Peculiarities of psycho-linguistic classification of translation

And all should cry: Beware! Beware!

His flashing eyes, his floating hair!

Weave a circle round him thrice,

And close your eyes with holy dread,

For he on honey-dew hath fed

And drunk the milk of Paradise

Translation K.R.Balmonta: Translation V.Rogova

…И крик, пронесся б как гроза:

И рек бы: «Грозный он пророк!

Сюда, скорей, сюда глядите, Как строгий  взор его глубок

О, как горят его глаза! Как  я кругами обнесу!

Пред песнопевцем взор склоните, Глаза смежите в страхе: он

И этой грезы слыша звон, Был млеком рая напоен

Сомкнемся тесным хороводом, Вкушал медяную  росу...

Затем что он вскормлен медом 

И млеком рая наполнен!

K.R.Balmont not cares about the literal accuracy of the translation. It increases the number of stanzas (eight instead of six does), introduces the odd verse to rhyme adds a feminine male, steam room and replace the ring a rhyme of the original cross, and probably does not translate, reproducing every word, and alludes to the images created by the English poet, as a result creates a mysterious image of the poet-prophet and magician. Thus, he took as a basis for the idea expressed in the original, but designed it, resorting to the methods of free translation.

V.Rogov also pays more attention to the reproduction of the full vocabulary (eyes - eyes, circle - a circle, fed - is filled, drunk - tasted), syntax, and the metric of the original: it will keep the number of stanzas, rhyme, and the male leaves the same structure (paired rhyme - ring - doubles), in each verse translation is almost completely reproduces the structure and the idea of ​​the original. As a result, the verse breaks down, loses its freedom and musicality of the original, but for the Russian reader becomes unnatural and incomprehensible.

Free translation, as follows from the above, has several advantages. It can help you avoid a distortion of the original, and violations of the language. On the other hand, when loosely translated inevitably there is a loss of information contained in the original.

Thus, the problem of free and literal translation is still not lost its relevance.

3. Literary or artistic interpretation. Literary translation - translation of literary works, i.e. texts, whose main function is to artistic and aesthetic impact on the reader.

This type of translation conveys the original thought in the form of proper literary Russian language, and causes the most controversy in the scientific community - many researchers believe that the best translations should be performed not only by the lexical and syntactic correspondences as creative artistic explorations of relations with respect to which language Compliance plays a subordinate role.

For example this type of translation we take the translation of Russian translator and dramatist Vladimir Nabokov. He translated the "The Lay of Igor" from Russia into English language. The complexity of the translation, "The words of Igor's Campaign" was that it was written in the language of the 12th century, besides Nabokov himself was well aware that working with a copy of which was established Musin-Pushkin, not the original text.

Nabokov thought it necessary to give a translation of "words" some archaic, which used a number of rare books and words and expressions.

  For example: "кровь, пролитая в бою" - "gore", "песнь" - "laud", "земля" - "sod".

In the original Russian text of the figures used are very specific to the repeat of epic storytelling and folklore, which Nabokov saves in their translation. For example, "свет-светлый" - "bright-brightness". In his translation of "words" in English, Nabokov pays close attention to stylistic originality of source code that adequately conveys the rhetorical appeal, impersonation, metaphors, symbols and epithets.

Nabokov uses in his translation into English "words" certain elements of vocabulary and syntax Gal poems.

For example, the description of the battle of Igor with Polovtsy - "Бишася день, бишася другый; третьяго дни къ полуднию падоша стязи Игоревы" в переводе Набокова выглядит так - "They fought one day; they fought another; on the third, toward noon, Igor's banners fell".

In the translation of "words", as in all his works, Nabokov carefully conveys the sound identity of vocabulary the author of "Words."

In its English version, Nabokov creates a sound roll between the individual words of the source text and their English translations. For example, "It demolished the blasphemy against the praise" translates as "Already disgrace has come down upon glory".

It should be noted that the translation of Nabokov in some places is very different from other well-known translation that does not make it less interesting. Nabokov managed to achieve an unusually high degree of artistic and semantic-stylistic accuracy. Nabokov, patient and attentive scholar, connoisseur and an expert on Russian literature, perfectly fluent in the language of translation remains faithful to the artistic truth of the original text.

