Syntactic characteristics of literary texts of the XIX century in the aspect of interlanguage translation

Bozhanova Kseniia Sergeevna Postgraduate student, Department of Contrastive Linguistics, Moscow State Pedagogical University 88 Prospekt Vernadskogo str., Moscow, 119571, Russia ks.bozhanova@mpgu.su Other publications by this author

Introduction

The basis of the translation of a literary text is the transfer of all the components of the original content, which are expressed using linguistic means and form a system of signs that functions according to its own laws and rules within a specific text. The preservation of syntactic constructions in the translated text that form the meaning and language of works is important for the functioning of the stylistic features of the original text in a foreign language space. The key task of syntax in a literary text is "to convey the feelings and thoughts of the character, irony, as well as the author's attitude to the characters and events" ^{[20, p. 245]}.  In his research, R.K. Minyar-Beloruchev notes that "in a literary text it is necessary to preserve not only the meaning, but also the structure ... and the translator must be a master of the word, deeply delving into the stylistic subtleties of each writer" ^{[16, p. 29]}.

According to E.A. Ivanchikova, "syntax is a necessary organizing part of the structure of a literary text, in it the writer's handwriting is reflected most directly and "visibly" ..." ^{[8, p. 3]}. As in most literary texts, syntactic means and certain syntactic constructions are often used in the novels under study to form an expressive component of the context. Within the framework of this work, we will consider the syntactic units inherent in the novels of L.N. Tolstoy "Anna Karenina" and F.M. Dostoevsky "Poor People", and analyze the ways of transmitting into English the types of syntactic constructions that are the most frequent for these literary texts.

When working with the translation of syntactic constructions, the translator must take into account the difference between the grammatical structure of the Russian language and the English language, which necessitates the use of translation transformations. The main translation transformations used in the work of syntactic constructions, researchers ^{[2, p. 17]} include the division / union of sentences, grammatical substitutions, syntactic assimilation.

Let's identify the most frequent syntactic constructions in the texts of the original novels and consider ways to transmit and preserve them during interlanguage transmission.

One of the syntactic means of organizing the text and providing linguistic material in the analyzed works is repetition. There are a large number of types of repetitions, but in the novels "Anna Karenina" and "Poor People" the most common is the lexical one. In linguistics, the lexical type of repetition is characterized by polyfunctionality and has a wide range of semantic possibilities. According to I.V. Arnold, lexical repetition is "a figure of speech that consists in repeating sounds, words, morphemes, synonyms or syntactic constructions in conditions of sufficient closeness of the series, that is, close enough to each other so that they can be noticed" ^{[1, p. 244]}. A.A. Potebnya argues that that lexical repetition is "the duration of saturation of properties, a lot of things" ^{[19, p. 441]}, which helps to focus attention on a word or phrase to attract the reader's attention to an important fragment of text in a novel, and also contributes to the coherence of the text. Lexical repetition is one of the text-forming means of representing the language of fiction and is used to express expressiveness and emotionality, as well as has a deliberate emotional effect on a person. Z.P. Kulikova believes that repetition "organizes a work of art" ^{[12, pp. 7-8]}. This researcher has developed a classification of repetitions by language levels. According to the proposed classification, there are: phonetic, word-formation, lexical, lexico-syntactic, semantic, morphological and syntactic repetitions ^{[12, pp. 7-8]}. Lexical repetitions by location in the text are of the following types: contact – repeated words stand side by side; distant – repeated words are separated by a fragment of text; partial – different forms of one word are used in the test ^{[8, p.135]}.

After analyzing the sentences from the text of the novel "Poor People" by F.M. Dostoevsky, it was revealed that lexical contact repetition is most often used. For example:

"On his right hand there will be a blank wall, and on his left all the doors and doors, just like numbers, all stretch out in a row" ^{[7, p. 43]}.

“To the right a dead wall, and to the left a row of doors stretching as far as the line of rooms extends” ^{[26, p.9]}.

In the original text, the noun "doors" is repeated in the function of an addition connected by a single conjunction "yes". In the English-language text, the translator uses the word "row" in the meaning of "arranged in a row" ^[25], and the conjunction "yes", used in the meaning of the compound(s), reinforcing the meaning of the colloquial phrase ^[17] is lost. Thus, the repetition technique is not preserved, and the use of the word “row” and the omission of the union leads to the loss of the colloquial character of the phrase, that is, the stylistic coloring of the original is not transmitted.

