The peculiarities of the representation of simile in a literary translation from English into Russian (on the base of the novel Hatter's Castle by A.J.Cronin)

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Contents

Introduction

1. Simile as one of the stylistic elements in literature

1.1 The concept of «simile» as a stylistic device in modern linguistics

1.2 Types of simile in English and Russian languages

1.3 Translation features of simile in the works of art

2. The ways of translation of simile from English into Russian (on the base of the novel «Hatter's Castle» by A.J. Cronin)

2.1 Archibald Joseph Cronin, his life way, works and masterpieces

2.2 Stylistic and literary analysis of the novel «Hatter's Castle» by A.J. Cronin

2.3 The ways of translation simile used in the novel «Hatter's Castle» by A.J Cronin from English into Russian

Conclusion

Bibliography



Introduction

simile linguistics language translation

My graduate qualification paper is devoted to the theme: «The peculiarities of the representation of simile in a literary translation from English into Russian (on the base of the novel Hatter's Castle by A.J. Cronin)».

We are all used to the fact that our home is our fortress. What troubles and difficulties there are, our house will hide us from everything… but in the Brody's family, it was just different. The incredible tyrant and despot Mr. Brody, if I can say so, just «took hostage» his own family….

Such breathtaking plot of the novel made me not only to read the presented work but, do some research in order to understand deeper the message the author meant through stylistic and literary analysis. This fact also determined my choice of this theme.

The Hatter's Castle is the first novel of A.J. Cronin, the novel was published in 1936 and had an immediate success. Internationally best-selling novel examine moral conflicts between the individual and society, and became one of the most famous best-selling British works. The book was made into a successful film in 1942.

The aim of this work: is to introduce the peculiarities of simile translation through the literary text. So that to make it easy to perceive for those willing to keep up their educational and scientific carrier in the science of translation, it is purposed to broaden the readers' views on translation studies and peculiar features in translation similes from English into Russian.

In this work, I have set the following tasks:

ь to study carefully A.J. Cronin's life and his works of literature.

ь to reveal the concept of «simile» as a stylistic device in modern linguistics.

ь to review the simile as one of the stylistic devices in literature.

ь to find out the similes in the novel «Hatter's castle»

ь to make stylistic and literary analysis of the novel.

ь to identify the ways of translation of simile in the novel.

The topicality: The theme of the given qualification paper is very actual. The study of foreign literary text aims to develop the skills and proficiency of a target language. It supports a certain extent of knowledge, broadens educational outlook by obtaining information of linguistic and literary character and forms the skill of critical approach to the material research.

In this work, I considered individual style of text - style of fiction.

Genre fiction takes advantage absolutely of all of the wealth of the national language to fulfill the social function of literature - the reflection of reality in all variety according to the laws of this form of art. It is formed and operates at the intersection of two social phenomena - verbal communication and the arts, and it is the object of study not only stylistic, but also literary criticism.

The novelty: The debates about the reasons for such popularity of the novel, the writer himself and about the autobiographical character of him do not stop today. In spite of the increasing popularity of the novel, very few researches were done exactly about the novel under study.

So the novelty of this paper is in my study and translating similes in Cronin's «Hatter's castle». Some samples of similes were presented in my paper with their translation from English into Russian, so that to enable the future translators to benefit from the given paper in their further researches in the fields of translation.

The theoretical value: As a result of the adoption of new educational standards, need arises for a new generation of manual for graduate students aimed at developing competencies for their successful professional activities. In this regard, the stylistics is the theoretical foundation for the literary editing - which is very perspective: in our modern age of socio-cultural and linguistic situation, the editorial activity is one of the very important and socially actual aspects of work.

The practical value: There are a lot of useful information in this paper for scholars and students about linguistics and stylistics. Also the paper includes information for the creation of the lexicographical sources, specifically, dictionaries of the language of the writer.

For the practical language material served passages and semantically connected word combinations - phraseological locutions, derived from the text of the novel by A.J. Cronin «Hatter's Castle''».

The structure of the work contains introduction, two chapters, conclusion and bibliography list.

The 1st chapter reveals the concept of «simile» as a stylistic device in modern linguistics. Also the chapter contains our researches about the simile and its meaning, and considers the types of simile in English and Russian languages. Here I also researched the translation features of simile in the works of art.

The 2nd chapter is devoted to a practical part of the work. This chapter consists of ways of translation simile from English into Russian in the novel «Hatter's Castle» by A.J. Cronin. The first subparagraph is Archibald Joseph Cronin's life way his works and masterpieces are presented. This chapter gives stylistic and literary analysis of the novel «Hatter's Castle» by A.J. Cronin.

In conclusion I have summed up the results of my research of the novel by A.J. Cronin «Hatter's Castle''. At the end of the research paper I have attached the bibliography list to enables the future translators to use information sources used in this paper.

The methodological bases of the research has been complied from the ideas and concepts of the works of linguists from different schools such as: internet movie Database; Article about Cronin and VHS; Hellman 1997; and others.

Researchers investigated the presented theme:

There are strangely not enough the theoretical papers devoted to understanding the specific problems of this type of literature. Very few scholars and linguists have made their research of the novel «Hatter's castle» by A.J. Cronin.

