Identification and typology on the basis of activity-translation products, defining variability translation

Translated by T. Shchepkina-Kupernik not saved the dynamic rhythm of the original and slightly ironic tone. Moreover, change of tone from ironic to justify even the name "Hostess Uochep houses" where used diminutive "hostess" sets the reader on an acquittal way. Poem loses its irony, dynamism, but appears pensive and dreamy character "dreaming the plow", "wearily trudging across the field" (all of these changes are noted in italics). Thus, we can conclude that T. Schepkina-Kupernik do not occupy a position t modernization unlike S. Marshak.

Перевод Т. Щепкиной-Куперник «Хозяюшке Уочеп-Хауза»

Хозяюшка!

Я помню, в молодые годы,

Юнец неловкий, безбородый,

С серпом ли на гумне,

За плугом ли бредя устало,

Лишь об ученьи все, бывало,

Тогда мечталось мне.

[Бернс 1982: 508].

Consider the examples of naturalization when translated poems by R. Burns. To compare this poem R. Burns «John Barleycorn» and its Russian translations made ??S. Marshak and O. Senkovsky.

At the heart of R. Burns poems are popular beliefs about gay spirits who live in the beans, leave them during threshing grain barns in winter, spring and returning to the field to bring life and joy in the ripening grain [English poetry .... 2000 2 86] R. Burns poem so fun and dynamic. The basic meaning of a poem by R. Burns - "gaiety", "game", his hero - a cheerful and life-affirming character who does not fall into despair, despite all the misfortunes that fell on them ("Kings vow to destroy him", "walked through it plow, "" it buried in the ground, "etc.). However, in the spring of John Barleycorn again "cheerful" and "threatens spears enemies", in fact in the poem metaphorically describes the process from growing grain to beer brewing, which in itself symbolizes fun. Quickening rhythm of the poem, which makes it a dynamic, fun.

R. Burns «John Barleycorn»

There was three kings into the east,

Three kings both great and high,

And they hae sworn a solemn oath

John Barleycorn should die.

They took a plough and plough'd him down,

Put clods upon his head,

And they hae sworn a solemn oath

John Barleycorn was dead.

But the cheerful Spring came kindly on,

And show'rs began to fall;

John Barleycorn got up again,

And sore surpris'd them all.

[Английская поэзия …2000: 77-79].

Further analyze the two translations in terms of translation products.

Перевод О. Сенковского «Иван Ерофеевич - Хлебное зернышко»

Были три царя на Востоке,

Три царя сильных и великих;

Поклялись они, бусурманы,

Известь Ивана Ерофеича Хлебное-зернышко.

И вырыли они глубокую борозду, да и бросили его в нее,

И навалили земли на его головушку;

И клялись они, бусурманы,

Что извели Ивана Ерофеича Хлебное-зернышко.

Но как скоро пришла светлая веснушка,

И полились теплые дождики,

Иван Ерофеич Хлебное-зернышко встал из могилы

К великому страху нехристей.

[Р. Бернс: 139-141].

O. Senkovsky takes in translating a poem by R. Burns Interpreter position naturalization , changing the genre to a native Russian. otlandskaya W ballad became translated Russian epic and Scottish farmer "has become a Russian peasant" [Ertner 2004: 123]. Spirit, wintering in the "granary Ayrshire" moved to overgrown bearded needles good old Moore. John Barleycorn renamed Ivan Yerofeyich Bread-seed. Into compliance with the changed s stylistics kings became kings, but not Russian, and "busurmanskimi" ie infidel [Smirnov http://magazines. Ru], strangers. Thus, O. Senkovsky maximum naturaliziruet his translation to Russian readers, bringing it to the readers of the host culture.

The text translation many words with diminutive suffixes, which is typical of Russian fairy tales, "freckle", "fellow", "grain", "full-polnehonko", "rains", "sun", "head" ( text in italics). The translated text is as close to folklore and fully adapted to the perception of the Russian reader: all English replaced Russian realities - kings (kings) are "kings", "Busurmanov", "infidels." Also changes the style of the poem. Poem translated O. Senkovsky loses its liveliness, cheerfulness, not peculiar epics, where there is an epic celebration of heroes. So , in this translation of the author's meaning is lost - "gaiety", "game", but rather acquires epic poem features.

Such transfers are interesting and original, although most are independent works, "translations based on" when the translator takes from the original only motive or just a hero, but it changes the style and manners (although interpreters often indicate that it is a translation ) [Zhirmunski 1979: 125].

