Проект "День науки" направление "Лингвистика"Трудности перевода с английского языка"

MUNICIPAL EDUCATIONAL INSTITUTION - SECONDARY SCHOOL NO. 16

Individual project

on the subject of English

on the topic "Theory and practice of literary translation"

                          Klin City District, 2022

Table of contents

Introduction

Translation activity on the territory of our country has a very ancient history, it originated approximately at the same time as writing. In general, the Greek monks Cyril and Methodius created the Cyrillic alphabet because of the need to translate church texts from Greek into Slavic in order to spread the Christian faith among the peoples who speak it. The translation of religious texts took a new turn with the baptism of Russia in 988, as it was necessary to familiarize the now baptized people with the philosophical and ethical doctrines of the faith they had adopted.  Later there were translations of the Byzantine chronicles, which greatly influenced the ancient Russian culture and in the future the writing of chronicles. In difficult times, when Russia was under the yoke of the Mongol yoke in 1228-1480, translation activity did not disappear, but the activity of translators decreased significantly. But, thanks to the preserved ties with other Orthodox states, various translated texts from Bulgaria, Serbia and many other lands came to Russia. Over time, more and more non-religious translations appeared, such as The Legend of the Indian Kingdom, the new edition of the Trojan War, and the like. In the future, the development of the language takes place in this way: Church Slavonic continues to be used, but exclusively during church services and when translating church texts, and the Russian language is formed on the basis of Old Slavonic and various dialects. In the XV century, Moscow became the political center of Russia, and at the same time the translation center.The authors of the translations became known to the public and their role and the role of their work was recognized as significant. The translator was also the famous Maxim the Greek, invited by Basil III to translate church texts from Greek. As a result, the Psalter was translated, many other works were translated for the first time, and others whose translations were already available were corrected. Maxim the Greek also wrote the first arguments about the art of translation in Russia. In 1525, he was accused of heresy and blasphemy, due to the fact that he often violated established traditions.In the XVIII century, as a result of the reforms of Peter I and the expansion of cultural and economic ties of the Russian Empire with European and other countries, artistic and technical translations come out in the first place, and higher requirements are set for translated texts themselves. At the same time, the norms of the Russian language began to take shape. M. V. Lomonosov, who devoted a lot of time to translations, was looking for various ways to enrich our language, through the processing and transformation of various foreign texts.  There were changes in the structure of translation activity itself: the Tsar's Foreign Collegium consisted of a group of translators; in 1735, the "Russian Assembly" was established, which is the first professional organization on this issue. This organization was engaged in selecting books for translation, establishing rules and principles for translators and checking translated texts. Now the translators themselves took their work more seriously, they believed that their work served the fatherland and enlightened the population, this was mentioned by them in the introductions to translated publications.  The golden age of translation is considered to be the XIX century, since it was at this time that this activity moved from the rank of professional to the rank of high art. At that time, N. M. Karamzin and V. A. Zhukovsky made a huge contribution to the development of translation activities. It is worth noting that Zhukovsky called the "genius of translation" the light of Russian literature - A. S. Pushkin. It was a brief excursion into the centuries-old history of the development of translation into Russian. Further, the work will present historical references of its development in the USSR and the Russian Federation, examples of independent and professional work with translated texts in order to better understand this ancient and important craft.

The relevance of the work lies in the fact that the modern reader often turns to foreign literature, which is full of beautiful works. But unfortunately, a poor-quality translation can spoil the impression of the work, form a wrong idea about the author and about the story being told. In this case, the reader remains in an almost hopeless situation, since they themself may not know the language sufficiently to read in the original (besides, then he would not need a translation at all) or may simply not know about the existence of other translations. The paradox is that translators are just people who know the language, but why then can't they adequately convey the essence and mood of the work? Perhaps it's not just about knowing words and language constructions? This is what we have to find out.

The purpose of the project: To find out the basic principles and difficulties of literary translation.

Tasks: To find out the principles of literary translation in Soviet times and in modern times, to find out the main difficulties and to find out whether knowledge of words alone is really enough to perform a high-quality translation.

The object of research: Translation of a prose literary ("The Picture of Dorian Gray" by O. Wilde) and poetic ("Raven" by Ed. Allan Poe) text.

Subject of research: Difficulties of theory and practice of literary translation.

Hypothesis: For a high-quality translation of a literary text, only knowledge of words and language constructions is not enough.

Research methods: Self-translation by various available methods and comparison.

Theoretical significance: The theoretical significance of my research work lies in the fact that the results of the research can help ordinary people understand the reasons for a particular level of quality of translation of works of fiction.

Practical significance: The practical significance of my research work lies in the fact that the results of the research can help amateur translators and novice translators immediately understand where they can make the most elementary mistakes and pay attention to it.

The main part

1. Theoretical part

1.1. The history of the formation of the Soviet school of translation. The situation in the young Soviet Union developed in such a way that there was a need, first of all, with regard to other types of translation, to revise the organization of the work of translators of works of art, in the requirements for the translations themselves and their publication.The implementation of these changes was carried out by Alexey Maximovich Gorky, who was also responsible for many educational tasks of the first two decades of the Soviet era. Gorky, being the founder of socialist realism and a prominent figure of Soviet culture, also remained faithful to the traditions of Russian classical literature.As an editor and critic of translations, an organizer of the translation business, he continued to develop the principles and requirements for translation that were formulated in the XIX century by A. S. Pushkin, V. G. Belinsky (A. S. Pushkin: progressive ideas: the requirements of nationality, realism, recreation of the spirit and forms of the source text; V. G. Belinsky (the magazine "Rumor"): "... we need more translations of both scientific and artistic works," the benefit of the latter "consists most in the fact that they serve to develop aesthetic feeling, the formation of taste and the dissemination of true concepts of the elegant. <...>.Moreover, translations are also necessary for the formation of our still unsteady language; only by means of them can it be formed into such an organ on which all the innumerable and diverse variations of human thought can be played. ") and many others.

