Somerset Maugham one of the brightest writers of English literature of the 20th century. Each of his novels is a separate story associated with various stages of his life.
Maugham's works are not only easy to perceive for the readers, but also realistic, so they push the reader to the deep thoughts, searching for the realia of our life.
Maugham's novels are very useful for students of foreign languages, as they provide an opportunity to learn more about the features of dialectics, as well as the features of social life in England at the beginning of the 20th century.
«Theater» is a novel not about one person, it actually about human being itself. Julia just as a mirror revealed all people’s emotions, characters, behaviors, addictions. She represents human’s as bad as good sides. That means not just Julia lives in the theatrical world, but all of us take a mask and put it on and play the role. We play but not as Julia do. We in mostly cases do it unconsciously, but Julia Lambert has confused where is the reality and where is the fake. She stuck between two worlds. The world where people just play the role not suitable for them and the world where live people who don’t know what does mean play on the stage purposely. Theater is not only a game on the stage, but the whole world for Julia Lambert. Each depicted scene is a kind of change of action. For instance, even Julia’s son — Roger doesn’t know when she acts and when she just his mother. He himself says that he confused and doesn’t believe her anymore. According to Roger’s word, he compares Julia with butter by saying that as margarine is butter for people who haven’t tried real butter, as you pretend to be my mother. But his words «Fake comes True for you!» made Julia feel bad as his mother. S. Maugham himself emphasizes that Julia is acting both on stage and in everyday life. She plays different role: a caring wife, a tender mother, a little girl and respectful woman. The actress is truly talented woman. With the help of her acting she is able to make others act according to her desires. Readers maybe have noticed that Julia is an unprincipled woman for whom love, honor, promises means nothing. She is a manipulator, an artist blinded with her own success. During dialogue with her lovers she often used such phrase as «poor lamb», considering each member of the opposite sex to be either stupid, weak or too young. Our hero never really loves someone without acting. At the end of the book Roger and Julia had a conversation during which he tried to explain the artificiality of Julia’s soul. She got used to play so much that she completely lost herself. And here comes the question: «Was it all her real emotions and feelings, or she pretended? What does love actually mean for J. Lambert? As we know, she has love actions with Michael, Charles and Tom. And each of them show and gave to her their particular love. As each person (in our case, all of our heroes) can show and share their own love, what does it mean for him/her, samely translators or interpreters will make the translation of literary work according to their cultural vision, perception and approach. So if one translator is very sensitive person, then his Target text will be translated in the same position (using deep feelings). But in case of the strict person, text context will contain tough structural content.
Here we come to such terminological definition as- Adequate translation.
According to Komissarov, adequate translation is broader in meaning, what we can’t say about equivalent translation. Equivalent means semantic identity of the ST and TT (they can be equivalent in meaning but not adequate) [1, p.15].
According to Schweitzer, there are 2 terms to 2 aspects of translation:
1) The 1 st one is Translation as Result(when we speak about equivalent translation);
2) The 2 nd — translation as process (characterization of adequate translation; when translator choose the dominant text function).
E.g: They told her now that she must never tell Tom that she loved him. -Енді олар оған Томға оны сүйетінін ешқашан айтпау керектігін айтты.
During making the translation of the work «Theater» was used Literal translation. Therefore,it has its different types: On the Sound level(Translator’s false friends, which means that words, sentences, phrases can be similar in sounds but different in their meaning). On the syntactic level(when translator copying the structure of the ST) In this case translator will try to render the meaning word for word, by this action he breaks the rules of his/her own language.
And the last one –on the Semantic level: Gives the 1 st /primary meaning of the text
Also was used Freetranslation method, which means adding extra elements of information or escaping it. We can use it in translating titles of novels.
Translation equivalence shows the degree of similarity between TT and ST can be identical pragmatically, semantically and structurally).
According to Komissarov’s all levels of equivalence: Pragmatic, Situational, Lexical, Grammatical, Structural.
- Pragmatically (situational level)- its functions- TT and ST have one and the same communicative function. So in order to make the correct translation, translator need to comprehend the situation rightly which is denoted by the ST.
According to Newmark research, translator should translate the ideas and find the meaning of the TT in order to express the situation, but not make word for word translation. That’s why if translator cannot be able to comprehend the situation denoted by the ST, we can surely say that his/her translation is not adequate.
- Semantically (lexical level) — its contents- TT and ST should be equally lexically.
- Structurally (grammatical level)- its forms. Goes word for word translation where each word, phrases and the whole structure remains its grammatical and lexical meaning [1, p.16–17].
Therefore, our translation of the adopted version of the novel include — Transformational model of translation (converting one form into another). It considers as a part of a translation process which consists of 3 phases:
Analysis
Analyzing process- Translator draws background knowledge by listening or reading ST in order to comprehend the main idea of the TT.