Based on the text of the same novel, let's consider another example of the translation of lexical repetition:

"However, it's my fault, it's my fault all around!"^[7].

“However, it was my own fault—my own fault entirely” ^{[26, p.13]}.

The repetition is preserved, despite the replacement of the adjective with the noun “fault". In this case, such a translation decision does not affect the emotional impact of the text on the reader.

In the next fragment of the novel "Poor People", lexical repetition helps to emphasize the monotony of the characters' lives:

"Days passed after days, and each day was similar to the previous one" ^{[7, p. 10]}.

“Day succeeded day, and each day was like the last one” ^{[26, p.28]}.

Analyzing this fragment of the novel, it can be noted that when translating, the number of repetitions of the word "day" is preserved, as is the structure of the sentence. The repetition technique helps to focus the reader's attention on the monotonous life of Varenka in Anna Fedorovna's house. The preservation of this syntactic technique in the translated text allows you to convey the heroine's attitude to the monotonous events of her life without distortion.

In the novel "Anna Karenina", the main character says the following phrase when parting with her lover:

"For God's sake, not a word, not a word more. She quickly stood up and pulled away from him. – Not a word more..." ^{[22, p. 153]}.

“For pity’s sake, not a word, not a word more.’  She rose quickly and moved away from him. ‘Notaword more…” ^{[28, p. 328]}.

The element of repetition "not a word" is presented in the English-language text, as in the original text, three times; the word order is unchanged, therefore, the emotional component that conveys the unwillingness of the heroine to further communication is fully reflected.

Consider the following fragment using repetition:

"But what should we do? What should I do?" ^{[22, p.5]}.

“But what’s to be done? What’s to be done?” ^{[28, p.7]}.

In the work "Anna Karenina", in the remark of Stepan Arkadyevich, Anna Karenina's brother, during a quarrel with his wife, a repetition of a rhetorical question was used, which is preserved in the English text.  This stylistic device emphasizes the hero's desire to "find a way out" of the current situation and establish a relationship with his wife. There is no subject in the Russian sentence, so we consider the translator's decision to use a passive construction formed using the verb “to be done” to be quite justified.

It can be noted that linguistic repetitions enhance the logical coherence of sentences and in some cases give emotionality to the author's interpretation of a particular situation. Sometimes, "in order to achieve adequacy, the translator is forced to move away from absolute identity and stylistic functionality in the direction of meaningful and semantic equivalence" ^{[5, p. 5]}. When working with language repetitions, the translator in most cases manages to maintain this stylistic technique by using suitable equivalent correspondences, and in some cases resorting to replacing parts of speech.

Speaking about the syntactic features of the novel, it is necessary to note the use of syntactic parallelism by F.M. Dostoevsky and L.N. Tolstoy, which reflects the emotional component of the original text, the attitude of the characters to the events taking place, as well as their experiences and reflections.

I.A. Logvinenko identifies the following types of parallelism: 

1) by levels: graphic, sound, lexical, grammatical, including syntactic and morphological, parallelism;

In the texts of fiction, lexical, sound and/or morphological repetition is superimposed on syntactic parallelism.

2) according to the composition of the structures: complete and incomplete;

3) by the number of equivalent structures: monomial, binomial, polynomial (or complex);

4) according to the logical model: affirmative and negative parallelism;

5) according to the pattern of parallel structures: straight, chiastic and stair;

6) by location in the text: in-line, in adjacent lines, in-line, in-text parallelism;

7) on a semantic basis: based on metaphor, comparison, metonymy;

8) according to the paradigmatic relations of the constituent components: based on synonymy, on antonymy ^[14].

The following types of parallelism are presented in the texts of the novels "Anna Karenina", "Poor People": lexical, incomplete, negative / affirmative, direct, intra-textual.

For example: "You love horses – you eat, dogs – you eat, hunting – you eat, farming – you eat" ^{[22, p. 165]}. 

“You like horses—and you have them; dogs—you have them; shooting— you have it; farming—you have it” ^{[28, p. 355]}.