Before the good faith or, as would be V.Nabokov, honest translator ("honest translator"), who took for the transfer of "Lay," inevitably raises a number of issues that need to resolve before you proceed to the actual translation. These questions are addressed on the basis of a theoretical setting of the interpreter (if any), and based on the objective of the problems inherent in translating the text. How should translate, Nabokov thought many times throughout his creative life, and his views have undergone significant changes over the years. We will not touch the subject here Taxpayers Nabokov themes are extremely interesting, but requires a separate detailed study. With regard to theoretical orientations when working with texts by other authors, then, reflecting on the translation of "periphrastic" and "literal", the writer came to the conclusion that a literary work, and as prosaic and poetic, it should only translate "literally" although, of course, not literal Nabokov has the effect of the appearance of ugly lexically or syntactically cumbersome interlinear. "The expression" a literal translation, "as I understand it, - he wrote in 1964 in a commentary to his translation of" Eugene Onegin "- represents a kind of tautology, since only a literal translation of the text is a translation in the true sense of the word." In this case, however, the writer hastens to remark: "First of all," the literal translation "involves not only following the direct meaning of words or sentences, but the implied meaning is semantically precise interpretation is not necessarily lexically (relating to the transfer of the word, taken out of context ) or structural (the next grammatical order of words in the text). In other words, the translation can be and often is the lexical and structural, but it will literally only playing at the exact context, when transferred to the subtle nuances and intonations of the text of the original "one. Studied here translated "Word" was made by Nabokov in 1960, and there is no doubt that it was described above, the principle was the basis for this work.

The text of "Words" is an interpreter for a range of issues. First of all, the fact that the original is written in the XII century, makes the necessary involvement of another "translation" - in modern Russian. In addition, Nabokov never for a moment forgot that he was dealing not with the original and the copy prepared A.I.Musinym-Pushkin, no doubt, some requiring sometimes significant, adjustments. "Dark places" "Words" and demanded that the translation of certain decisions, which should detail the study available to the moment of interpretation and commentary. Thus, we note that all the problems that could profit quite easily discarded as irrelevant when you create a translation, paraphrase, it is strongly demanded the investigation and, eventually, one way or another have been resolved "literalist," Nabokov.

Of course, it would be absurd to attempt to translate "word" in English XII century, however, give some archaic English version was needed. Here, Nabokov took the path of a number of archaic words and phrases, as well as some of the lexical items that are poetic connotations, or marked in dictionaries as "rare" and "book". For example, the word "song", he finds a rare match "laud"; "land" is translated with "poetic" word "sod", and "blood" spilled in battle, the other designated "poetic" word "gore". For comparison, in another translation of "Words", performed by Irina Petrova 2, in the same locations used words that belong to the neutral layer of vocabulary: "tale", "earth" and "blood". In addition to the above, we note the use of tokens such as "hearken" (poet., lift up. To listen), "morn" (poet. morning), "eve" (poet. evening), "doughty" (brave уст.), 'heed "(уст. Notice, to care), etc.

To achieve the desired stylistic effect Nabokov translator often uses the technique of inversion is very characteristic of the poetic texts in English, the language, the syntax differs in a fixed order of words in a sentence. Thus, the predicate-verb, or (sometimes with a circumstance or addition) may be in a preposition to the subject: In the field slumbers Oleg's brave aerie: far has it flown! ; None at all shall we touch; Pined away have the ramparts of towns. In other cases, the predicate or circumstance may precede the subject and verb: dark it was; early did you begin to worry with swords the cuman land; inside out have the times turned.

Needless to say, that the stylistic originality of the "Word" is defined by the author used a variety of stylistic figures is the subject of attention of an interpreter. Metaphors, similes, personification, symbols, epithets, poetic hyperbole, rhetorical appeals were properly transferred to the target text. Characteristic of the original Russian text, in addition, the use of figures of repetition, parallel structures, so characteristic of folklore and the epic narrative. Nabokov carefully preserves them in the translation ("свет-светлый" - "bright- brightness"; "What is E shumit that the E ring" - "What dins unto me, what rings unto me", etc.).