 Gorky was the initiator of the creation of the state publishing house "World Literature" in 1919 with the support of Vladimir Ilyich Lenin, where Alexey Maksimovich was also the head.One of the goals of this publishing house was to produce a systematic collection of works of foreign literature, both Western and eastern, including the fraternal peoples of the Soviet Union in a new translation or its new edition. The best literary and scientific forces of the time were involved in the work (poets A. A. Blok, V. Ya. Bryusov, M. L. Lozinsky, critic and literary critic K. I. Chukovsky, experts in Western European literature F. D. Batyushkov, A. A. Smirnov, V. M. Zhirmunsky, orientalists S. F. Oldenburg, V. M. Alekseev, a famous translator V. A. Zorshenfrei and many others.).

The works of such famous authors as Voltaire, Balzac, Hugo, Flaubert, Heine, Schiller, Byron, Dickens, Walter Scott, Mark Twain, Bernard Shaw, H.G. Wells, Jack London and others were published.

The publishing house "World Literature" existed only until 1927 and because of the financial difficulties that arose at that time, they could not fulfill their grandiose plans for the release of books (only about 120 saw the light). Nevertheless, I draw your attention to one important detail - the new principles and ideas on which the work of the publishing house was based:

• planning of the choice of translated works;

• the desire to improve the quality of translation, to rid it of literalisms, to make it accurate and artistically authentic, to give it a scientific basis.

In his article about the publishing house "World Literature" A.M. Gorky explained their formation as follows:

"... all together, the books make up an extensive historical and literary anthology, which will give the reader the opportunity to get acquainted in detail with the emergence, creativity and fall of literary schools, with the development of the technique of verse and prose, with the mutual influence of literature of various nations ...".

The goal itself had for A.M. Gorky not only cultural and educational, but also international and political significance, which he expressed in the same article:

"In terms of its breadth, this publication is the first and only one in Europe. The honor of carrying out this enterprise belongs to the creative forces of the Russian Revolution, the revolution that its enemies consider a "barbarian revolt."Creating such a domestic and huge cultural cause in the first year of its activity in conditions of inexpressibly difficult - the Russian people have the right to say that they are putting up a monument to themselves worthy of it.

After the criminal cursed slaughter shamefully caused by people intoxicated by the passionate generation of the fat Yellow Devil of gold, after a bloody storm of anger and hatred, it is appropriate, as much as possible, to give a broad picture of spiritual creativity... "

Alexey Maksimovich said the same thing in a letter to V. I. Lenin on January 29-30, 1920.:

"The other day I finished printing a list of books proposed for the publication of World Literature. I think it would not be a bad idea to translate these lists into all European languages and send them to Germany, England, France, Scandinavian countries, etc., so that the proletarian of the West, as well as the Wells and various Scheidemanns, could see firsthand that the Russian proletariat is not a barbarian, but understands internationalism much more widely than they do, cultured people, and that he, in the most vile conditions imaginable, managed to do in a year what they should have thought of long ago. "

The task required, of course, a high quality translation, for the improvement of which Gorky organized a special "studio". Also, in 1919, the publishing house published the first manual on the translation of prose and poetry in Russian called "Principles of Literary Translation".

Many of the translations of that time were endowed with considerable advantages, first of all, conscientiousness in conveying the semantic content of the original and attention to its features. However, there were also disadvantages, one of the most obvious was sometimes a literal translation and straightforwardness in the presentation, which did not take into account the conditions and features of the Russian language (for example, excessive repetitions that were completely unusual for it, which at that time were accurately transmitted, regardless of the verbal groups and context of use).

During the years of the NEP, small non-state publishing houses produced a considerable number of translated works that were of rather poor quality, both the works themselves, being so-called tabloid literature, and their translations, often made by people who do not know either the original language or the Russian literary language. In such translated books there were a huge number of semantic errors, crude literalisms, because of which they were ridiculed in critical articles of magazines of those years, as they did not meet even the most elementary requirements.

In the 1930s, there was no unity in the direction and quality in the field of translations, but at the same time the principles introduced by Alexey Maximovich for the selection and level of translations were strengthened. It is at this time that translations of works marked by excessive academic formalism appear.Basically, such translations were published by the publishing house "Academia": the collection "Lyrics" by Goethe in 1932, "The Song of Roland" translated by B. I. Yarkho, Dickens novels translated by E. L. Lann and others.Thinking that it is possible and necessary to convey all the elements of the original for high quality work, such translators often reduced everything to direct interpretations. However, this literalism in its origin is not similar to the literalism of the 1920s, which was caused by the lack of education of translators and ignorance of the language.The translators of the publishing house "Academia", on the contrary, were very educated people, but their mistake was that they did not see the difference between the elements of the language form of the original, did not pay attention to the styles, and how they can actually be different in different languages. In this way, translations were created that caused a distorted reader's idea of the text and distanced it from the original. At the same time, despite the fact that academic formalism was not uncommon in translated books of the 1930s, it cannot be called a widespread trend either. In general, at this time the quality of translation reached a higher level than before, translations of both prose and poetry appeared, which combined both accuracy in conveying meaning and expressiveness of the Russian language, while preserving the features of the original. It is to this period in the history of Soviet translation that the best of M. L. 's works belong . Lozinsky (Hamlet, Shakespeare's Twelfth Night, Lone de Vega's comedies - Dog in the Manger and The Valencian Widow, Sheridan's School of Slander, the beginning of work on Dante's Divine Comedy and others.), S. Y. Marshak (the beginning of work on Burns' lyrics) and many others.