It should be noted that in translating e S. Marshak passed the author's intent - meaning of the poem "gaiety", "game". His hero, despite all adversity, do not despair, do not lose heart, it is still hilarious (and hero of the poem R. Burns). Quickening rhythm of the poem, which makes it very dynamic, cheerful, saved disyllabic size S. Marshak, as well as R. Burns uses short, high-frequency vocabulary.

Poem translated by S. Marshak remains the same cheerful, life-affirming as a poem by R. Burns.

Перевод С. Маршака «Джон Ячменное Зерно»

Трех королей разгневал он

И было решено,

Что навсегда погибнет Джон

Ячменное Зерно.

Велели выкопать сохой

Могилу короли,

Чтоб славный Джон, боец лихой,

Не вышел из земли.

Травой покрылся горный склон,

В ручьях воды полно...

А из земли выходит Джон

Ячменное Зерно

Все так же буен и упрям

С пригорка в летний зной

Грозит он копьями врагам,

Качая головой.

[Бернс в переводах С. Маршака: 125-127].

Another example of naturalization translation is a translation Kozlov "Rural Saturday night in Scotland." Consider R. Burns poem «The Cotter's Saturday Night» and two variants of translation of the poem into Russian: in translation T. SHCHepkinoj-Kupernik "Saturday Evening villager" and translated Kozlov "Rural minutes Saturday night in Scotland." Compare these two variants of translation and the original.

R. Burns «The Cotter's Saturday Night»

From scenes like these, old SCOTIA's grandeur springs,

That makes her lov'd at home, rever'd abroad:

Princes and lords are but the breath of kings,

“An honest man's the noble work of GOD:”

And certes, in fair Virtue's heavenly road,

The Cottage leaves the Palace far behind:

What is a lordling's pomp? a cumbrous load,

Disguising oft the wrench of human kind,

Studied in arts of Hell, in wickedness refin'd!

[Бернс 1982: 140-141].

All these meanings are transferred to the translation T. SHCHepkinoj-Kupernik: also praised "the greatness of his native Scotland," "foreign countries honor," emphasizes that the simple but honest people on the path to God is much closer than the rich, "shacks without palaces, lead forward "simple peasants are" paths benefactors in humility "(noted in italics), ie fully preserved in the translation copyright e meanings inherent in the original.

Перевод Т. Щепкиной-Куперник «Субботний вечер поселянина»

Вот в чем родной Шотландии величье -

Любовь своих и чуждых стран почет.

Власть королей дает чинов различье,

Но благородство только бог дает.

Лачуги, не дворцы, ведут вперед

Стезею добродетели в смиреньи:

Мирская роскошь - часто тяжкий гнет,

Под ней - нередко гнусное творенье,

Коварство адское, пороков изощренье.

[Бернс 1982: 141-142].

However, the translation Kozlova, called "Rural Saturday night in Scotland" and in the first eighteen lines it really is about Scotland and Scottish peasants in the nineteenth line poet turns to "Holy Russia" calls her "our mother earth" and glorifies its greatness worldwide famous "your squads and fleets miracles", "bashful virgins and Russian beauty." Appear typical Russian realities "kings", "Russian virgins" characteristic Russian ballads appeal "Holy Russia", "Mother Earth" (all these features are marked in italics). Koslov points before his transfer, it is not proper translation and "free imitation of Burns", which in itself involves a significant divergence from the original. Thus, we can conclude that Kozlov comes to its translation from the position of naturalization , which explains the changes made ??to them in the translation. R. Burns writes about Scotland and glorifies its greatness, and Kozlov, naturaliziruya R. Burns poem to host Russian culture, writes about Russia, not Scotland (all of these changes are noted in italics).

Перевод И. Козлова «Сельский субботний вечер в Шотландии»

А я к тебе, к тебе взываю я,

Святая Русь, о, наша мать-земля!

Цвети, цвети, страна моя родная!

Меж царств земных, как пальма молодая,

Цвети во всем, и в доле золотой

Счастлива будь, и счастье лей рекой!

Страна сердец, и дум, и дел высоких!

О, как гремят везде в краях далеких

Твоих дружин и флотов чудеса

И русских дев стыдливая краса!

Верна царям и верою хранима,

Врагу страшна, сама неустрашима,

Да будут честь и нравов простота

И совести народной чистота

Всегда твоей и славой, и отрадой,

И огненной кругом тебя оградой,

И пред тобой исчезнет тень веков

При звуке струн восторженных певцов!

