J. Balčikonis – A. Mickevičiaus „Gražinos“ vertėjas

LITHUANIAN LANGUAGES SANDAROS INVESTIGATIONS LITHUANIAN KALBOTYROS QUESTIONS, XXVI (1987) VANDA BARANAUSKAITĖ J. BALČIKONIS — A. MICKEVIČIAUS ‘GRAŽINOS’ TRANSLATORS A.. Horse of 1974 the Year “Mūsų kalbos” published an article in its 1st issue ‘J. "The Story of the Year", which describes the year of the 1966 event. J. Balčikonis wanted to release A. Translation of "Grazina" by Mickevičius. iš The professor in modesty did not admit that He translated ir “Beauty” himself at the time In Kaunas, in a publishing house, worked A.. Telling the horse the story of A baron of Kėdainiai who gave the professor to fix the mo vertical. Unfortunately, the translator is šį dead, so — publish the translation to fulfill the nobleman's will. Unfortunately, this translation did not reach the ir public in this way: as they had already du Translations of "Gražinos" (V. Sirios-Giros ir Right. The third "Vaga" ir did not want to allow it. The publisher’s staff found the translation to be very Balčikonian, but believed the professor’s version, believing that Balčikonis had changed the language in this way while improving the translation. Ir if the ne linguist A.. The testimony of Lyber, the professor's relative. that he saw The manuscripts of the translation ir of “Grazina”, so we would not know the professors’ translation of “Grazina”. That the professor loved poetry and ir could ją translate it is confirmed by another ir fact: in his youth J. Balčikonis wrote and ir translated poems. They were printed In Hope ir "Lithuanian farmer". “At the time they were quite popular. Antai Mica Petrauskas wrote the music for Balčikonis poem "We died, we ir suffered..." ir became very popular „Prisoner“, which became a folk song, later harmonized by Švedo, as folk tales, poems J. recorded "The Times Will Come", iš translation of the Russian poet A. "Bird's Nest". Balčikonio revolutionary poetry was well appreciated by Prof. B. Frantsk- — us stood ji next to the poet "Jovar". Poems J. Balčikonis used various pseudonyms: Trimitas, Sparnaitis, Bijūnėlis. The value of "Beauty" Silvestro Rigvedic name. A lot of things Balčikonis interpreter treats peculiarly. J. Balčikonis’s introduction to the “Collected Writings” states that he has published a number of valuable works on iš Lithuanian onomastics and has written about the Lithuanianization of names. That the professor had his own attitude, see ir iš translation of poem names. The name of the main character of the poem Gražina he replaces Gražine, prince Liutauros name is changed to Liutvaro, the place name Naugardukas becomes Naugardu, country name Germany — They are called Mazovia. 1 Pupkis A., Mažiulis V. Juozas Balčikonis. — Kn. : J. Balčikonis. Selected Writings. You, 1978, t. 1, p. 11. 38 Reading J. Balčikonio translated “Gražinę”, iš we immediately draw į attention sy to the dictionary. Instead of the usual words that have faded ir due to frequent universal use, the linguist chooses more vivid synonyms. J. Balchik The language of “Gražinės” is folk, lively. The translator does not avoid spoken language words. It is used in many forms and sizes, e.g. : "if the story (the story) tą you followed, “in the end it stopped doing otherwise” (decided), „o word to turn (change) loving shepherd" (enough), "Liutvarą her prince puts" (separates), "we don't have to die here" (loss), “el- .nu again man kelt ambulance" (fast), "near stopped common enemy hail" (beating), "the air is poor (not what), some wind“, „pailsusius bemat atgal nuspaudė“ (nuvijo), „e pasvajys (obstinacy) to him whatever he is, "it is not nice for us to be angry in property" (with each other), "her face is hot, terriblely stirred" ji (excited), "remember, ką ordered, be prepared" (ready) ir t. t. Nemaža In the ir "beautiful" archaisms, they are very necessary: they give the story a mystery, as if carrying the old times, e.g. : į „prie durų kunigės (dugaikštienės) eit pasiryžta“, the word priestess is used M. In a small dictionary. K. "Crusaders (crusaders) consignments (messengers) managed to escape" word — crusaders found A. ir J. Juška, S. Daukanto works, parcels — S. Slavonic Dictionary, Slavonic K. Dictionary. In the ancient scriptures are found ir other J. Archaisms used by Balčikonis: "what, my lord, I hear 7°, "it's a priest" (prince), "in the courtyards (villages) further where located", "and the falcon — honor true medėjo" (hunter), "that mother (woman), although ji men’s weapons are worn“. One more rare word ir whistles in translation — J. Basanavičiaus ir V. Pietatio used, but not so used as a guard: “to ir some he gives a guard (city), gives land’. The eye is caught by ir the linguist's own word arioti, used in a new meaning: “here the Polish land we are ploughing” (destroying). The words of various lexical groups used in the meaning have a potential aesthetic charge. In the sense of cultural tradition, archaism medėjas is semanticalne ly the same as “hunter, you cannot replace a priest with a prince, a yard — village. The ir archaisms of the dialect create a historical color. Almost all dialects are vivid spoken languages „ words, but the poetic jų transformation is successful ne everywhere: it is not suitable for a romantic poem, it raises other associations, e.g. : "in a ji terrible state" (excited), “but for men (difference) is vo essential”. Now let’s try to review a longer section of the translation. Let's compare J. Translations by other su translators. What makes it different J. Balčikonio translation? Let us take the description of the morning as an example: Already night pierzchata, juz pensée włosy Dawn po eastern opens the window. J. In Balčikonis’ translation there are no shining hairs of dawn, no personification, the translator conveys the idea in simple folk language, as the village man would say about the shining dawn: Even though it's still night, the sky is already one side East from the reflections of dawn red... 39 The meaning of the original is conveyed, although ir ne identical image, although ir be allusions to į ancient literature (Romanticists considered ancient literature to be ideal). ir Changed translation syntax. The translator extends the first sentence by half of the second sentence, „jau“, but this does not affect the meaning of the translation: the sentence is fluent, although ir be poetic threads. Right. Marcinkevičius splits the first sentence of the original into two, į maintaining the dynamic sound to of the original language, but lo also changing the artistic ir image: The terrible night has passed. The sky in the east is like purple. V. The translation of Syria-Gira resembles a folk song. Vertime ,,ausriné ir “cloud” becomes a diminutive, the artistic image is not maintained. The syntax has also been changed, but, as in previous translations, the meaningful content is ir conveyed. J. Zilius—Jonila translates these verses literally: Already the day is high, already the dawn of the cash White light covered his sky... The translator accurately conveys the artistic image of the original, retains personification, allusions to ancient literature į (remember Homer's "Odyssey" Aušrą raudonpirštę), but the translation is not sound, similar to the į prose text. Žilius-Jonila changes the syntax of the J. original: the original paragraph of two sentences becomes one sentence, but the meaningful content remains unchanged, repeated to ‘yes’. Another example. It depicts a mysterious view of Novgorod castle at night, describing every detail in detail: walach darni Po z i po blue sand With a huge boat the shadows bury, Falling into the w ditch, where in the midst of eternal pleasures, Breathes water, under green bald trees. The syntax of the original is nė not kept in one translation, the word order is changed, sentences are joined inappropriately to the original. J. Balčikonio translation contains information that is not in the original (memory information), ją we only feel when: Far shadow towers cast long. Around deep water ditch blackens, calm surface covered with Moors, jo but over notengs stranger unexpected. jį The translation is vivid, the meaning is conveyed, although the artistic image is quite accurate. ir ne The ta original color impression will disappear: "blue sand", "green molds". However, „maurai“ already conveys the color ir impression, sounds ir much more natural už "Green molds". Tropes used in the translation: sinekdocha "shadow cast by towers", anthropomorphization "throwing towers". These artistic tools enliven the translation, 40 „i is Ais wii ed JE Just ne literally translated these verses V. Syrian Gira: The shadow of the castle as a column lay On the blue sand, embankment, į depth Perkaso fell, where the wet shade The water breathed between the green molds. Here, as in the original, the personification “water was breathing” and the color impression are retained, but the translation sounds inanimate, the sentence lacks vitality, it jumps over the lines. Translation by P. Arminas-Trupinėlis: On the yellow sand on ir the castle of the rolling Shadows lay like giants, As if a į part of a jų ditch, Where old water moulds ir blows. In addition to one of the original “actors” (water), a second one appears in the translation, made from a local circumstance (molds). Not as it sounds "old water", the poetry stands in the way. Considering that this is the very first translation of “Grazina- ”, we can’t be too rude. Right. Marcinkevičius' translation, although graceful and sounding, distorts the meaning of the original: Velėnai hill risen up, Smėliu shadows creep large. They fall tired into the old ditch, Where fresh water gushes among the grasses. A completely new artistic image is created. True, romantic, as it should be in a romantic poem, but the author of this poem sought to convey not the clear mood of the gushing water, but to show the mysterious and frightening peace of the night, which the gushing water would only cloud. In addition, in the ditch that surrounds the castle, the water cannot gush, let alone be refreshing. By comparing the translations with the original and one with another, we would find many interesting things, but this would require more extensive work. It may be mentioned that not one Balčikonis changed the name of Gražina. "Armins-- Trupiņalis" translated "Grazina" as "Beautiful". Jonila tried to lithuanize the poem as much as possible: Naugardukas