In the same period, the 1930s, the Soviet reader was actively introduced to the literature of fraternal peoples of different republics, so communication between them became of great importance. It has come down to our days that Gorky admired the originality that was revealed in the literatures of fraternal peoples.It is also known what Alexey Maksimovich did to rally the literary forces of the Union and organize translations - he held numerous meetings with writers, sent writing teams to national republics, created the editorial office of the literatures of the peoples of the USSR in the publishing house "Fiction" and so on. The First All-Union Congress of Soviet Writers in 1934 played an important role in the development of the translation activities of national literatures and themselves, the final speech at which belonged to Gorky:

"It is necessary to start mutual and wide acquaintance with the cultures of the fraternal republics... Next: it is necessary to create a collection of current prose and poetry of national republics and regions in good translations in Russian"

Then Alexey Maksimovich raised the question of translating each individual language into all the others. He expressed this idea in an open letter to G. Mammadli , the editor of the Azerbaijani collective farm newspaper , in 1934:

"Ideally, every work of every nationality belonging to the Union would be translated into the languages of all other nationalities of the Union. In this case, we would learn to understand each other's national-cultural properties and peculiarities faster and faster, and this understanding, of course, would greatly accelerate the process of creating that unified socialist culture, which, without erasing the individual facial features of all tribes, would create a single, majestic, formidable and world-renewing socialist culture."

Translation was the easiest way to familiarize some peoples with the values of another, thereby representing an effective way of developing Soviet culture. In connection with the strengthening of relations between peoples, Gorky saw the development of the translation business not only on a large scale, but in an ever-expanding one.

During the life of Alexey Maksimovich, relatively few steps were taken towards the implementation of this task, but later it was realized to one degree or another, because not only translations from national languages into Russian were created, but international communication also developed. From 1934 to 1941, two new translations of the poem "The Knight in the Leopard Skin" appeared Shota Rustaveli, created a translation of the Kazakh folk epic "Kyz-Ji-bek", the Armenian epic "David of Sasun", the anthology "Georgian Romantics" and many other works. This cultural and translation experience has been beneficial to Russian literature, enriching it with new, previously unknown images, special rhythms.

During the Great Patriotic War, there was an expected decline in translation activity, which will be fully compensated in the post-war period. In the 1950s, translations from fraternal and foreign languages were created on a scale unprecedented before. Collections of poems and lyrics of the classical Azerbaijani medieval author Nizami, works of the Uzbek medieval poet Navoi, Turkmen - Mah-tum-Kuli, Georgian, Armenian, Ukrainian, Belarusian and many other poetry were translated, and so on.

There has been great progress in translating foreign literature and literature of fraternal peoples into the languages of other languages of the peoples of the Union.Achievements of fraternal literatures were discussed by a special body-the magazine "Friendship of Peoples". This period is no less rich in translations of foreign works:

• Lozinsky (completion of the translation of Dante's "Divine Comedy", the translation of "Macbeth", "Othello" and "A Midsummer Night's Dream" by Shakespeare, etc.);

• S. V. Shervinsky (Ovid's "Amores", a new edition of the translation of Sophocles' tragedy);

and much more.

Translations of Slavic literature were published on a scale never seen before:

• Polish -works by Mickiewicz, E. Ozheshko, Jeromsky, plays by L. Kruchkovsky, poems by Yu. Tivilina and many others;
• zech - the collected works of Alois Izgasek, M. Puymanova, the works of Ivan Olbracht, Svyatoplukh Czech, the famous "The Passage of the Brave Soldier Schweik" by A. Hasek (translated by P. Bogatyrev and reprinted many times), the three-volume "Anthology of Czech Poetry" and much more;
• Bulgarian - the works of I. Vazov, the work of Elin-Pelin, "Anthology of Bulgarian poetry" and others;
• Yugoslav creators - works by such Serbian writers as: Ivo Andric, P. Kocic, Iovan Popovich; an anthology of Dalmatian Renaissance poetry, Serbian fairy tales and much more.

Translators of that time were interested not only in the works of fraternal peoples and those countries, the translation tradition about which has already been established, but also those about which it has not yet been developed (Hungary, Romania, countries of the East -Asia and Africa, for example).

The reader's familiarization with the culture of the peoples of the East, with ancient literary traditions (India, Iran, China, Japan) was of relevance, for which a special Publishing house of Oriental literature was organized.

Due to the strengthening of the cultural ties of the Soviet Union with foreign countries, more and more literature is being translated. In this regard, the journal "Foreign Literature" appears, translations published in it (as well as by other publishers) can help to make an impression on the general level of translation of that time. Firstly, the selection of the source material has changed: if in the post-war period the works of such prominent literary figures as E. Hemingway, Maugham, Faulkner and others were not translated, and in general some one-sidedness was noticed in the choice, now this dogmatism was to some extent, though not completely, overcome. In the translation itself, they stopped refusing to use colloquialisms, vulgarisms, jargonisms, archaisms in order not to deprive the works and their heroes of the depth and those features that the author laid in them.

In general, since the mid-50s, the requirements for the quality of translations and translated material have been continuously increasing. It is worth noting that there was an unprecedented unity in the methods of selection and translation, which became possible thanks to the criticism of translation flaws. All the changes that have taken place in this area have eventually led to the fact that the main goal - the most objective and artistically authentic representation of the original text - has become closer to fulfillment.