[Бернс 1982: 499]

R. Burns poem "The Jolly Beggars "fun and dynamic, his characters are funny tramp who gather every evening in the pub at" Pussy Nancy "(" Poosie Nansie "). This meaning is preserved and translated by S. Marshak, and translated by S. Petrov. However, Petrov uses many colloquial, native Russian expressions naturaliziruya or rusifitsiruya his translation: "a swarm of bats - a swarm of bats", "cheerful Halacha - the poor", "hobo brothers ( Accel., jocular .) means the company "," sudarka " ( pic. from madam , obsolete .) "from booze ( simple ). EQA ( simple ). "" intoxicated, any ( simple .), is used to mean sweetheart ", etc., which takes the reader from the English jolly zucchini in a typically Russian beer (all of these changes are noted in italics). Petrov even Russified name: instead of "merry beggars" appears "necessity is the mother a whore." The word "necessity" has thesauruses litter " Sabir . , obsolete . "And means" beggars, beggars. "

R. Burns «The Jolly Beggars»

When lyart leaves bestrow the yird,

Or wavering like the Bauckie-bird,

Bedim cauld Boreas blast;

When hailstanes drive wi' bitter skyte,

And infant Frosts begin to bite,

In hoary cranreuch drest;

Ae night at e'en a merry core

O'randie, gangrel bodies,

In Poosie-Nansie's held the splore,

To drink their orra dudies.

His doxy lay within his arm;

Wi' Usquebae an' blankets warm,

She blinket on her Sodger:

An' ay he gies the tozie drab

The tither skelpan kiss.

[Бернс 1982: 386]

Перевод С. Маршака «Веселые нищие»

Когда, бесцветна и мертва,

Летит последняя листва,

Опалена зимой,

И новорожденный мороз

Кусает тех, кто гол и бос,

И гонит их домой,-

В такие дни толпа бродяг

Перед зарей вечерней

Отдаст лохмотья за очаг

В какой-нибудь таверне.

У очага сидел солдат

В ремнях, с походным ранцем,

Пред ним любовница была,

От хмеля, ласки и тепла

Пылавшая румянцем.

[Бернс 1982: 387]

Перевод С. Петрова «Голь гулящая»

Когда, как рой нетопырей,

Листву пожухлую Борей

По воздуху гоняет,

Когда морозец молодой -

От инея уже седой

И за щеки щипает,

Тут к Дусе-Нанси в поздний час

Веселые галахи -

Бродяжья братья собралась

Пропиться до рубахи.

И от сивухи окосев,

К солдату на колени сев,

Забавилась сударка.

И целовал горюн в уста

Свою хмельную любу.

[Бернс 1982: 441]

Consider the cases of adaptation of the translated text in the host culture with examples of literary translation of the text. In 1816 VAZhukovsky performed Arrangement R. Burns poem «John Barleycorn» for children and called it "oatmeal." This poem can not be called proper translation of a poem by R. Burns «John Barleycorn», but rather an adaptation works for children, in which the "beer" is replaced by "jelly." With explores noted that in general VAZhukovsky always poderkival "futility" literal translation or "bare imitation" and claimed that "all borrowed must be reborn to become poetry" [Zhukovsky, 1985: 300]. This explains the trend VAZhukovskogo in most cases adapted or naturalize their own translations for Russian readers. In this poem VAZhukovsky describes the process of growth of oat grain and cooking jelly in an understandable and accessible to children form: oat grain compared with a small child and how it grows, "sleeping in the cradle", "eating and drinking", " not piknet "," look "," sucks like a baby "," crawled out of shroud ", etc. (Italics in the text), then sprout leaves "family home" - "grain" (as a grown child) and samples ivaetsya own. VAZhukovsky takes from the original only "character" - "grain", but completely changed and the plot, and the manner of IPR ma.

R. Burns «John Barleycorn»

There was three kings into the east,

Three kings both great and high,

And they hae sworn a solemn oath

John Barleycorn should die.

They took a plough and plough'd him down,

Put clods upon his head,

And they hae sworn a solemn oath

John Barleycorn was dead.

But the cheerful Spring came kindly on,

And show'rs began to fall;

John Barleycorn got up again,

And sore surpris'd them all.

[Английская поэзия …, 2000: 77-79].

В.А. Жуковский «Овсяный кисель»

Дети, овсяный кисель на столе; читайте молитву;

Смирно сидеть, не марать рукавов и к горшку не соваться;

Кушайте, светы мои, на здоровье; Господь вас помилуй.

