether the tone of them changes in translation.
  
• 
  How can you comment on the usage of grammatical contracted forms?
  
• 
  Identify the components added and omitted in the trans­lation and comment on their causes and effects.
  
• 
  Evaluate the source and target texts in general.
  

Task for comparison:

Well, three or four months run along, and it was well into the winter now. I had been to school most all the time and could spell, and read, and write just a little, and could say the multiplication table up to six times seven is thirty – five, and I don’t recon I could ever get any further than that if I was to live forever. I don’t take no stock in mathematics, anyway.

At first I hated the school, but by – and – by I got so I could stand it. Whenever I got uncommon tired I played hockey, and the hiding I got next day done me good and cheered me up. So the longer I went to school the easier it got to be. I was getting sort of used to the widow’s ways, too, and they warn’t so raspy on me. Living in a house and sleeping in a bed pulled on me pretty tight, mostly, but before the cold weather I used to slide out and sleep in the woods, sometimes, and so that was a test to me. I liked the old ways best but I was getting so I liked the new ones, too, a little bit. The widow said I was coming along slow but sure, and doing very satisfactory. She said she warnt ashamed of me.

One morning I happened to turn over the salt-cellar at breakfast. I reached for some of it as quick as I could to throw over my left shoulder and keep off the bad luck, but miss Watson was in ahead of me, and crossed me off. She says, “Take your hands away, Huckleberry; what a mess you are always making!” The widow put in a good word for me, but that warn’t going to keep off the bad luck.. I knowed that well enough. I started out, after breakfast, feeling worried and shaky, and wondering where it was going to fall on me, and what it was going to be. There is ways to keep off some kinds of bad luck, but this wasn’t one of them kind; so I never tried to do anything, but just poked along low-spirited and on the watch out.

I went down to the front garden and clumb over the stile where you go through the high board fence. There was an inch of new snow on the ground, and I seen somebody’s tracks. They had come up from the quarry and stood around the stile and while, and then went on around the garden fence. It was funny they hadn’t come in, after standing around so. I couldn’t make it out. It was very curious, somehow. I was going to follow around, but I stopped down to look at the tracks first. I didn’t notice anything at first, but next I did. There was a cross in the left boot – heel made with big nails, to keep off the devil.

Марк Твен

Гекельберри Финнің басынан кешкендері

Төртінші тарау

Шабан, бірақ тура жолмен алға басу. Ырым

Осылай үш-төрт ай өтті.Қыста түсті . Ынталанып мектепке барып жүрдім, ежіктеп, жазуға үйрендім, бес-жеті- отыз беске дейіен көбейту кестесінде үйреніп алдым; осыдан кейін оқуға бармай қойдым, жүз жыл оқысамда осыдан артық ештене үйрене алмаспын деп ойладым: иатематикаға тіпті зейінімде жетпейді.

Бастапқы кезде мектепті тіпті жек көріп жүрдім, кейін бірте бірте үйреніп кеттім. Оқудан мүлде зерігіп кеткен кезімде кетіп қалып, көшеде тентіреп жүретін болдым, келесі күні мұғалім ұрысқанда тұнығып, есім кіріп қалады, ал мектепке барған сайын маған жеңілірек бола берді. Сол сияқты жесір Дугластың үйіндегі тәртіпке де бірте –бірте үйрене бастадым, олда бұрынғыдай қолайсыз көрінбеді; жалғыз ақ төрт қабырғаның ішіндегі тұрмыс, төсекте жатып ұйықтау әлі де болса ешбір ұнамай ақ қойды; үскірік түскенше мен түнге қарай қашып шығып, орман ішіне барып, таза ауада рақаттанып ұйқымды қандырып жүрдім. Бұл жаңа тұрмысқа қарағанда бұрынғы еркіншілік тұрмысты анағұрлым артық көрем, ал мен үшін жаңа тұрмыс та жаман болған жоқ. Жесір Дуглас маған «шабандау, бірақ тура жолмен алға басып келесін, қазір сен үшін ұятқа қалмайтын болдым» деді. '

Бір күні таңертең мен тамақ ішіп отырғанымызда, тұз салған сауытты төңкеріп алдым. Тұз төгілген жаман әдет дегенді естуім бар еді, жалма-жан төгілген тұзды уыстап алып сол жақ иығымнан асырып шашып жібермекші болып жатқанымда, мисс Ватсон тап берді.

—Тарт қолыңды, Гекльберри-деп шаңқ ете түсті.
-Әрдайым сен осындай ақмақтық істеп отырасың.
Жесір Дуглас мені арашалап көріп еді, бірақ ол да мені
бәледен құтқара алмады. Сондықтан мен мұңайып стол
басынан тұрдым да, бір сұмдықтың боларын сезіп үйден
шықтым.

Бақты айналып өттім де, биік тақтай шарбақтан секіріп түстім... Түнде қар жауған еді, ап-анық бір із жатыр. Із тура тас алатын жерден келіп бақшаны бір айналып өтті де, бақ ішіне кіріп жойылып кетті. Бұған мен таң-тамаша қалдым. Бұл не іздеген адам екен? Ізді анықтап қарай бастадым. Әуелі бұл іздің ешқандай өзгешелігі жоқ сияқты болып көрінді, сонсоң өзіме таныс бір белгі көрдім; зәрем ұшып қорқып кеттім. Сол аяқтың ізінің өкшесінде жуан екі шегенің кірес таңбасын көрдім, бұл жын-шайтан жоламасын деп істелетін ырым болатын.