Among them:

1. Burygina Tatyana Sergeevna - graduate student of World Literature Department, Krasnoyarsk State Pedagogical University named after V.P. Astafiev (Krasnoyarsk, Russia).

She wrote several articles, which were published in journals.

ь «Hatter's castle» by A.J. Cronin. «A case of insanity».

ь Burygina Tatyana Sergeevna «Biography as a base of A.J. Cronin's works».

2. Topor Gabriela Georgievna, doctor of philology, (Kishinev, Moldova)

ь «Imagery of father in the world literature of 19 century» - research article.

3. Mukhamedova E.V. Astrakhan, Russia,

ь Value Characteristics of the concept «House» in the novel «Hatter's castle» by A. Cronin.

4. Maria Еfimovna Abkina (1892 - ?) - Russian soviet translator.

ь Translated «Hatter's castle» by A. Cronin.



1. Simile as one of the stylistic elements in literature

1.1 The concept of «simile» as a stylistic device in modern linguistic

Simile as a stylistic device is one of the most common means of expressiveness and imagery in fiction. In Russian, the term «сравнение» is used both to reflect the process of comparing two objects or phenomena in speech (general literary use), and to nominate a stylistic device.

In English, the situation is somewhat different. As the equivalent of the Russian word «сравнение» in the English language, there are two tokens: «comparison» and «simile».

The word «comparison» corresponds to the Russian word «сравнение» in general literary use.

In the Oxford Dictionary, to the word «comparison» is given two basic meanings:

1) A consideration or estimate of the similarities or dissimilarities between two things or people / рассматривание или оценивание сходств и различий между двумя предметами или людьми:

They drew a comparison between Gandhi's teaching and that of other teachers.

2) (grammar) the formation of the comparative and superlative forms of adjectives and adverbs / образование сравнительной и превосходной степени сравнения прилагательных и наречий [Oxford Advanced Learner's Dictionary 1998].

In the Cambridge Dictionary, the meaning of the word «comparison» is as follows:

1) the act of comparing two or more people or things / процесс сравнения двух и более людей или предметов:

They made a comparison of different countries' eating habits;

2) the fact of considering something similar or of equal quality to something else / рассматривание чего-либо схожего или равного по своим качествам:

She drew a comparison between life in the army and life in prison [Cambridge Advanced Learner's Dictionary 2008].

A more detailed interpretation of the concept of «comparison» in English is proposed in the dictionary «Longman Dictionary of Contemporary English»:

1) the process of comparing two or more people or things / процесс сравнивания двух и более людей или предметов process:

With comparison with his previous movies shows how Lee has developed as a director.

2) A statement or examination of how similar or different two people or things are: утверждение или исследование того, насколько схожи или различны два человека или предмета:

A comparison of pollution levels in Chicago and Detroit

3) A statement that someone or something is like someone or something else / суждение, что кто-то или что-то похоже на другой предмет.

The writer draws comparisons between the two presidents.

4) Used when you think that someone or something is much better than someone or something else / в отрицательной форме используется, когда вы думаете, что кто-то или что-то намного лучше, чем кто-то другой.

There is just no comparison between canned vegetables and fresh ones.

5) a word used in grammar meaning the way an adverb or adjective changes its form to show whether it is comparative or superlative / слово, использующее в грамматике для отражения того, как меняется наречие или прилагательное для образования сравнительной или превосходной степени [Longman Dictionary of Contemporary English 2003].

The above definitions do not indicate the meaning of «stylistic device», since in English the term «simile» is used to denote a stylistic device:

«Simile» - a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid / фигура речи, включающая в себя сравнение одного предмета с другим с целью сделать описание более выразительным или живым: as brave as a lion [Oxford Advanced Learner's Dictionary 1998];

the use of an expression comparing one thing with another, always including the words «as» or «like» /использование выражения, сравнивающего один предмет с другим при помощи слов «as» или «like»: she walks in beauty, like the night [Cambridge Advanced Learner's Dictionary 2008];

an expression, which describes a person or thing as being similar to someone or something else: she runs like a deer [COBUILD Advanced English Dictionary];

a figure of speech that expresses the resemblance of one thing to another of a different category, usually introduced by as or like [Collins English Dictionary];

a figure of speech in which one thing is likened to another, dissimilar thing by the use of like, as, etc.: a heart as big as a whale, her tears flowed like wine [Webster's New World College Dictionary, 4th Edition].

Having studied these definitions in lexicographic sources, we can conclude that the term «сравнение / simile» is used to nominate a figurative tool used in the text (in particular, in the literary text) in order to show the similarity of objects according to one of their signs or to identify important speech for the subject properties of compared objects.

Next, we consider the concept of «simile» and its interpretation in linguistic works, where the simile is interpreted from the point of view of the stylistic trope. In the reference source D.E. Rozental and M.A. Telenkova simile is defined as «the trope, consisting in likening one object to another on the basis of a common attribute between them» [Rozental, Telenkova 1985, p. 337].