Translation is a kind of speech event. A translator comprehends the message
In order to translate our novel «Theater» we used different methods and processing of translation. One of them is lexical substitution, when translator exchange or substitute on word/phrase into another. Also often used the reduction of some words in translating Culture- bound words. It’s essential take into account the reception’s reaction and how would he react. You have to choose the best means of translation by checking whether a C-B words exist in the TL and does they correspond to that of the SL word/phrase.
Using translating techniques and methods, which were mentioned above in theoretical part of the diploma project, translation of the «Theater» was made. Translation process from ST into the TT (namely from English into Kazakh) was made through using Adequate translation method.
Tom Fennel’s love relation with Julia Lambert:
«She turned to him, standing by her side, as she said this. He put his arm around her waist and kissed her full on the lips. No woman was ever more surprised in her life. She was so taken aback that she never thought of doing anything. His lips were soft and there was a perfume of youth about him which was really rather delightful. But what he was doing was preposterous. He was forcing her lips apart with the tip of his tongue and now he had both arms round her. She did not feel angry, she did not feel inclined to laugh, she did not know what she felt. And now she had a notion that he was gently drawing her along, his lips still pressing hers, she felt quite distinctly the glow of his body, it was as though there was a furnace inside him, it was really remarkable; and then she found herself laid on the divan and he was beside her, kissing her mouth and her neck and her cheeks and her eyes. Julia felt a strange pang in her heart. She took his head in her hands and kissed his lips [2, p.56]».
During translation process (ST — TT) text was translated into the Kazakh language according to its Situational level, means Semantically:
Джулия жанына келіп бұрылғанда, ол оның белін қолымен қысып, ернінен сүйді. Томның өмірінде бірде- бір әйел бұлай таңданбаған.Таң қалғаны соншалық, ол ештеңе істеуді де ойламады. Джулияның ернінің жүмсақтығы мен Томның жастық иісі қосылып тартымды болды.Бұл істеп жатқаны Томның өзіне күлкілі болды.Ол тілінің ұшын оның ернінен ажыратып, екі қолымен құшақтап тұрды. Джулия ашуланбады, күлкісі келмеді, көңіл-күйі білінбеді.Ол нәзіктікті енді сезініп, жігітті өзіне тартып, еріндері түйіскен күйде,оның денесінің жылулығын анық сезініп, ішінде жалын бар сияқты керемет сезімде болды. Ол өзінің кереуетте жатқанын байқады, ал кейін оның ернінен, мойнынан, бетінен және көзінен сүйді.Джулия өз жүрегінен керемет біртүрлі толқу сезімін сезінді. Джулия оның шашын қолдарымен сипалап,ернінен сүйді [3].
Translating process from ST into TT went through some phases of Transformational model of translation.
But when she saw him, so slight, with his hectic flush and his blue eyes, so charmingly boyish, she felt a sudden pang. Evie closed the door behind him. She was lying on the sofa and she stretched out her arm to give him her hand, the gracious smile of Madame Recamier on her lips, but he flung himself on his knees and passionately kissed her mouth. She could not help herself, she put her arms round his neck, and kissed him passionately [2, p.66].
As was mentioned before ST was translated by using Transformational model of translation. Our text went through the phases of Analyzing- Translation proper- and Synthesis.
Except Transformational model translators/ interpreters may use Semantic or Psycholinguistic models of translation. Firstly, and mainly he/she need to comprehend the message correctly- transforms the basic message’s idea into the Target Text (in our case, Kazakh language)–and certainly, transform the inner code into TT.
For Julia was shrewd, and she knew very well that Tom was not in love with her. To have an affair with her flattered his vanity. He was a highly-sexed young man and enjoyed sexual exercise. From hints, from stories that she had dragged out of him, she discovered that since he was seventeen he had had a great many women. He loved the act rather than the person. He looked upon it as the greatest lark in the world. And she could understand why he had so much success. There was something appealing in his slightness, his body was just skin and bone, that was why his clothes sat on him so well, and something charming in his clean freshness. His shyness and his effrontery combined to make him irresistible. It was strangely flattering for a woman to be treated as a little bit of fluff* that you just tumbled on to a bed [2, p.69].
By using Semantic model of translation, we tried to choose the most meaningful elements of the Target language, that elements which closely express the same context elements (Content text Model).
