Translation features of expressive means based on the novel by F. Fitzgerald “The Great Gatsby”

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

introduction

The author creates an artistic text in order to embody his creative idea, share knowledge and ideas about the world and people, take these ideas beyond his consciousness and make them available to readers. Colorfulness and expressiveness are the distinctive features of a literary text and the main methods of influence. For the analysis we have chosen the novel by F.S. Fitzgerald "The Great Gatsby".

F.S. Fitzgerald uses complex systems of stylistic techniques to create the necessary effect and describes what is happening, but, as a rule, in order for the reader to feel the plot idea and see vivid images of the characters. There are many means of expression, however, during the analysis of figurative means in the novel by F.S. Fitzgerald, we come to the conclusion that the epithet, metaphor and comparison should be considered the main ones.

Often their translation causes difficulties, which are associated with a misunderstanding of the author's intentions and the lack of equivalents in the translation language.

TRANSLATION OF FICTION

Many domestic and foreign linguists (for example, G. Gachechiladze) believe that literary translation is a kind of word-making art. According to this theory, the idea that the author lays the foundation of the original work is the main driving force. The author's intention should force the translator to look for equivalent linguistic means for expressing thoughts, i.e. a literary translation is an equivalent correspondence to the original in an aesthetic sense.

Analyzing the peculiarities of the translation of artistic texts, M. Heidegger notes that "the essence of art is not the re-registration of what has already been formed, not the reflection of what previously existed, but the creation of a new one" ^[12].

In addition, V. N. Komissarov highlights the following number of problems faced by translators: 1) translation of stable expressions; 2) translation of wordplay; 3) cultural differences.

Qualitative transmission of the meaning of stable phrases is possible if the translator uses a dictionary of stable expressions and a dictionary of synonyms. The translation of a pun is the most difficult in artistic translation, since the expression has a humorous or ironic background. The translator needs to have certain skills in order to keep the pun that the author implies. Often the meaning of the reproduced word in the original and in translation is similar, and this allows you to preserve the meaning and principle of the wordplay.

 The problem, according to V. N. Komissarov, is that "language coincidences in wordplay are extremely rare" ^[7]. In this case, the translator has the right to skip this wordplay or to make up for it using a different meaning of this word. He can also make a translation marked "wordplay".

The ability to identify language differences is one of the visual indicators of the professionalism of the translator, who must not only speak a foreign language, but also know the culture of the country in which the original text was written. Translations may contain relative changes compared to the original. Such changes are necessary if their purpose is to create a similar unity of form and content in another language.

The total number of these changes depends on the accuracy of the translation – and it is the smallest number of such changes that requires an adequate translation. When studying the translation of literary texts, the concept of equivalence in the appendix to the translation has greatly expanded due to the assertion by some scientists that the translator of a literary text should ensure equivalence not at the level of language, but at the level of artistic techniques that cannot be considered in isolation, but only within the specific cultural and temporal context in which they are used. Therefore, equivalence in translation should not be considered as striving for identity, because it is impossible even between two versions of the translation of the same text, not to mention the text in the original language and the text in the target language ^[8].

It can be concluded that the translator often has to face the need to abandon the literal translation in order to transfer the meaning of the text from the original language, so he has to look for adequate semantic replacements.

Thus, an adequate translation is considered to be the translation that fully conveys the author's idea, all the semantic shades of the original and contains a complete formal and stylistic correspondence with the original text.

Applying the creative method of displaying the figurative reality of the original, the translator should not just select the appropriate realities, but select the best language tools for reproducing the artistic elements of the original. The main requirements that an adequate literary translation must meet:

1. Reliability. The translator must fully convey to the reader all the ideas presented by the author. At the same time, he must preserve the main provisions, nuances and meanings of statements. The translator has no right to add the text on his own, supplement and explain the author's statements, as this is considered a distortion of the original text.

2. Conciseness. Thoughts should be conveyed in few words.

3. Unambiguity. The conciseness and laconicity of the translation should not harm the understanding of the stated idea. The translator should not use complex and ambiguous phrases that are difficult to understand. The idea should be presented in simple and understandable language.

4. Artistry. The translation must comply with the generally accepted norms of the Russian literary language. Each phrase should sound at ease, without using constructions that are not typical for the Russian language.

Due to the significant differences in the syntactic structure of English and Russian, as noted above, it is rarely possible to preserve the original form of expression in translation. Moreover, in the interests of the accuracy of the meaning transfer, it is often necessary to change the structure of the translated sentence in accordance with the norms of the Russian language. As a rule, most words differ significantly in different languages in semantic shades.