 It is important that due to the fact that translated literature in Russian has always met a wide reader's demand, it was possible to return to the grandiose Gorky idea of combining world classics in a collection of volumes. The embodiment of this idea was the series "Library of World Literature" of the publishing house "Fiction" in the form of 20 rather large volumes, which, unlike Alexey Maksimovich's plan, offered to familiarize works from ancient times to modern times.

1.2. Principles of the Soviet school of translation.

Summing up the above, we can single out the basic principles of the Soviet school of translation:

• The breadth and variety of the translated material.
• The planned selection of works for translation.
• The overall high level of translation skill, which is a consequence of the ideological and semantic fidelity of the final product and its truthfulness (i.e., preserving the artistic originality of the source text).
• Creative approach to translation (at this point it is worth noting that dogmatism was not one of the principles of translation in the end).
• Availability of a scientific basis for the organization of translation work, its editing and the release of the final translated work.

1.3. The history of the formation of modern translation. In general, the modern school of translation will rise in the traditions of its predecessor, and its principles were also laid down in the mid-50s of the last century, but of course not without changes.

The main changes usually include the softening of censorship, which leads to the fact that modern translation develops much faster, which makes it better.

But at the same time, it can be noted that due to the fact that many modern translators do not know how to think in a foreign language or do not have as much reading experience as translators of previous generations, or maybe both together, which leads to a decrease in the quality of translation.

1.4. Principles of the modern school of translation. Since nowadays the translation of books can be produced by anyone, both for sale and for free review, there are no common uniform principles of the modern school of translation. The English researcher T. Savory, tried to give a list of requirements that different authors have for translation and received the following:

• The translation must convey the words of the original.
• The translation should convey the meaning from that original.
• The translation should read like the original.
• The translation should reflect the style of the original author.
• The translation should reflect the translator's style.
• The translation should be read like a work of the same time as the original.
• The translation should be read as a work of the time in which the translator lives.
• The translation may allow additions and omissions.
• The translation should not allow additions and omissions.
• The translation of poems should be carried out in prose.
• The translation of poems must be performed in poetic form.

1.5. Electronic online translators often make mistakes in the reanalysis of polysemous words. This is due to the fact that the machine cannot fully (and sometimes even completely) understand the context in which ambiguous elements of the language are used, unlike a person. But at the same time, the advantages of online translators include that they have a fairly rich stock of meanings of various words, synonyms, winged and stable expressions, with the translation of which they can cope better than a translator, especially an inexperienced one.

2.  The practical part.

2.1. Translation of a prose text (excerpt from Oscar Wilde's novel "The Picture of Dorian Gray").

This play was good enough for us, Harry. It was

‘Romeo and Juliet.’ I must admit I was rather annoyed at

the idea of seeing Shakespeare done in such a wretched hole of a place. Still, I felt

any rate, I determined to wait for the first act. There was a

dreadful orchestra, presided over by a young Jew who sat

at a cracked piano, that nearly drove me away, but at last

the drop-scene was drawn up, and the play began. Romeo

was a stout elderly gentleman, with corked eyebrows, a

husky tragedy voice, and a figure like a beer-barrel.

Mercutio was almost as bad. He was played by the lowcomedian, who had

on most familiar terms with the pit. They were as

grotesque as the scenery, and that looked as if it had come

out of a pantomime of fifty years ago. But Juliet! Harry,

imagine a girl, hardly seventeen years of age, with a little

flower-like face, a small Greek head with plaited coils of

dark-brown hair, eyes that were violet wells of passion,

lips that were like the petals of a rose. She was the loveliest

thing I had ever seen in my life. You said to me once that

pathos left you unmoved, but that beauty, mere beauty,

could fill your eyes with tears. I tell you, Harry, I could

hardly see this girl for the mist of tears that came across

me. And her voice,I never heard such a voice. It was very

low at first, with deep mellow notes, that seemed to fall

singly upon one’s ear. Then it became a little louder, and

sounded like a flute or a distant hautbois. In the garden-scene it had all the

before dawn when nightingales are singing. There were

moments, later on, when it had the wild passion of violins.

You know how a voice can stir one. Your voice and the

voice of Sibyl Vane are two things that I shall never forget.

When I close my eyes, I hear them, and each of them says

something different. I don’t know which to follow. Why

should I not love her? Harry, I do love her. She is

everything to me in life. Night after night I go to see her

play. One evening she is Rosalind, and the next evening

she is Imogen. I have seen her die in the gloom of an

Italian tomb, sucking the poison from her lover’s lips. I

have watched her wandering through the forest of Arden,

disguised as a pretty boy in hose and doublet and dainty

cap. She has been mad, and has come into the presence of

a guilty king, and given him rue to wear, and bitter herbs

to taste of. She has been innocent, and the black hands of

jealousy have crushed her reed-like throat. I have seen her

in every age and in every costume. Ordinary women

never appeal to one’s imagination. They are limited to

their century. No glamour ever transfigures them. One

knows their minds as easily as one knows their bonnets.

One can always find them. There is no mystery in one of

them. They ride in the Park in the morning, and chatter at tea-parties in the

smile, and their fashionable manner. They are quite

obvious. But an actress! How different an actress is! Why

didn’t you tell me that the only thing worth loving is an

actress?’