Invaluable help in giving the English text of the desired color sound archaic and poetic Nabokov had another masterpiece of European literature, namely the poems of Ossian, containing, as was mentioned Nabokov, unmistakable parallels with the "Word." This similarity is said in the preface to the translation of Nabokov, but his comments marked the most characteristic places. A poem of Ossian, written in Gaelic, was "translated" by James Macpherson in his modern English in 1762. Interesting coincidence: the work of two translators proceeded with a difference of almost exactly two hundred years. But the coincidences do not end there. It is worth remembering that the authenticity of a "Word" and the poems of Ossian, long time no doubt have caused a generation of philologists. However, with regard to Nabokov, for his authenticity, "the words" no doubt, as evidenced by the arguments of the interpreter in the Preface and in the comments, about the same poems of Ossian Nabokov researcher decides for himself that question by textual comparison of these two products and concludes, confirmed, in fact, the latest research. McPherson actually relied in their work on the original Gaelic ballads, though and adapted them to the literary after Romanism requirements, creating, thus, the translation is very free, which, however, was quite common in that era. "Paradoxically, - writes Nabokov, - these coincidences prove is not that a Russian in the eighteenth century, followed the example of Macpherson, and then, makfersonovskaya concoction, most likely, still contain fragments of genuine ancient poems. Not-so-ridiculous assumption seems that through the fog of the Scandinavian sagas can be seen thrown bridges or their ruins, Scottish-Gaelic tie the poem to Kiev.

Those stylistic features of the "Word" mentioned above (the use of metaphors, comparisons, symbols, personifications, hyperboles, rhetorical figures) are not unique to a lesser extent, and poems of Ossian. Naturally, the translator of Nabokov, based on the parallels seen them, could not be used in his translation of certain elements of vocabulary and syntax of the Gaelic poems, even if it only available in the treatment of McPherson. At the lexical level is manifested in the use of many words that are constantly occurring in the pages of the poems of Ossian, to translate those lexical items that are often used unnamed Russian bard. It should be noted that Nabokov carries out such substitution with a clear sequence throughout the song. Here are a few examples. Russian. Translated as strife one of the key words in the poems of Ossian. Chaumont (horses) - always steeds; мгла - mist; swords мечи - steel swards; germless (rattles) - very common in the description of the battle the English onomatopoeic clang; table - throne; pir - feast; light glowing - fair maids; morning - morn; high - on high. In describing the character covered by any of the senses, Nabokov uses the verb "inthrall (enthrall)". For example, "Tugan um full" translates well in: "Greif has enthralled my mind" (Wed Erin is inthralled in the pride of his <...> soul "). Very often in the poems of Ossian man (warrior) is compared with the pillar (pillar). It is striking that exactly the same comparison is found in the "Word." Seeing it is a coincidence, Nabokov, of course, includes his translation of the corresponding English equivalent.

At the syntactic level, Nabokov is actively using, as already noted, the inversion is very characteristic for the poems of Ossian ("Many are his chiefs in battle"; "Hard is thy heart of rock", etc.).

Description of the battle with Polovtsy Igor ("Bishasya day bishasya another; tretyago days have fallen Rk noon styazi Igor") clearly resonates with lines from the first book of Fingal: "Three days we renewed our strife, and heroes stood at a distance and trembled. On the fourth, Fingal says, that the king of the ocean fell ". Nabokov's translation: "They fought one day; they fought another; on the third, toward noon, Igor's banners fell".

We know how much attention Nabokov gave a sound appearance of speech in his own work, how important it is for him, due to the peculiar phonetic text - puns, assonance, and alliteration. How not to remember, for example, the writer genuine surprise at the fact that the critics did not notice the two letters "V", symbolizing the name of Vladimir and the name of his wife Faith, the title of the book "Conclusive Evidence". With the same attention and care suited to the transfer of Nabokov and originality of the sound vocabulary of other authors, in particular, the author of "Words."

Perhaps most strikingly in the "Word" is represented by alliteration. Here are a few examples of how skillfully conveys her translator, "zh Lutse potyatu to be alone, nezhe polonenu be alone" ("It is better to be dead after all, than be captive") - "It is better indeed to be slain than to be enslaved"; several times in the Russian text "talk Galich" ("daws chatter"), which is transmitted as "jargon of jackdows".

