Translation strategies for interpreting lexemes introducing speech in Chinese translations of novels by F.M. Dostoevsky and L.N. Tolstoy

Van Tsyao ORCID: 0009-0002-1917-8063 Postgraduate student; Department of Russian Language; Moscow State University 119991, Russia, Moscow, Leninskie gory str., 1 qiaoqiao1990511@163.com

Introduction. This article examines the ways of translating lexemes introducing direct speech from Russian into Chinese, based on the material of the novels by F.M. Dostoevsky "Crime and Punishment" and L.N. Tolstoy "Anna Karenina".

The purpose of the article is to analyze the features of translating lexemes introducing direct speech in two classic works by F.M. Dostoevsky and L.N. Tolstoy from Russian into Chinese, describe translation methods, and compare the characteristics of translators' strategies in different versions of the novels "Crime and Punishment" and "Anna Karenina". In doing so, we rely on a preliminary comparative study of the repertoires and frequency of lexemes introducing direct speech in the original Russian texts of these two novels ^[1].

The novelty of this article lies in the fact that for the first time we are conducting a comprehensive analysis of the translation of lexemes introducing direct speech from Russian into Chinese based on the material of two translated versions of "Crime and Punishment" and two of "Anna Karenina". Linguists have noticed that the variation in the means of introducing direct speech in translated versions of well-known works often causes criticism from translation scholars. For example, in many Russian translations of English-language works, a wide variety of lexical means are found that replace the English verb say, which in the original texts usually acts as a basic element of the dialogical framework. In this case, verbs and phrases denoting emotions and kinemas compete with the actual speech verbs ^{[2, p. 690]}. Russians Russian translation by V.A. Panasyuk (1958) of Cao Xueqin's novel "The Dream in the Red Chamber" also appears. For the purpose of stylistic adaptation, different semantic groups of verbs of speech introduction in the Russian language are used to translate the word dao (to speak). Russian Russian classical works have not been systematically studied and compared with the strategies for translating lexemes of speech introduction from Russian into Chinese. This article not only summarizes common translation methods, but also compares differences in translator strategies. The research results presented in this article can be applied in the practice of Russian-Chinese translation and used in the work of philologists – teachers, students and translators.

The main part

Russian Russian and Chinese belong to different families, Chinese is an analytical language, and its structures do not always have grammatical correspondences in Russian, which inevitably causes a lot of problems when translating. Although the two languages differ greatly in grammar, they have a lot in common in semantics. Our attention was attracted by the strategy of translating a variety of vocabulary introducing direct speech from Russian into Chinese. The way Chinese translators try to create an adequate translation following the original text has become the subject of our research. Now the issue of interpreting verbs introducing speech is one of the most relevant in translation studies, because the stylistic norms of languages differ in this regard ^{[3, p. 129; 4, 2007, p. 133; 5, 1990; 6, 2011; 7, 2021, p. 243]}. Russian Russian translation In A.V. Urzhi's research, it was pointed out that an English author can use the verb said many times in a row, and Russian authors and translators often use different verbs to avoid repetition ^{[8, 2018, p. 119]}. When translated into English, the Russian verbs laughed or sighed, introducing direct speech, are often withdrawn, since the text looks unnatural ^{[5, 1990, p. 214]}. How do Chinese translators work with the frame of Russian direct speech? Are there differences in the approach to its interpretation among different translators or in the texts of different authors? For the analysis, we selected the most famous translated versions of the novels by F.M. Dostoevsky and L.N. Tolstoy in China, one of the most popular versions of "Crime and Punishment" (1999) belongs to the translator Zhu Long (汝龙), who is considered a specialist in translating the works of A.P. Chekhov, the translator's style is characterized by classical simplicity. The other (1982) presents a joint translation by Zhu Haiguan and Wang Wen. Famous translators of the novel "Anna Karenina" are Cao Ying (草婴) (1982) (he was also the first to translate the works of M.A. Sholokhov in China and attracted great public attention to his work among Chinese readers) and Yu Dawei (于大卫), whose version (2019) is considered the most accurate expression of artistic intent and the meaning of the original text by L.N. Tolstoy.

