Some features of the stylistic translation devices: pages 2  

If a novice translator has no experience of comparing different translations or the translation with the original, than his attitude to some texts is clear: he is afraid of many verbal adverb phrases, all kinds of morphemes and allusions. As a result, both the translator and the translation are “out of the brackets”. On the other hand, when a person is aware of the complexity and importance of the translator’s work and is used to talk about it and compare translations, it would be interesting to mention another extreme a translator can reach - the author of the text disappears. The text in this case becomes a creation of the translator, abounding with his personal thoughts, feelings and experiences. There is no malicious intent here, neither there is some in the first case. The author just disappears somewhere in the background. In either case, you need to remember one thing: if there is something wrong in the translation, it’s the translator’s fault as it is he who is responsible for the stylistic aspects of the text.

The desire of many translators to make the text “good and easy to read,” unfortunately, as practice shows, leads to a dull smooth “language of translation.” But perhaps it cannot be otherwise? How is that possible to preserve stylistic features of the original in the translation? If the translation is ugly, rough, odd, uneven, readers will find it bad, and translator – an inept. The fate of the translation and the translator’s reputation are largely dependent on the reaction and views of the majority of readers. A variety of emotions that you have after reading a story can be both positive and negative. It seems that translation with attempt to convey the author’s text features in each aspect (to the best of one’s understanding, and within the bound of possibility), is not much possible. The translation does not exist and makes no sense outside of the community of readers who can read it, evaluate, use it. However the expectations of this community of readers, its requirements to the style, phraseology, lexicon of translation – all these demands inevitably cause the translator to violate the author’s intention again and again.

The translation of stylistic devices, which bear the imaginative charge of a work, often causes difficulties for translators because of national peculiarities of stylistic systems in different languages. All linguists emphasize the need to preserve the image of the original in the translation, rightly considering that, first of all a translator should strive to reproduce the function of a device but not the device itself. [3]

Each time a translator transfers stylistic figures of speech – comparisons, epithets, metaphors, proverbs, etc. – he need to choose: whether it is necessary to keep the underlying image or to replace it by another one. The reason for substitution may be features of Russian word usage, combinations of words, etc.

The translator needs a stylistic aspect of the translation, without which he can’t make an esthetic translation. It is a stylistic aspect of the language that is responsible not only for the translation from the source language into the target language, but also for the features and craftsmanship of a translator. After all, the translation of the original depends on the translator’s ability to convey a sense of stylistic unities. Expression of the translation gives greater expressiveness to the original text. Literary critics, linguists, anthropologists, and philosophers are consistently interested in the main and most interesting problems related to literary translation and translation of literary language. The expressive means of expression include: metaphor, metonymy, simile, allusion, quotes, aphorisms, proverbs and sayings. In translation the most difficult task for a translator is to translate such stylistic figures of speech, as a metaphor, epithets, similes, proverbs, etc. The translator can, of course, omit them, but he will get “dry“ translation as the result.

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