Ну так вот, прошло месяца три или четыре, и зима уж давно наступила. Я почти что каждый день ходил в школу, научился складывать слова, читать и писать немножко и выучил таблицу умножения наизусть до шестью семь-тридцать пять, а дальше, я так думаю, мне нипочем не одолеть, хоть до ста лет учись. Да и вообще я математику не очень люблю.

Сперва я эту самую школу терпеть не мог, а потом нечего, стал прывыкать понемножке. Когда мне,бывало,уж очень надаест, я удеру с уроков, а на следующий день учитель меня выпорет; это шло мне на пользу и здорова подбадривала. Чем больше я ходил в школу,тем мне стоновилась легко.И ко всем порядкам у вдовы тоже мало-помалу привык-как-та притерпелся. Всего тяжелей было приучаться жить в доме и спать на кровати; только до наступления холодов я все-таки иной раз удирал на волю и спал в лесу,это было вроде отдыха. Старое житье мне было больше по вкусу,но и к новому я тоже стал прывыкать,оно мне начело даже нравиться. Вдова говорила, что я исправляюсь понемножку и веду себя не так уж плоха.Говорила, что ей за меня краснеть не приходится.

Как-то утром меня угораздило опракинуть за завтроком солонку. Я поскорей схватил щепотку соли,чтобы перекинуть ее черес левое плечо и отвести беду, но тут мисс Уотсон подоспела некстати и остоновило меня. Говорит.«Убери руки, Гекльберрй! Вечно ты насориш кругом!»Вдова за меня заступилась, только поздно, беду все равно уже нелза было отвест,это я отлично знал. Я вышел из дому,чуствуя себя очень неважно, и все ломал голову, где это беда надо мной стрясется и какая она будет. В некоторых случаях можно отвести беду, только это был не такой случай, так что я и не пробовал ничего делать, а просто шатался по городу в самом унылом настроении и ждал беды.

Я вышел в сад и перебрался по ступенькам через высокии деревянный забор. На земле было с дюйм только что выпавшего снега, и я увидел на снегу следы: кто – то шел от каменоломни, потоптался немного около забора, потом пошел дальше. Странно было, что он не завернул в сад, простояв столько времени у забора. Я не мог понять, в чем дело. Что – то уж очень чудно… Я хотел было пойти по следам, но сперва нагнулся, чтобы разглядеть их. Сначала я ничего особенного не замечал, а потом заметил; на левом каблуке был набит крест из больших гвоздей, чтобы отводить нечистую силу.
EXERCISES FOR COMPARISON

• 
  Read the whole story in English and think over its content and style.
  
• 
  Read the whole translated version and think about the general impression of the text.
  
• 
  Study the keywords in the source text and their stylistic value.
  
• 
  Compare the source keywords with the translated version and decide if the counterparts are adequate.
  
• 
  Study the translation of the source colloquialisms and see where the translator resorts to transformations. Are any other variants possible?
  
• 
  Study the grammatical irregularities of the source text and compare them with their translation substitutes.
  
• 
  Identify the narrative type of the text and the corresponding rhythmic pattern. See whether it is appropriately reproduced in translation.
  
• 
  What words or phrases in the source text require the translator’s comments?
  
• 
  Study the losses and additions in the translation compared to the source text.
  
• 
  Sum up your ideas about the translation.
  
• 
  See what you would change in the translation and/ or give your
  

Two or three days and nights went by; I reckon I might say they swum by, they slid along so quiet and smooth and lovely. Here is the way we put in the time. It was a monstrous big river down there – sometimes a mile and a half wide; we run nights, and laid up and hid daytimes; soon as night was most gone we stopped navigating and tied up—nearly always in the dead water under a tow-head; and then cut young cottonwoods and willows, and hid the raft with them. Then we set out the lines. Next we slid into the river and had a swim, so as to freshen up and cool off; then we set down on the sandy bottom where the water was about knee-deep, and watched the daylight come. Not a sound anywheres —perfectly still—just like the whole world was asleep, only some­times the bullfrogs a-cluttering, maybe. The first thing to see, looking away over the water, was a kind of dull line—that was the woods on the other side; you couldn't make nothing else out; then a pale place in the sky; then more paleness, spreading around; then the river softened up, away off, and warn't black any more, but gray; you .could see little dark spots drifting along, ever so far away—trading-scows,and such things; and long black streaks -rafts; sometimes you could hear a sweep screaking; or jumbled-up voices, it was so still, and sounds come so far; and by-and-by you could see a streak on the water which you know by the look of the streak that there's a snag there in a swift current which breaks on it and makes that streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log cabin in the edge of the woods, away on the bank on t'other side of the river, being a wood-yard, likely, piled by them cheats so you can throw a dog through it anywheres; then the nice breeze springs up,: and comes fanning you from over there so cool and fresh, and sweet to smell, on account of the woods and the flowers; but sometimes not that way, because they've left dead fish laying around, gагs and such, and they do get pretty rank; and next you've got the full day, and everything smiling in the sun, and the song-birds just going it!