VI. Stylization in the Process of Translation

Generally speaking, stylization means using in the process of translation such language devices, which have no stylistic correspondences in the source language text. Thus, stylization requires translating the typical peculiarities of author’s individual style or completes re-orienting the style of the text that leads to losing basic common features of the target language text comparing with the source language text.

Science which studies variation in the language (style) dependently on the situation in which language is used and also the effect the writer or speaker wants to create for the reader or listener is called stylistics.

Style can be defined as a variety or modification of the literary language; manner of language expressing in different areas, conditions and forms of communication (oral or written); selection and usage of language resources in different literary genres; the art of a word.

A language as the social phenomenon accomplishes different functions related to one or the other sphere of human activity. The major public functions of a language include intercourse, reporting and influence. The separate varieties of a language were formed to realize these functions. These varieties are characterized by the presence of special lexical and phraseological devices etc. that are used exceptionally or mainly in the given variety of a language. These varieties are called functional styles. Being closely interconnected with the content, purposes and tasks of an utterance, the styles differentiated by interlinguistic signs that are the principles of selection, combination and organization of the national language devices.

Thus, functioning in different areas of public life, a language acquires typical stylistic features, which unite language sings in the system of functional styles according to their functional intention and role.

In English five main styles are distinguished:

1. Scientific style (function of reporting).

2. Official style (function of reporting).

3. Publicist style (function of influence).

4. Belles-lettres style (function of influence).

5. Colloquial style (function of communication).

It should be marked that the mentioned styles are frequently intertwined; therefore, for example, a function of influence, reporting and communication can be accomplished in the publicist style at the same time. Combination of two functions such as aesthetic and communicative is typical for the language of fiction literature.

The basic part of the linguistic material used in any functional style consists of the general linguistic and interstylistic devices. The functional styles do not form the closed systems, as there is wide interaction between these styles. At the same time there is a tendency to strengthen differentiation of the language devices into separate styles that allows to speak about forming of new styles, such, as popular scientific, industrial and technical styles etc. Though popular scientific, industrial and technical styles possess undoubted originality of the used language devices in them, must not be torn away from the scientific style that generated them with which they are interconnected by the function of reporting and the major lexical and grammatical resources.

Owing to developing the system of language on the whole and to continuous interaction of the functional styles their limits are undergoing changes in time. Characterizing any style, it is necessary to take into account the separate stylistic categories that form the system of the given style. Most frequently styles are compared on the basis of their lexical filling, as the distinction between them is well seen in area of vocabulary.

The functional styles can be divided into two groups, related to the special types of speech. The first group that includes scientific, publicist and official styles characterizes monologue speech. For the second group formed by different types of colloquial style, the dialogic speech is a typical form.

Each one of the given styles is characterized by the particular features, which help to define it, and to choose out the most appropriate words and word-combinations in the process of translation.

1. Scientific style is characterized by the following features:

1. Subjectivity.

2. Objectivity.

3. Generalization.

4. Precision.

5. Laconic brevity.

6. Cogency.

7. Analysis.

8. Synthesis.

9. Argumentation.

10. Logic sequence of introducing information.

11. Monosemantic nature of words and word-combinations (predominantly terms).

12. Conclusions.

Scientific style belongs to the book styles of the literary language that are characterized by general conditions of functioning and linguistic devices such as its preliminary deliberation of utterance, monologue character, strict selection of language devices and language standardization.

The development of the scientific style is caused by the evolution of different areas of scientific knowledge, the varied areas of human activity.

The characteristics of the scientific style are its self-descriptiveness, richness of content, logicality or strict sequence, distinct connection between a basic idea and details, exactness and objectivity etc. Separate texts belonging to the given style can possess these features in a greater or lesser extent. However, the texts of scientific style mainly use linguistic devices that satisfy the requirements of the given area of intercourse.

A scientific style is widely used. It is one of the styles that have strong influence on the literary language. The scientific and technical revolution introduces an enormous quantity of terms into universal language practice.

A term is a word or combination of words that name an object, a phenomenon or science notion exactly and unambiguously.

With the development of science the monosemantic special terms can acquire connotations and become the multiple-valued scientific terms, and the latter one can lose the values and become monosemantic terms.

Both the words exceptionally used within the framework of the given style, and special meanings of the national words can be applied as terms. Terms must provide the exact pointing on the real objects and phenomena, and set the single meaning understood by the specialists of the information passed. Therefore the special requirements are set to this type of words.