From the point of view of O.S. Akhmanova, comparative constructions are «the concepts of equality - inequality, of a greater or lesser degree of quality, expressed both in the grammatical category of degrees of comparison of adjectives and adverbs, and in vocabulary and phraseology» [Akhmanova 2012, p. 449].

I.R. Galperin defines the essence of comparison as a stylistic trope as follows: «Two concepts, usually related to different classes of phenomena, are compared with each other for one of the features, and this comparison receives a formal expression. A prerequisite for the stylistic method of comparison is the similarity of any one feature with the complete divergence of other features» [Galperin 1958, p. 167-168].

According to M. Foucault, the comparison is the most universal and obvious of all the existing stylistic tropes. However, despite its universality and obviousness, this is also the most hidden element, reflecting all the richness of the content of the text [Foucault 1994, p. 66].

In the definition of I.B. Golub stands out the main purpose of comparison. From her point of view, simile is «a comparison of one subject with another with the aim of an artistic description of the first» [Golub 2002, p. 150].

M.V. Dovnar pays attention to the artistic imagery of the comparison used in the literature. From the point of view of his study, the comparison is made on the basis of the ability to express the author's intention of the work of art, his position and attitude [Dovnar, Zapolsky 2003, p. 53].

The authors of these definitions agree that comparison as a stylistic trope is always a matching, a comparison of one subject with another on the basis of one attribute. At the same time, O.S. Akhmanova and I.R. Galperin also indicate that comparison has a mandatory formal expression.

However, I.V. Golub and Dovnar in their definitions draw attention to the artistic imagery of comparison, its ability to expressively describe the object being compared and even express the intention of the author of the work.

Despite a thorough study of simile in the scientific literature, the features of this stylistic device are still not fully understood in theory and practice. This is due to the fact that simile is a complex and multifaceted concept, just the initial stage among all the means of expressing the language from which other tropes are formed (for example, metaphor, parallelism, metonymy, hyperbole, etc.) [Kvyatkovsky 1966, p. 280].

Yu.I. Yudina also believes that simile is a prototype of all the other expressive stylistic means of the language. This figurative verbal expression carries a comparative function on which other stylistic devices are based [Yudina 2010, p. 56].

Therefore, the simile is very similar to a metaphor. This hypothesis can be confirmed by the words of E.V. Skvoretskaya, who believes that a metaphor is a comparison at the lexical level, because both the metaphor and the simile have a similar logical basis - the juxtaposition of objects [Skvoretskaya 1974, p. 112].

The same point of view has A.M. Oganyan [Oganyan 2007, p. 9]. Moreover, even ancient philosophers (for example, Aristotle) ??defined a metaphor through comparison, despite the fact that the metaphor and simile affect the recipient differently.

I.B. Golub also points to the identity of simile with other stylistic tropes, since simile, in accord with the point of view of this researcher, is the simplest form of figurative speech, which is always two-parted, i.e. in simile, both compared objects are called [Golub 2002, p. 151].

According to M.N. Krylova, the simile is closely connected not only with a metaphor based on the relationship of similarity between the subject and the object, like simile, but also with hyperbole, lithotype and oxymoron. Like simile, hyperbole is based on similarity relationships.

The differences between hyperbole and simile are only in the fact that with a hyperbolic connection, the object significantly exceeds the subject of comparison in the degree of manifestation of the sign of comparison.

Between litota and simile, the only difference is found in that the object and the object of comparison are not equal to each other, and the object has an underestimated attribute, on the basis of which the comparison is based.

As for oxymoron, this stylistic device is also based on a comparison of objects. A characteristic feature of oxymoron that distinguishes it from comparison is the combination of incompatible objects and phenomena within the framework of comparative turnover [Krylova 2013].

Thus, by simile in future work we will mean a stylistic trope, based on likening one object to another on the basis of a common attribute, having a formal attribute and used, as a rule, for the purpose of artistic imagery. The versatility of the simile technique allows you to compare it with other stylistic techniques, such as metaphor, hyperbole, litota, and oxymoron.

1.2 Types of simile in English and Russian languages

As noted above, simile is a complex and multifaceted stylistic device, known since ancient times. In this regard, over the long history of the study of simile, scientists have developed many classifications based on various principles.

B.V. Tomashevsky offers a classification of simile depending on the degree of development of its elements:

1) the subject and image of the comparison are short and concise;

2) the subject of comparison is expanded, the image of comparison is short;

3) the subject of comparison is short (that is, it is only indicated in the text), the image of comparison is very developed [Tomashevsky 1983].

The classification of simile can be constructed depending on the nature of perception of the stylistic device by the addressee (reader).

According to this criterion, E.A. Nekrasova suggests distinguishing two types of comparison:

1) a general language comparison in which the sign and image are known to most readers;

2) a comparison based on an unexpected comparison [Nekrasova 1977].

Many researchers offer classification of simile depending on the features of its structure. S.N. Ikonnikov identifies the following forms and structures of comparison:

1) inverse comparison (inversion of comparative structures);

2) separation of the comparative item from the main sentence;

3) a chain of comparisons (several comparisons successively);

4) a framing comparison;

5) repeated comparison;

6) comparison - antithesis;

7) the gradation of comparisons (that is, comparisons in the order of amplification) [Ikonnikov 1959].

