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Basic literary translation. Учебное пособие-1

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My husband has sent to town for pistols. Deny what cannot be proven for
Charitys sake I keep my room this day.Unsigned.
Sidley Park, April 11th 1809. Sir I call you a liar, a lecher, a slanderer in the
press and a thief of my honour. I wait upon your arrangements for giving me satisfaction as a man and a poet. E. Chater, Esq.
 Bernard I said he was dead. What year? 1810! Oh my God, 1810! Well done,
Hannah! Are you going to tell me its a different Mrs Chater?
Hannah Oh no. Its her all right. Note her Christian name. Bernard Charity. CharityDeny what cannot be proven for Charitys sake!
Extract 3
Hannah You can stop being silly now, Bernard. English landscape was invented
by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the grand tour. Here, look Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. Its the Gothic novel expressed in landscape. Everything but vampires. Theres an account of my hermit in a letter by your illustrious namesake.
Bernard Florence? Hannah What? Bernard No. You go on. Hannah Thomas Love Peacock.
>
Lady Croom Well, do not despair of it. (Returning to the window impatiently.)
Where is Culpability Noakes? (She looks out and is annoyed.) Oh! he has gone for his hat so that he may remove it. (She returns to the table and touches the bowl of dahlias.)
From “Arcadia”, by T. Stoppard
101
5. Read the translation of the text from ex. 4. Comment on the translators decision.
Extract 1
Хлоя           (Она уже
надела боты. Распрямляется. Видит, что он не слушает.) 
Бернард (очнувшись)-   

Хлоя Бернард Хлоя Бернард Хлоя          
                           
Она уже у двери в сад.
Бернард         

Хлоя Бернард (улыбаясь) Хлоя Бернард Хлоя- 

 Ханна
Бернард озирается – сперва рассеянно, затем недоуменно: он ищет
несуществующего Павлини. Потом, очнувшись, соображает, что Павлини, по всей
вероятности, он сам, Солоуэй, и есть, и рассыпается в неумеренно восторженных
102
приветствиях.
Бернард
           

Ханна Бернард-
Extract 2
Бернард          
 (Достает из портфеля пакет, вынимает три бумажки. Это подлинники. Он зачитывает их поочередно.)  .
 

-
               .
 Бернард-
           
Ханна

Бернард
        -      
Extract 3
Ханна
103
                                           
Бернард Ханна

Леди Крум(Нетерпение гонит ее к
окну.)  - 
(Раздраженно выглядывает.) -       (Возвращается к столу, дотрагивается до горшка
с далиями.)
Из пьесы Т. Стоппарда «Аркадия»
Перевод О. Варшавер
6. Look at the list of characters and geographical names and define the principle of
nomination. Translate. Mind that these names are pronounced in the movie and their Russian variants should be of the same length in pronunciation. Watch the movie if you need more information on the characters. Compare your variants of translation with the official translation of the movie.
Characters
Judy Hopps, a bunny, a police officer Carrots, Fluff, Flatfoot, Cottontail, Copper, Flopsy the Copsy, Jude the Dude
Judys nicknames
Stu and Bonnie Hopps, bunnies, carrot farmers
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Gideon Grey, a fox, a baker Travis, a polecat Nick Wilde, a fox, a hustler Chief Bogo, a cape buffalo, a chief of police Benjamin Clawhauser, a cheetah, a police officer Francine and Trunkaby, elephants, police officers Snarlof, a polar bear, a police officer Fangmeyer, a tiger, a police officer Delgato, a lion, a police officer McHorn and Rhinowitz, rhinoceros, police officers Wolford and Grizzoli, wolves, police officers Higgins, a hippo, a police officer Mr. Big, an arctic shrew, a crime boss Fru Fru, an arctic srew, Mr Bigs daughter Mr. Manchas, a jaguar, a driver Kevin and Raymond, polar bears, Mr Bigs associates Leodore Lionheart, a lion, a mayor Lionfart Lionhearts nickname Dawn Bellweather, a sheep, an assistant mayor Smellwether Bellweathers nickname Gazelle, a female singer Nangi, an elephant, a female yoga instructor Emmitt Otterton, an otter, a florist Mrs Otterton, an otter, Emmitt Ottertons wife Flash and Pricsilla, sloths, clerks at Department of Mammal Vehicles Flash, Flash, hundred yard dash Flashs nickname Duke Weaselton, a weasel, a thief Duke of Bootleg Weaseltons nickname Gary, a timber wolf, a guard Doug, Woolter and Jesse, rams, criminals
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Places
Tundratown Sahara Square Rainforest District Zootopia Bunnyburrow Deerbrooke County Grand Pangolin Arms Little Rodentia Acacia Alley, Ficus Underpass, South Canyon
From “Zootopia”
7. Find in the works by Russian writers A.N. Ostrovskiy, A.P. Chekhov,
M.A. Bulgakov speaking names. Explain their origin and role in character’s description. Give your variants of translation.
8. Read a novel «Между двух стульев», by Yevgeniy Klyuyev, make a list of
characters. Translate their names into English.
3.2 Time distance
When a translator translate some text much more later than the original was written, problems of time adaptation arise. In this case a translator can follow one of three ways:
modernisation. Translators choose this way if they want to preserve communicative intention of the author who wrote the text in contemporary language. A reader will not have problems in understanding the text, but there may be contradiction between the language on one hand and values, moral and behavior of characters on the other. Thus the text may be deprived of its social and psycological background;
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using the language of corresponding time, i.e. a translator should translate S.   language of the Time of Troubles in Russia. In this case a great number of archaic words and names of historical objects will prevent the reader from understanding the text breaking the equality of impressions;
          give the reader an impression of time distance. Readers will take the text as written in previous times, but this will not prevent the reader form understanding.
Both vocabulary and syntax may be means of such stylization. A translator should avoid words and phrases that are perceived as modern and colloquial, and words that are from cultural-specific vocabulary. The depth of historic stylization may be different, the more archaic the text under transaltion is, the more archaic words and constructions may be used. But a translator should mind the limits (one and a half or two centuries from the time of translation) over which they return to the second way.
If the text is written some time ago and purposefully attributed to more