A dash is used in the sentence from the novel "Anna Karenina", which is allowed by the norms of the Russian language in order to avoid omissions in the sentence. According to the norms of the syntax of the English language, it is allowed to use 2-em dash (double long dash) in a sentence with no space between words, if a word or part of a word is omitted in the sentence ^{[10, p. 78]}. In this case, using a dash allows the translator not to change the structure of the sentence. However, the translation text uses an addition made with the help of personal pronouns – “you” and object pronouns – “them”, which can be explained by the syntactic features of the construction of an English sentence in which the subject is an integral element. Such a translation transformation allows you to maintain a parallel structure without distorting the meaning of the text and the structure of the original.

Let's consider the following fragment of F.M. Dostoevsky's novel "Poor People", which uses the syntactic parallelism technique:

"I feel that I am guilty, I feel that I have been guilty before you" ^{[7, p. 123]}.

“I feel that I am guilty, I feel that I have sinned against you” ^{[26, p. 99]}.

The main character Makar Devushkin, an elderly official, in a letter to Varvara Dobroselova, an orphan who earns a living by sewing, admits his guilt. In the English-language text, we see the addition of the personal pronoun “I”, which is missing from the original text due to the excellent sentence syntax system: the English language is characterized by the use of two-part sentences, so the translator uses a pronoun that performs the function of the subject.

Along with syntactic parallelism, there is a gradation in novels, when working with which the translator may encounter certain difficulties. In a narrow sense, gradation is "such synonymous series, the members of which differ in shades of meaning and are arranged in order of increasing or decreasing semantics" ^{[2, p.117]}. In a broad sense, gradation is "a stylistic figure consisting in such an arrangement of parts of an utterance (words, sentence segments), in which each contains an amplifying (less often decreasing) semantic or emotionally expressive meaning, which creates an increase (less often a weakening) of the impression they make" ^[12]. Let's analyze the use of this technique in the novel "Anna Karenina":

"The sovereign, and the whole court, and the crowd of people – all looked at them..." ^{[22, p. 202]}.

“The Tsar and the whole court and crowds of people were all gazing at them…” ^{[28, p. 433]}.

The verb “gaze” ^[25], presented in the English-language text, allows you to preserve the semantics of the original, which describes the attention of the audience to the participants during the races. The gradation demonstrating the interest of the audience ("The Sovereign, the court, the crowd of people, everything") is transmitted using the equivalent correspondences "The Tsar, the whole court, crowds of people, all". A hyphen, the use of which is allowed by the norms of the Russian language in the function of combining words similar in meaning, is unacceptable in English. Following the syntax requirements, the translator restores the missing lexeme in the original using inversion (the verb "were" takes the first position, followed by the collective subject "all"), which was not allowed by the author of the source text. In accordance with the norms of English syntax, inversion makes the sentence not typical for the English language, and the emotional component of the English sentence seems to be the most expressive compared to the original test.

The gradation technique is also used in the following fragment of the novel:

"I beg you, I beg you..." ^{[22, c, 194]}.

 “‘I beg you, I entreat you,’” ^{[28, p. 417]}.

In this sentence, the gradation emphasizes the unwillingness of the main character, Anna, to discuss the issue of "escape" with Vronsky, she insists on ending the discussion of this issue. When translating a sentence that includes ascending gradation using the words "I beg", "I beg", the translator successfully selects the equivalent of "beg" – "to ask someone for something especially in an unusual way because you want or need it very much" ^[25] and the verb "entreat" – "to ask someone to do something in a serious and often emotional way” ^[25], which simultaneously conveys the seriousness of the heroine's intentions and her emotional mood.  Thus, there are no difficulties in translating the gradation, and in the English-language text it is possible to focus on the expressive speech of the hero.

In the speech of the characters in the novels of L.N. Tolstoy and F.M. Dostoevsky, the method of parcel is used, which is. Vannikov gives the following definition: "parcellation is a method of speech division, a single syntactic structure is divided, and the result of division are several intonation–semantic speech units" ^[3]. In the letter, the parcels are separated from the base part of the sentence by a punctuation mark (most often it is a dot).  The parcel is based on the transmission of thought, designed punctuationally and intonationally, and has the results of information compression to clearly highlight the linguistic structure on which the author places semantic emphasis.  For example:

"Dolly, what can I say?.. One thing: I'm sorry. I'm sorry... remember, maybe nine years ago..." ^{[22, p. 13]}.

