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21проелемы современного осрпзоопнип
Yu.R. Yusupova, M.R. Nurgaleeva
TOLKIEN CHARACTERS: LINGUISTIC MEANS OF INTERPRETATION
Keywords: expressive means, imagery, interpretation tools, literary analysis, neologisms, Tolkien.
Abstract: Brilliant English writer J.R.R. Tolkien used various linguistic means to form the characters' images in his fantasy novels. The aim of the present research is to reveal the ways of recreating images of Tolkien's characters in The Hobbit novel while translating into Russian. The research showed that despite some translators managed to find successful ways to partly recreate Tolkien's images in Russian, generally they failed to keep to the abundance of expressive means which characterizes Tolkien's manner of writing.
Ключевые слова: выразительные средства, литературоведческий анализ, неологизмы, образность, способы перевода, Толкин.
Аннотация: Для создания образов своих персонажей известный английский писатель Дж. Толкин использует богатый арсенал языковых средств. В статье представлено исследование способов воссоздания образов литературных персонажей Толкина при переводе на русский язык произведения «Хоббит». В ходе исследования были выявлены как удачные, так и провальные переводческие решения.
Literature is very important in making up spiritual and personal growth. All historical legacy of foreign countries, eastern philosophy, legends and myths are available for any person thanks to the translators specializing on literary translation as there are not so many people who can read the originals by Shakespeare, Dante, Dickens and other famous writers
Literary translation is a kind of art which demands the translator to have a special craft. Having perfect knowledge of the foreign language is not enough for translation to preserve the original idea of the author. A critical task in translation is proper recreation of the original author's images. Characters and images make an integral part of any book. Each description of the heroes, their deeds, actions or words and also the names, especially when they are charactonyms, makes the image individual.
In modern research the concepts of image and imagery are interpreted in different ways. The complexity of studying the imagery is largely due to the complexity and ambiguity of the concepts themselves being the subject of study of various scientific spheres. The concepts of "image" and "imagery" are used in philosophy, psychology, aesthetics, art history, literary criticism, semiotics, lingo-stylistics, didactics, and other sciences. There are a significant amount of surveys devoted to the disclosure of the contents of these concepts.
The concept of "artistic image" in literature is mainly viewed from the literary and linguistic positions. Qualitative uniqueness of the literary and artistic image is manifested in the fact that it is created by means of natural human language, which is the material for the writer.
In the analysis of a literary text it is necessary to pay attention to the language tools first. They are not only a way of displaying extra-linguistic reality, but also a form of creating artistic images. Those additional connotations and associations, i.e. "additions of meanings" that language means regularly have in the text are defined by their semantics and their links with each other. They contribute to multidimensional and expressiveness of the generated images being organized in composite attitude.
The main features of the literary text are: a combination of the reflection of the objective world and the individual author's intention (the presence of subject-logical and aesthetic information); the variety of linguistic and figurative means expressing the author's intention and having
the function of emotional and aesthetic impact on the reader; the diversity of structure and composition; polyphony and overtones that give rise to a multiplicity of interpretations; anthropocentricity (semantic structure of the work is: the author - the character - the reader); subjectively objective structure of the text determined by author's intention and the laws of the genre.
Works by J.R.R. Tolkien The Lord of the Rings, The Silmarillion, and The Hobbit refer to the literary style of fantasy. The imaginary world created by Tolkien has influenced a whole generation of young people in the middle of the twentieth century, and his books are becoming increasingly popular: they are quoted, have been made into films, and young people organize and inspire various festivals based on them.
The present research is focused on the figure of Bilbo Baggins - one of the central characters and the most vivid images created by J.R.R Tolkien.
Before starting the description of the hobbit Bilbo Baggins , the author talks about the details of the race Bilbo belongs to:
I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded Dwarves. Hobbits have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. They are inclined to be fat in the stomach; they dress in bright colors (chiefly green and yellow); wear no shoes, because their feet grow natural leathery (1) soles and thick warm brown (2) hair like the stuff on their heads (which is curly) (3); have long clever brown (4) fingers, good-natured (5) faces, and laugh deep fruity (6) laughs (especially after dinner, which they have twice a day when they can get it). [2: 5]. It is necessary to mention that in the next book The Lord of the Rings Tolkien invented a synonym for the word hobbit - sometimes they are called "Halflings".