Өйткені Джулия ақылды әйел,ол Томның өзіне ғашық емес екенін жақсы білетін. Онымен жақын қарым- қатынаста болу оның ар-намысына тиді. Ол өте сексуалды жас жігіт болды және жыныстық жаттығуларды ұнататын. Оның кеңестерінен, оның әңгімелерінен ол он жеті жасынан бастап оның көптеген әйелдері болғанын білді. Ол адамнан гөрі әрекеттері жақсы көрді. Ол оны әлемдегі ең үлкен қызық деп қарады. Ол оның неге сонша табысты болғанын түсінді. Оның арықтығында бір сүйкімділік бар еді, денесі тек тері мен сүйектен тұратын,сондықтан оның киімі оған өте жарасымды және мөлдір сергектігі сүйкімді. Оның ұялшақтығы мен ұятсыздығы қосылып, оған ешкім қарсы тұра алмады. Сіз төсекке лақтырып жіберген кішкентай үлпілдектей қарау әйелге біртүрлі жағымпаздық болды.
Translating process faced with some problems such as: differences of Time indicators and Aspect groups. English language includes such Aspects as: Simple, Perfect, Progressive, Perfect Progressive what make it different with Kazakh language (Perfective, Imperfective).
Although Julia was in a pitiable state of anxiety, so that she could hardly get the words out of her mouth, she almost smiled at his fatuous irony. He was a silly little thing.«But you can’t imagine that I wanted to hurt your feelings. You surely know me well enough to know that’s the last thing I should do».
«That only makes it worse».
(«Damn and curse», thought Julia.) «I ought never to have let you make me those presents. I should never have let you lend me money».
«I don’t know what you mean. It’s all some horrible misunderstanding. Come and fetch me after the play and we’ll have it out. I know I can explain».
«I’m going to dinner with my people and I shall sleep at home».
«Tomorrow then».
«I’m engaged tomorrow [2, p.86]».
As was mentioned, translators will face with problems according to the Grammatical, Lexical, Syntactical levels . Since structure and form of the sentence is different in different languages. For instance, Time indicators in English grammar (Present, Past, Future, Future in the Past) not similar with Kazakh
(which have 3 time indicators: Present, Past, Future).
Джулия ауырып, мазасызданып жылай жаздаса да, сөйлей алмай қалса да,еріксіз жымиды. Ал, ақымақ! «Шынымен сен қорлағым келді деп ойлайсың ба?» Сіз мені жақсы білесіз және бұл менің ойыма келмейтінін түсуініз керек.
—Одан да жаман. («Қарғыс атсын» деп ойлады, Джулия). Мен сенен ол сыйлықтарды алмауым керек еді, сенен қарызға ақша алмауым керек еді.
— Не айтып тұрғаныңды түсінбеймін. Мұның бәрі қорқынышты түсінбеушілік. Шоудан кейін мені алып кетіңіз, біз бәрін анықтаймыз. Мен саған бәрін түсіндіремін.
—Мен ата –анаммен кешкі ас ішіп, солардың қасында түнеймін.
— Онда ертең.
— Ертең мен некелесемін.
Translating pronouns (personal, Possessive, Relative, Pronoun one ,)
Her pain absorbed her so that she could not feel the grief she might have felt from her discovery of Tom’s perfidy. She had always known in her bones that he was unfaithful to her. At his age, with his wanton temperament, with herself tied down by her performances at the theater, by all manner of engagements which her position forced upon her, it was plain that he had ample opportunity to gratify his inclinations. She had shut her eyes. All she asked was that she should not know. This was the first time that an actual fact had been thrust upon her notice.
«I must just put up with it», she sighed. Thoughts wandered through her mind. «It’s like lying and not knowing you’re lying, that’s what’s fatal; I suppose it’s better to be a fool and know it than a fool and not know it» [4, p.106].
In order to translate into the Kazakh language some pronouns weren’t translated directly. Some of them were exchanged: Pronouns you were exchanged with Proper names in some cases. Or even exchanged and compensated by EM.
Charles’ love relation with Julia Lambert:
Process of translation went through 2 process: translation as process and as a result, according to Schweitzer’s research.
She knew that he had fallen in love with her some time before he knew it himself. She found it rather comic. From her standpoint he was a middle-aged man, and she thought of him as a nice old thing. She was madly in love with Michael. When Charles realized that he loved her his manner changed a little, he seemed struck with shyness and when they were together was often silent.
«Poor lamb», she said to herself, «he’s such a hell of a gentleman he doesn’t know what to do about it [5, p.51]».
This is how translation into Kazakh language was done going through two process.
Ол оның өзіне ғашық болғанын өзі білмей-ақ тұрып білген. Ол мұны өте күлкілі санады. Оның көзқарасы бойынша ол орта жастағы ер адам еді, ол оны сүйкімді қария деп санады. Ол Майклға ессіз ғашық болды. Чарльз оены жақсы көретінін білгенде, оның мінез-құлқы сәл өзгерді, ол ұялшақ болып көрінді және олар бірге болған кезде жиі үнсіз қалды. Байғұс, — деді ол өзіне, — ол нағыз ер жігіт не істеу керектігін білмейтін.