Self-translation. Это исполнение было достаточно хорошо для нас, Гарри. Это была "Ромео и Джульетта" и должен признаться я был довольно удручён идеей лицезреть исполнение Шекспира в такой дыре. До сих пор, я ощущал некий темп/трепет, Я решительно ждал первого акта. Там был oтвратительный оркестр, руководимый юной Джу, которая сидела за треснутым пианино, что около отличало меня от толпы, но в конце концов занавес поднялся и действие началось. Ромео был крепкий/толстый возрастной джентльмен, с намазанным жжёной пробкой бровями, сиплым трагичным голосом, и фигурой, похожей на бочку пива. Меркуцио был фактически плох. Он был сыгран низким комиком (в смысле, что юмор его был низким), карьера которого была такой же. Они были также гротескны как и сценарий,, который выглядел как пантомима пятидесятилетней давности. Но Джульетта! Гарри, представить себе девушку, которой едва ли семнадцать лет от роду,с маленьким лицом, подобным цветку, маленькой греческой головой с плетёными кольцами тёмно-коричневых волос, с глазами - тёмно-лиловыми колодцами страсти, с губами, подобными лепесткам роз. Она была чудеснейшим созданием, которое я когда-либо видел в своей жизни. Ты однажды сказал, что пафос заставляет тебя столбенеть, но эта красота, чистая красота наполнит твои глаза слезами. Стоит мне едва ли увидеть эту девушку на меня нахлынывают туманы слёз. А её голос, я никогда не слышал такого голоса. По началу это было очень низкий голос,с глубокими мягкими нотами, что казалось падением чьего-нибудь открытого уха. Тогда он стал немного громче и звучал как флейта или отдалённый гобой. Во время сцены в саду все что было внизу поднялось, как будто пел соловей. Немного позже был момент, когда в нём появилась дикая страсть скрипок. Ты знаешь, как голос может заставить кого-то шевелиться. Твой голос и голос Сибиллы Вейн - это две вещи, которые я никогда не забуду. Когда я закрываю глаза я слышу их, и каждый из них говорит что-то своё. Я не знаю к которому прислушиваться. Почему я должен её не любить? Гарри, я люблю её. Она все для меня в жизни. Каждый вечер я иду смотреть на её игру. В один вечер она Розалинда, в другой - Имоген. Я видел её умирающей во мраке итальянского склепа, всасывающей яд с губ её возлюбленного. Я видел её блуждающей в лесах Ардена, замаскированная под милого парня в чулках, дуплете и и изящной шапочке. Она сходила с ума, примеряла на себя образ качественного короля и давала ему руту в качестве одежды, и горькие травы для пробы. Она была невинна и тёмные руки зависти сдавливали ей горло. Я видел её во все времена и во всех нарядах. Обычные женщины никогда не взрывают к чьему-либо воображению. Они ограничены своим веком. Никакой гламур не преобразит их. Их мысли также просты как их колпаки. Их всегда можно найти. Ни в одной из них нет загадочности. Они катаются в парк по утрам, болтают на чайных вечеринках с улыбкой, обладают модными манерами. Они слегка банальны. Но актриса! Какие актрисы разные! Почему ты мне не говорил, что единственные кто заслуживают любовь - это актрисы?

Translation using an online translator. Эта пьеса была достаточно хороша для нас, Гарри. Это было ‘Ромео и Джульетта’. Должен признаться, я был довольно раздражен мысль о том, чтобы увидеть Шекспира в такой жалкой дыре. Тем не менее, я чувствовал во всяком случае, я решил дождаться первого акта.Там был ужасный оркестр, которым руководил молодой еврей, сидевший за треснувшим пианино, которое чуть не свело меня с ума, но наконец сцена высадки была подготовлена, и пьеса началась. Ромео был тучным пожилым джентльменом с насупленными бровями, хриплый трагический голос и фигура, похожая на пивную бочку.Меркуцио был почти так же плох. Его играл низкий комик, у которого был в самых близких отношениях с ямой. Они были такими же гротескный, как пейзаж, и это выглядело так, как будто он пришел из пантомимы пятидесятилетней давности. Но Джульетта! Гарри, представьте себе девушку, которой едва исполнилось семнадцать лет, с небольшим похожее на цветок лицо, маленькая греческая головка с заплетенными в косички темно-каштановые волосы, глаза, которые были фиолетовыми колодцами страсти, губы, которые были похожи на лепестки розы.Она была самой красивой вещь, которую я когда-либо видел в своей жизни. Однажды ты сказал мне, что пафос оставил тебя равнодушным, но эта красота, просто красота, мог бы наполнить твои глаза слезами. Говорю тебе, Гарри, я мог быедва вижу эту девушку из-за тумана слез, который наткнулся на мне. И ее голос, я никогда не слышал такого голоса. Это было очень сначала низкий, с глубокими сочными нотами, которые, казалось, падали поодиночке на ухо. Затем он стал немного громче, и звучало как флейта или далекий отбуа.В сцене в саду все происходило перед рассветом, когда поют соловьи. Там были мгновения спустя, когда в нем была дикая страсть скрипок. Ты знаешь, как голос может взволновать человека.Твой голос и голос Сибиллы Вейн - это две вещи, которые я никогда не забуду. Когда я закрываю глаза, я слышу их, и каждый из них говорит что-то другое. Я не знаю, за чем следовать. Почему? должен ли я не любить ее?Гарри, я действительно люблю ее. Она все для меня в жизни. Ночь за ночью я хожу к ней играть.Однажды вечером она - Розалинда, а на следующий вечер она - Имоджен. Я видел, как она умирала во мраке

Итальянская гробница, высасывающая яд из губ своего возлюбленного. Я наблюдал, как она бродит по Арденскому лесу, переодетый симпатичным мальчиком в чулках, камзоле и изящном шапка.Она была создана и вошла в присутствие виновный король, и дали ему руту для ношения, и горькие травы по вкусу. Она была невиновна, и черные руки ревность сдавила ее похожее на тростинку горло. Я видел ее в любом возрасте и в любом костюме.Обычные женщины никогда не взывайте к чьему-то воображению. Они ограничены их век. Никакое очарование никогда не преображает их. Один знает их мысли так же легко, как кто-то знает их шляпы.Их всегда можно найти. Нет никакой тайны ни в одном из их. Они катаются верхом в парке по утрам и болтают на чаепитиях в улыбка и их модные манеры. Они довольно очевидный.Но актриса! Насколько разные бывают актрисы! Почему?