The author underlines that hobbits love calm and peace and notes that Bilbo was a good hobbit till some moment:
This hobbit was a very well-to-do (7) hobbit, and his name was Baggins. The Bagginses had lived in the neighborhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbors' respect, but he gained-well, you will see whether he gained anything in the end [2: 4].
The author shows that the more peaceful life a hobbit has the respectful he is, thus when Bilbo is proposed to join the adventure he answers: "We are plain quiet folk (8) and have no use for adventures. Nasty disturbing uncomfortable things! Make you late for dinner! I can't think what anybody sees in them." [2: 7-8].
It is important to say that Tolkien has given the hero the charactonymic name Baggins to underline that this hobbit cannot live without different things, for example when he leaves his house he asks himself whether he can live without a dozen of handkerchiefs. And also his house named Bag-End has many rooms where Bilbo keeps different things, so the house reminds a bag full of stuff.
Despite the spirit of adventure shown later, Bilbo is a person who likes order, cleanliness and neatness. It can be seen from the description of Bilbo's house:
nPOGACMU CO tip CMCHHOfO OCPn3<>OnHHn
In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat (9): it was a hobbit-hole, and that means comfort.
It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle (10). The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel (11) without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots (12) of pegs for hats and coats—the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill—The Hill, as all the people for many miles round called it—and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows (13) looking over his garden and meadows beyond, sloping down to the river [1: 3].
Tolkien shows that the hobbit started his transformation from the state respected hobbit to adventurous person. The author describes the changes as follows:
As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him (14), a fierce and jealous love, the desire of the hearts of dwarves. Then something Tookish woke up inside him, and he wished to go and see the great mountains, and hear the pine-trees and the waterfalls, and explore the caves, and wear a sword instead of a walking-stick (15). He looked out of the window. The stars were out in a dark sky above the trees. He thought of the jewels of the dwarves shining in dark caverns. Suddenly in the wood beyond The Water a flame leapt up—probably somebody lighting a wood-fire-and he thought of plundering dragons settling on his quiet Hill and kindling it all to flames. He shuddered; and very quickly he was plain Mr. Baggins of Bag-End, Under-Hill, again [2: 21].
Bilbo's origins and genes that make him commit madness and to be adventurous wake up, and though his hobbit nature desires calm and peace, only one spark that is accidentally lit by dwarves or Gandalf is enough to arise in his soul "something Tookish" that will change into a fire.
At the scene of the council the writer contradistinguishes two sides of Bilbo's nature, the one that is called "Something Tookish", that desires adventures and the other side in the spirit of his people, that don't like danger. The moment when Thorin speaks about death and danger there is a battle in Bilbo's soul. He has just been thinking about dragons and danger and now,
Poor Bilbo couldn't bear it any longer. At may never return he began to feel a shriek coming up inside, and very soon it burst out like the whistle of an engine coming out of a tunnel
(16). All the dwarves sprang Bp knocking over the table. Gandalf struck a blue light on the end of his magic staff, and in its firework glare the poor little (17) hobbit could be seen kneeling on the hearth-rug, shaking like a jelly that was melting (18). Then he fell flat on the floor, and kept on calling out "struck by lightning, struck by lightning!" over and over again; and that was all they could get out of him for a long time. [2: 23]
Anyway, Bilbo seeks out the adventures, but still, he is not a big fan of adventures, and at the same time he is not holding to hobbit's philosophy - he is accepted as "a burglar" by the dwarve's community, and even though the author creates a new word for Bilbo's spirit condition something between the hobbit and the burglar. The word is pronounced by one of the trolls which are met in a forest during the night:
—Bilbo Baggins, a bur — a hobbit," said poor Bilbo, shaking all over, and wondering how to make owl-noises before they throttled him.