First of all, the vocabulary expressing the general meaning of speaking in Chinese is the verb 说 (shuo). In the Chinese-Russian dictionary edited by G.B. Dudchenko, 说 has four meanings: 1) to speak; to tell 2) to explain; to explain 3) to reprimand; to reprimand 4) to reproach; to reproach ^{[9, 2018, p. 373]}. 说道 (shuo dao) is a parallel compound word that is often used in novels to directly convey the speech of characters, in Dudchenko's dictionary it is translated as to say. 说着 (shuo zhe) indicates that the state of speech activity continues.

1.1 -- What are you standing for? Sit down," he said suddenly in a changed, quiet and affectionate voice.) (Dostoevsky, Crime and Punishment)

“您怎么站着？您坐呀。”他is，可是声调骤然改变，显得平静而亲切了。(he said, but his tone suddenly changed, becoming calm and friendly) (Zhu LUN 1999)

“您为什么站着？坐下吧。”忽然他改变声调，轻轻地、温柔地is。 (he suddenly changed his tone and spoke softly and tenderly) (Zhu Huiguang and Wang Wen 1982)

1.2 "I don't know," Sonya said sadly. (Dostoevsky, Crime and Punishment)

“我不知道。”索尼雅忧郁地说。(Sonya said sadly) (Zhu Lung 1999)

“我不知道。”索尼娅凄然 style='mso-bidi-font-weight:normal'>说。(Sonya said sadly) (Zhu Haiguan and Wang Wen 1982)

1.3 "I would be afraid in your room at night," he remarked sullenly.

“换了是我，住您这个房间里，到了夜间会害怕。”他阴郁地is。(he said gloomily) (Zhu LUN 1999)

“要是我住在您的屋里，夜里一定要害怕的。”他阴郁地is。(he said gloomily) (Zhu Huiguang and Wang Wen 1982)

2.1 -- Drop me, drop me!-"What is it?" she said between sobs. (Tolstoy, Anna Karenina)

"抛弃我，，"她边哭边 说，(she said, crying) (Cao Ying 1982)

“扔了我，，"她一一一一，(she said, sobbing) (Yu Dawei 2019)

In the above examples, in the Chinese versions, various verbs with the common meaning of "to say" (to pronounce, pronounce, notice, pronounce, etc.) were translated using a single Chinese character. There are many other verbs in the Chinese language that can replace this verb 说, for example 说话 (shuohua: to say - colloquial speech)，(dao: to say – book speech) (Jiang: to tell)(Hua: to talk)(yu: to talk, discuss, tell), 曰 (yue: to say is outdated. 孔子曰: Confucius said), 叙 (xu: to tell),讲述 (jiangshu: to tell – book speech), etc. However, the fact that this verb 说 occurs so often is obviously due to the fact that Chinese translators are used to using the simplest and most neutral vocabulary familiar to readers. But we also noticed that sometimes translators change the method of translating verbs with the meaning of speaking depending on the context. Comparing the examples below, you can see that Cao Ying is more actively using a more free translation method.

2.2 Sometimes, when sputum choked him, he would say with annoyance: "Ah! damn!" (Tolstoy, Anna Karenina)

(furiously, angrily) 骂道 (scolded)：“哼！活见鬼！" (Cao Ying 1982)

(angrily)说 (spoke)"唉！见鬼！" (Yu Dawei 2019)

2.3 -- Oh, it's lovely! Give me another bottle," he said to the footman and began to tell him. (Tolstoy, Anna Karenina)

“嘿，，一一"他 吩咐 侍者 (he ordered the footman)(Cao Ying 1982)

“唉，，是是一一。。"他对侍者 说 (he said to the footman)(Yu Dawei 2019)

In 2.2, Cao Ying translated the verb to pronounce with the verb 骂道 (madao: scold) with the designation of the manifestation of emotion, in 2.3 he transferred the verb to say in 吩咐 (fenfu: dispose), which is more appropriate in context, and also has an emotional coloring, emphasizing the high social status of the speaker.