First and foremost, a term must be exact, i.e. have the strictly defined meaning that can be exposed by logical determination. For example, if some quantity is called «scalar» («скаляр»), then the meaning of this term must correspond to the determination of notion «a quantity that has magnitude but no direction» which links it with the other notions used in determination as «magnitude», «direction». If some detail of a scope is called «viewfinder» (видошукач), this term only must designate this detail that accomplish definite functions, and no other parts of the given device or some other device.

On the same reasons a term must be monosemantic and independent of a context. In the other words, it must have the exact meaning indicated by its determination in all cases of its using in a text.

A term must be a part of the strict logical system. The meanings of terms and their determination must be submitted to the rules of logical classification, distinctly distinguishing objects and notions without vagueness or contradiction.

And, finally, a term must be the especially objective name, deprived of some secondary meanings that distract attention of the reader. In this connection a term must be deprived of the emotionality, metaphorical meaning, any associations etc.

However, terms only do not make a vocabulary. With the exception of terms scientific style uses scientific and common-used words. The most numerous among the lexical and stylistic devices used in the scientific literature are similes. The phenomena are realized by similarity and analogies that are necessary for determining identity of the object, fact, process described.

Determination of the phenomena by using descriptions with the help of the exact data (numbers, pictures, graphs etc.) is the characteristic feature of the scientific style. However, if the exact data are absent, the analogy is widely used in the scientific text.

The aim of the scientific style is to inform about results of scientific research, give explanations, systematize knowledge etc, which can be reached with the help of using particular language devices such as terms, schemes, tables, scientific stable expressions, quotations, references, complex syntactic constructions, so on.

For example:

Direct current motors have been widely used in many industrial applications such as electric vehicles, steel rolling mills, electric cranes, and robotic manipulators due to precise, wide, simple, and continuous control characteristics. Traditionally rheostatic armature control method was widely used for the speed control of low power direct current motors. However the controllability, cheapness, higher efficiency, and higher current carrying capabilities of static power converters brought a major change in the performance of electrical drives. Speed control of separately excited DC motor. American Journal of Applied Sciences, March, 2008 by Moleykutty George.

Двигуни постійного току широко використовувалися в багатьох промислових галузях у якості електромобілів, сталепрокатних станів, електричних кранів та маніпуляційних роботів завдяки таким характеристикам регулювання, як точність, простота, легкість і довготривалість використання. Традиційно склалося, що метод реостатного регулювання струму та напруги значною мірою використовувався для керування швидкості роботи двигунів постійного току при низьких затратах енергії. Однак, керованість, дешевина, висока ефективність та високе допустиме навантаження статичних інверторів призвело до суттєвої зміни у функціонуванні електричних двигунів. Переклад: Камалія Готті.

2. Official style is characterized by the following features:

1. Documentary.

2. Standard arrangement of a material.

3. Stability (using traditionally established forms).

4. Laconic brevity.

5. Precision.

6. Narrative character of exposition.

7. High standardization of expression.

8. Strict text regulation.

9. Tendency to the use of difficult suggestions reflecting the logical submission of some facts to the other ones.

10. Almost complete absence of emotional and expressive linguistic devices.

Among book styles the official style is notable for its relative stability. Of course in time it is exposed to some changes caused by the character of the content itself. But many of its features that have been formed historically such as specific vocabulary including phraseology, syntactic constructions give it conservative tone.

The typical feature of the official style is a presence of numerous language standards or clichés. If in the other styles stereotyped constructions turn out to be a stylistic failure, they are perceived as its fully natural belonging in the official style texts.

Many types of business documents have the generally accepted forms of exposition and arrangement of its material. It is not accidental that the prepared forms intended to fill only are used in business practice. Official style is a style of documents such as international agreements, state acts, legal laws, regulations, instructions, office correspondence, business papers etc.

Heterogeneity of themes and variety of genres allow distinguishing two varieties in the official style such as official documentary style and official business style. In the same turn, it is possible to mark out the language of the legislative documents in the official documentary style. In the official business style an office correspondence between establishments and organizations and private business papers are differed by their content, genres and character of the used linguistic devices.

The aim of the official style is to regulate official business relationships of the participants involved in state official and industrial areas, which can be reached by using standardized official vocabulary (clichés), complex sentences, strict logic introducing of information, strict regulation of placing and building the text, absence of author’s language individuality, limitation of synonymy etc.