According to S.K. Gasparyan, the simile in its structure can be divided into two main types:

1) a simple two-level simile;

2) three-stage simile [Gasparyan 1999, p. 7].

A simple two-level comparison is based on the external similarity of objects, when words are related to specific objects or phenomena. The main function of this comparison is to create a sensory image (visual, auditory, etc.) that has the ability to influence the reader of the text.

Such similes are, as a rule, static and neutral from the point of view of the author's assessment. A three-step simile establishes a complex relationship between the word, the subject and the artistic way created. This kind of simile can only be revealed with a broader context.

A simile classification by its structure was also proposed by V.V. Vompersky, which offers to distinguish five types of this stylistic device:

1) common comparison;

2) uncommon comparison;

3) comparison with the participle, participial phrase or subordinate clauses;

4) comparison with repetition;

6) comparison with parallelism [Wompersky 1964].

As for the simile in Russian, here, depending on the structure, the following types are distinguished:

1) comparison using auxiliary words (как, будто, словно, точно, подобно etc.): анчар, как грозный часовой, стоит один во всей вселенной;

2) comparison through instrumental case: морозной пылью серебрится его бобровый воротник;

3) comparison through the genitive case: колокол луны скатился ниже;

4) comparison - an image in which both members are compared not according to a separate sign, but according to a common sign, thereby creating a micro picture: руки милой - пара лебедей - в золоте волос моих ныряют;

5) an indefinite comparison that expresses the superlative degree of the state: А когда ночью светит месяц, когда светит… черт знает как?;

6) negative comparison: Не ветер, вея с высоты, листов коснулся ночью лунной; моей души коснулась ты;

7) assimilation based on a detailed comparison, in which a system of parallel communities is created between two objects or phenomena [Kvyatkovsky 1966, p. 280-282].

I.B. Golub also adds similes in the Russian language in the form of a rhetorical question and comparisons - set folklore constructions of the type «ни в сказке сказать, ни пером описать» [Golub 2002, p. 152].

Considering the structural features of simile in Russian and English. In most cases, simile is formed through various unions in both languages, for example, как, точно, словно, будто - like, as, as though, as like, as if, such as.

In both languages, similes can be introduced through verbs and other parts of speech: похож, напоминает, подобен - seem, resemble, look like.

In a sentence, these words usually fulfill the predicate function. The simile can be made out as a separate sentence, which is semantically related to the previous sentence. In such comparisons, there is a «detailed artistic description» [Golub 2002, p. 154].

In the field of morphology, features are observed in the English simile. The English comparison can be formed by such morphological means as - ish, - some, - like, - y suffixes. Another morphological means of comparison in the English language is the phrase, with the help of which author's neologisms are formed. For example, sloe black (терново-черный) [Arnold 2005, p. 60].

We give the structural classification of the simile O.S. Akhmanova, which suggests highlighting:

- absolute comparisons, acting as an superlative degree of comparison;

- double comparisons, i.e. excessive expressions of a higher degree of quality, especially in common speech;

- limited comparisons similar to absolute comparisons; - magnifying comparisons, i.e. comparative designs of an object with a greater degree of this quality, with an object with a lower degree of this quality;

- diminutive comparisons, i.e. comparative designs of an object having a lower degree of this quality, with an object having a greater degree of this quality;

- degree comparisons; - instrumental comparisons; - figurative comparisons [Akhmanova 2012, p. 449-450].

M.V. Khlebnikova suggests distinguishing between real and surreal comparative constructions. Real comparisons are introduced using the union как / like, as and are close in nature to a logical comparison, i.e. they compare different real categories, but do not identify them.

Surreal comparative constructions are syntactic formations in the Russian language introduced with the help of modal unions as будто, словно, точно or acting in the form of a instrumental case, corresponding to «cognitions of a figurative nature» [Khlebnikova 2005, p. 8-9].

N. Sh. Mamleeva emphasizes such a form of simile as emotional comparison, which means «a comparison made by correlating emotions with any other entity or situation» [Mamleeva 2010, p. 206].

In other words, an emotive situation is taken as the basis of emotional comparison, which reflects the invariant of a real life situation in which the subject experiences any feelings. Emotive comparisons undergo their own classification:

1) simple emotive comparisons;

2) simple emotive comparisons with elements of complication;

3) complex emotive comparisons.

Simple emotive comparison is a prototypical model of emotional comparison,

for example, I feel like a queen, I fell like a millionaires.

A simple emotive comparison with the elements of complication implies the presence of explanatory components that make it possible to accurately determine the emotion experienced by the subject in the described situation.

For example: he felt like a captain of a ship steering through a storm.

As for complex emotive comparisons, it is represented either by a double prediction with the participation of the comparison hero. (It wasn't the first time I felt as if I was on Cosmic Candid Camera) or by double prediction with the participation of third parties (I feel myself like a fox that is cornered by a pack of hounds and boors who don't perhaps know he's there but are closing in unconsciously). [Mamleeva 2010, p. 206-207].

Thus, there are many classifications of similes in English and Russian, depending on various aspects.