The meaning of the perfect form in Chinese is conveyed using the element ‘了le’, the meaning of the imperfect form is conveyed using the elements ‘在 zai, 着 zhe, 过 guo'^[1]. In Chinese, the auxiliary word "了1" or the particle "了2" is used to indicate that something was completed or something happened in the past ^{[10, 1991, p. 255]}, for example:

他做完了2 = He's done.

他说了1一句很难听的话 = He said something very unpleasant.

It can be seen from examples 1.1–1.3 that the temporal meaning of verbs and phrases introducing speech is often hidden during translation or ignored during the translation process, since the corresponding indicators are not used. In "Crime and Punishment", the stylistic function of using the present historical time is lost (shouting, shouting) in chapter 5 of Part one (in the scene of the beating of a horse in Raskolnikov's dream), since the translators do not convey the difference between the present and the past tense of the original.

To translate means to express correctly and fully by means of one language what has already been expressed earlier by means of another language ^{[11, 2002, p. 15]}. Stylistic adaptation is often used in Russian-Chinese translation. The widespread use of "说" and "道" is also reflected in the fact that in literary works translators add these words when translating verbs such as continue, reply, whisper, add, etc., which meets the requirements of completeness and adequacy of translation. In the example 1.4 回答 (huida: reply)In conjunction with 说, it has become a double verb phrase 回答说, in this case, speech activity is emphasized twice. It allows you to avoid excessive repetition and make sentences smoother:

1.4 - The owners are very good, very affectionate, - Sonya replied, (Dostoevsky, Crime and Punishment)

“房东家都是好人，待人很亲切，”索尼雅回答说，(double verb phrase) (Zhu LUN 1999)

“房东家家的的人人的的的”(double verb phrase) (Zhu Haiguan and Wang Wen 1982)

1.5 - I definitely saw him today," she whispered hesitantly. (Dostoevsky, Crime and Punishment)

“我今天天。" (hesitantly and softly said) (Zhu Lung 1999)

“我今. ......." (idiom)”...... (hesitantly and softly said) (Zhu Haiguan and Wang Wen 1982)

1.6 -- Her? Yes, of course!' said Sonya, suddenly folding her hands pitifully and with suffering. (Dostoevsky, Crime and Punishment)

“爱她？那还用用"索尼雅凄凉地 (desperately) 拖长声音说 (spoke in a drawl)(Zhu Lung 1999)

“她？当-然爱！—索尼娅凄婉地 (desperately) 拖长声音说 (spoke in a drawl) (Zhu Haiguan and Wang Wen 1982)

1.7 -- Yes I am, I am! I came then," she continued crying, (Dostoevsky, Crime and Punishment)

“对，我就是狠心，我就是狠心！那一天我回去，”她哭着说下去，(‘V+下去’ indicates that the status of the action already exists and will continue) (Zhu LUN 1999)

"我，是是是一一一一，，"(double verb phrase) (Zhu Haiguan and Wang Wen 1982)

‘Adverb+A+v’ is a common translation method. 'A: di’ is used as an adverbial sign connecting adverbs and verbs, sometimes it can be omitted. Since some Russian verbs have a characteristic meaning of sound or emotional features of speech, these characteristics are translated in Chinese versions into adverbs that modify the verb 说, cf. 1.5, 1.6, 1.10–1.14. At the same time, as can be seen from the examples below, translators sometimes understand the original differently:

1.10 - I assumed and calculated, - he mumbled, (Dostoevsky, Crime and Punishment)

“我本本，"他 含糊不清地 (disambiguation) 说，(Zhu Lung 1999)