For example:

CONVENTION for the Protection of Human Rights and Fundamental Freedoms Article 5 Right to liberty and security Everyone has the right to liberty and security of person. No one shall be deprived of his liberty save in the following cases and in accordance with a procedure prescribed by law: 1. the lawful detention of a person after conviction by a competent court; 2. the lawful arrest or detention of a person for non-compliance with the lawful order of a court or in order to secure the fulfilment of any obligation prescribed by law; 3. the lawful arrest or detention of a person effected for the purpose of bringing him before the competent legal authority on reasonable suspicion of having committed an offence or when it is reasonably considered necessary to prevent his committing an offence or fleeing after having done so; 4. the detention of a minor by lawful order for the purpose of educational supervision or his lawful detention for the purpose of bringing him before the competent legal authority; 5. the lawful detention of persons for the prevention of the spreading of infectious diseases, of persons of unsound mind, alcoholics or drug addicts or vagrants; 6. the lawful arrest or detention of a person to prevent his effecting an unauthorised entry into the country or of a person against whom action is being taken with a view to deportation or extradition. 2. Everyone who is arrested shall be informed promptly, in a language which he understands, of the reasons for his arrest and of any charge against him. 3. Everyone arrested or detained in accordance with the provisions of paragraph 1.c of this article shall be brought promptly before a judge or other officer authorised by law to exercise judicial power and shall be entitled to trial within a reasonable time or to release pending trial. Release may be conditioned by guarantees to appear for trial. 4. Everyone who is deprived of his liberty by arrest or detention shall be entitled to take proceedings by which the lawfulness of his detention shall be decided speedily by a court and his release ordered if the detention is not lawful. 5. Everyone who has been the victim of arrest or detention in contravention of the provisions of this article shall have an enforceable right to compensation. Convention for the Protection of Human Rights and Fundamental Freedoms. Electronic Information System for International Law. 22 October 2007.	КОНВЕНЦІЯ про захист прав людини і основоположних свобод Стаття 5 Право на свободу та особисту недоторканність 1. Кожен має право на свободу та особисту недоторканність. Нікого не може бути позбавлено свободи, крім таких випадків і відповідно до процедури, встановленої законом: a) законне ув’язнення особи після засудження її компетентним судом; b) законний арешт або затримання особи за невиконання законного припису суду або для забезпечення виконання будь-якого обов’язку, встановленого законом; c) законний арешт або затримання особи, здійснене з метою допровадження її до компетентного судового органу за наявності обґрунтованої підозри у вчиненні нею правопорушення або якщо обґрунтовано вважається необхідним запобігти вчиненню нею правопорушення чи її втечі після його вчинення; d) затримання неповнолітнього на підставі законного рішення з метою застосування наглядових заходів виховного характеру або законне затримання неповнолітнього з метою допровадження його до компетентного органу; e) законне затримання осіб для запобігання поширенню інфекційних захворювань, законне затримання психічнохворих, алкоголіків або наркоманів чи бродяг; f) законний арешт або затримання особи з метою запобігання її недозволеному в’їзду в країну чи особи, щодо якої провадиться процедура депортації або екстрадиції. 2. Кожен, кого заарештовано, має бути негайно поінформований зрозумілою для нього мовою про підстави його арешту і про будь-яке обвинувачення, висунуте проти нього. 3. Кожен, кого заарештовано або затримано згідно з положеннями підпункту «c» пункту 1 цієї статті, має негайно постати перед суддею чи іншою посадовою особою, якій закон надає право здійснювати судову владу, і йому має бути забезпечено розгляд справи судом упродовж розумного строку або звільнення під час провадження. Таке звільнення може бути обумовлене гарантіями з’явитися на судове засідання. 4. Кожен, кого позбавлено свободи внаслідок арешту або тримання під вартою, має право ініціювати провадження, в ході якого суд без зволікання встановлює законність затримання і приймає рішення про звільнення, якщо затримання є незаконним. 5. Кожен, хто є потерпілим від арешту або затримання, здійсненого всупереч положенням цієї статті, має забезпечене правовою санкцією право на відшкодування. Європейська конвенція про захист прав людини і основоположних свобод. Із змінами і доповненнями, внесеними Протоколом N 11 від 11 травня 1994 року.
CONVENTION for the Protection of Human Rights and Fundamental Freedoms Article 10 Freedom of expression 1. Everyone has the right to freedom of expression. This right shall include freedom to hold opinions and to receive and impart information and ideas without interference by public authority and regardless of frontiers. This article shall not prevent States from requiring the licensing of broadcasting, television or cinema enterprises. 2. The exercise of these freedoms, since it carries with it duties and responsibilities, may be subject to such formalities, conditions, restrictions or penalties as are prescribed by law and are necessary in a democratic society, in the interests of national security, territorial integrity or public safety, for the prevention of disorder or crime, for the protection of health or morals, for the protection of the reputation or rights of others, for preventing the disclosure of information received in confidence, or for maintaining the authority and impartiality of the judiciary. Convention for the Protection of Human Rights and Fundamental Freedoms. Electronic Information System for International Law. 22 October 2007.	КОНВЕНЦІЯ про захист прав людини і основоположних свобод Стаття 10 Свобода вираження поглядів  1. Кожен має право на свободу вираження поглядів. Це право включає свободу дотримуватися своїх поглядів, одержувати і передавати інформацію та ідеї без втручання органів державної влади і незалежно від кордонів. Ця стаття не перешкоджає державам вимагати ліцензування діяльності радіомовних, телевізійних або кінематографічних підприємств. 2. Здійснення цих свобод, оскільки воно пов’язане з обов’язками і відповідальністю, може підлягати таким формальностям, умовам, обмеженням або санкціям, що встановлені законом і є необхідними в демократичному суспільстві в інтересах національної безпеки, територіальної цілісності або громадської безпеки, для запобігання заворушенням чи злочинам, для охорони здоров’я чи моралі, для захисту репутації чи прав інших осіб, для запобігання розголошенню конфіденційної інформації або для підтримання авторитету і безсторонності суду. Європейська конвенція про захист прав людини і основоположних свобод. Із змінами і доповненнями, внесеними Протоколом N 11 від 11 травня 1994 року.