“Dolly, what can I say?... One thing: forgive...Remember, cannot nine years…” ^{[28, p. 4]}.

In this context, the parcel technique allows you to convey pauses in the speech of Stepan Arkadyevich, a character in the novel "Anna Karenina", which can be explained by the selection of appropriate words and references to long–ago events. When translating this fragment, the translator used the omission technique: the word "forgive" is used twice in the Russian text, followed by an ellipsis, and in the English version the verb "forgive" is presented once, but the ellipsis remains, implying the excitement of the main character and the search for suitable words.  Consequently, in the presented version of the translation, the parcel of the author's text is lost.

Let's consider the functioning of a parcel using the example of a fragment of F.M. Dostoevsky's novel "Poor People":

 "Carelessness! carelessness! Get into trouble!" ^{[7, c 232]}.

“What negligence and carelessness! How awkward this is!” ^{[26, p. 112]}.

In this case, the parcel emphasizes that the speech of one of the characters (His Excellency) with Makar Alekseevich is not planned, momentary, filled with discontent and anger. As a result of the combination method, the number of exclamation marks in the translation decreases, and the sentence becomes longer. We believe that in this case it would be more expedient to preserve the structure of the sentence presented in the original, and thus fully convey the speech expressing the indignation and anger of the hero. The lexeme "negligence", which is interpreted in V.I. Dahl's dictionary of 1865 as "laziness, carelessness", seems interesting for analysis. In the dictionary of S.I. Ozhegov, published in 1960, this lexeme is given with the mark "bookish", and the interpretation "careless, insufficiently caring attitude to duties" ^[17]. The "bookish" label can be explained by the difference in the time periods when dictionaries were published, as well as changes in the meanings of words over time in the language. The English-language text uses the lexeme “ignorance”, which is interpreted in the dictionary as follows: “the failure to give someone/something enough care or attention” marked “law or formal” ^[25]. The choice of such a translation option does not correspond to the stylistic coloring of the word and the time period in which it is used, as a result, the language register decreases. The reader sees in the translated text a lexeme used in the modern language, thus, gets a wrong idea about the norms of the Russian language of that time.

Let's analyze the use of parcel in the next sentence of the novel "Anna Karenina":

 "It's terrible! It's terrible! – he said" ^{[22, p.14]}.

“It is awful! awful!’ he said” ^{[28, p. 28]}.

Stepan Arkadyevich reacts emotionally to his wife's words that she will not be able to forgive him. The parcel highlights the hero's growing desperation. It is obvious that in the translation text, the parcel is completely preserved, as well as exclamation marks expressing expression.

Most often in the analyzed texts, parceled constructions in a simple sentence are used when selecting appropriate words in accordance with events in the life of characters, as well as in some cases, an attempt to recall events from the past.  The parcel helps to convey the expressive, emotional speech of the hero. When working with such constructions, the translator sometimes uses the technique of combining sentences, but we believe that in these cases it is possible to preserve the parcel presented in the original.

In the novels "Anna Karenina" and "Poor People", such syntactic technique as structural incompleteness of utterance or (truncation) is also used. Truncation is an unspoken, incomplete or suddenly interrupted utterance; it is the incompleteness of an utterance in a structural, semantic or intonation relation ^{[3, p.8]}. Truncated constructions express the emotional state of the hero or the unwillingness to voice his thoughts to the end. Let's analyze the use of truncation in the following example:

"I know that you love me, but you are not rich yourself...Today I also got up cheerfully" ^{[7, p. 15]}.

“I know how much you love me, but I also know that you are not rich...Thismorning I too rose in good spirits” ^{[26, p. 12]}.        In this fragment, Varvara, the heroine of the novel "Poor People", asks Makar not to spend money on shopping for her. Her experience, excitement, and attempt to be polite are expressed by a fragmentary phrase and an ellipsis, and then the heroine abruptly moves on to discussing another topic. The translator retains the ellipsis, but unreasonably adds the grammatical basis “I also know” after the comma, because of this, the number of grammatical bases in the sentence changes (in the first sentence in the original text of three, and in the translation text – four).  The truncation technique is conveyed in the English-language fragment, as well as the abrupt transition from the topic of material condition to the discussion of Barbara's well-being, however, the number of grammatical bases is changing.  