В поле отец посеял овес и весной заскордил.

Слушайте ж, дети: в каждом зернышке тихо и смирно

Спит невидимкой малютка-зародыш. Долго он, долго

Спит, как в люльке, не ест, и не пьет, и не пикнет, доколе

В рыхлую землю его не положат и в ней не согреют.

Вот он лежит в борозде, и малютке тепло под землей;

Вот тихомолком проснулся, взглянул и сосет, как младенец,

Сок из родного зерна, и растет, и невидимо зреет;

Вот уполз из пелен, молодой корешок пробуравил;

Роется вглубь, и корма ищет в земле, и находит.

[Английская поэзия …2000: 336-338].

Another example of adaptation to the host culture of translation is the translation of a poem by R. Burns «John Barleycorn», made ??M. Mikhailov. This translates the author's intent, the meaning of the poem "gaiety", "game". His hero, despite all adversity, do not despair, do not lose heart, it is still hilarious (and hero of the poem R. Burns). Quickening rhythm of the poem, which makes it very dynamic, fun. Mikhailov, as well as R. Burns uses short, high-frequency vocabulary, "come", "leaves", "cheerful", "fresh", etc.

М. Михайлов «Джон Ячменное Зерно»

Когда-то сильных три царя

Царили заодно -

И порешили: сгинь ты, Джон

Ячменное Зерно!

Могилу вырыли сохой,

И был засыпан он

Сырой землею, и цари

Решили: сгинул Джон!

Пришла весна, тепла, красна,

Снега с полей сошли.

Вдруг Джон Ячменное Зерно

Выходит из земли.

И стал он полон, бодр и свеж

С приходом летних дней!

Как раз заснет змея-печаль,

Все будет трын-трава…

[Бернс 1982: 452].

Another example of adaptation to the host culture of translation is the translation of a poem by R. Burns «From the Heron Ballads ". Compare ballad R. Burns «From the Heron Ballads "(1795) and its Russian translation, made ??by S. Marshak. During the parliamentary elections of 1795 R. Burns wrote four election ballads in support of the candidate of the Whig Party. Translated into Russian first of these ballads [English poetry .... 2000: 2 47]. Originally found many realities that are not transferred to the translation by S. Marshak: "Galloway", "Lord", "Knight", "Kirouchtree", "Saint Mary 's Isle "," Duke "," ribband and star »(these changes are noted in the text and translation of the original italics). S. Marshak adapts to his translation of Russian culture and the host does not pass in his translation of the original many realities that have temporal or local character, apparently th, considering that they will not understand Russian readers, and will complicate the understanding of the text, ie is in our terminology, this translation is an example of adaptation translational position . S. Marshak poem made ??of situational universally valid, removing ekzotizmy, which are the names, titles.

R. Burns «From the Heron Ballads» Thro' Galloway and a' that, Whilk is the Lord, or belted Knight, That best deserves to fa' that? Or wha e'er wi' Kirouchtree met, That has a doubt of a' that? Tho' wit and worth, in either sex, Saint Mary's Isle can shaw that, Wi' Lords and Dukes let Selkirk mix, For wheel does Selkirk fa' that. A lord may be lousy loun, Wi' ribband, star and a' that.	С. Маршак «Предвыборная баллада» Кого из нашей знати Иль из народа мы пошлем Решать дела в палате? Кто не ходил к нему хоть раз В открытые ворота? Достойных парней и подруг В краю у нас немало, Но Селькерк любит светский круг, Как Селькерку пристало. Что лорд в блестящих орденах Бывает глуп и прочее.

[Burns 1982: 336-339].

As another case of adapting the translation should be noted translation of a poem by R. Burns "Yon wild Mossy Mountains ", th execution S. Marshak" Rockies ".

R. Burns «Yon wild mossy mountains»	Перевод С. Маршака «Скалистые горы»
Yon wild, mossy mountains sae lofty and wide, That nurse in their bosom the youth o' the Clyde; Where the grous lead their coveys thro'the heather to feed, And the shepherd tents his flock as he pipes on his reed. Not Cowrie's rich valley, nor Forth's sunny shores, To me hae the charms o' yon wild, mossy moors. [Бернс 1982: 210].	Скалистые горы, где спят облака, Где в юности ранней резвится река, Где в поисках корма сквозь вереск густой Птенцов перепелка ведет за собой. Милее мне склоны и трещины гор, Чем берег морской и зеленый простор. [Бернс 1982: 211].