Defining them again:

1. classification according to the degree of development of the elements of comparison;

2. classification by the nature of the perception of the stylistic device by the reader;

3. classification depending on the characteristics of the comparison structure;

4. classification of emotive comparisons.

From our point of view, the type of simile (in particular, structural) can have a significant impact on the process of translation of fiction. In further work, in the study of the novel Hatter's Castle by A.J. Cronin, a structural classification of comparisons developed based on the classification of V.V. Wompersky, in order to show the main ways of making comparisons and the possibility of their equivalent translation into Russian.

1.3 Translation features of simile in the works of art

When we read a literary text in English or watch a film in the original, what is the most interesting and memorable, in addition to the plot, that catches our eye? Of course, this is the choice of words with which the authors draw vivid images in our imagination.

Our perception of a literary text depends on how rich and colorful the writer's speech is. To create a unique world in the book, the authors use various stylistic devices or figures of speech, such as similes, metaphors, hyperbolas, litots, and many others.

In English linguistics, there is a whole science that deals with the stylistic figures of speech - stylistics. Stylistics is the science of the use of language, exploring the principles and effect of the choice and use of lexical, grammatical, phonetic and generally linguistic means to convey thoughts and emotions in different conditions of communication.

This field of linguistics is very familiar to all students of philological faculties, but not philologists, unfortunately, are not familiar with the whole stylistic variety of the English language. In our work, we will introduce you to the most interesting stylistic techniques, and we will get acquainted with such a figure of speech as «simile» or «colorful comparison».

Simile - is a stylistic comparison that is formed using the prepositions like (как) or as… as (такой, как), when a similarity or difference is established between two objects or people. This is the most popular and often used stylistic device, because we often resort to comparison to describe an object or person.

For example:

Life is like a roller coaster - sometimes you go up and sometimes you go down. - Жизнь похожа на американские горки, иногда ты едешь вверх, а иногда вниз.

She walks as gracefully as a cat. - Она идет изящно, как кошка.

Simile examples can be found in any literary text. Some of them are so often used that they have already become stable expressions that we use in speech and do not even notice that these expressions were originally colorful comparisons.



phrase	Translation	meaning
as dry as dust	сухой как пыль	very dry, boring
as light as a feather	легкий как перо	very light
as sharp as a knife	острый как нож	very sharp
as weak as a kitten	слабый как котенок	very weak
as quick as a flash	быстрый как вспышка	very fast
as white as a sheet	бледный как простыня	very pale
as drunk as a lord	пьяный как лорд (в стельку)	very drunk
as old as the hills	старый как холмы	very old
as poor as a church mouse	бедный как церковная мышь	very poor
as cool as a cucumber	спокойный как огурец	very cool

Examples of simile can also be found in songs and poems. Although we do not often «listen» to what is sung in our favorite songs, it is precisely the colorful comparisons and metaphors that make us draw vivid pictures and images in our minds.

ь All eyes on me in the center of the ring just like a circus. - Все глаза на мне в центре ринга, как в цирке.

ь I'm feeling so fly like a G6. - Чувствую себя таким крутым, как Джи 6. (скорее всего, речь идет про Pontiac G6, очень дорогой автомобиль)

ь You're as cuddly as a cactus. You're as charming as an eel. - Ты такой же приятный, как кактус. Такой же очаровательный, как угорь. (т. е. автор хотел сказать, насколько Гринч противный и мерзкий)

ь I'm starting to feel like a dungeon dragon. - Начинаю чувствовать себя, как дракон в подземелье.

ь Seasons go and seasons come steady as the beating drum. - Времена года приходят и уходят стабильно, как ритм барабана.

ь Zip your lips like a padlock. - «Застегни на молнию» свой рот, как на замок.

ь I'm going to miss you like a child misses their blanket. - Я буду скучать по тебе так же, как скучает ребенок по своему одеялу.

ь You change your mind like a girl changes clothes. - Ты меняешь свое мнение, как девушка меняет свою одежду. (т. е. очень часто)

ь Tranquil as a forest. - Спокойный, как лес.

ь You can have my heart or we can share it like the last slice. - Ты можешь взять мое сердце, или мы можем поделить его, как последний кусочек.

Not every structure of using of like or as, in comparing things or people, will be considered simile? Of course not, stylistic coloring appears only when there is a certain metaphor in comparison, i.e.:

She works as a confectioner - She works as a confectioner (no comparison, we are talking about her profession)

A literary text is the result of fine art, which is distinguished, first of all, by its artistic imagery expressed verbally. Verbal imagery of a literary text, according to N.V. Halikova is a system of speech means intended for the subjective description of an object. And one of the main means of speech for creating imagery in fiction is a simile [Halikova 2004, p. 3.].

The simile used in fiction has a number of functions. S.V. Postnikova highlights the function of creating an image of an event or character in the mind of the reader [Postnikova 2013, p. 238].

According to this function, the comparison has the ability to endow the character with certain traits, depending on the plot of the work of art. In this function, the comparison seems to be a very flexible and in every sense convenient stylistic device, capable of reflecting in its structure the whole gamut of characteristics and evaluative signs in order to create a full-fledged image in the reader's mind.