The technique of structural incompleteness of the sentence is used in a fragment of the novel "Anna Karenina", when Stepan Arkadyevich intends to talk with Alexey Alexandrovich about his sister. His confused thoughts are presented in the following sentence: "Yes, I wanted to... I need to... yes, I need to talk," Stepan Arkadyevich said" ^{[22, p. 438]}.

“Yes, I wished...I wanted...yes, I wanted to talk to you,’ said Stepan Arkadyevitch,” ^{[28, p. 934]}.

The truncation of phrases in the English sentence is preserved.  We believe that the emotional component is not lost in translation, the sentences in the translation text structurally duplicate the sentences of the original.

All of the above syntactic units and constructions serve to describe the events taking place in the novels "Anna Karena", "Poor People", and to the greatest extent to convey the emotional component of the context. M.N. Krylova writes: "... syntax is the organizing force of the text, completing its construction, it is syntax that forms lexical units in those combinations who achieve or do not achieve their communicative goals..." ^{[11, p.146]}.

Another difficulty that translators of literary texts have to face is related to the structural features of sentences. In his work, A.M. Peshkovsky gives the following definition to a sentence: "a phrase that has a predicate in its composition, or indicating by its formal composition an omitted predicate, or, finally, consisting of one predicate – he called all such phrases sentences" ^[18]. In the works of V.V. Vinogradov, the term "sentence" is interpreted as a grammatically formed unit of speech, designed according to the laws of language, indivisible into speech units having the same structural features and being the main means of forming and expressing thought. The peculiarity of the proposals is that they have communicative independence and represent a closed system.

L.A. Belopolskaya notes that the central grammatical unit of syntax is a simple sentence based on the main terms. However, it should be noted that in English, the presence of two main members of a sentence is mandatory, and therefore most often sentences in English are two-part, while in Russian there are one-part and two-part sentences. In the tests we analyzed, simple sentences are most often found to formalize dialogues, and their brevity can be explained by emotional and unplanned speech. Simple sentences convey the speed or sequence of actions, the "live" speech of the characters. "Making the reader believe that the characters of the work are real people" is one of the key tasks of fiction. The characters' speech should leave the reader with the impression of complete naturalness… Reproduction of spoken language in the mouths of characters is an indispensable task of the vast majority of realistic prose works," believes E.N. Shiryaeva ^{[24, p. 137]}.

 For example:  

"You understood me and you understand me" ^{[22, p. 102]}.

"Today I went to reconcile them" ^{[22, p.133]}.

Let's consider the features of the translation of simple sentences functioning in the novel by L.N. Tolstoy "Anna Karenina" and F.M. Dostoevsky "Poor People". For example:

"You understood me and you understand me" ^{[22, p. 102]}.

“You understood me, and you understand” ^{[28, p. 217]}.

In a fragment of the novel "Anna Karenina", Dolly tells Anna that she appreciates her as a friend and thanks her for her support. During the translation process, the sentence underwent a transformation: in the original text, the sentence is simple, and in the translation text it is compound. The translator adds the subject “you”, and thus the conjunction “and” from the connective becomes compositional. We believe that the use of such a translation technique distorts the style of the author's text.

 The heroine of the novel "Poor people" Varvara in a letter to Makar Alekseevich shares memories of her childhood:

        "I was only fourteen years old when my father died. My childhood was the happiest time of my life" ^{[7, p. 19]}.

       “Up to the age of fourteen, when my father died, my childhood was the happiest period of my life” ^{[26, p.23]}.

         The structure of the sentence has undergone changes: the translator combines a complex sentence with a simple one. In addition, an inversion is presented: the preposition and the numeral used to indicate the age of the heroine occupy the first position in the translated sentence. The method of combining makes the sentence longer, while losing the fragmentary nature of the text.