Translated by S. Marshak traced withdrawal realities, as well as a number of inaccuracies that do not affect the overall meaning of the poem, but it facilitates the perception of readers of the host culture: the shores of the Firth of Forth «Forth's sunny shores» translated as "crack mountains," valley " Cowrie's valley »just as slopes, river Clyde (the Clyde) translates simply as "river», «mossy moors» translated as "sea and green space», «grouse» («grouse") is translated into a "quail" character disappears from the translation of the shepherd leading his flock and playing the fife: original «the shepherd tents his flock as he pipes on his reed», and this corresponds to the translation translation of the previous line, and the image of the shepherd is absent in the translation by S. Marshak " quail chicks leads the "(all of these changes are noted in italics). Translated clear tendency to adapt to the host culture of readers, and it is in our terminology - adaptive translation position .

Consider the cases of adding new meanings translated poems by R. Burns. To analyze this poem by R. Burns «I hae a wife o 'my ain» and five translations of the second stanza of the poem in Russian, made ??by various authors: S. Marshak, Kurochkin, D. Sviyazhskim (Minayeff), O. Chyuminoy, T. Shchepkina-Kupernik.

R. Burns. «I hae a wife o' my ain» I hae a penny to spend, There, thanks to naebody; I hae naething to lend, I'll borrow frae naebody. [Бернс 1982: 362]	Перевод С. Маршака Своим трудом я нажил грош, И сам истрачу я его. Что у меня взаймы возьмешь? И я не брал ни у кого. [Бернс 1982: 363]
Перевод Т. Щепкиной-Куперник «У меня есть жена» Есть и грош у меня: за него Не обязан ничем никому. В долг я дать не могу ничего, Но не должен и сам никому. [Бернс 1982: 523]	Перевод Д. Свияжского (Минаева) «На чердаке» День и ночь - сутки прочь; Так я век проживу. Снится бедность мне в ночь, - Нищета на яву. [Бернс 1982: 521]
Перевод О. Чюминой «Песня» В долг ничем я не ссужаю Из соседей никого, Но и сам не занимаю, У соседей ничего. [Бернс 1982: 522]	Перевод В. Курочкина «Песнь бедняка» Чем живу я - и сам не пойму; Никому не обязан зато. Я помочь не могу никому, Да и мне не поможет никто. [Бернс 1982: 520]

Translated D. Sviyazhsky (Minayeva) occurs adding meaning "s poverty", the hero suffers from his poverty, he is so poor that he can not live like this anymore, poverty haunts him "in a dream and in reality." However, in this poem the meaning of R. Burns ("poverty"), and that given the opposite meaning "despite poverty hero free, neither of whom is independent and cheerful» - «thanks to naebody», «I'll borrow frae naebody» ie sense of "pride" and not "poverty".

The meaning of "freedom, independence, pride" has been translated by S. Marshak: "In my own work I have made a penny," "And I myself spent it," "I did not take none"; translated by T. Shchepkina-Kupernik "not obliged to anything anyone" "But he should not and no one"; translated O. Chyuminoy "But he did not occupy, neighbors have nothing"; translated by V. Kurochkin "Nobody is obliged but" (these changes are noted in italics).

In P. Burns poem fun, playful, and some Fra gmenty this poem: «I hae a penny», «Naebody cares for me, I care for naebody» found in the English and Scottish songs with a playful and even comic character [English poetry 2000 .... 2, 31]. W utlivy, cheerful character of the original is transmitted in all translations, although Kurochkin poem called "The Song of the poor", but his character does not complain of poverty, nor laments his condition, that is, there is no sense adding "poverty", conveys a sense of " independence and pride. " However, translated by D. Sviyazhsky (Minayeva) on the one hand it is added meaning "poverty", and on the other hand is not transmitted "fun" and "playfulness" of the original. Thus, we can conclude that D. Sviazhsky suitable for transfer to the position deviation sense, since it is added meaning .

Consider other cases adding new meanings in translation from the original. To compare this poem R. Burns «John B arleycorn» and free translation VAZhukovskogo "Confessions batiste Shawl."

R. Burns «John Barleycorn»

There was three kings into the east,

Three kings both great and high,

And they hae sworn a solemn oath

John Barleycorn should die.

They took a plough and plough'd him down,

Put clods upon his head,

And they hae sworn a solemn oath

John Barleycorn was dead.

But the cheerful Spring came kindly on,

And show'rs began to fall;

John Barleycorn got up again,

And sore surpris'd them all.