Publicist style is characterized by the following features:

1. Logic argumentation.

1. Brevity of exposition of a material when there is a plenty of information.

2. Precision of expressing the scientific statements.

3. Selection of the linguistic devices easily understood (especially it concerns to newspapers that are one of the most widespread types of mass information).

4. The use of language stereotypes or clichés, which are typical for the given style.

5. Emotional and expressive figurativeness.

6. Using the variety of lexical and stylistic devices such as epithets, similes, metaphors etc.

7. Presence of social and political vocabulary and phraseology.

In the publicist style the linguistic function of influence (the agitations and propagandas) and informative function (the report of news) that combined distinctly are realized. In publicist style texts the questions of wide thematic variety that are of interest for society such as political, economic, moral, philosophical, cultural, educational, every day life etc. are affected. The publicist style finds an application in social and political literature, periodic printing (newspapers, magazines), political statements etc.

Not all of the indicated features are evenly presented in all newspaper genres, and not all of them are typical for publicist style. Hard stylistic fixedness of lexical and grammatical devices is a comparatively rare phenomenon. However, their primary usage in any style, adaptation of words, words-expressions and language constructions of one style for the purposes of the other one, i.e. their functional usage, is a characteristic feature of the publicist style.

The distinction in the stylistic description of the separate newspaper genres is related to their different functions. Some genres, such as chronicle note, reporting, interview, correspondence etc. pursue, first of all, informing purposes and are close to an official style or business language by the methods of presenting information.

The newspaper articles are written in the publicist style. The themes, exactness of word usage, standardization of language in organization of linguistic material, support on the data of modern science, make these articles close to the scientific works.

An interpretation expressed with using the social and political vocabulary relates them to publicist style as well. Finally, such genres as essay, satirical article, and pamphlet combine the peculiarities of the publicist and belles-lettres styles.

Depending on the theme and genre in the publicist style a various vocabulary and phraseology is widely used. Some part of it is made by the social and political vocabulary and word-combinations fixed in the publicist style such as «democracy», «democratic freedoms», «election campaign», «agitational propaganda», «progressive», «political party», «political demonstration», «strike» etc.

The considerable part of the vocabulary of newspaper style is made by the general literary words and different terms that belong to the area of science, art, sport etc. They can be reconsidered and acquire a publicist colouring in the context, for example, «cockpit», «friendly atmosphere», «cultural contacts», «next round of talks» etc.

The different language stereotypes (clichés) are widespread in the newspapers. Such phenomenon is explained by the accessible perception of the information by the readers and listeners. This is the easy reproduction of the stereotyped language formulas, automation of the process of reproduction, facilitation of communication that permits to save efforts and time.

Not infrequently the clichés that are often used become stock phrases and lose the figurativeness. For example, such expressions as «give the green light», «black gold», «blue fuel» etc. became stereotyped.

However, it should be noted that the tendency to standardization of the newspaper’s language is opposed to the tendency to strengthening the expressiveness, filling the narration with words and word-combinations from other styles, in particular, from the colloquial one. Many publicist genres such as essay, satirical article, pamphlet, polemic article etc. are characterized by the free use of resources of the national language, including its expressive devices (epithets, metaphors, similes etc.).