—A burrahobbit (19)?" said they a bit startled. Trolls are slow in the uptake, and mighty suspicious about anything new to them.
—What's a burrahobbit got to do with my pocket, anyways?" said William [2: 47].
During the narration Bilbo keeps changing and the author opens new features of his character. So now Bilbo doesn't even think about changing his path, and the author reveals the character's thoughts that were lost in long mountain tunnels. At that moment Bilbo's thoughts are reflecting his attitude to everything that is happening, "Go back? he thought. No good at all! Go sideways? Impossible! Go forward? Only thing to do! On we go (20)! So up he got, and trotted along with his little sword held in front of him and one hand feeling the wall, and his heart all of a patter and a pitter." [2: 89].
In the chapter ""Riddles in the Dark", Tolkien is showing characters mental aptitude during the riddle-game between him and Gollum, and then his condescension, that he displayed to cruel and despiteful Gollum.
Bilbo almost stopped breathing, and went stiff himself. He was desperate. He must get away, out of this horrible darkness, while he had any strength left. He must fight. He must stab the foul thing, put its eyes out, kill it (21). It meant to kill him. No, not a fair fight. He was invisible now. Gollum had no sword. Gollum had not actually threatened to kill him, or tried to yet (22). And he was miserable, alone, lost. A sudden understanding, a pity mixed with horror, welled up in Bilbo's heart: a glimpse of endless unmarked days without light or hope of betterment, hard stone, cold fish, sneaking and whispering. All these thoughts passed in a flash of a second. He trembled. And then quite suddenly in another flash, as if lifted by a new strength and resolve, he leaped [2: 110-111].
In the beginning everyone wonders at the Gandalfs decision, but step by step, Bilbo earns the respect of his partners, "The dwarves looked at him with quite a new respect, when he talked about dodging guards, jumping over Gollum, and squeezing through, as if it was not very difficult or very alarming" [2: 120-121].
At the end of the journey Bilbo himself offers his services of "the burglar": If you mean you think it is my job to go into the secret passage first, O Thorin Thrain's son Oakenshield, may your beard grow ever longer," he said crossly, "say so at once and have done! I might refuse. I have got you out of two messes already, which were hardly in the original bargain, so that I am, I think, already owed some reward. But 'third time pays for all' (23) as my father used to say, and somehow I don't think I shall refuse. Perhaps I have begun to trust my luck more than I used to in the old days"—he meant last spring before he left his own house, but it seemed centuries ago—"but anyway I think I will go and have a peep at once and get it over. Now who is coming with me? [2: 270-271]. However, the author says that Bilbo offers his service not only for his adventurous spirit but also for good reward.
It is Bilbo who is scouting and speaking to a dragon and he finds the "Heart of the Mountain, the Arkenstone", and while Thorin is dreaming Bilbo shows his headpiece, bravery, and deceit, and saves dwarves from Smaug with his intuition. He shows some kind of parliamentary skills to make peace between dwarves and people and Thorin, and he acts noble by sacrificing with all his part of treasure for the piece: "This is the Arkenstone of Thrain," said Bilbo, "the Heart of the Mountain; and it is also the heart of Thorin. He values it above a river of gold (24). I give it to you. It will aid you in your bargaining." Then Bilbo, not without (25) a shudder, not without a glance of longing (26), handed the marvelous stone to Bard, and he held it in his hand, as though dazed. "But how is it yours to give?" he asked at last with an effort.
провлсмы современного осппзоппнип
"O well!" said the hobbit uncomfortably. "It isn't exactly; but, well, I am willing to let it stand against all my claim, don't you know. I may be a burglar-or so they say, personally I never really felt like one-but I am an honest one, I hope, more or less. Anyway I am going back now, and the dwarves can do what they like to me. I hope you will find it useful." The Elvenking looked at Bilbo with a new wonder.