[Английская поэзия … 2000: 77-79].

В.А. Жуковский «Исповедь Батистового платка».

Я родился простым зерном;

Был заживо зарыт в могилу;

Но Бог весны своим лучом

Мне возвратил и жизнь и силу.

И долговязой коноплёй

Покинул я земное недро;

И был испытан я судьбой, -

Ненастье зная, зная ведро.

Зной пёк меня, бил тяжкий град,

И ветер гнул в свирепой злобе-

Так, что я жизни был не рад

И горевал о прежнем гробе.

Но было и раздолье мне!

Как веселился я, бывало,

Когда в час ночи, при луне.

Вокруг меня все засыпало!

Когда прохладный ветерок

Меня качал, ко мне ласкался,

Когда веселый мотылек,

Блестя, на колос мой спускался.

[Английская поэзия …2000: 80-82].

Through transfers VAZhukovskogo R. Burns entered the Russian cul ture as a romantic poet. VA Zhukovsky, himself a romantic poet, the poem brings typical romantic motifs: this can be seen at the lexical level due to obsolete vocabulary: "bowels of the earth" ( obsolete .) "Fierce anger" ( Accel .) "Expanse" ( obsolete .) "Fate" ( obsolete .) "Hard" ( obsolete .) "Bucket" ( obsolete .) "Grieve" ( obsolete., simple .) "Snuggle" ( obsolete .).

There is a change of style of the original, used low-frequency vocabulary words long, typical of romantic poetry (in accordance with the romantic Representat ION, which are available for VA Zhukovsky), the poem loses its zhizner adostnost, cheerfulness. Hero VA Zhukovsky, unlike gay hero R. Burns, prone to reflections on the meaning of life, to the digression. Thus, the translation does not make sense the author '- "gaiety", "game", respectively, and cheerful, undefeated hero turns into a romantic. VAZhukovsky as romantic poet brings to his translation of the romantic features and so cheerful hero turns into a romantic. Romance tekstoobrazujushchie features penetrate the Russian poetry even from where they originally were not: R. Burns, who has a romantic and texts here does not manifest itself as a romantic poet. Such position can be described as a sense position deviations since the translation appear different meanings .

Another example of adding new meanings in translation from the original translation is by R. Burns ballad "Tam O 'Shanter "by Russian language adapted S. Marshak. At the heart ballads R. Burns is folk legend about a farmer who raised the bazaar propyl money lost his hat, and, not knowing how to justify to his wife, wrote a story that when he returned home, he was attacked by evil forces . In R. Burns ballad hero constantly spent time in a tavern in Kirktone Jin (Kirkton Jean). This pub used disreputable and locals ironically nicknamed him «Leddies' House». In his ballad R. Burns ironically beat this title: R. Burns cut the word «Leddies' House» to "L - s House "(modeled on the" Lord 's House ", as the word because of the bans censorship« Lord »often reduced to «L - d») [English poetry .... 2000: 2 66]. Thus, given a certain ambiguity that gives the ballad R. Burns irony. However, the translation of the floor brought about misleading S. Marshak, who mistakenly translated "L - s House "as" God's house. " Because of this misunderstanding S. Marshak had to introduce the missing original characters in P. Burns, "servant of the church" and the sexton, "for a meeting with whom, Tam went to church on Sundays (in the house of God), and spent the entire evening with them, but for some reason not in prayer, and for "full circle" (all of these changes are noted in italics), so in translation by S. Marshak Doba vlyaetsya additional meaning : "religiousness", absent in the original. The meaning of "religiousness" translated mixed with blasphemy because to sit with a glass of beer in the church was unacceptable. However, the original hero R. Burns Tam O'Shenteru put the blame completely opposite circumstance - that on Sundays he goes not to the church and to the tavern to drink beer that was convinced his righteous wife over for him trouble.

R. Burns «Tam O'Shanter»	С. Маршак «Тэм О'Шэнтер»
That at the L - d's house, even on Sunday, Thou drank wi' Kirkton Jean till Monday. [Бернс 1982: 414]	Ты в праздник ходишь в божий дом, Чтобы потом за полной кружкой Ночь просидеть с церковным служкой Или нарезаться с дьячком! [Бернс 1982: 415]

2. 5. 2. Romanticizing in translation

Consider the examples of romanticizing translation. To compare this poem R. Burns «Sun and Moon »and its Russian translation, made ??Chyuminoy O. (" sun and moon "). In R. Burns poem spring and awakening of nature contrasted with sadness hero who broke up with his favorite. However, his character still enjoys spring and birdsong. Rhythm of the poem is quite dynamic, uses high-frequency, short words ("Past", "at Last "," Birds "," Sing "," Glad "," Sad "), etc., which is not very sets the reader on a romantic or a sad mood.

