Lexical problems of literary translation by the examples of the novel “Theater” by Somerset Maugham

4.2.4. Method of Compensation.

     This method is applied in that case when some linguistic phenomenon can’t be conveyed in TL. Compensating for loss which arises in translation because of some linguistic unit of ST can’t be translated a translator conveys the same information by the other means. Compensation is often used where it’s necessary to convey merely linguistic characteristics of ST (dialecticisms, individual features of speech, incorrect linguistic forms, pun, etc.) that have not always correspondences in TL. In translation of contaminative speech a translator can substitute for one linguistic means by others (grammatical – lexical, phonetic – grammatical and so on, in compliance with the Russian language norms).

     # “For the little I eat I’ve got all the teeth I want. It’d only fidget me to ’ave a lot of elephant’s tusks in me mouth.”(Ch.10, p.84) – the words of Julia’s maid who was a cockney.

     «Сколько  я ем, для того и моих зубов много. Только мешать будет, коли напихаешь себе полон рот слоновьих  клыков.» (С.69).

     Method of compensation illustrates clearly one of the basic positions of theory of translation – not single elements should be translated adequately but all text as a whole. In other words, there are untranslatable particulars but there are not untranslatable texts. 

4.2.5. Method semantic development.

     Using in translation of a word or a word-combination, whose meaning is logical development of the meaning of a translating unit, is named semantic development. It means deviation from direct lexical correspondence of given word or word-combination. Thus, fundamentally semantic development doesn’t differ from more simple methods of lexical transformation, concretization and generalization. Distinction is only in nature and degree of complexity of the method.

     It’s necessary to have in view that semantic development always applies to not a single word but to a word-combination or a semantic group. Most often the meanings of such words and word-combinations in ST and TT are connected by cause-effect relations. At that substitution of cause by its effect (or vice versa) doesn’t break exactness of translation and, quite the contrary, is the best (at times the only) way of adequate conveying of ST content.

     # Mrs. De Vries was a widow. She was a short stout woman with a fine Jewish nose and fine Jewish eyes, a great deal of energy, a manner at once effusive and timid, and a somewhat virile air. She had a passion for the stage. (Ch.8, p.68).

     Долли де Фриз была вдова. Эта низенькая, тучная, несколько мужеподобная женщина, с красивым орлиным носом, красивыми темными глазами, неуемной энергией, экспансивная и вместе с тем неуверенная в себе, обожала театр. (С.57).

     # On the other hand if he was shattered and tongue-tied, she’d be all tremulous herself,… (Ch.11, p.93). – С другой стороны, если он будет скован, не сможет выдавить из себя путного слова от смущения и расстройства чувств, она и сама будет робка и трепетна… (С.76).  

     4.2.6. Method of complete interpretation.

     This method is used when there is not possible to proceed from lexical correspondences or contextual meanings of single words of SL but there is a need to understand semantic meaning of the whole and “re-express” it into TL by other words. This is one of the most difficult methods of transformational translation.

     This method is wide used in translation of PUs which reflect specificity of the English live spoken language (help yourself, please – угощайтесь (а не помогайте себе); good riddance! – скатертью дорога! тем лучше! (а не просто счастливое избавление), etc.).

     # He had tact and a pleasant manner, and he knew how to pull strings adroitly; it was inevitable that he should get on the staff of some general. (Ch.7, p.62).

     Майкл был тактичен, умел себя вести и  искусно пускал в ход свои связи, он просто неминуемо должен был попасть в свиту какого-нибудь генерала. (С.53).

     # Though they said he drove them like slaves, and they never had a moment to themselves, flash and blood couldn’t stand it, it gave them a sort of horrible satisfaction to comply with his outrageous demands. (Ch.2, p.19).

     Они говорили, что он дерет с них три шкуры, у них минутки нет свободной, такой жизни даже скотина не выдержит, и при этом им доставляло какое-то особое удовольствие выполнять его непомерные требования. (С.21).

     But the same phrase flash and blood couldn’t stand it (Ch.11, p.95) was translated кто бы мог устоять? (С.77) 
 
 
 
 
 
 
 
 
 

V. Conclusion.

     Language is a basic means of expression of any fiction. Nevertheless, the main task and difficulty of literary translation is not reproduction of linguistic, especially structurally-linguistic elements of a foreign speech but, taking into account inequality of linguistic system, to recreate artistically totality of ST images.

     For a translator of fiction language is especially important just in literary respect, regarding its stylistic, figurative and expressive means which are provided by its particular literary function. A translator should not oppose language to literature but use both in the interests of literary translation.

     List of used literature:

1. W.Somerset Maugham Theater. – М.: Издательство «Менеджер», 2001. – 304с.

2. Моэм У.С.  Театр. – М.: «Эскимо-пресс», 2001. –  228с. Перевод Г.Островской.

3. Читалина Н.А.  Учитесь переводить. – М.: «Международные  отношения», 1975. – 80с.

4. Вопросы художественного  перевода. Сборник статей. – М.: «Советский писатель»,1955. – 310с.

5. Вопросы теории  художественного перевода. Сборник  статей. – М.: «Художественная литература», 1971. – 254с.