According to the characteristics of the members of a simple sentence, sentences with different numbers of connections and relationships are distinguished. In the novels of L.N. Tolstoy, there is the use of simple sentences complicated by homogeneous terms (definitions, additions and adverbial phrases). Let's consider an example of a sentence complicated by two adverbial phrases, and the features of its translation into English:

"Seeing his cousin from his chair in the front row, Vronsky, without waiting for the intermission, entered her box" ^{[22, p. 131]}.

“Vronsky, seeing his cousin from his stall in the front row, did not wait till the entr’acte, but went to her box” ^{[28, p.281]}.

In an English sentence, the subject is put in the first place, which can be explained by the fixed word order in English. There is no such part of speech as the adverbial participle in English, so the translation of the adverbial turnover into English is performed using the gerundial turnover “seeing his cousin from his stall in the front row". The second adverbial turnover has been replaced by a verb, therefore, the English sentence is complicated by only one adverbial turnover and has two predicates. As a result of such a translation decision, the context loses its dynamism, the simultaneous action performed by the character is omitted, and the impression of performing actions sequentially is created.

The group of emotional and evaluative sentences is quite diverse in lexical and morphological composition, they give an assessment of what was the subject of observation. Let's consider an example of a sentence complicated by homogeneous definitions in the novel "Poor People":

"I couldn't even sleep there. I used to cry all night, a long, boring, cold night" ^{[7, p.111]}.

          “Never from the first could I sleep, but used to weep many a chill, weary night away.” ^{[26, p.12]}.

In the English sentence, the structure of the original has undergone transformations – two simple sentences are translated using a compound one. In addition, the original contains four definitions of "whole, long, boring, cold", characterizing the terrible time spent by the heroine in a boarding school, and in the English–language text only two adjectives are used - "chill", "weary". Four definitions allow us to describe the night, guided by several criteria that were unpleasant for Varvara: time interval, duration, emotionality of the heroine, indoor air temperature. We believe that with the help of the selection of equivalent correspondences, it would be possible to preserve all the definitions so that the English-speaking reader would fully receive information about the subjective attitude of the heroine to the difficult time she spent in boarding school.

The use of simple sentences complicated by homogeneous additions helps to emphasize the psychological and emotional component of the character's speech portrait, as well as to exert an influencing function on the reader. Consider the following example:

"I will never forget a single word of yours, not a single movement of yours, and I cannot..." ^{[22, p. 106]}.

“Not one word, not one gesture of yours shall I, could I, ever forget...’” ^{[26, p. 226]}.

Based on the above sentence, the reader receives information about the emotional state of the hero of the novel "Anna Karenina". The homogeneous additions presented in the original sentence are preserved, and the particle and "neither... nor..." are translated using the construction "not... not". For the English language in such sentences, the use of the construction "neither ... nor" is most characteristic, we believe that the translator did not use this type of construction to preserve the structure of the original sentence, as well as the use of the pronoun "one" ^[17] – "one" in the English text.

The language of the work "Poor People" is also characterized by the use of simple sentences complicated by homogeneous terms. For example:

  "... passion is an expression, criticism is so subtle, a lesson for edification and a document" ^{[22, p. 121]}.

“… connotes at once passion, expression, fine criticism, good learning, and a document” ^{[28, p. 11]}.

It is worth paying attention to punctuation marks: in Russian there is no comma before the conjunction "and", and in English the so-called Oxford comma is used. The punctuation rules of the English language require that the serial comma is always placed in ambiguous cases that can be understood in different ways ^[29]. Thus, the homogeneous members of the sentence are fully represented in the translation text, but the punctuation marks are not completely preserved, which does not affect the reader's perception of the text.

Another feature of the language of the works of L.N. Tolstoy and F.M. Dostoevsky is the use of non-union sentences. The absence of unions is compensated by intonation, and all parts of the sentence are connected by a single idea – a description of the appearance of a sick Kitty:

"Looking at her, my heart was torn, it used to happen: her cheeks were sunken, her eyes were sunken, there was such a consumptive color in her face" ^{[22, p. 19]}.

 «It used to rend my heart to see her, so hollow were her cheeks becoming, so sunken her eyes, so hectic her face» ^{[28, p. 26]}.