R. Burns «Sun and Moon»

The winter is past, and the summer's come at last,

And the little birds sing on every tree;

Now everything is glad, while I am very sad

Since my true love is parted from me.

[Бернс 1982: 548].

Перевод О. Чюминой «Солнце и месяц»

Растопились снега,

Зеленеют луга,

Омываемы светлой волною;

Только в сердце печаль,

И кого-то мне жаль,

Кто сюда не вернется весною…

[Бернс 1982: 549].

When translating O. Chyumina romanticized R. Burns poem, rhythm changes, using an outdated, book vocabulary, character istic for romantic lyrics: "omyvaemy th" ( obsolete., high .) "sorrow" ( obsolete .) "Melt" ( Perrin., Book .). Also, instead of sadness of leaving his beloved appears sense of sadness and anguish of a man who will not come back, there is the meaning of "despair, longing," which is absent in the original and the translation makes more romanticized . In our terminology, this translation position romanticizing.

Another example of romanticizing a translation of a poem by R. Burns «Ken ye what Meg o 'the mill has gotten» and its Russian translation, made ??Fedotov "Meg from the mill." With equal contributions Fedotov with the original and the translation by S. Marshak "Wedding Maggie."

R. Burns «Ken ye what Meg o' the mill has gotten»

O ken ye what Meg o' the mill has gotten,

An' ken ye what Meg o' the mill has gotten?

She's gotten a coof wi' a claut o'siller,

And broken the heart o' the barley Miller, -

[Бернс 1982: 306].

Перевод С. Маршака «Свадьба Мэгги»

Ты знаешь, что Мэгги к венцу получила?

Ты знаешь, что Мэгги к венцу получила?

С крысиным хвостом ей досталась кобыла.

Вот именно это она получила.

[Бернс 1982: 307].

Перевод В. Федотова «Мэг с мельницы»

Кто знает, что Мэг от отца получила,

Какой ее долей судьба оделила?

Приданое в виде бесхвостой кобылы -

Вот что она в дар от отца получила.

[Бернс 1982: 524].

R. Burns poem cheerful, playful and dynamic. Dynamic rhythm created by the Use Hovhan I shortly oh, oh high and colloquial vocabulary and. Witty and cheerful tone poem preserved and translated by S. Marshak, his translation was smiling too dynamic. Fedotov admits in his translation of significant changes brings to his translation of romantic motives , stings spine oh the poor Maggie, with the cost of which is rigidly fate, but in the original question about it yet. Fedotov uses the book, high vocabulary inherent romantic poems: "share" ( obsolete ). "destiny" ( obsolete ). "Odelia" ( Book ). "receive a gift" ( high ).; thus romanticizing the original, which lacks the romantic theme, but rather clearly heard cheerful tone. Translated they lost and the meaning of "gaiety of the game" is not passed (these changes are noted in italics). In our terminology, this translation position romanticizing .

As another single case of position romanticizing the translation should be noted translation of a poem by R. Burns «A red red rose », made by T. Shchepkina-Kupernik. To do this, compare R. Burns poem «A red red rose »and translation T. Shchepkina-Kupernik" Love is like a rose. " Translated T. Schepkina-Kupernik reinforces the romanticism of the original, the poem becomes too sublime and pathetic by the use of the epithet s "unearthly" having a litter in the dictionary " high . "And" blossomed "in the dictionary litter" outdated . "As well as comparison of love with" soft song "and" melody with unearthly sound ", which has no counterpart in the original. The poem is not like a declaration of love to his simple peasant girl. In our terminology, this translation position romanticizing .

R. Burns «A red red rose»	Перевод Т. Щепкиной-Куперник «Любовь как роза»
O my Luve's like a red, red rose, That's newly sprung in June; O my Luve's like the melodie That's sweetly play'ed in tune. [Бернс 1982: 318].	Любовь моя - алая, алая роза, В июньский расцветшая зной; Любовь моя - нежная, нежная песня, Мелодии звук неземной! [Бернс 1982: 553].