разве ты не говорил мне, что единственное, что стоит любить, - это актриса?’

Professional translation (by D. Tselovalnikova).

 Для нас эта пьеса вполне годится, Гарри. Это "Ромео и Джульетта"! Должен признаться, я не ждал ничего хорошего от постановки Шекспира в подобной дыре. И все же я заинтересовался. Во всяком случае, решил дождаться первого акта. Оркестр был отвратителен, его возглавлял молодой еврей за разбитым пианино, и я едва не сбежал, как наконец подняли занавес, и пьеса началась. Ромео играл упитанный пожилой актер с накрашенными жженой пробкой бровями и фигурой как у пивного бочонка. Меркуцио был ненамного лучше. Его изображал комик-фигляр, несший отсебятину и державшийся на дружеской ноге с публикой задних рядов. Оба смотрелись так же гротескно, как и декорации, словно позаимствованные из сельского балагана. Но Джульетта! Гарри, представить девушку лет семнадцати с милым личиком, маленькой греческой головкой и темно-каштановыми косами, бездонными и страстными фиалковыми глазами и губами алыми, словно лепестки розы! Прелестнейшее создание! Как-то раз ты говорил, что пафос тебя не трогает и лишь красота способна исторгнуть их тебя слезы. Гарри, я едва смог рассмотреть эту девушку сквозь пелену навернувшихся на глаза слез! А ее голос - никогда прежде я не слышал подобного голоса! Сперва он был очень низким, а сочные нотки словно падали прямо мне в уши. Потом стал чуть громче и зазвучал будто флейта или далекий гобой. В сцене в саду он обрел тот трепетный экстаз, который звучит перед рассветом в трелях соловьев. В иные моменты в нем слышалась неистовая страсть скрипок. Ты знаешь, как голос способен взволновать человека. Твой голос и голос Сибилы Вейн я не забуду никогда! Закрывая глаза, я слышу их, и каждый говорит что-то свое. Не знаю, за каким из них последовать... Как можно ее не любить? Гарри, я ее люблю! Она для меня все! Вечер за вечером я хожу на ее спектакли. Сегодня она Розалинда, завтра - Имогена. Я видел, как она умирала во мраке итальянской гробницы, выпив яд с губ возлюбленного. Я смотрел, как она бродит по арленскому лесу, переодевшись прелестным юношей, в штанах в обтяжку, в камзоле и изящном берете. Она теряла рассудок и приходила к королю-убийце, вручала ему руту и горькие травы. Она была невиновна, но черные руки ревности сжимали ее тонкое, как тростник, горло. Я видел ее во всех эпохах и во всяких костюмах. Обыкновенные женщины никогда не взывают к нашему воображению. Они ограничены рамками своей эпохи. Преображения им не достичь никакими средствами. Их души знакомы нам не хуже, чем их шляпки. Ни в одной из них нет тайны. Найти их легко. Утром они катаются по Парку, вечером болтают за чаем. У них застывшие улыбки и великосветские манеры. Они абсолютно тривиальны. Другое дело актриса! Насколько она отличается от всех женщин! Гарри! Почему же ты мне не сказал, что любить стоит лишь актрису?

Comparison and analysis

О. Уайльд"Портрет Дориана Грея"/ O. Wild "The picture of the Dorian Gray"

When translating independently , the phrases caused difficulty:

young Jew -  I translated it as молодая Джу,although in the original it means a young Jew, which was reflected by a professional translator and in this case the online translator coped with the task better. This error is caused by ignorance of how representatives of the European people are called in English, besides, I think at that moment I was confused by the spelling with a capital letter. Although it was possible to guess, because how would Dorian Gray know the name of the pianist.

 that nearly drove me away -  in independent translation it stands as, "что около отличало меня от толпы". In general, the essence is correct, but contextually it does not fit at all. In professional translation, this is presented as"чуть не сбежал",and the online translator -"я чуть не сошёл с ума". Perhaps it is clear that this phrase is best represented in the version of D. Tselovalnikova, she managed to find the right words for stylistic and emotional transmission of the situation.

with corked eyebrows -  I translated this phrase as"с намазанным жжёной пробкой бровями", which is absolutely true and corresponds to the professional translation as well.But the online translator offered us the option "с насупленными бровями", which does not fit the context and reflects the thoughts embedded in the original.

 the lowcomedian - both me and the online translator understood it as a"низкий комик", in the sense that his humor was not of very high quality, but in order for it to be clear, explanations are needed, because neither the context nor the expression itself gives us an understanding that we are talking about humor, not about growth. While a professional translator translates it as"комик-фигляр", which is great here.

who had on most familiar terms with the pit - the phrase is all about the same space. I understood it as an assessment of his entire career. The online translator coped better in this case, as he translated it as follows :"у которого был в самых близких отношениях с ямой". But D. Tselovalnikova presents this phrase as "несший отсебятину и державшийся на дружеской ноге с публикой задних рядов", which simultaneously reflects him as a professional and his attitude to the pit.

the mist of tears that came across me - I translated it as "нахлынывают туманы слёз",which reflects reality, but in the context of the rules of the Russian language it sounds strange and awkward. Online translator: " из-за тумана слез, который наткнулся на мне",which sounds incorrect about the rules of the Russian language, but again reflects reality. The professional translated it as follows:" сквозь пелену навернувшихся на глаза слез", which corresponds to the rules of the language in which the text is translated and conveys the emotional coloring of this phrase in the original.