"我以为，，，"他 吞吞吐吐地 (inaudible, vague) 说，(Zhu Haiguan and Wang Wen 1982)

1.11 - N-no, - mumbled Zosimov, (Dostoevsky, Crime and Punishment)

“不会的的，，” (with coolness) normal'>说，(Zhu Lung 1999)

"不--不会会会，，”" (lazily, languidly) 说 (Zhu Haiguan and Wang Wen 1982)

1.12 - However, don't be embarrassed, - he blurted out (Dostoevsky, Crime and Punishment)

"不过，，，"拉祖米欣 愣头愣脑地 (reckless) 说，(Zhu Lung 1999)

"不过，，，"拉祖米欣 贸然 (thoughtlessly) 说道，(Zhu Haiguan and Wang Wen 1982)

1.13 - However, Pulcheria Alexandrovna, - Luzhin was furious, (Dostoevsky, Crime and Punishment)

“可是，普尔赫莉雅·亚历山大罗芙娜，”卢仁怒火中烧 (the flames of anger burning inside)(annoyed) 说，(Zhu Lung 1999)

“但是，普莉赫丽娅·亚历山大罗夫娜，”卢仁发狂似地 (crazy) 咆哮起来 (crying)(Zhu Haiguan and Wang Wen 1982)

1.14 "Is it good? Is it natural? Didn't you exaggerate? - Raskolnikov trembled to himself. (Dostoevsky, Crime and Punishment)

“这样做好吗？自然吗？没有做得过分吗？”拉斯柯尔尼科夫提心吊胆地 (with bated breath) 暗想 (thinking to myself)(Zhu Lung 1999)

“这样做好吗？自然吗？是不是做得过火了？”拉斯柯尼科夫心惊肉跳地 (trembled at the anticipation of evil; fear) 暗自想道 (thinking to myself)，(Zhu Huiguang and Wang Wen 1982)

1.15 -- Listen, listen, listen, because this is serious, because this is... Well, after that, damn it! - Razumikhin finally lost his way, growing cold with horror. (Dostoevsky, Crime and Punishment)

你听我说，你听我说，你听我说，这可就太严重了，这可就......你说了这个还了得，魔鬼！”拉祖米欣茫然失措 (was at a complete loss)(Zhu Lung 1999)

“听着，听着，你听我说，这可是件严肃的事，这可是......你要是说出去，这成何体统，见鬼！”拉祖米欣完全语无伦次了 (say illogical, inconsistent, disconnected)(Zhu Haiguan and Wang Wen 1982)

It is adverbs that become a common means of conveying the internal and external qualifications of action when translating the novel "Crime and Punishment". In the original text of the novel, such adverbs are also used, therefore, the transformation of a verb from a speech frame naming an emotion or its manifestation into a combination of a neutral verb with an adverb naming such an emotion allows you to convey the meaning of the text in accordance with the narrative norm of the Chinese language.

The specific techniques of translating the framework of direct speech into Chinese using idiomatic expressions in two versions deserve attention "Crimes and punishments". Translators use various idioms to translate verbs of the introduction of speech, such as 含糊不清 (hanhubuqing: through his teeth); 无精打采(wujingdacai: out of sorts, with coolness); 愣头愣脑 (lengtoulengnao: dumbfounded, awkward) describes reckless words and deeds;怒火中中 (nuhuozhongshao: literal translation - "the flame of anger burns inside") describes a person whose soul is burning with anger (tuntuntutu: to crumple in conversation, literal translation - to absorb and spew); 提心 ( (tixindiaodan letters. "the heart rose, and the gallbladder hung") figuratively means 'to be scared, to panic'; (xinjingroutiao: letters. "there is anxiety in the soul, the flesh trembles") conveys the meaning of 'not finding a place for yourself, trembling in anticipation of trouble'; 茫然失措 (mangranshicuo: to be completely confused, not to understand anything); 语无伦次 (yuwulunci: from the fifth to the tenth to speak, to speak illogically), etc., modifying verbs. Idioms can be used to translate not only the personal forms of verbs, but also participles, adverbs and adverbs. An idiom is a very common method of translating a word or expression of a foreign language into Chinese, they are one of the main features of traditional Chinese culture with fixed structural forms. There are more than 50 thousand idioms in Chinese, 96% of them consist of four hieroglyphs, which makes the text neat and rhythmic. Idioms are concise in expression, deep in meaning and rich in connotations, have a bright stylistic coloring, and are often based on metaphors. It can be seen that the idiom is a means to reveal the character of the characters, to excite the reader's imagination, which must be created through visual associations. In the framework of direct speech, idioms are used to express emotional states and speech acts. The use of these colorful words can encourage the reader to visualize scenes from the novel.