There is a "theory of untranslatability". This theory has been reflected in many works by V. F. Humboldt, A. A. Potebny, A. N. Chomsky and many modern linguists. This theory is based on the fact that translation from the position of linguistics clearly defined the impossibility of complete coincidence of the original content and translation. The linguistic originality of any text, its focus on a particular language group, which has only its inherent "background" knowledge and cultural and historical features, cannot be fully reflected in another language. The inability to reproduce words in translation is only a frequent manifestation of the general principle of non–identity of the content of two texts in different languages. The lack of identity does not prevent the translator from translating those communicative functions for which the original text was created.

The main problem that a translator faces when translating is the discrepancy between the values characteristic of the units of the source and the translated language. There are no two different languages in which semantic units – morphemes, words and stable expressions completely coincide in the entire scope of their meanings. This is especially noticeable in the vocabulary of two different languages. Although not only words are carriers of meanings, but it is the word that is taken as a unit of comparison when comparing semantic units of different languages.

There are three types of semantic correspondences between lexical units of different languages: 1) complete similarity; 2) partial similarity; 3) lack of similarity. Complete similarity of words in two languages in the entire scope of their meanings for polysemous words is rare. The most common case when comparing lexical units of two languages is a partial coincidence. In this case, one word in the source language corresponds to several meanings in the target language. Most of the words in any language are characterized by polysemy, and the system of word meanings in one language often does not completely coincide with the system of word meanings in another language. This can happen in different cases: sometimes the range of meaning of a word in the original language is wider than the corresponding word in the target language (or vice versa), that is, words in the original language have the same meaning as the word in the target language, but, in addition, it has meanings that are conveyed by other words in another language. The third possible case of the relationship between the vocabulary of the two languages is a complete discrepancy between the meanings of words from the source language and the target language. In this case, it is customary to talk about non-equivalent vocabulary.

There are the following ways of their correct translation: – translation by transliteration and transcription; – copying of the original; – descriptive (explanatory) translation; – presumptive translation; – transformational translation

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.

Based on the work of F. S. Fitzgerald, we will analyze the means of expression found in the text.

Epithet is one of the most common methods of artistic speech. It allows the author to take advantage of a huge number of opportunities to give emotionality, expressiveness and additional meaning in his works. Many writers consider the epithet to be a fundamental means for creating artistic imagery.

"A writer can use personifications, symbols, hyperbole and not use them. He can use path words or avoid them. But whatever his poetic thought, he will never do without epithets. It is impossible to build an artistic image without epithets. Epithets denote the properties of the depicted life. It is impossible to depict the phenomena of life without using words that define and shade the features of the depicted" ^[10].

In the novel The Great Gatsby, the epithet is considered not only as a definition characterizing another subject, but also as a definition that expresses its properties, from the standpoint of the author's intentions. The epithet carries any information about the subject, its characteristics, properties and the speaker's attitude to it.

F.S. Fitzgerald often uses an epithet in his work, which is based on the principle: noun + of + noun ^[6].

“At 158th Street the cab stopped at one slice in a long white cake of apartment-houses” ^[2]. "On 158 Street, a taxi driver stopped in a block of high-rise buildings that looked like one long piece of white sponge cake" ^[11].

The epithet “a long white cake of apartment-houses” consists of nouns, the author draws a parallel between the two objects, comparing them with each other. It is not by chance that the author uses the emphasis on white in these two examples. White is one of the most important color motifs in the novel. Things that are white are associated with wealth and privilege. In the Buchanan family's living room, in addition to the ceiling, which looks like a white wedding cake, there are white French windows and curtains, which are described as "snow-white flags".

F.S. Fitzgerald repeatedly uses epithets to describe the appearance of the characters. In the novel "The Great Gatsby" you can find a large number of epithets, which are expressed by nouns, adjectives and participles. Using vivid epithets in the text, the author gives the reader the opportunity to see and feel through the prism of his perception of each character and any image in his work, to present the appearance and character. In addition to this, we can notice the author's attitude to the character or to what is happening in the novel.

For example, when talking about Tom Buchanan, Fitzgerald uses the following epithets:

“Now he was a sturdy straw-haired man of thirty with a rather hard mouth and a supercilious manner” ^[2]. "Now in front of me stood a hefty man of thirty years with straw-colored hair, with lips stretched like strings, and a rather arrogant manner" ^[11].

The phrase "straw-haired" does not exist completely in the dictionary, so the translator searched for each word separately: "straw" – "straw, straw color", and "hairy" – "hairy, having such and such hair" ^[3]. The epithet "hard" is translated into Russian as "harsh, hard, hard" ^[4]. Thanks to the epithets that the author uses in this example, the description of the hero becomes accurate and lively.

