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STRATEGIES AND APPROACHES TO TRANSLATION OF OSCAR WILDE’S TALE “HAPPY PRINCE” (20th-21st CENTURY) © Zdrazhko A.Y.*
Taras Shevchenko National University of Kyiv, Ukraine, Kyiv
The article observes strategies and approaches to translation of Oscar Wilde’s tale “Happy Prince” from the beginning of the 20th century to the
* Postgraduate student of the department of Theory and practice of translation from English.
beginning of the 21st century. A short overview of main Ukrainian translations of the tale is given in the article. Definitions to the terms “translator’s approach” and “translation strategy” are provided; the differences between these terms are explained by the author.
Interest in Oscar Wilde’s works started to appear in the early 1900s on the territory of the modern Ukraine. Confirmation of this can be seen in the numerous articles and separate publications dedicated to writer’s life and works. In 1907 M. S-ych, the researcher of O. Wilde’s poems, epigrams and plays, mentioned the following in his work “Literary silhouettes: characteristics and opus”: “Oscar Wilde’s masterpieces <...>, his fascinating personality, brilliance of his life and his tragic death are one of the most peculiar phenomena of the contemporary literature” (translation - A.Z.) [10, p. 1]. But Ukrainian audience became acquainted with the first translations of author’s works almost a decade after publication of these multiple researches.
The first translation of O. Wilde’s tales into Ukrainian was brought out in 1915, almost 27 years after the tales were originally published. It was a collection of stories named “Сфінкс без тайни і інші вибрані оповідання” [9, p. 9]. The stories in the book were translated by a talented Ukrainian translator Orysia Ma-kovska and published in Lviv in the publishing house “Nova Kultura”. The book contained eight tales, among which were the following: “Сфінкс без тайни” (“The Sphinx Without a Secret”), “Щасливий князь” (“The Happy Prince”), “Молодий король” (“The Young King”), “Самолюбний велий” (“The Selfish Giant”) and others.
This publication was followed by several other translations. “Соловій та рожа” (“The Nightingale and the Rose”) was published in a miscellanea in 1916. “Щасливий Короленко” (“The Happy Prince”) and “Троянда й соловейко” (“The Nightingale and the Rose”) translated by Sava Krylach were published in the collection of illustrated stories “Дарунок дітям” in 1918. This same year Ukrainian children got acquainted with these stories in translations of T. Marchenko (“Соловейко і Троянда” - “The Nightingale and the Rose”) and M. Kry-vyniuk (“Щасливий принц” - “The Happy Prince”). In 1920 “Svit dytyny” introduced O. Wilde’s story “The Star-Child” (“Зоряний хлопчина”) to Ukrainian audience.
Modern children see O. Wilde’s world through translations of I. Korunez, T. Ne-kriach, R. Dozenko and B. Komar.
Within the framework of this article we are going to look through main translator’s approaches and translation strategies. The author of this article differentiates the terms “translator’s approach” and “translation strategy”. According to Modern Ukrainian Great Defining Dictionary an approach is a combination of means and methods of investigation, influence or treatment; a strategy is a course of action, behavior pattern [6]. New Ukrainian Defining Dictionary interprets an approach as a combination of means and methods of investigation, influence or
treatment as well, while a strategy is interpreted as a system of playing in sports, whereby the separate goes, combinations and methods are subordinated to the general and previously considered plan [11]. These definitions can only partially explain functioning of these terms in translation of children’s literature.
Professor of Bremen University H. Krings defines translation strategy as “translator’s potentially conscious plans for solving concrete translation problems in the framework of a concrete translation task,” [2, p. 18] and W. Loescher believes that a translation strategy is “a potentially conscious procedure for solving a problem faced in translating a text, or any segment of it” [3, p. 8]. Both translators state that the notion of consciousness is significant in distinguishing the differences between translation strategies and separate translator’s approaches. In this regard, A. Cohen affirms that “the element of consciousness is what distinguishes strategies from these processes that are not strategic” [1, p. 30]. An American translation theorist L. Venuti indicates that translation strategies “involve the basic tasks of choosing the foreign text to be translated and developing a method to translate it” [4, p. 240]. He claims that the concepts of domesticating and fo-reignizing refer to translation strategies.
Taking all this into consideration we can state that a translation strategy is a conscious well-weighted and though over combination of means and methods, that complies with a certain plan for translation of a certain text. Translator’s approach is conscious or unconscious unplanned beforehand tactic of translating a certain segment of the text. A translation strategy may include a number of separate translator’s approaches that correspond to translator’s goal.
Speaking of some early translations of O. Wilde’s “Happy Prince” we can only distinguish some general unconnected translator’s approaches. Translation strategies were used by translators of children literature only in the second half of 20th century.
In 1918 two translations of “Happy Prince” were published by Ukrainian publishing houses almost simultaneously. One of the translations was published in Kate-rynoslav at the publishing house of I. Visman and I. Mordhylevych. The tale was translated by Myhailo Kryvyniuk, a close friend of Lesia Ukrainka and a husband of her sister, Olha Kosach [9, p. 13]. The other translation was published in Kyiv by publishing association “Knygozbirnia”. The tale was translated by Sava Krylach
The translation of Sava Krylach is oriented towards adult audience, though the name of the book “Дарунок дітям” (“Present for children”) printed on the cover stipulates the address to young readers. The translator used some elements of children’s speech to bring the translation text nearer to young audience. S. Krylach also omitted some word-play moments in the text, which might not be understandable for young readers. The abstract “Why can’t you be like the Happy Prince?" asked a sensible mother of her little boy who was crying for the moon, “The Happy Prince never dreams of crying for anything " [5, p. 1] was omitted in the translation of Sava Krylach probably due to his attempt of domestication ap-
proach to this segment or just absence of the direct equivalent of this idiom in the Ukrainian language. M. Kryvyniuk, on the contrary, leaves this abstract in his translation: “Чому ти не такий, як той щасливий принц? - питалася розгнівана мати свого синочка, як він плакав, що не міг дістати місяця: - Щасливому принцеві ніколи й на думку не спаде чого-небудь плакати!” [14, p. 3], but he omits author’s comic remarks on the character of the Town Councilor: “... fearing lest people should think him unpractical, which he really was not” [14, p. 3] to bring the text closer to a child.