Compared with the translations of the novel "Crime and Punishment", there are fewer idioms in the two translations of "Anna Karenina", in most cases the authors use a literal translation, this is due to the fact that in the original Russian text of L.N. Tolstoy a large number of verbs without emotional components of meaning are used. Despite this, Cao Ying used more idioms (滔滔不绝 taotaobujue, 异口同声 yikoutongsheng, 恍然大悟 huangrandawu, etc.) than Yu Dawei, thereby achieving a more colorful translation.

2.4 - he began a long, heated explanation. (Tolstoy, Anna Karenina)

他 热烈 (hotly) 滔滔不绝 (incessantly, in a continuous stream) 谈起来 (talked)(Cao Ying 1982)

他 开 开、、心心心心。。(literal translation) (Yu Dawei 2019)

2.5 And, with a question about the content of the picture, directed to one of his most favorite topics, he began to expound with his boot: (Tolstoy, Anna Karenina)

话题一转到高列尼歇夫最喜爱的绘画上，他就滔滔不绝地(continuously continuous flow) 议论起来 (expounded)：(Cao Ying 1982)

就这样，由画作内容问题引到自己最喜爱的一个话题上，戈列尼谢夫阐述开了：(literal translation) (Yu Dawei 2019)

2.6 -- Oh, what a charm, what a charm! A miracle! What a beauty! -- they spoke in one voice. (Tolstoy, Anna Karenina)

“啊，真美呀，太美啦！真是奇迹！太美啦！”他们异口同声地 (idiom: beech. From different mouths the same message) 说。(Cao Ying 1982)

噢，简直太美了，多么美啊！妙不可言！简直太美了！”他们同声说道。(literal translation) (Yu Dawei 2019)

2.7 "But he didn't get it," she recalled. (Tolstoy, Anna Karenina)

“原来他并没有有接。"她 恍然大大 (suddenly realized)(Cao Ying 1982)

“就是。。"她 回想。(literal translation) (Yu Dawei 2019)

If the verb is used repeatedly in the original Russian text, in order to avoid repetition and achieve a stylistic effect when translating, it can be translated with another verb, cf. 1.16 and 1.17.

1.16 -- Well, if you want, I'll show you now, -- style='mso-bidi-font-weight:normal'> he roared, (Dostoevsky, Crime and Punishment)

“好，，是是高高高，，” (道 (roared)(Zhu Lung 1999)

“好，，的的，，，明明" (growled)(Zhu Haiguan and Wang Wen 1982)

1.17 -- Yes, you have delirium tremens, what is it! - Razumikhin roared, finally enraged. (Dostoevsky, Crime and Punishment)

“莫非你犯了酒狂病！"拉祖米欣终于气得发狂，大声 (loudly” 嚷道(shouted)(Zhu Lung 1999)

“你发酒狂症了还是是"拉祖米欣终于气得 (out of anger) 吼叫起来 (roared)(Zhu Haiguan and Wang Wen 1982)

In Chinese, the verbs are 叫 (jiao: shout)，喊 (han: shout, shout)，嚷 (rang: to scream)，吼 (hou: growl), 吼叫 (houjiao: to scream, to call)，尖叫 (jianjiao: scream)，嚎叫 (haojiao: yell), 吆喝 (yaohe: to shout, scream), 咆哮 (paoxiao: growl),怒吼(nuhou: cry), etc. denote the Creek with the emotional component. The translators used different versions when translating all Russian verbs with the meaning of a scream, corresponding to the degree of loudness and the nature of the manifestation of emotion.