"Bilbo Baggins!" he said. "You are more worthy to wear the armour of elf-princes than many that have looked more comely in it. But I wonder if Thorin Oakenshield will see it so. I have more knowledge of dwarves in general than you have perhaps. I advise you to remain with us, and here you shall be honoured and thrice welcome." [2: 346-347]
Dying Thorin who was angry about Bilbo's deed also agrees that, "There is more in you of good than you know, child of the kindly West. Some courage and some wisdom, blended in measure. If more of us valued food and cheer and song (27) above hoarded gold, it would be a merrier world. But sad or merry, I must leave it now. Farewell!" А также предводитель гномов называет его good thief и добавляет "I wish to part in friendship from you, and I would take back my words and deeds at the Gate." [2: 368]
On his return home Bilbo also feels that he wants to sit in his armchair and he changes from burglar to hobbit. " The Tookish part was getting very tired, and the Baggins was daily getting stronger (28). "I wish now only to be in my own arm-chair!'", he said. [2: 376] In this very moment we can see the signs that Bilbo is going to write the Red book and include there his poems " There far away was the Lonely Mountain on the edge of eyesight. On its highest peak snow yet unmelted was gleaming pale. So comes snow after fire, and even dragons have their ending!" said Bilbo, and he turned his back on his adventure." [2: 376]
Even Gandalf notes that "My dear Bilbo, he said. Something is the matter with you! You are not the hobbit that you were." Upon the return the author writes,
Indeed Bilbo found he had lost more than spoons—he had lost his reputation. It is true that for ever after he remained an elf-friend, and had the honor of dwarves, wizards, and all such folk as ever passed that way; but he was no longer quite respectable. He was in fact held by all the hobbits of the neighborhood to be 'queer'-except by his nephews and nieces on the Took side, but even they were not encouraged in their friendship by their elders. <..>He took to writing poetry and visiting the elves; and though many shook their heads and touched their foreheads and said "Poor old Baggins!" and though few believed any of his tales, he remained very happy to the end of his days, and those were extraordinarily long [2: 385-386] Sixty years later in the Lord of the Rings Bilbo is still alive and has become even more eccentric. One of the proofs of his excentricity is the numeral with meaning 111 - it's the author's neologism "eleventy-one". In the beginning of the Lord of the Rings author describes Bilbo's life, his relationship with his friends and relatives. "When Mr. Bilbo Baggins of Bag End announced that he would shortly be celebrating his eleventy-first (32) birthday with a party of special magnificence, there was much talk and excitement in Hobbiton."
Bilbo's sophisticated phrases can also be considered as the sign of eccentricity, "I don't know half of you half as well as I should like; and I like less than half of you half as well as you deserve (30)." [5: 39] His guests are eccentric as well: "An odd-looking wagon laden with odd-looking packages (31) rolled into Hobbiton one evening and toiled up the Hill to Bag End. The startled hobbits peered out of lamplit doors to gape at it. It was driven by outlandish folk, singing strange songs: dwarves with long beards and deep hoods. A few of them remained at Bag End." [5: 32] As well as his deeds when Bilbo vanishes right after his birthday party, having scared all his guests and becomes the topic of different rumors.
Thus in the books by JRRT the hero Bilbo Baggins evolving from ordinary respectful hobbit to the adventure seeker and a friend of elves. The author describes the hero and also shows the process of evolution using such stylistic meanings as epithets (1), (2), (4), (5), (6), (7), (8), (10), (17); metaphors (24), reiteration (11), (12), (13), (20), (26), (30); metonymy; (16), (18); oppositions
(9), (28); neologisms (19), (29); comparison (3), (11); parallel constructions (15); narration (14); polysyndethon (27) proverbs (23); double negation (25); and anaphora (21), (22), (26).
By the end of the book the image of Bilbo becomes more full and author being a true master of pen adds the last finishing touches by means of dialogues and short phrases that help the reader to see and appreciate all the edges of the Bilbo's image.
Having fulfilled the analysis of the "original" Bilbo Baggins image, we concentrated on the means used by Russian translators to recreate it in their translations.
