Features of the translation of modal verbs based on the novel "Little Women" by Louise May Olcott

Bednova Yuliya Aleksandrovna Student, Department of Foreign Languages, Faculty of Economics, RUDN 140560, Russia, Moskovskaya oblast', g. Ozery, poselok Tsentral'noi usad'by sovkhoza Ozery, 46, kv. 72 ya.bednova2013@yandex.ru Other publications by this author

In the process of translating a work of fiction, the translator is faced with the inevitability of transferring modality in the text. Linguists such as L. S. Barkhudarov and V. S. Vinogradov studied the modality and ways of its translation into various languages. However, this phenomenon, in our opinion, has not been sufficiently studied. A group of modal verbs consists of a small number of verbs that differ from all verbs in a number of characteristics. They have a number of features when transmitting values and when using. In addition, these verbs do not have a grammatical category, they only have a mood and a temporal form. Modal verbs are the service parts of speech. They denote various shades of assumptions and ought, which are expressed using a semantic verb. Since modal verbs indicate the probability of an action, and do not express the action itself, they are not independent members of the sentence. A modal verb requires a semantic verb after itself, forming a complex predicate with it.

Interpretation of V. V. Vinogradov's modality plays an important role in Russian linguistics. Describing the features of the modality, the author notes: "Any holistic expression of thought, feeling, motivation that reflects reality in one form or another of utterance imposes one of the intonation models of sentences existing in a given language system and expresses one of those syntactic meanings that together form the category of modality" ^[1]. Modality has a wide range of meanings – permission, command, order, intention, a high degree of confidence, unreality.

V. V. Vinogradov in his work "The grammatical doctrine of the word" wrote: "Modality is a characteristic not only of reality and unreality, but also of the speaker's relationship to what is being expressed" ^[2].

The definition distinguishes two types of modality: subjective and objective. Objective modality expresses the speaker's attitude to reality, that is, the action can be characterized as real or desirable, assumed. By subjective modality we mean the speaker's position on what is happening. Subjective modality is not present in every sentence, but it plays a key role in translation.

During the performance of literary translation, the main task of the translator is to convey precisely the subjective modality, which can be represented in the text using various linguistic means. That is why it is so important to know about the different ways of implementing modality in the text. For example, modal verbs such as must, should, could, may can express varying degrees of confidence, in addition to their basic meanings. It can be concluded that these verbs are intended to convey possible and intended actions and are synonyms of such introductory words as maybe, perhaps, rather, very likely. In the process of translation, the translator faces many difficulties, and one of them is the translation of modal meaning from English to Russian in a literary text.

What is this difficulty? First of all, it is worth noting that there is no single definition of modality in linguistics. Secondly, there are many equivalent units for transferring modality from English to Russian and vice versa, which have contextual subtleties. Thirdly, modal verbs are polysemous and acquire meaning only during a speech act, under the influence of context.

Adequacy and equivalence are often taken as identical values, however, they should be distinguished. However, equivalence implies equivalence, the replacement of each unit from the original language to the language of translation; adequacy, in turn, implies semantic unity. There is an opinion that the adequacy of translation cannot be achieved without the implementation of equivalence at all levels of the organization of the text, but, despite this, equivalence does not always lead to adequacy.

The translator passes a literary text through a purely individual psychological world, making it a reworking of his consciousness. In case of an erroneous understanding of the statement that was provided by the author in the original text, informational errors may occur.

For a long time, translators have followed an identity strategy. They diligently searched for differences between the translated text and the original in order to find lost or distorted fragments. However, the modern approach is different. Translators try to understand the reasons for the changes that were introduced into the text during the translation process. For example, you can often encounter such a concept as "untranslatability". In this case, the translator, in addition to the explanatory text, should think about choosing an analogue that will have the same meaning in the translation text.

It can be concluded that the translation process can be described as an attempt to eliminate the linguistic and intercultural barrier between the author and the reader, in which the original text is "passed" through the "prism of perception" of the translator to convey artistic and semantic information ^[3].

Consider the use of modal verbs in Louisa May Alcott's novel Little Women.

The verb must can denote compulsion to perform an action that is related to the speaker's desire.