“Two shining arrogant eyes arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward” ^[2]. "His eyes are something that you immediately pay attention to: their burning, defiant gaze added authority to him, and the feeling that his owner was constantly leaning forward threateningly did not go away" ^[11].

Fitzgerald's use of the epithet "two shining eyes" attests to the importance of the hero's gaze. The author also uses the construction “leaning aggressively forward” so that the reader imagines a powerful man from high society who will stop at nothing to achieve success.

“She was incurably dishonest. She wasnt able to endure being at a disadvantage and, given this unwillingness, I suppose she had begun dealing in subterfuges when she was very young in order to keep that cool, insolent smile turned to the world and yet satisfy the demands of her hard, jaunty body” ^[2]. "She was incorrigibly dishonest. She couldn't bear the fact that the situation might not be in her favor, and given this reluctance, I believe she started resorting to tricks when she was still very young in order to keep that cold, cheeky smile turned to the world, and still satisfy the demands of her firm, perky body."^[11].

Thus, the author gives this girl in the work such epithets as "gray sun-strained eyes", "charming, discontented face", "pleasing contemptuous expression", "cool, insolent smile", "hard, jaunty body", which are translated as "charming", "dishonest", "pleasant", "arrogant", "lively", thanks to these epithets, the reader has an idea about this girl. The author describes her as a cynical, beautiful and self-confident girl. Also focuses on her toned, athletic body. She is a professional golfer and, as F. Fitzgerald points out, does not always win fairly. Using these epithets, the author indicates that she is a liar “incurably dishonest", “charming, discontented face".

When describing Mr. Wilson, Fitzgerald often resorts to using epithets with negative connotations: "ashen", "dark", "pale", which are translated into Russian as "deathly pale, ashen", "dark" and "pale" ^[5]. This technique contributes to the negative perception of Wilson as a hero.

“A white ashen dust veiled his dark suit and his pale hair as it veiled everything in the vicinity except his wife, who moved close to Tom” ^[2]. "White-ash dust covered his dark suit and his tarnished hair, this dust covered everything except his wife, who approached him" ^[11].

All epithets, thus, perform a characterological or emotional function, since they help to understand the feelings of the characters or imagine their appearance, the surrounding environment.

The next no less important lexical and stylistic means in the novel is metaphor.

Consider the various uses of metaphors in the work. In the course of the study, we noted three types of this trail:

1. A simple metaphor that conveys imagery through a phrase. For example, "endless drill of police" – "endless bustle of police officers". “Endless drill of police” is an expression that is a construction of–phrase when a feature is connected to a certain word. The attribute is connected to the word being defined. The direct meaning of "drill" is drill, drill bit ^[1]. He compares the police and the insistent sound of drilling, from which one cannot hide. This reflects the author's ironic attitude to what happens after the death of the main character.

2. A detailed metaphor consisting of several uses of metaphorical images, which together create one single image. That is, the sentence uses simple metaphors that complement each other, enhance the artistry of the image. When they combine, a detailed metaphor is created: “The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath: already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp joyous moment the center of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and colour under the constantly changing light”^[2]."Here and there the guests gather in groups, which were supplemented by new people, then broke up and formed new ones, so as to break up in a couple of minutes. Self-confident, restless beauties came: they appeared here and there among the richer ladies, and became the center of attention of a close circle of the rich for a joyful, short moment – and now they are already running on, excited by their success, through the influx and outflow of faces, colors, and chatter in a continuously changing light" ^[10].

In this example, all metaphors are expanded, since F. Fitzgerald uses not one feature, but many to more accurately reveal the images of the heroes. They develop by being interconnected by one central word. In the metaphor "the sea-change of faces and voices and colour", it is worth paying attention to the first component, which is not an independently functioning unit, since the second component of the metaphor "sea-change" no longer denotes a body of water. It is also possible to trace the author's irony in relation to the people who gathered at Gatsby's house.

3. A traditional metaphor, or an ordinary one, is considered to be one that is generally accepted in literature. Writers often use traditional techniques when writing the appearance of their characters in their works. For example, "the autumn-leaf yellow of her hair, sticky bob of red hair, milky white skin, slender golden arm".

You can also find metaphorical epithets that endow inanimate objects with the qualities of a living being. For example, "enchanted sky, an angry storm" or such metaphorical epithets that carry signs of living beings, for example, "laughing bells, whispering trees".

Describing Daisy's voice, Gatsby uses a metaphor: “Her voice is full of money"^[2].

At this point, the author tries to convey the fact that material values play a big role for Daisy. This girl is used to living among luxurious and expensive things. This metaphor makes it clear. As already noted above, individual metaphors add emotionality and originality to the image of Daisy.