The publicist articles are remarkable for their large emotional content, enthusiasm and pathos, while the force of their influence is naturally related with the brightness and expressiveness of the language.

The aim of the publicist style is to discuss, dispute and propagandize essential public ideas, assist in public development, solve public and political problems, influence on readers actively, encourage activity, which can be reached by using public and political terms, emotionally and expressively coloured words, rhetorical questions, repetitions, exclamations, intonation of expression (irony, sarcasm, admiration, anger etc.), precise names of events, dates, places and participants, polysemantic nature of words, which can influence on readers most of all.

For example:

Health care costs and coverage have become a dominant force in almost everyone’s life over the course of the past fifty years. Before many workers change employment, they must weigh the costs of changes in health coverage. Many people are left out of the insurance market, either because they can’t get it or can’t afford it. Patients complain that doctors don’t listen anymore and are anxious to slap their physician with a lawsuit for the slightest imperfection in care. Physicians are tired of struggling under mountains of paperwork from the government and insurance companies when all they want to do is treat patients. Health care in the twentieth century: a history of government interference and Protection, Business Economics, April, 1993 by Terree P. Wasley.	Впродовж останніх 50 років головною проблемою в житті кожної людини стали витрати на медичне обслуговування та медичне страхування. Перед тим як змінити місце роботи, кожен працівник має зважати на можливу зміну витрат на покриття медичної страховки. Велика кількість людей змушена залишатись поза сферою медичного страхування через неможливість отримати подібну страховку або через відсутність коштів на страхові виплати. Пацієнти скаржаться, що законодавці більше не рахуються з ними, а єдиним своїм клопотом вважають розпочинати судові справи проти лікарів за найменші недоліки в роботі. Лікарі втомилися протистояти їм, розбираючись з купою документів від керівництва та страхових кампаній, в той час, як єдиним їх бажанням є займатись лікуванням пацієнтів. Переклад: Камалія Готті.
The United States is now plunging into a fundamental overhaul of its assistance to developing nations, demanding that applicants for a rich new source of financing prove their worthiness. Already, countries from Bolivia to Bangladesh are competing to be among the winners. But the new account is already altering traditional aid flows. All but five countries in Latin America, for example, are ineligible for the Millennium Challenge because their per capita incomes are too high. New System Begins Rerouting U.S. Aid for Poor Countries. Published: February 22, 2004 by Christopher Marquis.	В даний час Сполучені Штати Америки прагнуть істотно переглянути допомогу країнам, що розвиваються, висуваючи вимогу до претендентів на нове джерело фінансування довести свою вартісність. Вже зараз відбувається конкуренція між країнами починаючи з Болівії та Бангладешу за право зайняти місце серед переможців. Однак розрахунки свідчать, що зміни вже відбуваються у традиційних надходженнях фінансової допомоги. Так наприклад, територіальні місцевості у Латинській Америці, за виключенням п’яти з них, не мають права отримувати фінансову допомогу від керівництва фонду «Millennium Challenge», оскільки прибуток на душу населення є зависоким. Переклад: Камалія Готті.
In the ХХI century of science, technology, and education etc., the globalization of informative networks changes the physical methods of work, teaching, and traveling, that is controlled from distance. Already today it is possible to speak about that distribution of facilities and forms of communication, such as television, broadcast, press, Internet and e-mail that got global character, practically uniting all the countries into single informative space. Owing to general distribution of information and technologies of communication, digital technique, satellite television, Internet and virtual reality of computers came into our everyday life. Already now, people can «travel» all over the world with the help of TV and Internet. Everyone can receive any kind of information they want. Besides, there are high-technological educational computer programs and TV shows, from which people can know about other countries, as they, somehow, were there personally. Camalia Ghottie «The development of TV and the Internet will soon make tourism absolute».	У ХХI столітті, що славиться розвитком науки, технології, освіти та ін. глобалізація інформативних мереж змінить фізичні методи роботи, навчання та туристичних мандрівок, що будуть керуватись на відстані. Вже сьогодні можна говорити про розповсюдження таких засобів і форм спілкування, як телебачення, радіомовлення, засоби масової інформації, Інтернет та електронна пошта, що набули глобального масштабу, таким чином, практично поєднуючи всі країни в єдиний інформаційний простір. Завдяки загальному розповсюдженню інформації та комунікативних технологій, цифрової техніки, супутникового телебачення, Інтернет і віртуальна реальність комп’ютерів увійшла у наше щоденне життя. Вже тепер, люди можуть «мандрувати» по всьому світу за допомогою телебачення та Інтернету. Кожен може отримати потрібну йому інформацію будь-якого роду. Крім того, існують високотехнологічні освітні програми та телевізійні шоу, з яких люди можуть дізнатися про інші країни світу, так, немов, відвідали їх особисто. «Розвиток телебачення та Інтернету надасть необмежені можливості для туризму», Переклад: Камалія Готті.