'起来: qilai' and '下:xiaqu' in many examples appear as an auxiliary word attached to the last part of the predicate, ‘V+起来' indicates the beginning, continuation and completion of an action or state, and 'V‘下' indicates that the status of the action already exists and will continue further, for example, in 1.7. All their time values indicate a trend or continuation of the state.

1.18 -- But why break the chairs, gentlemen, the treasury is at a loss! - Porfiry Petrovich shouted cheerfully. (Dostoevsky, Crime and Punishment)

“诸位先生，为什么捣毁椅子？这可是让公家遭到损失啊！”波尔菲利·彼得罗维奇快活地叫道 (fun screamed)(Zhu Lung 1999)

“先生们，干吗要毁坏椅子呀？要知道，这给国库造成了损失！”波尔费利喜笑颜开地 (idiom: letters. His face broke into a smile of joy) 喊道 (he screamed)(Zhu Haiguan and Wang Wen 1982)

2.8 -- No! -- she cried out when she saw him, and at the first sound of her voice tears came into her eyes (Tolstoy, Anna Karenina)

“不！"她一一 (shouted)(Cao Ying 1982)

“不行！"她看见他便 喊了起来 ”screamed)(Yu Dawei 2019)

2.9 -- This is worse than cruelty, this is meanness, if you already want to know! - Anna cried out with an explosion of anger and (Tolstoy, Anna Karenina)

“这比残酷还要坏，，，，是是" (Anna was in an uncontrollable rage)(shouted loudly)(Cao Ying 1982)

“这比残酷更坏，这是卑鄙，要是您想知道的话！”随着愤怒的爆发，安娜喊了一声，(In a fit of anger, Anna shouted) (Yu Dawei 2019)

2.10 -- Kha! Moss! Oh, shit! Why are you bothering that you're not sleeping? - His brother's voice called out to him. (Tolstoy, Anna Karenina)

“咳！咳！哎，活见鬼！你怎么跑来跑去不睡觉哇？”哥哥对他吆喝道 style='mso-bidi-font-weight:normal'> (brother shouted at him)(Cao Ying 1982)

“咳！咳！啊，见鬼！你这是倒腾什么，为什么不睡觉？”哥哥的声音在叫他 (name of his brother's voice)。(Yu Dawei 2019)

低声说 (dishengshuo)，小声说 (xiaoshengshuo) is a direct translation of verbs with SEMA "whisper" (mumble, whisper, etc.), the translation also uses the following Chinese verbs: 低语 (diyu), 低喃 (dinan), 嘟囔 (dunang)，嘟哝 (dunong), 咕哝 (gunong), 嘀咕 (digu), 哼唧 (hengji).

Comparing many examples, we can feel that translators have their own unique style. In 1.20–1.22 Zhu Haiguan and Wang Wen changed the traditional method of translation and translated Russian verbs of speech action with the manifestation of emotion using Chinese emotional verbs, replacing the traditional model of ‘adverb+A+v’ or the model of double verbs, and reflecting their interpretation of the situation. Cf.:

1.19 - The deceased husband really had this weakness, and everyone knows it, - Katerina Ivanovna suddenly clung to him, (Dostoevsky, Crime and Punishment)

“我故去的丈夫确实有这种弱点，这大家都知道，”卡捷莉娜·伊凡诺芙娜忽然向他开火了 (suddenly shot him)(Zhu Lung 1999)

“我的亡夫确实有这个弱点，这是大家知道的，”卡捷琳娜·伊凡诺夫娜忽然抓住了他的话柄 (caught his words)，(Zhu Huiguang and Wang Wen 1982)