it had all the before dawn when nightingales are singing -  I translated it as"все что было внизу поднялось, как будто пел соловей", which is rather a literal translation reflecting the "movements" of the sound, but I don't think this translation can be called correct. The online translator provided this in the form :" все происходило перед рассветом, когда поют соловьи",which does not reflect the sound of the voice in question at all .D. Tselovalnikova translated this phrase as:" он обрел тот трепетный экстаз, который звучит перед рассветом в трелях соловьев", which is perfectly stylistically designed and conveys the sound.

 that seemed to fall singly upon one’s ear - my translation:"что казалось падением чьего-нибудь открытого уха", which is a literal translation, the so-called literalism."которые, казалось, падали поодиночке на ухо"- a variant of this phrase in Russian from an online translator, which again is a literal translation. And "словно падали прямо мне в уши" - translated by D. Tselovalnikova, which is not quite an accurate translation, but more advantageous, since this version sounds much better in the translation language.

She has been mad, and has come into the presence of a guilty king, and given him rue to wear, and bitter herbs to taste of. - where I translated "guilty king" as "качественный король ", which is incorrect. This translation is not caused by ignorance of "Hamlet", but by the fact that I was overly focused on the literal translation, completely ignoring the context. "Она была создана и вошла в присутствие виновный король, и дали ему руту для ношения, и горькие травы по вкусу"- the translation of an online service that is not particularly literate. Professional translator:"Она теряла рассудок и приходила к королю-убийце, вручала ему руту и горькие травы."

glamour-  I translated this word as " гламур", which cannot be considered incorrect, but this option is not suitable because it does not correspond to the peculiarities of the Russian language, at the time described in the novel, so they did not speak Russian. This time, the online translator coped with the task better, and presented this word as "очарование",which fits the context much more than the option that I suggested in an independent translation. In a professionally translated book, a variant is proposed that completely departs from the original, if we talk about verbatim, but it accurately conveys the message and emotional coloring: :"Преображения им не достичь никакими средствами."

Also, when translating with the help of an online translator, many grammatical errors were made regarding the ratio of the number and kind of words following each other: Это было ‘Ромео и Джульетта’.Ромео был тучным пожилым джентльменом с насупленными бровями, хриплый трагический голос и фигура.. ... маленькая греческая головка с заплетенными в косички темно-каштановые волосы...Она была самой красивой вещь... ... но эта красота, просто красота, мог бы наполнить твои глаза слезами... Говорю тебе, Гарри, я мог быедва вижу эту девушку из-за тумана слез, который наткнулся на мне. Это было очень сначала низкий. Затем он стал немного громче, и звучало как флейта... ...она умирала во мраке Итальянская гробница... ...в чулках, камзоле и изящном шапка. ....черные руки ревность... ...Обычные женщины никогда не взывайте к чьему-то воображению. Они ограничены их век. Они катаются верхом в парке по утрам и болтают на чаепитиях в улыбка и их модные манеры.

Translation of a poetic text (excerpt from "The Raven" by Edgar Allan Poe)

Once upon a midnight dreary, while I pondered, week and weary,

Over many a quaint and curious volume of forgotten lore-

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chamber door.

"'Tis some visitor," I muttered, "tapping at my chamber door

Only this and nothing more."

Ah, distinctly I remember, it was in the bleak December,

And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow;-vainly I had sought to borrow

From my books surcease of sorrow - sorrow for the lost Lenore-

For the rare and radiant maiden whom the angels name Lenore-

Nameless here for evermore.

<...>

Then this ebony bird beguiling my sad fancy into smiling,

By the grave and stern decorum of the countenance it wore,

Though the crest be shorn and shaven, thou," I said, "art sure no craven,

Ghastly grim and ancient Raven wandering from the Nightly shore-

Tell me what thy lordly name is on the Night's Plutonian shore!"

Quoth the Raven, "Nevermore."

Self-translation.

Однажды в сумрачной тоске, пока я внимателен, слаб и изнемождён,

Сквозь множество причудливых и странных звуков, забытых знаний -

Пока я клевал носом, близкое чесал, раздался внезапный стук,

Как вежливое постукивание, постукивание в мою камеру.

"Это гость,"-пробормотал я:"стучит в мою камеру -

Только это и ничего больше".

О, я чётко помню, это был суровый декабрь,

И каждый отделился умирающий последний красный уголёк своим признаком, открывающим пол.

 Я горячо желал утра;-тщетно глубоко вздыхал для займа

Из моей книги прекращающей печаль - печаль по потерянной Ленор -

По редкой и лучистой деве, с ангельским именем Ленор -

Безымянной здесь навсегда.

<...>

Пока эта чёрная птица манила моё грустное положение в улыбку,

При могиле и строгом этикете выдержки это стиралось,

"Хотя хохолок был короток и побрит, ты,"- сказал я:"искусно уверен бесстрашен"

Призрачный грим и древний Ворон путешествует из Ночного побережья -

Скажи мне то величественное имя Ночного Плутонской подпорки! "

Промолвил Ворон :"Никогда больше. "

Translation using an online translator.

Однажды в тоскливую полночь, когда я размышлял, слабый и усталый,

Над многими причудливыми и любопытными томами забытых знаний-

Пока я кивал, почти задремав, внезапно раздался стук,

Как будто кто-то тихонько стучит, стучит в дверь моей комнаты.

"Это какой-то посетитель, - пробормотал я, - стучится в дверь моей комнаты

Только это и ничего больше."

Ах, я отчетливо помню, это было в унылом декабре,

И каждый отдельный угасающий уголек создавал свой призрак на полу.