Having given his main character name Baggins Tolkien recommended translators to preserve the meaning of the root morpheme 'bag'. Russian translators N. Rakhmanova [3], N. Prokhorova [5] and A. Tshurov [4] use transcription 'Бэггинс', which doesn't give Russian readers any idea of the author's implication. Some other translators try to follow Tolkien's advice and translate the root morpheme: 'Торбинс' [8] and 'Сумникс' [7]. The second variant though misleads the reader to the word 'ум' (intellect), which makes us think that the variant 'Сумкинс' might be better. A very controversial interpretation of the character's name is suggested by D. Afinogenov and V. Volkovsky - 'Беббинс'. [11] We found no satisfactory reasoning for these translators' choice. Hypothetically, they either used an old-Russian root 'бебень' or derogatory vernacular 'бебехи' which means "household stuff, plunder" to keep close to folk genre. The problem is that Russian readers can hardly appreciate this as the word is archaic and its meaning is very ambiguous for contemporary Russians.
Considering the origin of the hobbit-race appellation, many Tolkien fans say that the word 'hobbit' was derived from the words homo and rabbit, noting that they have hairy feet and their lifestyle ( both live in holes). Tolkien himself did not say anything about this but in his memoirs and letters he denies these confirmation. Russian readers cannot dwell on the race appellation as the word is simply transliterated. Moreover, in the translation performed by A. Tshurov [4] some passages describing hobbits are omitted and it makes the image of Bilbo incomplete.
«Впрочем, кто они собственно такие, эти хоббиты? Наверное, в наши дни их становится все меньше и меньше, а неуклюжих большунов, - как они нас называют, - все больше и больше». Obviously the translator thinks that the amount of the hobbits depends on the amount of the humans.
«Хоббиты низкорослы, однако еще меньше карликов, у которых в обычае было отращивать бороды. Как раз бород у хоббитов и нет» [4]. In the introduction to Hobbit Tolkien explains who are the Dwarves, and they are not 'карлики', they are 'гномы' [2:2]. Despite this Tshurov uses the word 'карлик' instead of the word 'гном'. Tshurov's translation also misses an important descriptive element: "They are (or were) a little people, about half our height." [2: 4] The fact that hobbit's height is equal to the half of the human height is very important since the word "Haifiing", invented by Tolkien is a synonym of the word hobbit, used beyond the borders of the Hobbiton.
Another translator's failure can be easily found in the description of hobbits' appearances: «Хоббиты ... башмаков не носят, ибо от природы их пятки жесткие, словно подметки. Ступни ног у них обросли темно-бурой шерстью, вроде той, что на голове, только там она курчавая. На руках у хоббитов темные пальцы» [4]. The translator "forgets" that hobbits are the creatures that are very humanlike, except for the small height and excessive hairiness, consequently his choice of the word 'шерсть' is hardly proper as we cannot say that people-like creatures' heads are covered with it.
Using the adjective 'темные' is also very confusing and gives a wrong picture since the hobbits' fingers are dark because they love gardening and spend their time working with soil, which is usually expressed by 'потемневшие'.
Next to analyse are the ways translators used to recreate Baggins' eccentricity which Tolkien created with the help of neologism 'eleventy-one'. The literal version - «одиннадцать один", but as in the Russian language decimal numerals are formed by adding the suffix '-дцать' or '-
прослсмы современного осрпзоппнип
десят', such a transfer does not transmit the sense of the Tolkien's invention. Therefore, to show the result of multiplying by ten of eleven properly, there should be used the appropriate suffix, such as proposed in the article by Alla Khananashvili «одиннадцатьдесят один» [1].