According to N.V. Golovina, simile in fiction performs the function of originality and surprise. From the point of view of this researcher, only the element of novelty in comparison allows him to represent stylistic diversity and express the essence of an object or phenomenon through it [Golovina 2011, p. 102].

O.V. Uarova suggests highlighting the following simile functions used in fiction:

1) figurative function - the creation of descriptions, characteristics of characters;

2) the evaluation function is a reflection of the author's point of view on the described events;

3) the function of creating a satirical effect, i.e. attraction of satire through comparison;

4) the function of the aphoristic presentation, i.e. intertextual inclusion in the literary text [Uarova 2006, p. 10].

The main feature of the simile used in fiction is its comparative feature. As S.B. Postnikova states comparisons of identity and comparison of inequalities used in a literary text do not fulfill any stylistic function, since they reflect only the parametric data of the attribute attributed to the subject of comparison. In this regard, similarity comparisons are most often used in fiction, which are potentially prone to performing imaginative and emotional functions.

The writer uses different levels of comparison of similarities in order to increase the artistic value of his work and leave the reader with a vivid impression of what he read [Postnikova 2009, p. 72].

According to the semantic features of comparison, M.N. Krylova suggests dividing all artistic comparisons into two groups: - traditional comparisons; - new comparisons [Krylova 2013, p. 36].

Traditional similes are based on the semantics of mystical and religious images. Images of the natural world, «intelligent» images (that is, images that are understandable only to a person with a high level of education).Emotionally strong images (they allow you to «shake» the reader and vividly describe what is described), sustainable objects of comparison; marine, elemental images, as well as exotic images, with the help of which writers have the opportunity to create a romantic mood and attract the attention of the reader.

Here is an example of a traditional simile in Russian:

Неодобрительно махнув хвостом, кобыла перебрала тонкими ногами и застыла, трепеща ресницами, как девица на выданье [Крылова 2013, с. 37].

This simile is stable, traditional comparison. Despite their traditionality, stable comparisons are a special manifestation of the language system.

As V.M. Ogoltsev states «stable comparative structures are a system of means of expression, in which the so-called internal form of language, the wealth of linguistic visual resources proper are manifested with particular clarity, and at the same time, the originality of national culture and the national way of imaginative thinking are revealed» [Ogoltsev 2010, p. 7].

N.V. Golovina calls traditional stable comparisons stamp comparisons, i.e. comparisons that are widely used in fiction. They tend to functional stylistic universalization. [Golovina 2011, p. 107].

Despite the great potential of traditional similes in connection with their recognition and stereotype, many modern writers often resort to new similes, which are not stereotyped, but, on the contrary, have an individual author's character. Complex comparative parallels make it possible to create impressive visual images that model the picture of the writer's world [Yudina 2010, p. 60].

M.N. Krylova distinguishes two varieties of new similes in fiction:

1. Names of new objects and phenomena, scientific innovations. The use of these comparisons is regarded by M.N. Krylova negatively, since a writer using neologisms often does not have accurate information about a new subject.

2. Vulgar objects. Comparison with vulgar objects more often indicates the writer's desire to become closer to the reader, to realize their creative potential in the language field that the reader understands [Krylova 2013, p. 38].

The features of simile in fiction include certain channels for obtaining information about this stylistic device. Aristotle also noted the importance and necessity of channels for obtaining sensory information, i.e. sight, taste, hearing, smell, tactile abilities.

According to Yu.I. Yudina, most often simile in a literary text is based on visual sensory information. Other channels for obtaining information by the reader are less frequent [Yudina 2010, p. 58].

Another feature of simile in fiction is the use of this technique several times over a rather narrow context. M.N. Krylova calls this feature «chains of comparisons» and claims that most often this structure of simile is used in poetry.

For instance:

- Прозрачнее стекла,

- доверчивей фаянса,

- Отзывчивей фарфора,

- скромнее хрусталя - Нестрогая зима на грани дисбаланса, Сугробы по бокам и черная земля (Л. Оборин).

The main functions of the simile chain are: enhancing the feelings or impressions of the reader; increase the emotionality of the text; adding illustrates [Krylova 2013, p. 37].

The use of the stylistic device of simile in fiction is due to many factors, among which S.L. Taratuta highlights:

1) the nature of the era;

2) the level of development of society;

3) the stage of development of the literature;

4) the intellectual level, education, lifestyle, occupation of the author [Taratuta 1995, p. 7].

Consequently, it can be argued that simile is a rather fluid stylistic device. Its mobility is manifested in a fluctuation from a constant value to a value that occurs in a particular context. Fluctuations in the values ??of units in the simile structure occur in connection with the numerous associative fields of a given stylistic tool, and the psychological basis of comparison acts as the source of the associative field, i.e. his reader awareness of a work of art.

Thus, the simile performs quite specific functions in a work of art, among which we highlighted the function of creating an artistic image, the function of originality and surprise, the figurative function, the evaluative function, the function of the aphoristic presentation, the function of increasing artistic imagery.