Thus, as a result of the analysis of R. Burns poems and their translation into Russian, it was found that the translation of these poems by various authors prevail translation position with a focus on the host culture (identified January 6 cases), and with a focus on broadcasting culture revealed all 2 cases . In most of the cases, interpreters rather try anyway naturalize or adapt your translation for readers host culture, to make it more intimate Russian readers lam, remove the difficulty of understanding.

Perhaps in examining and analyzing other practical material would be obtained different results and found instances of other translation products, but in our study, we decided to limit the practical stuff and stop smiling on poems by R. Burns.

Generalize the results of the analysis discussed in the third chapter of practical material in a pivot table, reflecting general trends in the translation of poems by R. Burns:

Interpreting trends	Orientation to transmit culture (2 cases)	Orientation to the host culture (1 6 cases)
Translation position	Position exoticization (2 cases)	Position modernization (1 case)
		Ideological position (1 case)
	Historization position (not revealed)	Position naturalization (3 cases)
		Adaptive position (4 cases) a) poetic position (not revealed)
		Position semantic deviation: a) To increase sense (not identified); b) adding new meanings (4 cases); c) position romanticizing (3 cases); g) parodying the original position (or other transfers) in translation - not found

Chapter Summary 3

The analysis of poems by R. Burns and Russian translations were neck of vle but:

1. Dedicated positions us translation verified by the example of translation of texts by R. Burns into Russian, which is found the following translation position: exoticization, modernization, indoctrination, naturalization, adaptation and semantic deviation.

2. When translating poems by various authors R. Burns dominated translation position with a focus on the host, not the transmitting culture. This is explained by the fact that R. Burns poems there are many dialects and colloquial words that are difficult to convey in translation.

3. In most of the cases, interpreters rather try anyway naturalize or adapt its translation to the host cultures readers I expected to make it closer to Russian readers, to remove the difficulty of understanding.

Conclusion

In this dissertation study attempted typology conscious or from are preset positions translator in terms of two trends: the orientation of the transmitting or the receiving culture, as well as analysis of cases of translation products for n To translate texts.

Initially in this study as a basis for comparing different translations of the text and identify the various positions in the translation work we have considered the concept of "equivalence". Were analyzed and linguistic equivalence lingvokulturologicheskie theory proposed by both foreign and domestic scientists.

As a result, we have assumed that "equivalence" as a measure of "accuracy" of the translation does not allow to develop a clear relationship to the world of translation practice. The opposite trend is allocated variability equivalence translation, which in this study is considered not only as a derivative of equivalence, but as an expression of clear and otreflekti Rowan translation position.

First study the variability of transfer is made not from the standpoint of axiology and, as a manifestation of an interpreter positions in activity: translation in this respect acts as a "rewriting". At the same time explains the appearance and parallel coexistence of the host culture of several options (and in some cases many variants) the translation of the same text. This approach covers a considerable amount of translated texts, including kulturoznachimyh and characterizing uet translation work until the twentieth century.

Variability is determined, first, the natural differences in the understanding and interpretation of the text. Artistic and kulturoznachimye texts presuppose different interpretations, as they contain many meanings which are understood differently translators. Second, variability is defined positions which may be conscious are preset customers transfer or caused by other circumstances.

Based on the analysis of different approaches to translation, we found that the possibility of the existence and equitable in the host culture, several translations of the original text due to different interpretations of the translators of the original text is for many centuries universals of translation activity. We proved this position in the second and third chapters of research on material of texts written before the nineteenth century., When the original is not "fetishized," and the notion of "equivalence" has not yet become dominant in the translation work.

In Danno m study we proposed definition translation position, tired of the most typical composition Wiley translation positions in literary translation. typologize Then we selected our e positions and Translation. T akzhe we compared several different translations of the same original, identify and characterize the different positions interpreter and changes that occur in the translated text from the point of view of conscious translation position.

The refinement of the typology of translation products was undertaken Yata attempt to define them in terms of two trends: the orientation of the transmitting or the receiving culture. NW Next, the analysis was neck of practical material revealed that in general the translation orientation prevails on the host culture. Specifically, when translating e R. Burns poems into Russian by various authors in translation prevailing trend is to focus on the host culture and its associated translation positions are crucial in ne fers R. Burns poems.

Thus, the present study showed that the translation position, conscious or from are preset, are one of the reasons for the emergence and existence of multiple translations kulturoznachimyh texts, ie the variability of translation.

Perhaps in the future, the study of translation products by comparing the original text and translation, as was done in this study should be carried out kulturoznachimyh texts having multiple versions of the translation at different times and by different authors, perhaps even in different languages.

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