Over time, a Contextual meaning can become normative, means fixed in dictionaries. But in anyway, translators should be accurate. Since each author try to keep and give power to each word specifically. For instance, Nabokov used the phrase a very common place mind by which he means трафаретный ум in order to characterize his hero. But dictionaries will translate it as банальный .
It gave her a pleasant sense of independence to sit there unknown and unnoticed. They were acting a play for her and she was the audience. She caught brief glimpses of them as they passed the archway, young men and young women, young men and young women not so young, men with bald heads and men with fat bellies, old harridans clinging desperately to their painted semblance of youth. Some were in love, and some were jealous, and some were indifferent [6, p. 169].
Using method of interpolation ST was translated into TT like this:
Байқамай, беймәлім отырудың өзі қандай жақсы болды, бостандықтың тәтті сезімін сыйлады. Енді мейрамхананың меценаттары оның алдында спектакль қойып жатқан әртістер болды, ал ол көрермен болды. Аркалардан өтіп бара жатқанда Джулия оларға бір көзі түсті: жас жігіттер мен қыздар; жас ерлері мен егде жастағы әйелдер;-басы тақыр, іші бар еркектер; бұрыңғы күнәкарлар, өздері күнделікті киетін маскасы сияқты. Біреудер ғашық болды, біреулер немқұрайлы болды біреулер қызғаныштан өртенді.
Here given Julia Lambert’s words which we can see in the end of the «Theater». After a while time of thinking under Roger’s word, she came to conclusion that it's we, the actors, who are the reality not simple people. As she said actors are the meaning of people’s lives:
What nonsense that was that Roger talked about the other day, and poor Charles, who seemed to take it seriously. He's a silly little prig, that's all». She inducated a gesture towards the dance room. The lights had been lowered, and from where she sat it looked more than ever like a scene in a play». All the world's a stage, and all the men and women are merely players». But there's the illusion, through that archway; it's we, the actors, who are the reality. That's the answer to Roger.
They are our raw material. We are the meaning of their lives. We take their silly little emotions and turn them into art, out of them we create beauty, and their significance is that they form the audience we must have to fulfill ourselves. They are the instruments on which we play, and what is an instrument without somebody to play on it? [7, p. 170]».
After the end of translating process, we can surely say that what technique translator will use or what method it all depends on his own decision.
Below given table answering to the question «What does theater mean for each of the characters?»
|
Julia |
Roger |
Michael |
Tom |
Charles |
|
She was born as an actress. Theater is everything for her |
Not interested, moreover, doesn’t want to connect his life with any aspects concerning with theater. |
As for Julia, for him theater is a deal of his life. Gave mote part of his life to this business. |
Not specifically love it but at the same time doesn’t hate. Theater it’s just one of the main place where he could find new meetings with people of the higher class. |
Theater is a place where he could enjoy of Julia’s acting masterpiece. He was falling in love not on theater itself, but here goes the speech according his love to Julia Lambert, the main actress of this novel. |
In conclusion, this work has revealed the peculiar characteristic features of the lead heroes, their vision of the world and relation to such felling as «Love». We, particularly, payed attention to the personality of Julia Lambert, Michael Gosselin, Tom Fennel and CharlesTamerleyand came to the conclusion that each of them are boned by the deep love to Julia Lambert. Even though each of them gave their own specific love to Julia. And this is what differentiate them, if we’ll not speak about their career and social statues. Different cultures represent Julia Lambert in different ways, so it is obvious that all of the translators will translate according to their own cultural approach. In our diploma project were used different kind of translation methods. One of them « Adequate » translation, « Equivalent» translation, « Literal » translation, « Free » translation. During making the translation from English into Kazakh language, we used all levels of equivalence, according to Komissarov’s research. Particularly, such levels as Pragmatic , Situational , Lexical , Grammatical and Structural levels. Therefore, were used Jacobson’s speech functions in order to translate the text (Informative, Emotive, Poetic, Phatic functions).
References:
- Гальперин И. Р. Текст как объект лингвистического исследования — М., 1981.
- Maugham W. S. Theatre. -Москва:Изд- во Менеджер, 2010.
- Ахметова С. Г.Қазақша Ағылшынша орысша сөздік. Алматы: «Мектеп» баспасы, 2007.- 256 бет.
- Barnes, Ronald E. The Dramatic Comedy of William S. M. The Hague- Paris, 1968.
- Calder, Robert Lorin. Willie: The life of W. Somerset Maugham. London, 1989.
- Maugham W. Somerset. The Travel Books of W. Somerset Maugham. Melbourne, 1955.
- Maugham, W. Somerset. Collected Plays: In 3 volumes. London, 1955.