Страстно желал я завтрашнего дня; - тщетно я пытался занять

Из моих книг "Избавление от скорби" - "скорбь по потерянной Леноре"-

Для редкой и лучезарной девушки, которую ангелы называют Ленор-

Безымянный здесь навсегда.

<...>

Затем эта черная птица, соблазняющая мое печальное воображение улыбкой, серьезным и суровым выражением лица, которое она носила:

"Хотя гребень острижен и выбрит, ты, - сказал я, - уверен, что ты не трусливый,

Ужасный, мрачный и древний Ворон, блуждающий с Ночного берега-

Скажи мне, как твое благородное имя на Ночном плутонийском берегу!"

Сказал Ворон: "Больше никогда".

Professional translation (by Mikhail Alexandrovich Zenkevich).

Как-то в полночь, в час угрюмый, утомившись от раздумий,

Задремал я над страницей фолианта одного,

И очнулся вдруг от звука, будто кто-то вдруг застукал,

Будто глухо так затукал в двери дома моего.

«Гость,— сказал я,— там стучится в двери дома моего,

Гость — и больше ничего».

Ах, я вспоминаю ясно, был тогда декабрь ненастный,

И от каждой вспышки красной тень скользила на ковер.

Ждал я дня из мрачной дали, тщетно ждал, чтоб книги дали

Облегченье от печали по утраченной Линор,

По святой, что там, в Эдеме ангелы зовут Линор,—

Безыменной здесь с тех пор.

<...>

И, очнувшись от печали, улыбнулся я вначале,

Видя важность черной птицы, чопорный ее задор,

Я сказал: «Твой вид задорен, твой хохол облезлый черен,

О зловещий древний Ворон, там, где мрак Плутон простер,

Как ты гордо назывался там, где мрак Плутон простер?»

Каркнул Ворон: «Nevermore».

Comparison and analysis

Э. А. По "Ворон"/E. A. Poe "The Raven"

nearly napping -  this phrase was translated by me as  "близкое чесал",which is absolutely wrong, because neither the meaning, nor the style, nor the emotional coloring that the author laid down is transmitted. The online translator suggested an option :"почти задремав", which is closer to the original text. In his translation, M. A. Zenkevich mentions that the lyrical hero dozed off.

And each separate dying ember wrought its ghost upon the floor. -  it was translated by me as follows :" И каждый отделился умирающий последний красный уголёк своим признаком, открывающим пол.",which can be attributed to both literalisms and formalisms, because, despite the fact that I tried to translate verbatim, a coherent logical phrase did not come out."И каждый отдельный угасающий уголек создавал свой призрак на полу." -  the translation option of the online service, which is clearly much better. A professional gives this option:"И от каждой вспышки красной тень скользила на ковер.",where there is no exact following of the word of the original, but there is a following of the spirit and meaning.

vainly I had sought to borrow - this phrase was translated by me as:"тщетно глубоко вздыхал для займа", which sounds absurd. The online translator offers us an option:"  тщетно я пытался занять",in vain I tried to borrow", which sounds better, but still does not quite fit the meaning ." тщетно ждал, чтоб книги дали"translates this phrase by M. A. Zenkevich, giving the reader to understand what exactly it is about and what kind of image it is.

Then this ebony bird beguiling my sad fancy into smiling - that I translated "Пока эта чёрная птица манила моё грустное положение в улыбку,"and this can be called a literal and very rough translation. "Затем эта черная птица, соблазняющая мое печальное воображение улыбкой" the online translator translated this phrase in this way, which is already much better. "И, очнувшись от печали, улыбнулся я вначале, Видя важность черной птицы," a poetic version of the translation simultaneously reflecting both the meaning and stylistic coloring.

Ghastly grim - I mistakenly translated this phrase as :"Призрачный грим",and the online translator :" Ужасный, мрачный" perceiving this phrase as two adjectives, which was true. Zenkevich cites this translation:" зловещий древний".

Night's Plutonian shore - which I translated as:"Ночного Плутонской подпорки", which is naturally incorrect and sounds absurd. "Ночном плутонийском берегу" - this option is offered by an online translation service, which is more correct. Zenkevich simply repeats the ending of the previous line, as well as partially in the original "где мрак Плутон простер".

I would also like to add that I translated the phrase "chamber door" as  "дверь камеры", which seems to me true, but at the same time the online translator translated it simply as :"дверь комнаты", and in professional translation the whole house is taken at once, not a room.

Conclusions. Thus, it can be concluded that for a high-quality literary translation, it is necessary not only to know words and constructions, especially if we are talking about the artistic translation of a poetic text. It is also necessary to understand the historical and stylistic context, knowledge of various artistic techniques of the original language, for a better translation, at least the meaning that the author put in. You should also pay attention to the rules of the translation language so that the translated text can be perceived by the reader, just like the original.

Bibliographic list of references and Internet sources

• http://infopedia.su/6x317b.html
• http://obelinskom.ru/ob_avtore/372.html
• https://russtih.ru/edgar-allan-po-voron/
• https://www.homeenglish.ru/PoemsPoe.htm
• https://studopedia.ru/2_99019_istorya-perevoda-v-rossii.html
• Портрет Дориана Грея . Оскар Уайльд ; [пер. с англ. Д. Целовальниковой]. – Москва : Издательство АСТ , 2019. – 320 с. – страницы 76-79

Applications 1.

Святые монахи Кирилл и Мефодий – создатели кириллицы.

Максим Грек –богослов, переводчик, филолог.

Максим Горький – русский советский писатель, поэт, прозаик, драматург, журналист, публицист и общественный деятель.

Логотип издательства «Всемирная литература».