         By applying the addition technique, the translator partially changes the structure (in the original text, the sentence is unconnected, in the translation text, it is complex). In addition, the English sentence looks different and begins with the phrase: “It used to ...”, which emphasizes the multiplicity of events in the past. Verbs have been replaced with adjectives: "sunken" – "hollow", "sunken" - "sunken". Therefore, the semantics of the original text has not been transmitted, and the translation decision to replace the sentence type is unjustified.  It seems advisable to preserve the original part of speech – the verb, which allows you to convey to a greater extent the changes occurring with the heroine's condition than the adjective that performs the function of description.

The language of L.N. Tolstoy's works is characterized by the use of complex sentences, most often they serve to describe the nature or philosophical reflections of the hero.  The appearance of complex sentences in the language is due to the need to express the phenomena of reality, therefore such constructions can be called "integral syntactic constructions designed for the capacious transmission of a complex communicative task" ^{[9, p.11]}. The use of such sentences is determined by the writer's desire to present as much information as possible in a relatively complete unified syntactic complex. Such sentences make the narrative smooth.  By the nature of the means of communication of the predicative parts, complex sentences are primarily divided into allied and non-allied. In allied sentences, the parts are connected not only by the means of the parts themselves, but also by unions or allied words. In addition to conjunctions and allied words, other means of communication function in a complex sentence. According to the classification of allied sentences, compound and compound sentences are distinguished.

Let's consider the features of translating compound sentences and the role of the compositional union "and":

"The old grass turned green and the young grass came out with needles, the buds of viburnum, currant and sticky alcohol birch swelled, and a bee buzzed on a vine sprinkled with golden light." ^{[22, p.156]}.

“The old grass looked greener, and the young grass thrust up its tiny blades; the buds of the guelder-rose and of the currant and the sticky birch-buds were swollen with sap, and an exploring bee was humming about the golden blossoms that studded the willow” ^{[28, p. 334]}.

This sentence consists of three grammatical bases, the connective conjunction "and" is used between the first and second parts, expressing the enumerative meaning ^[5], and the simultaneity of actions is expressed using the appropriate tense forms of the verb. It is worth noting that the temporary forms in the translation are observed, as well as the connective union "and", for which the appropriate contextual translation "and" has been selected. The structure of the proposal has been preserved, as well as stylistic features.

Let's analyze the following example and the role of the union "but":

"The lawyer's gray eyes tried not to laugh, but they jumped with uncontrollable joy, and Alexey Alexandrovich saw that there was more than one joy of a man receiving a profitable order – there was triumph and delight, there was a gleam similar to the ominous gleam that he saw in his wife's eyes" ^{[222, p. 375]}.

“The lawyer’s gray eyes tried not to laugh, but they were dancing with irrepressible glee, and Alexey Alexandrovitch saw that it was not simply the delight of a man who has just got a profitable job: there was triumph and joy, there was a gleam like the malignant gleam he saw in his wife’s eyes.” ^{[28, p. 803]}.

In the Russian language, the sentence is compound, since the compound conjunction "but" is used, which is translated into English by the contrastive conjunction "but", which has the meaning of opposition. For the conjunction "and", the equivalent of "and" has been selected, while punctuation has been preserved. It can be noted that the translation appears to be completely equivalent to the original.

Let's turn to the compositional union "a", its role in the sentence and the peculiarities of translation in fragments of the novel "Poor People":

"I signed for you on almost two sheets, but it's high time for service" ^{[7, p. 21]}.

“I have now covered close upon a whole two sheets of notepaper, though I ought long ago to have been starting for the office” ^{[26, p. 28]}.

In the Russian-language sentence, the union "a" emphasizes that the hero spent more time writing the letter. The conjunction "a" in the subordinate clause in the English text is replaced by the conjunction "though", which in this case can be synonymous with "but". Thus, the structure and type of the sentence changes (the original text contains a compound sentence, and the translation text contains a compound sentence). Such translation transformations do not distort the meaning of a sentence, but change its syntactic features.

It is worth noting that when the translator does not have equivalent analogues in the target language, it is necessary to resort to replacing the type of subordinate clause.

In the following fragment of the novel "Poor People", the conjunction "a" is used in the meaning of comparison:

"There will be a blank wall on his right hand, and all doors and doors on his left" ^{[7, p. 158]}.

“To the right a dead wall, and to the left a row of doors stretching…” ^{[26, p. 14]}.