“So you must try to be contented with making your name boyish, and playing brother to us girls," said Beth” ^[4]. "So you should be content with changing your name to a boy's name and pretending to be our brother," Beth said "[My translation is B. Y.] ^[5].

In this example, the verb must is translated as "have to" and carries the meaning of confidence, the certainty of performing an action.

“You must have gloves, or I won't go," cried Meg decidedly” ^[4]. "You have to put on gloves, otherwise I'm not going anywhere," Meg said without hesitation"[My translation is B. Y.] ^[5].

This example expresses an action command. In this sentence, a categorical order is clearly expressed, which expresses the absence of intentions to discuss objections.

 “I must get this off by the early mail, and you drive me distracted with your worry," cried Mrs. March” ^[4]. "I have to send this letter by the morning post, and you distract me with your fuss! – exclaimed Mrs. March" [My translation is B. Y.] ^[5].

“I suppose I must see him," said Laurie” ^[4]. "I think I should see him,– said Laurie"[My translation is B. Y.] ^[5].

After analyzing the meanings of the verb must in the novel by Louise May Olcott, we count and conclude that this verb occurs 137 times and mainly expresses a must and a prohibition.

The following example is the verb to have to, expressing a must, but not as ultimatum and decisively as the verb must does. The modal verb to have to occurs quite rarely in a work of fiction – 37 times and to express compulsion or the need for action, but by its nature it has a more recommendatory character.

 “You'll have to go and thank him," said Jo, by way of a joke…” ^[4]. "You still have to go and say thank you to him," Jo said jokingly..." [My translation is B. Yu.] ^[5].

In this example, the modal verb to have to is used to express the obligation to do something due to certain circumstances, but this is the speaker's personal initiative. Perhaps a person is offered to do something that he does not want.

To express a duty due to moral obligations or to express advice in English, it is customary to use should.

“…you should remember that you are a young lady…” ^[4]. "... you should remember that you are already a young lady..." [My translation is B. Yu.] ^[5].

Also, the verb should can be used to convey the strict recommendatory nature of the sentence. From the speaker's point of view, the action is necessary, but despite this, it is recommended and must be performed. The modal verb ought to has the same meaning. Very often these verbs are interchangeable.

 “He ought to trust me, and not act as if I was a baby” ^[4]. "He should trust me and not behave as if I were a small child" [My translation is B. Yu.] ^[5].

“Well, he ought to beg pardon, and believe me when I say I can't tell him what the fuss's about” ^[4]. "He should ask for forgiveness and for the future, believe me when I say that I can't tell you what caused all the confusion" [My translation is B. Yu.] ^[5].

“Little girls shouldn't ask questions," returned Jo sharply” ^[4]. "Little girls shouldn't ask a lot of questions," Jo answered rudely"[My translation is B. Y.] ^[5].

These examples express a recommendation and advice with a hint of commitment. It is more appropriate to translate such sentences with such meaning into Russian not with the words "should", "should", but with "should", "should".

“You shouldn't have asked me to do it” ^[4]. "You shouldn't have asked me to do this" [My translation is B. Yu.] ^[5].

“I should not have chosen that way of mending a fault," replied her mother” ^[4]. "I shouldn't have chosen such a way to correct your mistakes," my mother replied" [My translation is B. Yu.] ^[5].

This construction s should have done has a negative connotative character. The verb should in the perfect form is used to convey condemnation, criticism for a perfect or imperfect action in the past. Such sentences can be translated using the phrases "in vain", "it was not worth it".

The modal verb should is often translated into Russian using the conditional mood and the particle "would". This particle performs a number of service functions in the sentence. It brings a shade of meaning to the utterance, indicating the desirability or necessity of action:

“…And she was in constant fear lest her earrings should fly off and get lost or broken” ^[4]. "... She was constantly worried about how her earrings would not fall and get lost or worse, they would not break" [My translation – B. Yu.] ^[5].

After analyzing the meanings of the verb should in the novel by Louise May Alcott, we count and conclude that this verb occurs 257 times and mainly expresses recommendations, advice. And less often than not, this verb is used to express a duty.

The next example is shall, a verb that is not only an indicator of the future tense, but also a partially modal word. It carries the meaning of coercion or a strict order.