contemporary and to create a time layer in the text that is more archaic than the other part.
Exercises
1. Read the extract from the novel “The Expedition of Humphry Clinker” by
T. Smollett. Define the time when the novel was written by the contents and language. Note the linguistic units that are the indicators of the time.
The tide of luxury has swept all the inhabitants from the open country. The
poorest squire, as well as the richest peer, must have his house in town, and make a figure with an extraordinary number of domestics. The plough-boys, cow-herds, and lower hinds
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are debauched and seduced by the appearance and discourse of those coxcombs in livery, when they make their summer excursions. They desert their dirt and drudgery, and swarm up to London, in hopes of getting into service, where they can live luxuriously and wear fine clothes, without being obliged to work; for idleness is natural to man. Great numbers of these, being disappointed in their expectation, become thieves and sharpers; and London being an immense wilderness, in which there is neither watch nor ward of any signification, nor any order or police, affords them lurking-places as well as prey.
There are many causes that contribute to the daily increase of this enormous mass;
but they may be all resolved into the grand source of luxury and corruption. About five and twenty years ago, very few, even of the most opulent citizens of London, kept any equipage, or even any servants in livery. Their tables produced nothing but plain boiled and roasted, with a bottle of port and a tankard of beer. At present, every trader in any degree of credit, every broker and attorney, maintains a couple of footmen, a coachman, and postilion. He has his town-house, and his country-house, his coach, and his post­chaise. His wife and daughters appear in the richest stuffs, bespangled with diamonds. They frequent the court, the opera, the theatre, and the masquerade. They hold assemblies at their own houses: they make sumptuous entertainments, and treat with the richest wines of Bordeaux, Burgundy, and Champagne. The substantial tradesman, who wont to pass his evenings at the ale-house for fourpence half-penny, now spends three shillings at the tavern, while his wife keeps card-tables at home; she must likewise have fine clothes, her chaise, or pad, with country lodgings, and go three times a week to public diversions. Every clerk, apprentice, and even waiter of tavern or coffeehouse, maintains a gelding by himself, or in partnership, and assumes the air and apparel of a petit maitre. The gayest places of public entertainment are filled with fashionable figures; which, upon inquiry, will be found to be journeymen taylors, serving-men, and abigails, disguised like their betters.
From “The Expedition of Humphry Clinker”, by T. Smollett
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2. Compare the text and its translation. Explain the means of recreating the time
The tide of luxury has swept all the inhabitants from the open country. The poorest squire, as well as the richest peer, must have his house in town, and make a figure with an extraordinary number of domestics. The plough-boys, cow-herds, and lower hinds are debauched and seduced by the appearance and discourse of those coxcombs in livery, when they make their summer excursions. They desert their dirt and drudgery, and swarm up to London, in hopes of getting into service, where they can live luxuriously and wear fine clothes, without being obliged to work; for idleness is natural to man. Great numbers of these, being disappointed in their expectation, become thieves and sharpers; and London being an immense wilderness, in which there is neither watch nor ward of any signification, nor any order or police, affords them lurking-places as well as prey.
There are many causes that contribute to the daily increase of this enormous mass; but they may be all resolved into the grand source of luxury and corruption. About
                                                                                                 
             
distance.
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five and twenty years ago, very few, even of the most opulent citizens of London, kept any equipage, or even any servants in livery. Their tables produced nothing but plain boiled and roasted, with a bottle of port and a tankard of beer. At present, every trader in any degree of credit, every broker and attorney, maintains a couple of footmen, a coachman, and postilion. He has his town-house, and his country-house, his coach, and his post-chaise. His wife and daughters appear in the richest stuffs, bespangled with diamonds. They frequent the court, the opera, the theatre, and the masquerade. They hold assemblies at their own houses: they make sumptuous entertainments, and treat with the richest wines of Bordeaux, Burgundy, and Champagne. The substantial tradesman, who wont to pass his evenings at the ale­house for fourpence half-penny, now spends three shillings at the tavern, while his wife keeps card-tables at home; she must likewise have fine clothes, her chaise, or pad, with country lodgings, and go three times a week to public diversions. Every clerk, apprentice, and even waiter of tavern or coffeehouse, maintains a gelding by himself, or in partnership, and assumes the
                                       ­        -                                       
                                    
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