2. The ways of translation simile from English into Russian (on the base of the novel «Hatter's Castle» by A.J. Cronin)

2.1 Archibald Joseph Cronin, his life way, works and masterpieces

Archibald Joseph Cronin - Scottish writer, physician. Was born in Cardross, County Dunbar shire. His father, Patrick Cronin, an Irishman by birth, was a Catholic, his mother, Jesse Cronin (nйe Montgomery), was from a Protestant family.

Archibald was the only child in the family. Father's parents owned a pub in Alexandria, in Western Dunbar shire. Maternal grandfather, Archibald Montgomery, was a hat-master and owned a store in Dumbarton. After the wedding, Cronin's parents moved to Helens burg, where Archibald studied at the Grant Street School. When the boy was seven years old, his father, who worked as an insurance agent and sales clerk, died of tuberculosis. After the death of the head of the family, Archibald and his mother moved to his grandfather's house, Archibald Montgomery, in Dumbarton. Soon, Jesse Cronin became the first female health inspector in Scotland.

Archibald Cronin was not only an age-old student at the Dunbarton Academy, receiving awards for his successes and winning writing competitions, but also an excellent athlete and football player. From an early age, he became an avid golfer and continued to play sports his whole life. Soon the Cronins moved to York hill, a district of Glasgow, where Cronin attended St. Aloysius College in the Garnet hill area. He played football for the First team, putting this stretch of his life at the heart of the plot of one of his last novels «Minstrel Boy», which was printed under the name Desmonde in the USA.

Thanks to his exceptional abilities, Cronin was awarded a scholarship to study medicine at the University of Glasgow in 1914. Having missed his studies in 1916 and 1917 due to service in the naval forces during the First World War, in 1919 Kronin brilliantly graduated from the university with a bachelor's degree in surgery. [Foreign Languages Publishing House, 1960. - 696 р.]

In the same year, he traveled to India as a ship surgeon. Returning to Scotland after a trip, Cronin continued to study, receiving a health degree in 1923, and in 1924 received a prestigious MRCP degree.

In 1925, he received his doctorate in MD medicine from the University of Glasgow with a dissertation on the history of aneurysms, «The History of Aneurysm».

During World War I, 1916-1917, Archibald Cronin served as a surgeon in the Royal Navy's Volunteer Reservists Service with the rank of second lieutenant. After the war, he worked in various hospitals, including the Bellachauston and Lightburn hospitals in Glasgow and the Rotund Hospital in Dublin, and then opened a private practice in Tredegar, a mining town in South Wales.

In 1924, Cronin was appointed British Medical Inspector of Mines, and over the next few years his studies on medical care in coal mines and reports on the relationship between inhalation of coal dust and pulmonary diseases were published.

Cronin described his experience exploring occupational risks in the coal industry in the novels «Citadel» and «The Stars Look Down». Cronin later moved to London, where he worked for Harley Street before opening his own practice at Westbourne Grove, Noting Hill, which flourished. At the same time, Cronin was a medical officer in White lays and became interested in ophthalmology.

In 1930, a future writer revealed a duodenal ulcer. For six months, Cronin was forced to rest in the village and adhere to a milk diet. At the Dalen's farm on Lake Fine, he was finally able to start realizing his old dream - to write a novel, although until then he had «written only recipes and scientific articles.»

In total, Archibald Cronin worked as a doctor for more than ten years before he devoted himself entirely to literature. From Dalen's farm, Cronin travels to Dumbarton to explore the main theme of the novel, using data from the Dumbarton library, which still stores letters from Cronin asking for advice on topics related to the novel.

Cronin wrote his first novel Hatter's Castle (1931) in just three months. The manuscript was immediately accepted for publication by the «Gollanch» Publishing House, the only publisher he contacted. This novel was a quick and sensational success, opening Kronin's career as a writer.

This is the dramatic story of James Brody, the hatmaker tyrannizing his own family and bringing his own daughter to suicide. The novel brought Cronin a well-deserved recognition in literary circles. Since then, Cronin has not returned to medicine.

According to the critic of Angus Ross, the novel Hatter's Castle, like many of Cronin's subsequent novels, is «a mixture of a naturalistic view of social problems (based on his own considerable knowledge and experience) with feelings» that put the author «on a par with popular, sensible realist writers like Priestley.»

Cronin's next novel, «The Stars Look Down» (1935), is written in the genre of social drama and tells of a miner who is trying to break out of poverty. Graham Green wrote about him: «Dr. Cronin's novel about miners has now become an excellent film - I don't remember a single English film that would be better than this.» Many of Archibald Cronin's books were bestsellers and were translated into many languages.

The strength of Cronin's writing gift lay in the combination of good narrative, subtle observations, and vivid images of the heroes of the narrative. His work is filled with vivid characters and sharp dialogue.

He took some of the stories from his medical practice, skillfully mixing realism, romance and social criticism. Cronin's work explores moral conflicts between the individual and society, his idealized heroes establish justice in the world of ordinary people.

Being very diligent, Cronin probably wrote 5,000 words a day, carefully planning the details of his subjects. In work and in affairs, Cronin was a very intractable person, while in his personal life he had a good sense of humor and treated each new day as a new adventure.