In our opinion, in this sentence it is better to use the equivalent of “but”, which conveys the opposition in English sentences, rather than performing the function of combining as the conjunction “and".

Let's consider the features of the translation of complex sentences, in which the subordinate relationship between the parts of a complex sentence is expressed in the syntactic dependence of one part of the word on another. For example:

"There was a real German furstin on the waters this year, as a result of which the crystallization of society was carried out even more vigorously" ^{[22, p. 218]}.

         “There was visiting the watering-place that year a real German Fuerstin, in consequence of which the crystallizing process went on more vigorously than ever” ^{[28, p. 468]}.

In the Russian sentence given above, the explanatory conjunction "as a result of what" is used, expressing the meaning of the reason. The comma is present in the translation text, as well as in the original text. The structure of the sentence has undergone changes – the construction “there was” is used at the beginning of the sentence, and the verb “visit” is added in the temporary form Continuous. However, such a translation solution does not distort the text for the reader's perception.

Let's analyze the following fragment:

"Calm me down if you can" ^{[22, p. 87]}.

“Comfort, oh, comfort me if you can” ^{[28, p. 8]}.

It is necessary to pay attention to the punctuation marks: in the Russian sentence there is a comma, and in English there is no punctuation mark, since the conjunction “if” introduces a conditional sentence, and according to the rules of punctuation of the English language, a comma is not put in such cases. 

Russian Russian and English punctuation marks are also different when working with complex sentences, which is explained by the syntax rules of the Russian and English languages.

Based on the analysis of the above examples, it can be concluded that different types of sentences are characteristic of the works under consideration. Russian Russian literature. Having considered the features of the syntax of the text of novels, we found that the most frequently used complex sentences of a mixed type, demonstrating the talent of Russian writers and the inexhaustibility of the resources of the Russian language with a wide range of meanings. When translating simple constructions into English, the unification technique is used, therefore, the type changes – the sentence becomes complex, which distorts the author's style and semantic component. When translating adverbial phrases, substitutions are used. In complex sentences, in most cases, the sequence of words is preserved, as well as the type of subordinate connection, and in some cases the compositional ones are replaced by compound ones (since a different conjunction is used in the English fragment). This happens in cases where the translator does not have equivalent analogues in the target language.

Conclusion

One of the main tasks of the translator when working with literary texts is to preserve the syntactic features of the original text of the work and recreate the syntax characteristic of a particular work or time period.

During the study of the tests of the novels by L.N. Tolstoy "Anna Karenina" and F.M. Dostoevsky "Poor People", it was revealed that when translating simple sentences into English, the structure is preserved, but in some cases the technique of inversion and combining sentences is used. This can be explained by the difference in the syntactic and stylistic word order in Russian and English sentences, failure to comply with which leads to a violation of the norms of the syntax of the English language and does not allow the reader's attention to concentrate on the dominant information. The logical sequence of the structure of English sentences regulates the location of not only the main members of the sentence, but also the secondary ones. It should be noted that when translating sentences with adverbial turns, substitutions are used – adverbial parts are translated using nouns or gerundial turns.

The data obtained as a result of the study of the syntactic characteristics of the novels "Anna Karenina", "Poor People" confirm that these texts are characterized by the presence of linguistic repetitions, parcelling, gradation, parallel constructions, structural incompleteness of utterance (truncation). The most common is lexical repetition, which allows you to draw the reader's attention to the role of repetitive words, but the translator manages to keep the language repetition only in 67% of the cases of the examples analyzed by us (100%). Since both works are emotional, the plot focuses on the personal lives of the characters, who often narrate themselves in the text of novels, then an indispensable syntactic tool is the structural incompleteness of the utterance (truncation), which is preserved in 80% of the contexts under consideration when translated. The use of parallel constructions used in the original is reflected in the translation texts in 100% of cases, but with elements of addition, and parcels – in 80%.  Working with the gradation technique does not cause difficulties, this technique is preserved in all the examples we analyzed (100% of cases).

When comparing the originals and translations of novels, cases were identified when the emotional emphasis laid by the author is shifted or lost in the English-language text. One of the reasons is the discrepancy between the grammatical norms and structures of the Russian and English languages.