Belles-lettres style is characterized by the following features:

1. Figurativeness.

2. Poetry.

3. Aesthetics of expression.

4. The unity of aesthetic and communicative functions.

5. The events are represented through prism of intellect and author’s reflection and are directed to readers or listeners.

6. Using the variety of lexical and stylistic devices.

7. The development of author’s individuality.

The belles-lettres style participates in accomplishing the social function of influence by the language. The fiction literature is the area of language usage and its aesthetic function is one of the forms of functioning a language etc. The belles-lettres style is not delimited from the other linguistic styles sharply. All the variety of linguistic styles is concentrated in it. The aesthetic and communicative function of the fiction literature is connected with the special method of expressing the thoughts that notably distinguishes this style from all the others. The aesthetic function of language of the fiction literature is not additional at all. Thus, in poetry it takes the first place.

Being a part of general literary language, the language of the fiction literature oversteps its limits at the same time to pass the national colouring and create specific speech features of the acting persons. Fiction literature uses dialectal words, slangy words, popular language etc. as an expressive device. The archaisms that are words fallen out of the daily vocabulary and are replaced by synonyms are used on the stylistic purposes as well. Their basic purpose in the fiction literature is to create the historical colouring of the epoch. They are also used to strengthen solemnity, pathetic emphasis of the language and serve a device of creating irony, satire, parody etc. However, in these functions archaisms are applied not only in the fiction literature but are met in the publicist articles, newspapers and epistolary genre etc.

The word in the literary context is the nominative and communicative unit but it serves the device of creating literary expressiveness and image. The figurative meaning of a word is conditioned by its literary motivation, its place in the content of the work.

The peculiar feature of the fiction literature is the character of an author or narrator not as direct reflection of author’s personality but as its original transformation. The selection of words, syntactic constructions, intonational picture of phrases serves for creation of speech character of an author or narrator who generates the whole tone of narration and the literary work.

The aim of the belles-lettres style is to influence on people’s thoughts and emotions, form ideological beliefs, moral qualities and aesthetic tastes, which can be reached by using all varieties of language devices, especially words with indirect meaning, emotional and expressive coloured words, different kind of synonyms, antonyms, homonyms, phraseology, all types of sentences etc.

For example:

«Too much of yourself in it! Upon my word, Basil, I didn’t know you were so vain; and I really can’t see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made out of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you – well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don’t think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don’t flatter yourself, Basil: you are not in the least like him». «You don’t understand me, Harry», answered the artist. «Of course I am not like him. I know that perfectly well. Indeed, I should be sorry to look like him. You shrug your shoulders? I am telling you the truth. There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one’s fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as we all should live – undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Your rank and wealth, Harry; my brains, such as they are – my art, whatever it may be worth; Dorian Gray’s good looks – we shall all suffer for what the gods have given us, suffer terribly». Oscar Wilde «The Picture of Dorian Gray».

