Imagery in Translation. humour. Contrast is not infrequently used to create a special e feet of affection or comic irony

humour. Contrast is not infrequently used to create a special e feet of affection or comic irony. One of the most difficult aspec of such a text for translation lies in probable gaps between tl national senses of humour or personal receptiveness of the tran lator to irony in words and situations. For this type of prosa rhythm the choice of words as translation substitutes strong depends on the dynamics of the text; longer words in the targ language may appear inappropriate if they do not fit the swi episode of the composition, while their semantic correctness w: not compensate for the retardando.

Slowest and most sophisticated of all is the rhythm of philosophical piece of prose. It uses longer sentences, the logic structure of which may be quite complicated. The vocabulary such pieces is often very specific, rare words included, as well quotations in foreign languages. A piece of prose may be phil sophical in different ways. It may serve as a vehicle of some phil sophical teaching which is independent of the narrative itself ai is set forth in a succession of logical statements. The most s phisticated kind of philosophical prose employs linguistic, rhyt mic and associative resources to create or to open new value relationships and possibilities of insight.

Mention should also be made of one more type, — poei prose, the most prominent sample of which is Doctor Zhivago 1 Boris Pasternak. It is based on metaphors and simile rather th on the logic of events or detailed description: «озаренная мес цем ночь была поразительна, как милосердие или дар ясн виденья», «все кругом бродило, росло и всходило на волше ных дрожжах существования», «из векового сада заплыва, во весь рост деревьев огромное, как стена большого здаш трущобно-пыльное благоуханье старой зацветающей липы The rhythmic measure in such a text may be not overt; it go deeper into the diction, imagery and subtext. To deal with sucl text, the translator should be very skilful in reconstructi: metaphors and epithets, which requires deeper knowledge oft

source culture and greater creative efforts.

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Практикум по художественному переводу

A single author may use all or several of the above types, us alternating the rhythm of the whole. An interesting example

the prose rhythm of Evelyn Waugh where a reader can face a lallenge from the brilliant mixture of picaresque and lyric types or instance, Decline and Fall or Brideshead Revisited). Anoth-

fine example of a multi-layer rhythm is that of Aldous Huxley ith his skilful transits from a picaresque type to lyric and further

the most sophisticated philosophy, sometimes even with a tint ' epic, as in his Counterpoint.

It is not an easy task to assess the rhythm of a prose piece; a type of narrative but it is possible for an attentive reader. ^rhat makes translation of creative prose even more difficult is > cultural background that may be strange or even wholly alien

the target culture. This is especially true in the case of a con-derable temporal or spatial distance between the source and tar-:t cultures. For example, English literature is easier to translate to Russian than Russian literature into English because Russian anslating tradition can rely on a much better knowledge of En-ish culture among Russian readers, while English translators of ussian literature face the problem of readers' inadequate acquain-nce with Russian culture.

On the whole, we can explore prosaic rhythm from the jint of view of translation as a kind of hierarchy where linguis-: level is only a surface below which run such strata as type of irrative, architectonics, imagery, associations and cultural as-imptions. This is especially true in the case of such experimen-1 writers as William Faulkner: one cannot translate his ^5 1 Lay ying without reconstructing many implied components, not least e the mythological associations.

When we translate a piece of literary prose, we take into msideration its narrative type and do whatever is possible to concile the national traditions within this type. When those tra-tions coincide or do not differ greatly, it may be easy to follow e source text narrative. When the source tradition differs great-

from the target one, it is productive to pursue a middle course -

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