Lecture 4. Units of translation

4.1. Classification of Translation Units

The major task of the translator is to be able to find in the original text a minimum language unit (this does not mean the simplest one), which must be translated. In translation theory this unit is called the unit of translation. It is such a unit in SL, which has an adequate equivalent in TL. Such unit may have a complicated form, i.e. it may be composed of simpler language units in the original text. But its parts, if taken separately, are not translated. That is in the target text one can not find equivalents to them, even if in the original language they have their own, relatively independent meanings. Each word, taken separately in word-combinations, given below, does not mean what the entire expression does. Here a word-for-word translation is inadmissible. It means we must not descend here to the word level, but consider the expression on the level of word-combinations; otherwise we will get nonsense, unreadable literal translation:

On cloud nine — very happy: When he got his promotion, he was on cloud nine.

At loose ends — restless, unsettled, unemployed: Jane has been at loose ends ever since she lost her job.

To be at sea (about smth.) — confused, lost and bewildered (as if one were lost at sea): Mary is all at sea about getting married.

To be at sixes and sevens — disorderly, lost and bewildered: Mrs. Smith is at sixes and sevens since the death of her husband.

Begin to see the daylight — to begin to see the end of a long task: I’ve been so busy. Only in the last week have I begun to see daylight.

Every level of language hierarchy assumes a curtain (ascending) position in the language hierarchy and includes the previous levels. Each level of language has its own translation units.

In linguistics we used to think, that a morpheme is a minimum meaningful unit. Even phoneme as a minimum meaningful unit, counts for nothing, though we dare prove the contrary. In translation theory we will move still deeper. We will distinguish even the level of intonation:

1. level of intonation;

2. level of phonemes (for written language — graphemes);

3. level of morphemes;

4. level of words;

5. level of word-combinations;

6. level of sentences;

7. level of a text.

Accordingly, we are interested in the translation on the level of intonation, phonemes (graphemes), morphemes, words, word-combinations, sentences and a text.

4.2. Level of Intonation

The level of intonation is not considered by linguists as a constituent part of the language hierarchy, but in the translation theory it should be paid attention to and analyzed. The level of intonation exists and has a specific, if not great, influence on our speech. The intonation can impart more information, than our words. Vibration of vocal cords — membranes, says sometimes more, than words. Intonation is capable of exacerbating or exaggerating things said, to neutralize or even distort them, disfigure words said — to change their meaning into something absolutely contrary. Intonation reflects our sub-consciousness. It is the very thing, which unites us with the fauna — world of animals. Animals do not understand meanings of words; they identify intonation and react to it. Different groups of animals produce monotonous sounds, their set being limited. Cocks crow, cows — moo, pigs — grunt. Can anyone say much by means of these sounds? But the set, pallet of intonation is infinite in them. The main thing is not what pigs “pronounce” while grunting, but how? In the newspaper “Komsomolskaya Pravda” there was an article “Who Killed Kennedy?” Its main idea is following: it does not matter what a man tells his dog, but how he says it, with what intonation. One man had a dog, which did not react to any of his commands, though it was of a high pedigree. Just because nobody trained it. Still it reacted to the only command and hearing it approached its master and sat down beside him. This happened every time when its master in tone, which did not stand any arguing or negations, asked his dog, “Who killed Kennedy?” It sounds funny, but the article proves the fact that animals understand intonation and not the words said.

The sound “O” can be pronounced with at least forty different intonations, and each of them will have a definite meaning, sometimes much information, which is impossible to compress into one sentence. Intonation and music have much in common. Musical composition can be small, but explanation to it, a critical analysis, may cover dozens of pages. Music and intonation are difficult to explain by words, when we just listen to them we feel how they pronounce to our mind and our heart.

Intonation says much more, than words. We have the expression “to read behind the text” or “between the lines”. A person says something, but his intonation, the way he says it, says something different, it unveils the true meaning of words. It is intonation, and not words, which discloses character of a person, his attitudes, true emotions, etc. So, what is said and how it is said are two big differences, as they say in Odessa. Regarding Odessa and its humour, which is in general is based on a specific Odessa intonation, which might say soooo much. We remember in one of Kartsev’s monologues there is an old a bit naughty joke:

Two very old men are passing by a very old house, in which before the revolution there had been a brothel. One of the elderly sighs heavily (specific intonation). Another old man interrupts him impatiently, “Oh, the hell, stop reminding me, as if I do not remember!!!”

Intonation would unveil absolutely opposite to what is said, fully turning round the entire meaning. There are many anecdotes, where the major humour is based on intonation.

Intonation is music of language. We, translators, must have ear to it, to perceive correctly and reproduce it in translation. We are learning to give ear to language music, its intonation diversity, feel this music by heart, in case we have a desire, inspiration, love to language and the people, who listen to us.

The translator should not overact with intonation. He should imitate intonation, and not distort it or put different stresses or accents.