– Занадто багато самого себе! Слово честі, Безіле, я не думав, що в тобі стільки марнославства. Ти, з твоїм суворим обличчям і чорним як вугіль волоссям, – і цей юний Адоніс, наче зроблений із слонової кості й трояндових пелюсток! Не бачу найменшої схожості між вами!.. Адже він Нарцис, мій любий, а ти... Ну, звичайно, в тебе одухотворене лице і таке інше... Але Краса, справжня Краса, кінчається там, де починається одухотвореність. Інтелект – уже сам собою щось диспропорційне. Він нівечить гармонію обличчя. Ту ж мить, як хтось береться думати, у нього або видовжується ніс, або розширюється чоло, або щось інше псує лице. Візьми першого-ліпшого з цих визначних учених мужів і подивись, до чого вони всі відразливі! Ясна річ, за винятком церковників. Але в церкві їм не доводиться голів сушити. Вісімдесятирічний єпископ у проповіді повторює те, що йому казали, коли він був вісімнадцятирічним хлопцем, – тож, природно, його вигляд усе так само по-молодечому принадний. Судячи з портрета, твій таємничий юний друг, імені якого ти не хочеш назвати, має чарівну вроду, отже, він ніколи не думає. Я таки цілком певен того. Він – прекрасне бездумне створіння, яке мусить бути з нами завжди: і взимку, коли ми не маємо квіток, щоб милуватись ними, і влітку, коли ми потребуємо чогось, що остудило б мозок. Не лести собі, Безіле: ти ані крихти не схожий на нього. – Ти не розумієш мене, Гаррі, – відказав митець. – Звичайно, я не схожий на нього. Я знаю це дуже добре. Як на правду, то я б навіть жалкував, якби став на нього схожим. Ти знизуєш плечима? Я щиро кажу. Всіма, хто має непересічний розум чи красу, правує в житті лихий фатум, – той самий, що спрямовував непевну ходу монархів протягом усієї історії. Краще не виділятись над своїм середовищем. Бо на цім світі виграють лише потвори й нездари. Вони можуть невимушено сидіти і позіхати на виставі життя. Нехай їм нічого не відомо про радість перемоги, але ж зате вони обходяться й без гіркоти поразки. Вони живуть так, як ми всі мали б жити: байдужно, без турбот, без хвилювань. Вони не завдають руїни іншим і не зазнають її самі від чужих рук. Твоя знатність і багатство, Гаррі; мій розум і хист, хоч які вони є; врода Доріана Ґрея – за все це, чим боги нас наділили, ми відпокутуємо, тяжко відпокутуємо... Оскар Уайльд «Портрет Доріана Грея», Переклад: Ростислав Доценк.

The wind shook some blossoms from the trees, and the heavy lilac-blooms, with their clustering stars, moved to and fro in the languid air. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings. Lord Henry felt as if he could hear Basil Hallward’s heart beating, and wondered what was coming. «The story is simply this», said the painter after some time. «Two months ago I went to a crush at Lady Brandon’s. You know we poor artists have to show ourselves in society from time to time, just to remind the public that we are not savages. With an evening coat and a white tie, as you told me once, anybody, even a stock-broker, can gain a reputation for being civilised. Well, after I had been in the room about ten minutes, talking to huge overdressed dowagers and tedious academicians, I suddenly became conscious that some one was looking at me. I turned half-way round and saw Dorian Gray for the first time. When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life. You know yourself, Harry, how independent I am by nature. I have always been my own master; had at least always been so, till I met Dorian Gray. Then – but I don’t know how to explain it to you. Something seemed to tell me that I was on the verge of a terrible crisis in my life. I had a strange feeling that fate had in store for me exquisite joys and exquisite sorrows. I grew afraid and turned to quit the room. It was not conscience that made me do so: it was a sort of cowardice. I take no credit to myself for trying to escape». Oscar Wilde «The Picture of Dorian Gray».

Вітерець здмухнув кілька квіток з дерев, і важкі зоряні ґрона бузкового цвіту колихнулись у млосному повітрі. Під муром засюрчав коник; довгою блакитною ниткою на прозорих брунатних крильцях пролетіла бабка... Лорд Генрі немовби відчув биття Безілевого серця, і йому кортіло знати, що він почує далі. – Ось уся ця історія, – перегодом почав художник. – Два місяці тому мені довелося бути на вечорі у леді Брендон. Адже ми, бідні митці, мусимо вряди-часи показуватись у товаристві, нагадуючи публіці, що ми не дикуни. Ти ж сам колись був сказав, що у фраку й білій краватці навіть біржовик може зажити репутації цивілізованої істоти. Отож пробувши у вітальні хвилин десять і набалакавшись із гладкими препишними вдовицями й нудними академіками, я раптом зауважив, що хтось на мене дивиться. Повернувшись убік, я вперше побачив Доріана Ґрея. Коли наші очі зустрілись, я відчув, що блідну. На мить мене пройняв інстинктивний страх. Я збагнув – переді мною така чарівна врода, що може поглинути всю мою душу, все моє єство, ба навіть усе моє мистецтво, коли я тільки піддамся її чарам. Я не потребував жодних сторонніх впливів у своєму житті. Ти добре знаєш, Гаррі, яка незалежна вдача в мене. Я завжди був сам собі пан, принаймні аж доки зустрівся з Доріаном Ґреєм... Але не знаю, як і пояснити це... Немов чийсь голос казав мені, що життя моє може круто змінитися. Я невиразно передчував, ніби Доля готує для мене витончені радощі і такі ж витончені страждання. Опанований страхом, я повернувся з наміром вийти з вітальні. Не те, щоб сумління мене підганяло, ні, це, певніше, було боягузтво. Звісно, спроба накивати п’ятами не додає мені честі... Оскар Уайльд «Портрет Доріана Грея», Переклад: Ростислав Доценк.