“You shall be commander of the expedition, and I'll obey blindly”^[4]. "You will lead the expedition, and I will carry out orders" [My translation is B. Yu.] ^[5].

“You shall trudge away, and do your errands in the rain” ^[4]. "You will drag yourself in the rain and do all the errands" [My translation is B. Yu.] ^[5].

“You shall not make a guy of yourself," remonstrated Meg”                                   ^[4]. "Don't make a guy out of yourself," Meg said indignantly" [My translation is B. Yu.] ^[5].

Another meaning is the expression of a promise.

“I shall provide the slippers” ^[4]. "I will buy her shoes, I promise" [My translation is B. Yu.] ^[5].

Or expresses a threat.

“I never shall forgive you” ^[4]. "I will never forgive" [My translation is B. Yu.] ^[5].

The verb to be to is also used in the meaning of due. The meaning of the modal verb to be to is that the presence of this verb presupposes a prior mutual agreement on the need for any action. Therefore, when translating, it is necessary to rely on such phrases as "agreed", "agreed", "agreed". However, in addition to this meaning, this modal verb can be translated as "must" and "must". Unlike other verbs with the meaning of ought, to be to occurs in the text 71 times in the present tense and 74 times in the past, which can be considered quite rare.

“…So Hannah is to help me with the children” ^[4]. "... So Hannah has to help me with the kids" [My translation is B. Y.] ^[5].

“…And to see the charming young ladies who are to eat it? ^[4]. "And look at the charming young ladies who will have to eat it?" [My translation is B. Yu.] ^[5].

“Well, last evening we went up to the castle about sunset, at least all of us but Fred, who was to meet us there after going to the Post Restante for letters”                    ^[4]. "Well, last night at sunset we went to the castle — everyone except Fred, who was supposed to join us after he picked up the letters addressed to him at the post office" [My translation is B. Y.] ^[5].

The verb can belongs to a group of verbs that express the ability, the ability to perform an action based on permission. It is used when we talk about things that can happen or happen from time to time. Moreover, the verb can has no future tense. There is an equivalent – be able to. This verb has a synonymous meaning and its time spectrum is wider: it can help form the future, past and present tense.

The modal verb can/could is one of the most common modal verbs in the English language. In the work of Louise May Olcott, this verb occurs 527 times and mainly expresses ability, skill or permission.

“I don't see how you can write and act such splendid things, Jo” ^[4]. "And how do you manage to compose and play such amazing plays, Joe?" [my translation is B. Yu.] ^[5].

In this sentence, the verb can is synonymous with the verb manage "to succeed, to get". The translator did not use the direct meaning of this verb, but used lexical transformation in translation.

“We can't do much, but we can make our little sacrifices, and ought to do it gladly” ^[4]. "We cannot do more, but each of us is capable of making our own small sacrifice and should do it with pleasure" [My translation – B. Yu.] ^[5].

In this example, we encounter the verb "sap", which is used to denote the general impossibility of performing an action.

The equivalent of the verb can is could, has synonymous meanings, but the exceptional difference is that it can be used in the past tense.

 “Of course I couldn't say anything after that…” ^[4]. "Of course, I could not object to him..." [My translation is B. Yu.] ^[5].

“I've tried to tell you, but I couldn't ^[4]. "I tried to tell you, but I couldn't" [My translation is B. Yu.] ^[5].

In these cases, it is impossible to perform an action in the past.

The following example expresses a polite request.

“Please, ma'am, could I inquire…” ^[4]. "Let me ask, ma'am..." [My translation is B. Y.] ^[5].

“Could you spare me some of your cake?” ^[4]. "Would you give me a piece of your pie with you?" [My translation is B. Yu.] ^[5].

This verb has many meanings. This verb in translation can express surprise, doubt, distrust. In such cases, it is translated by the words "really", "can't be", "unlikely", "can't believe", "maybe", "probably".

“Oh, Jo, can't you? ” ^[4]. "Oh, Joe, can't you?" [My translation is B. Y.] ^[5].

“They can't be going in the boat, for they haven't got the key”                                 ^[4]. "They are unlikely to go by boat, they don't have a key" [My translation is B. Yu.] ^[5].