Except the novels, Archibald Cronin wrote a large number of short stories and essays, but Cronin's novel «The Citadel» (1937), perhaps his most famous book, is a classic work of realism. This is the story of a coal company doctor who is facing a moral dilemma, trying to attract a rich clients and at the same time remain at peace with his conscience. The protagonist of the novel initiates the creation in the UK of the National Health Service, publicly declaring the problems of medical practice of that time.

The novel was based on the experience of Archibald Cronin himself, obtained by him at work in Tredegar Cottage Hospital in Wales. In his best-selling book, Cronin told readers about corruption prevailing in the health care system, leading to the idea of ??the need for health care reform.

Not only the author's innovative ideas about creating the National Health Service, but also the popularity of the novel played a significant role in the fact that the Labor Party of Great Britain won a complete election victory in 1945. The book brought Cronin international fame and became especially popular in the United States.

Several of Cronin's novels touch on the topic of religion, a theme that originated from his medical education and practice, and with which he met again in the 1930s. In his essay, «Why I Believe in God,» Cronin admits that he was an agnostic when he studied at a medical school: «When I thought about God, it made me smile, which showed a natural mockery of an outdated myth.» However, while practicing in Wales, working among deeply religious people, Cronin was surprised to notice that «the boundaries of existence are much wider than described in my textbooks, much wider than I could imagine. «I soon lost my confidence, and then, although I did not admit myself to it, I took the first step towards finding God.»

The writer began to feel that «if we study the physical world, we cannot avoid mentioning the original Creator… Scientific doctrine accepts evolution with its fossil and simplest forms as a natural course of events. However, you are faced with the same riddles, root causes, and absolute. Ex nihilo nihil is the motto of our school days, which is translated from Latin means «nothing comes from nothing.» With this idea, Cronin returned home to London, where he organized a working youth club in his spare time.

Once he invited one famous zoologist to give a lecture to members of the circle. The lecturer, using a «frankly atheistic approach», described the sequence of events that led to the emergence of life, «although he did not say» how the first primitive life forms arose from inanimate matter. When the lecture ended, the students politely applauded. Then the quiet and very ordinary young man rose nervously from his place and, stuttering slightly, asked about where the matter had come from at the very beginning. A naive question took everyone by surprise. The lecturer «looked annoyed, doubting, and began to slowly blush. Then, before he could start answering, the whole club shuddered with an explosion of laughter.

The complex logical structure proposed by the realist, the scientist with the test tube, was swept away by one phrase that came from the mouth of a simple guy. " Similar events, as well as the example of a Catholic mother and the influence of Jesuit college, made faith in God an important part of Cronin's life.

Having the negative experience of religious fanaticism that Cronin observed in his family and, at times, in his own family, since his wife was from a Protestant family, the writer, being a Catholic, became a great ecumenist even before the religious tolerance in Britain became widespread. Knowing the mood of intolerance that prevailed in British society at that time when Cronin wrote his novel «Keys to the Kingdom of Heaven», it is surprising enough to read that the priest, the protagonist of the novel, has liberal views, even towards atheists.

Cronin spent his last 25 years in Europe, living in Lucerne and Montreux in Switzerland, where he continued to write. Among his friends were Sir Lawrence Olivier, Sir Charles Chaplin and Audrey Hepburn, whose eldest son he became the godfather. Although most of his life, Archibald Cronin did not live in his homeland, he had a great love for the places of his childhood. In 1972, he wrote to a local teacher in Ireland: «Although I traveled all over the world, I must with all my sincerity say that my heart belongs to Dunbarton… In my office there is a beautiful 17th century color engraving depicting Dunbarton Castle. «I even follow with great passion the success of the Dumbarton football team.» Evidence that Cronin supported the Dumbarton football team is a handwritten letter posted in a frame in the lobby of the club stadium. In a letter written in 1972 and addressed to the club, Cronin congratulates the team on their return to the top division after 50 years in the lower league. In the letter, he describes his memories, as a child, he was rooting for the team, taking the opportunity to «jump over the turnstile» (in those days, it was a common practice for children to visit football for free).

Archibald Cronin passed away in Montreux in 1981 at the age of 84 and was buried in the town of La Tour de Palis in Switzerland. Many of his manuscripts, including unpublished ones, sketches, letters, school notebooks and essays, laboratory notes, and his doctoral dissertation are kept at the National Library of Scotland and at the University of Texas in the United States. [Wikipedia, the free encyclopedia. 2014.]

2.2 Stylistic and literary analysis of the novel «Hatter's Castle» by A.J. Cronin

«Hatter's Castle», (1931) - The first literary experience of a Scottish physician and writer-realist of the twentieth century Archibald Joseph Cronin (1896-1981). Nevertheless, the novel immediately won attention of readers and approval of criticism. The work is so popular until now, which was included in the list of «50 famous English novels».

The reasons for this success lie, first of all t, in the skill of the author and his ability to keep the reader's interest in everything.

According to N.P. Mikhalskaya, in novel «determined the originality of the creative manner of Cronin, formed his style, deep links with the previous realistic tradition which affected above all, a special close relationship to character of the hero, to the peculiarities of his personality «[Н. Михальская. М., 1990. 592 с.]

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