The translation of M. Kryvyniuk is closer to the young audience than the one of S. Krylach. We can see that from the words used by the translator, which are easy to read and understand. He uses “подоба” for “monument” and “радник міста” for “Town Councilor'’, whereas S. Krylach uses “монумент” and “виборний міський’, which certainly are not the easy words for children’s reading and understanding.
The other issue, which reflects the translator’s tactics and elements of strategy, is relations between the main characters of the story: Reed, Swallow, Happy Prince. In the original there are love relationships between the Reed and the Swallow: “... he had stayed behind, for he was in love with the most beautiful Reed.” [5, p. 2]. O. Wilde describes the relations between two lovers - a young man (the Swallow) and a young woman (the Reed). Kryvyniuk M. makes both characters young women, who are friends: “... вона зосталася, бо дуже здружилася з гарною очеретиною” [14, p. 4]. Krylach S. describes relationships between two lovers, but makes both characters women: "... вона-ж залишилась, бо дуже кохала струнку рогозину одну” [7, p. 15].
As we see from the given examples both translators did not have consistent translation strategies. Though S. Krylach addresses his translation to young readers, he uses lexicon and translator’s approaches that make the text not understandable for children. In the translation of M. Kryvyniuk we see certain elements of translation strategy: he omits certain elements, which might be difficult for understanding, uses elements of children’s speech and diminutive-hypocoristic suffixes to make the words sound more child-like. M. Kryvyniuk understands that love relationships between adults might be difficult for children’s comprehension, so he transfers these love relationships into friendship between the main characters.
In the later Ukrainian translations of O. Wilde’s tale “Happy Prince” we see consistent strategies, which are followed by the translators.
“Щасливий Принц” was first translated by Ilko Korunez in 1979. This translation was published in Kyiv by publishing house “Veselka”. It became very popular, so it was re-edited several times in 1993 and 2000. Translation of T. Ne-kriach saw the world in 2011. It was published in Kyiv by publishing house “Kra-jina Mriy” (official translation of the company).
Korunez I. believes that Wilde’s O. tale is an authentic opus, which should be translated abiding the style and the figurativeness of original for fullness of text re-
production. He also believes that pragmatic adaptation is impossible for translation of author’s tale and there can be no domestication in such translations [8, p. 50]. There are no omissions in his translation; in order to bring the text of translation closer to young readers he uses elements of children’s speech: “тонесенькі листочки'”, “пелеринки”, “чистенькі білі фартушки”, etc. As for the relations between the main characters of the tale, he leaves the love relationships between the Swallow and the Reed, but I. Korunez makes the Reed a male and the Swallow a female due to grammatical gender of Ukrainian equivalents: “... вона (Ластівка) відстала, бо закохалася в чудовий Очерет” [13, p. 4].
Nekriach T. believes there should be no division of translators into children’s translators and adults’ translators. She believes that translator’s main task is to transfuse author’s feelings, style and originality of his or her nature in order to reach the dynamic equivalence. Nekriach T. finds an appropriate way to transfer love relationships between the Reed and the Swallow in order to leave her translation true to the original. Having studied the ornithological dictionary, T. Nekriach finds a bloodline of swallows - “Серпокрилець”, which has a masculine grammatical gender in Ukrainian. T. Nekriach leaves all the main characters their genders: “... він (Ластів’я - Серпокрилець) залишився, бо був закоханий у найпрекраснішу Очеретинку” [12, p. 6].
Having studied the main Ukrainian translations of O. Wilde’s tale “Happy Prince”, we can make a conclusion that the earlier translations of the tale did not have a translation strategy at all (S. Krylach) or had just some elements of such a strategy, some separate translator’s approaches (M. Kryvyniuk). Though S. Krylach addressed his translation to young readers, his translation had a lot of words complicated for reading and understanding; his transfusion of characters’ love relationships was very hard for understanding: the gender roles were left unchanged though the grammatical gender of characters’ names was changed. Kryvyni-uk’s M. translation was aimed to be easy for children’s comprehension. Usage of child-like lexicon and diminutive-hypocoristic suffixes in certain words brings the text of translation closer to children.
As it can be seen from the research represented in this article the modern translations of O. Wilde’s tale are characterized by consistent translation strategies. I. Korunez as well as T. Nekriach decide to reflect author’s intentions in their translations and abide by this strategy throughout the text of translation.
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ПРАГМАТИЧЕСКИ ОБУСЛОВЛЕННЫЕ ЛЕКСИКО-СЕМАНТИЧЕСКИЕ ТРАНСФОРМАЦИИ, ВЫЗВАННЫЕ ТРАДИЦИОННЫМ УЗУСОМ СЛОВ © Караневич М.И.*
Киевский национальный университет им. Тараса Шевченко, Украина, г. Киев
В статье рассмотрен прагматический аспект англо-украинского художественного перевода; проанализированы особенности использования прагматически обусловленных лексико-семантических трансформаций, вызванных традиционным узусом; установлено, что трудности
* Ассистент кафедры Теории и практики перевода Тернопольского национального педагогического университета им. Владимира Гнатюка, аспирант кафедры Теории и практики перевода с английского языка Киевского национального университета им. Тараса Шевченко.