became Naujapile, Liutauras — Liūtauru. V. Syria-Gira treated the envoys as legates, J. Balčikonis as envoys. For Balčikonis, the Order of the Cross is like a “multi-headed snake”, for Gira — like a “hydra”, for Marcinkevičius — like a — į "dragon- ". From a brief comparison of the translations we can draw some conclusions. Translations by J. ŽiliusJonilas and P. Arminas-- Trupinėlis aim for the greatest visual accuracy, sometimes forgetting to check whether the language of the translations is flexible and easy to read. The translation of V. Sirija-Gira is not always artistically accurate, sometimes it is attempted to translate literally, but the talent of the poet saves a lot. Right. Marcinkevičius is primarily concerned with maintaining the original color, mood and dynamics of sound. J. Balčikonis deliberately archaizes the translation, presenting the images of the original in such a way that they are close to the Lithuanian 41 worldviews. There is a tendency to accentuate the language. The eleven-syllanų ble syllable is translated into a five-footed jambu, which is the — closest substitute for syllable poetry. J. Balčikonis’s work is one — of the best examples of philological translation. Almost — everywhere the exact way of translation is observed, explanations of idiomatic expressions are used, sentences are fluent, although without poetic impulse. The professor once corrected the translation of ne “Beautiful”, looking for a more vivid and vivid ir statement. He replaced noun constructions with more typical means of expression of the folk spoken language, improved rhymes. He tried to say as much as possible, as tangible as possible, although this changed the poetry of the original in some places. Here are some examples: Not sleeping — he it close knew, But the palace men of ir the castle guard Honourable men iš of the council themselves Pavst lord at the door was afraid. The following lines are amended as follows: He was not sleeping, he knew, although an important matter had arisen, which be the commander could not solve, but he was afraid to knock on the door. The word selfishly more specific už the word nearest, the o change of ruler to commander shows the importance of the poem's action, when everyone expected that Liutprand would be ne only a ruler, but a ir commander of the battle. Completely 2 ir 3 changed lines. They become more informative, the transfer of thought disappears, the speech is more lively: the extended continuous sentence is replaced by a two-degree subordinate sentence. When translating the lines, the word Council is his wisest, on the battlefield he is the bravest of all, the translator probably avoided the monotony of the language, so he replaces the už disturbed adjectives of the upper degree with completely different words. In the council he makes a good decision, in the battlefield his weapon takes the upper hand. Be to, personalization "gun takes over" more picturesque more folk. ir | They will tu say, you wanted to rob Ir wealth, you had to attack foreign land. The following lines are amended as follows: He said that he had been attacked by a stranger- 's wealth, Godišius's road grips attacked him. 42 The correction is enlivened by the figurative verb magėjo, the second person being replaced by the third, because it is desired to convey the view of others on į the ruler, to o ne speak him himself. į The name of the actor gives an emotional connotation. A more inventive rhyme. Rows The crowd of the crowd, the crowd of į the crowd, the crowd of the crowd, the crowd of the crowd. improved even times: du The crusaders' ornate fortresses are jų built, From many suffering Prussians misery. ir Crusaders' ornate castles in the land of Prussia, Iš there to enslave they lured our land. This is probably due to the rhyme. In the second ir third amendment, the personalizatijo on of the first edition is lost, but the "ornamental construction" is avoided. The third translation of “The Beautiful Castles” sounds more convincing už "decorated fortresses". A. In the words of Žirgulis, “it is the ne work of a professional o poet, a language specialist. Although he felt a ir penchant for poetry, he spent his entire life caring for the language of prose, occasionally only ir communicating with the development of su poetic language. Short-term contacts could not give as much power of poetic language as is available to people for whom the art of poetry is the main specialty...“ ? 0, BAJIbYHKOHHUC — IHEPEBOJIŪKHK ‘ri PAXKHHbI> A. MHMUKEBHUA Pesome Crates 3HaKOMHT ¢ FO. BajibuukOoHHCOM — IepeBOJMHKOM ITOI3HH. O6cyxnaercst mepesox mooMbl A. Muukesuya „I paxnna“, Bemosmennsni FO. BanmsunrkoHHcoM. B repesBojie IO. BanbunkoHnca MHOrHe S3BIKOBbIE SIBJICHHS TPAKTYIOTCH IIO-CBOEMY, YIOTTpeONAIOTCSA CJIOBA DPa3HBIX JIEKCHYECKHX CIIOEB. Ilepeson FO. Bajsunkouca CpPaBHMBAETCS C JDYIMMHM JIHTOBCKMMM TepeBomamy ‘I’ paxmHey" (WM. XKunroca-MŪMomnnsi, IT. 1999. B. "Apmmunaca-Tpymarennca, Crpnėc-I upsr, FOcr. MapiumauKsiBHYioca). OOpanraerci BHHMAHHe H Ha HCIMpaBJIEHHSA IrepeBO/Ia, BHeCeHHbie CAMHM FO. BansYHKOHHCOM C HEJILIO JIJOCTHXEKHSI HAKOOJIbINER HADOJHOCTH SI3BIKA. 2 Žirgulys A. On the Roads of Literature, —V., 1976, p.