F.S. Fitzgerald imaginatively perceives the world and this can be confirmed by examples: “...A figure had emerged from the shadow of my neighbor's mansion and was standing with his hands in his pockets regarding the silver pepper of the stars" ^[2]. "... Disconnected from the dense shadow of a neighbor's house, a man stood and, with his hands in his pockets, watched the silver crumbs of stars" ^[11].

In this passage, the metaphor is expressed by the construction "silver pepper", which is also a definition. This metaphor is related to the noun "stars", which collectively is part of the "of-phrase" metaphor mentioned above. The metaphor is not general, as it describes only the starry sky – "a lot of small crumbs". This metaphor is individual, as the author passes it through the prism of his imagination, personal vision of the picture of the starry sky. The description of nature conveys the emotional state of the hero of the work.

The work is filled with metaphors that play an important role in creating images of the main and secondary characters. The author uses metaphors to describe carefree life-seekers who are having fun at the villa of the main character. Thus, the use of metaphor in the novel helps the author to create vivid, memorable images of the events taking place.

Comparison, as well as other stylistic techniques, help the author to give the text imagery, to create more colorful and expressive pictures of what is happening. The essence of this stylistic device lies in the name itself.

At the very beginning of the novel, Nick Carraway narrates about his life and mentions Gatsby as a "device" that always turns out to be where he shouldn't be: "If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intracate machines that register earthquakes ten thousand miles away"^[2].

From the very first pages of the work, the author draws us an image of West Egg: “They are not perfect ovals - like the egg in the Columbus story, they are both crushed flat at the contact end — but their physical resemblance must be a source of perpetual wonder to the gulls that fly overhead” ^[2].

In the example, the author compares two capes. F. Fitzgerald mentions a story from the work of Girolamo Benzoni "The History of the New World". It says that one day Christopher Columbus was told that the discovery of America was a small achievement. To this, the scientist suggested that the opponents put the egg on the table in an upright position. No one managed to do this, and then Christopher hit the egg on the table so that he crushed the shell from one end, and the egg could be put. The expression "egg of Columbus" thus indicates an unusual way out of the situation, and the author in this case uses this image to describe the form ^[9].

Also in the first chapter of the novel, the author depicts the contrast between Cape East Egg and West Egg: “Instead of being the warm centre of the world, the Middle West now seemed like the ragged edge of the universe- so I decided to go East and learn the bond business” ^[2]. "The Midwest now seemed to me not the noisy center of the universe, but rather its worn-out hem, and in the end I decided to move to the East and study credit business there" ^[11].

East Egg is depicted in the novel as a modern place of Long Island, and West Egg is outdated. The word "ragged", for example, means "old", "worn out" and "worn out" ^[1]. As a rule, a similar adjective is used when describing clothes. The author is obviously familiar with this expression and hints at the images of the inhabitants of West Egg.

It should be noted that comparison is not the most powerful means of expression. It makes it possible to strengthen or weaken the sign of comparison by replacing words. A characteristic feature of the comparison is that it allows you to clearly identify certain aspects, qualities and features of the object being characterized.

In this paper, we have analyzed the means of artistic expression based on the material of the work "The Great Gatsby". In his novel, F.S. Fitzgerald managed to create a truly metaphorical world with ease of language, conciseness of style, as well as masterfully selected means of expression. The main task of the translators was the need for adequate transmission of tropes from English into Russian. Fitzgerald's language in the novel is represented by a complex system of images. During the study of this topic, it was noted that the tropes give an emotional and expressive assessment, characterize objects and phenomena, and "decode" the author's intentions. Thus, lexical means of expression help the author to create new combinations of words with completely different meanings.

The peculiarities of using various types of tropes include the fact that a specific object or phenomenon is very often behind an artistic image, which is widely known to all readers at the "everyday" level. For example, an unexpected combination of things when creating a metaphor, as a rule, causes the reader to have exactly the reaction and association that F. Fitzgerald aspires to. This combination was invented by the author in order to contact readers, who, in turn, could trace and understand the author's attitude to what is happening. Translators often manage to accurately convey the author's vision, content, meaning, author's intentions and artistic images, while maintaining original tropes.

For a translator, the stylistic assumption itself is not so important as its function and the effect it gives to the text. In the course of the study, it was found that the transfer of stylistic means of expression presents certain difficulties for the translator. His goal was to avoid the loss of meaning and preserve the euphony in the target language.

Thus, it can be concluded that when translating texts of works of fiction, the translator must have broad knowledge in the field of not only linguistics, but also the stylistics of the language, have the skills necessary to perform translations in general, as well as improve the accuracy of the selection of equivalents.