Unlike the verb can, the modal verb may is primarily used to denote ability, emphasizing that an action can be performed solely with permission. In the novel by Louise May Olcott, this verb occurs approximately 300 times in the present and past tense. It can be concluded that this verb is quite frequently used.

“May I come in, please?” ^[4]. "May I join you?"[My translation is B. Yu.] ^[5].

“May we try this way?” ^[4]. "Can I try it?" [My translation is B. Yu.] ^[5].

“Marmee said I might come, and I don't think you're any the worse for it," said Jo” ^[4]. "Mom said I could come and I don't think it will make you feel any worse," Jo said"[My translation is B. Y.] ^[5].

This verb can also indicate the probability of events. That is, there is an action that may or may not happen.

 “There's no knowing what may happen, and I wished to be prepared”            ^[4]. "I do not know what can happen, and I would like to be ready for anything" [My translation is B. Yu.] ^[5].

 “…but I think she might do it now, and I guess she will if you try her at the right minute” ^[4]. "... I still believe that she could do it right now, and I think she will do it, but only if you push her at the right moment" [My translation is B. Yu.] ^[5].

The following example is the verb need. It is used to show that there is a need to perform an action. Need can be translated using the following constructions: "to be forced", "to need", "to have a need". In questions, this verb meets when there is a shade of denial or doubt. Using need in the question, the speaker expects a negative answer, which cannot be understood from the context.

 “We needed that lesson, and we won't forget it” ^[4]. "We needed this lesson, and we will not forget it" [My translation – B. Yu.] ^[5].

“He needs a party of jolly boys to play with, or somebody young and lively” ^[4]. "He needs the company of cheerful boys with whom he can play, or at least in the presence of someone young and cheerful" [My translation is B. Yu.] ^[5].

“Grandfather is out, so you needn't be afraid," said Laurie, getting up” ^[4]. "Grandpa is not at home, so you have nothing to be afraid of," said Lori, getting up" [My translation is B. Yu.] ^[5].

The modal verb need is not a frequency verb in the novel. It occurs 144 times and expresses exclusively the need to perform an action.

The verb dare is mainly used in everyday life to convey prohibition. In this sense, the verb expresses categorical action with a touch of indignation. It is mainly used in interrogative and negative sentences and translates as "dare", "dare", "dare".

“How dare you remind me of that horrid dinner party, when yours is so nice in every way?”^[4]. "How dare you remind me of that disgusting dinner party when yours is so good?" [My translation is B. Y.] ^[5].

“I dare say, but nothing pleasant ever does happen in this family” ^[4]. "I dare say that nothing good ever happens in this family" [My translation is B. Yu.] ^[5].

The modal verb dare has the only meaning: "to be brave", "to be arrogant", "to have the courage to".

In the work "Little Women" this modal verb was found 44 times. Thus, we have identified the main and most common meanings of modal verbs that were encountered during the analysis of the artwork "Little Women". At the same time, their characteristic values were noted, translation attempts were made and the frequency of use was determined.

 In the course of our research, we analyzed 39 examples and calculated the total number of uses of such modal verbs as can/could, may/might, must, dare, should, need, to be to, ought to, to have to. Based on this analysis, it can be concluded that the most commonly used modal verb is can/could. Verbs such as may/might (18%) and should (14%) are used less often.

It can be concluded that modal verbs, in addition to their basic meanings, have additional meanings for depicting feelings and emotions, which often cannot be determined by context. In this regard, difficulties are created when translating, since the translator is faced with the problem of choosing words in Russian. He needs not only to correctly translate the sentence from the original language, but also to convey the emotions, feelings of the author, which are hidden in the structure of the sentence. Moreover, when choosing the right equivalent in translation, meaning and context play an important role.  

Thus, it can be concluded that the characters of a work of art use modal verbs to exchange not only information, but also express their attitude to action, thereby transmitting all the shades that are inherent in modality: opportunity, probability, obligation, desire and obligation. However, the pluralism of meanings is the reason for the difficulties that arise when translating the modality of a literary text. The least difficult to translate are cases when modal verbs acquire an additional emotional load in a particular speech situation. This once again confirms the fact that the transfer of modality is the most important component of the process of interpretation and translation, and if misinterpreted, translation becomes impossible.