1.20 - Yes, and the same way, Raskolnikov grinned, (Dostoevsky, Crime and Punishment)

“这又怎么样呢，"拉斯柯尔尼科 (chuckled) 说 (said)(Zhu Lung 1999)

“就这样办嘛，"拉斯柯尼科科 ”cold) (chuckled)(Zhu Haiguan and Wang Wen 1982)

1.21 -- So it's my fault here too! - Luzhin was offended. (Dostoevsky, Crime and Punishment)

“那么，，"卢仁 怄气地地 (said angrily)(Zhu Lung 1999)

“那么这又是是，"(angry)(Zhu Haiguan and Wang Wen 1982)

1.22 -- But how could you come out if you weren't delirious? Razumikhin suddenly got excited. (Dostoevsky, Crime and Punishment)

“要不是神志昏迷，那你怎么会走出去？”拉祖米欣忽然发脾气 (irritated) is (said)(Zhu Lung 1999)

“要不是你神志不清，你怎么能跑出去呢？”拉祖米欣忽然激动起来 (hot)，(Zhu Huiguang and Wang Wen 1982)

2.11 -- I told you not to let it out! -- he shouted to the watchman. (Tolstoy, Anna Karenina)

“我对你说过不要放任何人人"他 斥责 (scolded) 看门人。(Cao Ying 1982)

“我告诉过你，，人人"他朝守门人人道 (shouted)(Yu Dawei 2019)

In the above examples, the translators were not limited to the original Russian text and They used a free translation method to give the characters more intense emotional colors. For example, at 1.19 Zhu Lun translated clung to him as 向他开 (shot at him), got hot as 发脾气说 (got annoyed and said), at 1.20 Zhu Haiguan and Wang Wen added the adverb 冷 (cold), and also at 2.11 Cao Ying translated shouted as 斥责 (scolded) and at 2.5 added semantics (滔滔不绝: continuously, in a continuous stream), therefore, the translators added tokens that convey the emotions of the characters.

Conclusion

Thus, in the Chinese translations of F.M. Dostoevsky's novel, some of the verbs denoting the manifestation of emotion in speech are translated using the model ‘adverb + connecting element + verb said’ or a double verb form such as ‘answered + said’, but there are other translation solutions that convey internal (emotional) or external (evaluative) speech qualification using Chinese idioms with vivid emotional and stylistic coloring.

In two translations of Crimes and Punishments, it is easier to find Chinese phraseological units in the framework of direct speech than in translations of Anna Karenina, since Dostoevsky uses more verbs in this position, naming emotions and their manifestations. The translations of the novel "Anna Karenina" are dominated by a more direct translation, especially in Yu Dawei's version. L.N. Tolstoy's constructions, where the verb said in the frame of speech is defined and distributed by an adverb, noun, or accompanied by a detailed explanation in the form of a sentence, do not require translators to deviate from traditional translation methods.

Translators follow the general rules of Chinese grammar, but they also use their own special techniques. The specificity of the translations lies in the fact that Zhu Haiguan and Wang Wen translated more Russian verbs naming emotions or their manifestations using Chinese emotional verbs, rather than the traditional model of "adverb + connecting element+ v" or a double verb.

In addition, we can also see signs of free translation, especially in Cao Ying's version, which adds a strong emotional coloring to the description of the characters' speech actions or states and makes the characters more vivid.

Comparing the translations of the novels "Crime and Punishment" and "Anna Karenina" into Chinese allows us to consider the manner of introducing direct speech in both writers "in the mirror" of translation, to see that its difference creates more (when translating a novel by F.M. Dostoevsky) or less (when translating a novel by L.N. Tolstoy) difficulties in translation the speech framework sometimes encourages translators to make different decisions.

^[1] "了", "着" and "过" are called dynamic particles in Chinese because they are related to the tense expressed by the verb.