Artisticityas the Object of Translation
The main tendency of modern translation studies and practice—that of naturalisation of the text into the target culture—is one of the main obstacles to adequacy understood as similar artistic effect of the original and translation. In fact when naturalisation in the target culture is the object, adequacy becomes a redundant notion, for when the interest is shifted to the target text there is no need and motivation to check the translation against the original, provided the translation is correct, natural, stylistically well done and easy to read. The fact that the translation might differ in its artistic value from the original will never catch the eye, if the aim is the target culture only. The notions of literal or free translation frequently used in papers on the subject do not contribute to real description of the translation value as they do not take into consideration the original text either. Meanwhile many of the existing translations, including those from Russian, giving the general notion of the text deprive it of its artistic value.
By artisticity is meant such organization of the original text that
provides reflectivity on the part of the reader. The artistic text is
the machine for thinking
(Richards). It always contains
understanding difficulties. These difficulties are not always seen by
the reader who is prepared to grasp only the content of the text as
the succession of its propositions. To see the understanding
difficulty beyond the mere content of the text, beyond its
propositions, elliptical constructions, presuppositions, and
implications is a difficulty in itself. Govorili, &chachek;to na
nabere&zhachek;noj pojavilos&soft; novoe lico: dama s
soba&chachek;koj.
This is the first appearance of the main
artistic idea, which stretches through the text—the
enigma of love.
Although there are no marked stylistic
devices, this idea is objectivized by the impersonal syntactic
structure and by the neutralization of gender. Everything about the
Lady is uncertain and enigmatic, even her description that doesn't
describe. The idea of the text starts as the meaning the enigma
of the lady
contrasted to the banality of
Gurov.
This meaning presents no difficulty for a translator
who realizes the artistic value of the text structure. There are
translations that demonstrate complete misunderstanding of this idea:
People were telling one another that a new person had appeared
on the embankment: a lady with a little dog.
Lexical and
syntactic redundancy and absence of laconicism deprive the text of its
artistic idea.
Not every text characterized by an abundance of stylistic devices
can be considered artistic, for stylistic devices fall into
artistically valid and merely expressive, used for the purpose of
beautifying.
All these matters should be taken into
consideration by the translator, since the translation, if it is to be
appropriately artistic, must contain the same degree of understanding
difficulty regarded in this case as constructive understanding
difficulty.