Colloquial style is characterized by the following features:

1. Oral form of communication.

2. Direct participation.

3. Informality of relationship between participants of communication act.

4. Spontaneity of appearing communication act.

5. Colloquial lexicon.

6. Simplicity and easiness of linguistic forms.

7. Laconic brevity.

8. Using the dialogue forms.

9. Emotional reaction.

10. Using non-language means (situation; gestures; movements; mimicry etc.).

The colloquial style is opposed to the book styles. It is the only of the styles that accomplishes the function of communication. It forms the system particular at all the levels of the language structure, such as phonetics (more precisely, in pronunciation and intonation), phraseology, word-formation, morphology, syntax etc.

A term «colloquial style» is understood in two ways. On the one hand, it is used to denote the literary extent of speech and include high (book) style, middle (neutral) style the low (colloquial) style.

Such subdivision is comfortable for the description of vocabulary and is used as the corresponding marks in the dictionaries (the words of neutral style are given without marks). On the other hand, this term indicates one of the functional varieties of the literary language.

The literary language should not be opposed to the colloquial one in a literal sense. There are two varieties of the literary language, which possess their own system and language norms. In one case it is codified, strictly systematized and well-organized literary language. In the second case, it is non-codified, relatively free systematized and organized including popular language that oversteps its limits.

The colloquial style finds its expression both in the written form, for example in the remarks of characters of the play, records in the diaries, texts of letters on everyday themes etc. and in the spoken language that include unprepared dialogic speech in the conditions of free intercourse of its participants.

Colloquial speech is characterized by the special conditions of functioning that include:

1) The absence of preliminary deliberation of an utterance and related to the preselection of linguistic material.

2) The spontaneity of the intercourse between its participants.

3) The naturalness of the speech and the absence of official character between the talkers and in the utterance. The essential role belongs to the context of the communicative situation and to the non-linguistic means such as mimicry, gestures, reaction of interlocutors.

With the exception of the direct communicative function, the colloquial speech accomplishes the other functions, for example in the fiction literature it is used for creation of verbal portrait, for the realistic description of the social environment, in the author’s narration it serves the mean of stylization, as the elements of book speech it can create a comic effect. In relation to the colloquial style, it forms the special system that has the various purposes.

The colloquial style like «the high (book) style» of pronunciation is expressively coloured unlike the neutral style. The reason of it is that the colloquial style is connected with corresponding lexical layer or colloquial vocabulary. The colloquial style of pronunciation is characterized as incomplete one because of less distinct pronunciation of the sounds, strong reduction caused at fast speech pace etc.

The aim of the colloquial style is to exchange information, which can be reached by using daily lexicon, phraseology, emotionally and expressively coloured words, exclamations, references, richness of intonation etc.

For example:

Tom hailed the romantic outcast: «Hello, Huckleberry!» «Hello yourself, and see how you like it». «What’s that you got?» «Dead cat». «Lemme see him, Huck. My, he’s pretty stiff. Where’d you get him?» «Bought him off’n a boy». «What did you give?» «I give a blue ticket and a bladder that I got at the slaughter-house». «Where’d you get the blue ticket?» «Bought it off’n Ben Rogers two weeks ago for a hoop-stick». «Say – what is dead cats good for, Huck?» «Good for? Cure warts with». «No! Is that so? I know something that’s better». «I bet you don’t. What is it?» «Why, spunk-water». «Spunk-water! I wouldn’t give a dern for spunk-water». «You wouldn’t, wouldn’t you? D’you ever try it?» «No, I hain’t. But Bob Tanner did». Mark Twain «The Adventures of Tom Sawyer».

Том привітався до цього романтичного обідранця: – Здоров, Гекльберрі! – Здоров, коли здоровий! – Що це в тебе таке? – Здохлий кіт. – Ану покажи ближче, Геку... Ти диви, зовсім задубів. Де ти його взяв? – Виміняв в одного хлопця. – А що дав? – Синій квиток і бичачий міхург – роздобув його на різниці. – А квитка де взяв? – Виміняв у Бена Роджерса два тижні тому за поганялку до обруча. – Слухай, Геку, а навіщо потрібні здохлі коти? – Навіщо? Зводити бородавки. – Та ну, невже? Я знаю певніший засіб. – Не може бути! Який? – Гнила вода. – Ха, гнила вода! Ні біса вона не варта, твоя гнила вода. – Не варта, кажеш? А ти пробував? – Я – ні. А от Боб Теннер пробував. Марк Твен «Пригоди Тома Сойєра» Переклад: В. Митрофанов.