Few translators have tried to come up with an equally unusual phrase mainly they used most mediocre numeral. For example, A. Gruzberg with " ... отметить сто одиннадцатую годовщину ..." [9], did not modify the standard form and failed to convey the author's thoughts. V. Muraviev and A.Kistyakovsky also ignored the invention of Tolkien: "...хочет пышно отпраздновать свое наступающее стоодиннадцатилетие ...". "... прожить сто одиннадцать лет среди вас легче легкого..."[8]. N. Grigoryeva and Grushetsky cut out several sentences (in particular the age of the Old Took was not mentioned) and left the standard numeral as well: «В Хоббитоне был переполох. Господин Бильбо Сумникс, хозяин Засумок, объявил о намерении отпраздновать свое стоодиннадцатилетие и пообещал очень щедрое угощение». «Сегодня мне исполнилось сто одиннадцать!» [7]
VA Matorina also made no attempt to express the neologism: «Когда господин Бильбо Торбинс из Торбы-в-Холме объявил, что вскоре устроит великое празднество по поводу своего сто одиннадцатого дня рождения, городок Хоббиттаун заволновался и загудел» [12]. A.V.Nemirova wrote this number in figures: ... по-особенному отпраздновать свой приближающий день рождения - 111-й... " [13].
Only two teams Russian translators showed attempt to preserve the effect of the author's invention in translation. M.Kamenkovich and V.Karrik invented long phrase "... мне стукнуло сто одиннадцать с хвостиком!". However, such a decision cannot be called successful as every opportunity to understand the accurate age disappears [10].
D. Afinogenov and V. Volkovsky were not shy having the opportunity to practice in inventing "the Shire words."" They came up with a wording «стодесять один». They completely omit the number eleven, but the meaning of the date itself is accurately conveyed. In addition, it is built on the same principle as in the Russian fairy-tales 'тридесятое царство, тридевятое государство', giving the translation the folkloric effect. In case readers do not grasp the idea, the invented form is followed by explanation indicating the age [11: 212]. "... Бильбо исполнялось стодесять один, то есть сто одиннадцать лет!" [11: 204].
The results of the investigation partly presented in the paper allow us to say that few translators were able to maintain Tolkien's imagery in Russian translations which leaves the issue of the most adequate translation of Tolkien's works still open.
References
1. Khananashvili A. Po perevodam i perevodchikam J. Tolkiena [Text]/ A. Khananashvili, N. Semjenova. URL: www.tolkienguide.narod.ru
2. Tolkien J.R.R. The Hobbit. [Text]/ J.R.R Tolkien. London: Harper Collins Publishers, 2008
3. Tolkien J.R.R. Hobbit ili tuda i obratno [Text]/ tr. by N. Rakhmanova. URL: www.lib.ru
4. Tolkien J.R.R. Hobbit ili tuda i obratno [Text]/ tr. by А. Tshurov. URL: www.lib.ru
5. Tolkien J.R.R. Hobbit ili tuda i obratno [Text]/ tr. by N.Prokhorova. URL: www.tolkienguide.narod.ru
6. Tolkien J.R.R. The Lord of the Rings. [Text]/ J.R.R Tolkien. London: Harper Collins Publishers, 2007
7. Tolkien J.R.R. Vlastelin Kolets. Bratstvo [Text] /tr. by N.Grigorieva, V.Grushetsky. URL: lib.rus.ec
8. Tolkien J.R.R. Vlastelin Kolets: Thrilogy [Text]/ tr. by V.Muraviev, A.Kistyakovsky. URL: lib.ru
9. Tolkien J.R.R. Vlastelin Kolets. [Text]/ tr. by A.Gruzberg. URL: lib.rus.ec
10. Tolkien J.R.R. Vlastelin Kolets: Thrilogy [Text]/ tr. by M.Kamenkovich and V.Karrik. URL: http://www.litmir.net/br/?b=110008&p=1
11. Tolkien J.R.R. Vlastelin Kolets: Thrilogy [Text]/ tr. by V. Volkovsky, D. Afinogenov, V. Vossedoy. Moscow: AST, Saint Petersburg: Terra Fantastica, 2000
12. Tolkien J.R.R. Vlastelin Kolets: Thrilogy [Text]/ tr. by V. Matorina. URL: http://maxima-library.org/dobavit-knigu/b/20580/read
13. Tolkien J.R.R. Vlastelin Kolets [Text]/ tr. by A. Nemirova . Moscow: AST, Kharkov: Folio, 2002