Here we should note one very interesting detail. Nabokov not only conveys in his English version of the existing text in Russian phonetic stylistic devices, but also creates a sound roll among some Russian words of text and their English correspondences, which, of course, you can see, only by comparing the original and translation. Thus, for the words "papaloma" ("funeral veil"), Nabokov is consonant with the English "pall" ("cover", "veil"), although it is clear that he could choose from several options. In this connection it is interesting and the case of translation of the phrase "aky parduzhe gnzdo" ("like a litter of cheetahs"). Always so accurate in translating the names of animals and plants, Nabokov, in this case prefer the sound of semantic accuracy and uses the English word "pard" ("like a brood of pards"), although the word does not mean it is "cheetah" and "Leopard", the animal , albeit one with a cheetah family, but of another kind. Probably the sound image of the English word "cheetah" ("cheetah") could not meet the interpreter in this context. In addition, it may have a mental compensation was undelegated alliteration in the following Russian sentence: "It demolished the blasphemy against the praise" ("It fell shame for glory") - "Already disgrace has come down upon glory". Finally, we note another case, when Nabokov was fascinated zvukopis so he brought her to sacrifice even the semantic accuracy, having gone with the defiance of his own translation facilities. On the red Gothic virgins they say that they "lelyut Sharokanyu revenge," and the translation reads: "They lilt vengeance for Sharokan". "Lilt" - is, of course, not "nurture" and "sing, play, move briskly and rhythmically." But because of the singing Gothic virgins still mentioned in the previous line, one can hardly blame Nabokov for this small distortion, the more so because the translator failed to bring to the English text zvukoizobrazitelny effect caused by the same consonant "l" and "t" the Russian word.

It is interesting to note that Nabokov uses a variety of English writing referred to in the original text the word "Danube" - the traditional Danube, where the word means a certain geographical concept ("Danube zatvoriv Gate," "courts ryadya on the Danube" and "dvitsi sing on the Danube "), and a transliteration of the Russian word Dunay in the case where, in terms of an interpreter, it is not about a particular river, and on the abstract form of art in general.

These fleeting notes are not intended to cover the entire translation process works on Nabokov's "Lay," a masterpiece of ancient literature, but even those few observations, which were cited above clearly indicate an unusually high degree of artistic and semantic and stylistic accuracy reached a translator, which is especially ideal reader, which combines the qualities of fine connoisseur and expert in Russian literature, as well as patient and careful researcher. Combining these qualities with excellent command of the language translation and literature, the language created, leads to a convincing refutation of the truism, which states: "Traduttore - traditore". "Literalist," Nabokov, even in its deviations from the original text remained faithful to the original and artistic truth.

 

 

 

 

 

 

 

 

 

Conclusion

 

Psycholinguistic classification of the translation plays important part in the world. Russian and foreign businessmen, Scientifics and politicians work side by side at different countries and therefore they need translation during commercial talks, signing of contracts and everyday communication.

During the studying this work we tried to explore each type of translation as a whole, find out the problems and peculiarities, similarities and differences between types of psycholinguistic classification of the translation. We have done it by finding salvation to the following tasks:

-we acquainted with the history of translation;

-we dismantled each type of psycholinguistic classification of the translation;

-we characterized the type of oral translation and written translation;

-we revealed the features of each type of translation;

-we studied of literature and gave the examples to each type of translation;

The purpose of course paper was to consider and examine all classification of psycholinguistic classification of the translation.

As a kind of practical activities translation is a set of actions performed by the translator while rendering ST into another language. These actions are largely intuitive and the best results are naturally achieved by translators who are best suited for the job, who are well-trained or have a special aptitude, a talent for it. Masterpieces in translation are created by the past masters of the art, true artists in their profession. At its best translation is an art, a creation of a talented, high-skilled professional.

As we have known, there two types of translation written and oral. As the names suggest, in written translation the source text is in written form, as is the target text. In oral translation or interpretation the interpreter listens to the oral presentation of the original and translates it as an oral message in TL. As a result, in the first case the Receptor of the translation can read it while in the second case he hears it.