Empanados is something similar with chebureks, they are very hot, tasty
and big.” Here we have three realias: the main external Spanish -
empanados that is explained as Russian national pies and one regional
Caucasus – chebureks. In the translation one should keep the main realia
because it stands in the center of the author’s attention and other
realias should be substituted for neutral.
Analogisms and anachronisms.
Let’s suggest that a translator working at a novel about Indian life
decides to use only means of his own language, without admitting strange
realias and he substitutes pagoda for temple, sari for dress or national
suit, akhoby he substitutes for man-launder, etc. As a result of such
national coloring extermination specific Indian features of the novel
will vanish: it will be possible to consider any place as a place of act
or this place is neutral, uncolored, nameless country. This method leads
to coloring losing that spoils very much any translation. The mark of
this translation is bad.
But it is worse when a translator substitutes origin realias for realias
from his own language. Doing it he also substitutes coloring of the
translated work for a strange coloring. If we wear a Kazak in Bulgarian
aba or anteria, tsarvulis, iamurluk, if we make him drink a wine from
buklista and to eat banitsa, a reader will recognize a Sofian shope but
not a Kazak.
And it will be the worst translation when a translator conveys original
means of motley words of different coloring and when a mixture of realias
takes place. For example, translated into Russia novel For Freedom by St.
Dichev. A redactor substitutes Bulgarian, Turkish, Greek and other
realias for regional and national realias of Soviet Union. Historical
realias he substitutes for modern words. Therefore Bulgarian gadulka was
turned into Ukraine bandura, gamurluk was turned into Caucasus burka,
pastarma was described as dried meat and Bulgarian banitsa was conveyed
as Russian pie. Several historical notions closely tied up with Bulgarian
culture have totally lost their national content. As a result of such
vicious attitude to the realias translation a reader gets unclear,
contradictory notions about described reality; the novel loses its
cognitive meaning and bright national coloring and considerable part of
its literary merits. Here we speak about distortion of original images in
the result of substitution of national and historical realias for not
characteristic to it realias, in other words, about leading to analogisms
and anachronisms in a text. Analogisms and anachronisms are realias that
do not correspond to local and time surrounding of origin text.
For example, we face with the word guillotine in the Bulgarian
translation of Sheakspear’s work: “Essex slowly mounted the guillotine.”
The mistake is not very grave from temporal point of view. There already
existed the machine for execution in XVI – XVII centuries in Italy and
Scotland and also in France where Duke de Monmorancy was beheaded with
the help of such machine. The mistake is that famous doctor Josef Ignak
Giyoten invented his machine that got his name only 200 years later. Here
we see the translator’s history unknowing. Of course, the word scaffold
should be used there. We can see it from the context: “ He slowly
mounted…” One can never mount the guillotine but only scaffold.
The reason of such mistakes regarding national and historical coloring is
connected with author’s or translator’s personality, his unknowing of
real facts and historical situation and sometimes their unknowing of some
principal positions of theory translation, for example, about bad results
of strange realia substitution for a realia from translator’s native
language.
CONCLUSION.
In 1827 Goethe wrote that translating labor was and remains one of the
most important and worthy matters connecting the entire universe
together. These words characterize translator as creative person who
carries works beyond the limits of one national culture and who serves
to people giving these fruits of this culture, created in new language
form or vice versa, including achievements of other nations in his
national science and culture. It is one of the evidences of the huge
human role of translation in the history of human civilization.
Every national culture solving its problems carries its contribution in
treasuring house of literature creating something that belongs only to
it, has significance for all nations and proves that there are not small
or big nations or inferior languages.
Extending of national culture confines with the help of translation has
a great positive and enriching influence on the language. It is true
that together with the translation many new ideas, discoveries, notions
and so on penetrate in the language and it leads to the appearance of
new language elements and figurative meanings. This fact is very
important while translating from literary language that is not fully
developed. Therefore the literary language enriches figurative
possibilities, national culture, and spiritual development of this
nation. Creative beginning of translation is premise of creative
attitude to native language, its source of faith in its possibilities
and beauty. Concerning this point the translator also has another task
to defend his native speech from borrowings-parasites that clog and make
it ugly, from strange forms that artificially could crowd out its own
national coloring.
The task and mission of the translator especially the translator of
feature literature is defense of the riches and beauty of the native
language, its unlimited abilities to convey all that is kept in the
greatest masterpieces of world literature.
Translated literature can also be the indicator of condition, degree of
development of national language. Poetical translation of Shakespeare’s
works by Boris Pasternak that are very rich, refined and expressive in
language might not appear if Russian language of his time remained on
the same level of development. In this case concrete condition of our
national language at the times of B. Pasternak can be put as condition
and factor of development of poetical and translating talent and vice
versa Pasternak's works are great contribution in the development of
Russian language.
The level of translated literature, the quality of translation also
assists to the development of national beginning in the literature of
nation.
"National beginning of literature, - I. R. Beher wrote, - is defined
with the fact of preservation, proceeding and creative development of
other literatures. The choice of elements that adopt it from literature
of other nations shows its own character and is judged if its indeed
national originality no."
Bibliography.
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"Министерство Перевода". Сборник статей. 1969. М., "Советский писатель",
1970.
2. Лилова А. Введение в общую теорию перевода. "Высшая школа" М., 1985.
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во I МГПИПЯ, 1968.
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достижения). – М., 1981.
APPENDIX.
In the appendix the author of this course paper analyses the preservation
of national coloring in the English novel written by Jane Austen Price and
Prejudice translated into Russian and stories Chameleon and Yonich written
by Anton Chekhov translaten into English. These both books are not the best
example swhere the national colorin gexists. But it is possible to judge
about the preservation of national coloring even basing on these books.
The preservation of English national coloring will be given at first.
1. ‘He came down on Monday in a chaise and four to see the place, and was
so much delighted with it that he agreed with Mr Morris immediately;
that he is to take possession before Michaelmas, and some of his
servants are to be in the house by the end of next week.’
В понедельник он приезжал туда в карете, запряжённой четвёркой
лошадей, осмотрел поместье и пришёл в такой восторг, что тут же
условился обо всём с мистером Моррисом. Он приезжает к михайлову дню,
и уже в конце будущей недели туда приедет кое-кто из его прислуги.
