Nonce words in the ukrainian translation of the shakespearean tragedy "King lear" by vasyl barka

Размещено на http://www.allbest.ru/

Размещено на http://www.allbest.ru/

Nonce words in the ukrainian translation of the shakespearean tragedy “king lear” by vasyl barka

Kravtsova M.О.

The article presents the Translation Studies analysis ofW. Shakespeare s tragedy “KingLear” in the Ukrainian translation by Vasyl Barka. The author concentrates on translator s usage of the nonce words, -viewing such tendency not only as the reproduction of the style of the original author, but also as the reflection of translator s individual style.

Keywords: nonceword, “KingLear”, W. Shakespeare, VasylBarka.

Статтю присвячено перекладознавчаму аналізу Шекспірової трагедії “King Lear” в українському перекладі Василя Барки. Автор зосереджує увагу на використанні перекладачем оказіоналізмів, розглядаючи таку тенденцію не тільки як відтворення стилю оригінального автора, але й як відображення індивідуального стилю перекладача.

Ключові слова: оказіоналізм, “KingLear”, В. Шекспір, Василь Барка.

Статья посвящена переводоведческому анализу Шекспировой трагедии “KingLear” в украинском переводе Василия Бар-ки. Автор сосредотачивает внимание на использовании переводчикам окказионализмов, рассматривая такую тенденцию не только как воспроизведение стиля оригинального автора, но и как отображение индивидуального стиля переводчика.

Ключевые слова: окказионализм, “KingLear”, В. Шекспир,

The present research constitutes the Translation Studies analysis ofW. Shakespeare's tragedy “King Lear” and its Ukrainian translation done by Vasyl Barka, so as to identify and analyse nonce words that occur in the target text.

Neology appears in the end of the 20th c. as the new branch of linguistics that studies criteria of identification of new words, their meaning, the reason for their coinage, the ways of their creation and their lexicographic processing. Such scholars as N.M. Solohub, N.A. Adakh, 0.0. Zhyzhoma, H.M. Vokalchuk et al. research in this sphere. The subject of neology is new words that appear in a language, i.e. neologisms and nonce words. We consider a neologism to be a nonce formation that is occasionally used in the idiolect of the original author or a translator, be it written or oral (a nonce word), and that either remains in this language or parole or is fixed in the dictionary (a neologism proper). Thus, a nonce word belongs to the first stage of existence of a newly-created word, that enters the language, and then on the second stage it becomes a neologism. The same viewpoint is supported by 0.0. Se- livanova, who subdivides neologisms into “general linguistic” and “nonce words” that are also called “stylistic neologisms” [12, p. 504]. Moreover, the very term “nonce-word” was adopted in the preparation of the Oxford English Dictionary (1884) “to describe a word which is apparently used only for the nonce”, i.e. for the time being. Thus, nonce words were the words registered in this dictionary, however the ones that experienced limited usage.

Nonce words can be of two types:

a word with a new lexical form, it is possible to view it as a lexical coinage:

a new meaning of an already existing word - a certain semantic change/shift.

The ways of creation of neologisms are: creation, derivation, claque and borrowings, while new senses are acquired by means of metonimization, metaphor- ization, semantic compression, pun as assimilation of words as to their motivators-homonyms [12, p. 504]. In Vasyl Barka's translation both types of nonce words can be met. Thus, for instance, the translator creates such words, as «обдитинитисъ» [22, p. 98], «прибатъкуватисъ» [22, p. 98] as the equivalents to Shakespeare's “to child” [28, p. 908] and “tofather” [28, p. 908]. Whereas the Ukrainian language does not have herein mentioned before lexemes, in A New English Dictionary on Historical Principles (NEDHP) we may find the words “to child” and “to father”. The lexeme “to child” dates back to the 14th c. with the meaning “1. To bear a child; to be delivered. 2. To bring forth, give birth to (a child). 3. To bring out, bring forth” [15, V. 2,p. 343]. What we observe, is that in the NEDHP one may find the adjective “child- ed” meaning “provided with a child or children” [15, V. 2, p. 343] and with the illustration taken from “King Lear”: “He childed as Ifather'd!” [28, p. 908] as the sample of the first usage of the meaning of the lexeme in question. In comparison, there is no adjective “father'd” registered in the NEDHP. Nevertheless, we are positive that in the source text the author referred not to an adjective, but to the verb used in the Past Simple tense with the meaning of the present lexeme “to receive ingratitude and be betrayed by one's own children”. If it were an adjective, the line would be: “He is. childed”. Thus, W. Shakespeare encodes a new meaning into an already existing lexical form used in the play in the past tense. The translator of the target text also opts for the verb, thus creating the Ukrainian nonce word with a new lexical form and meaning. The lexeme “tofather” is also considered to be a nonce word with an already existing lexical form, but a new nuclear meaning actualized in the context. In the NEDHP the following definitions of the verb “to father” can be found: “1. To be or become the father of; to beget. 2. To appear or pass as, or acknowledge oneself, the father of; to adopt. 3. To act as a father to, look after; to carry out (a law)” [15, V. 4, p. 98]. W. Shakespeare also creates a nonce word “tofather” with a different semantic change in “Much Ado About Nothing”: “4. a) To trace the father of. b) To father oneself: to indicate one's paternity. 1599 Shaks. Much Ado l.i.III The Lady fathers her selfe: be happie Lady, for you are like an honorable father” [15, V. 4, p. 98]. Thus, there is no registered definition in the NEDHP that can be attributed to the analysed context, i.e. “to receive ingratitude and be betrayed by one's own father”. In his translation Vasyl Barka uses the Ukrainian nonce word (a verb) for the English nonce word, thus preserving the pun that is created in the original with the microtext meanings (microsenses) created by means of the verbal image, where Edgar draws the parallel between Lear's fate and his own. Thus, the nonce words of the original belong to the second type, while the nonce words of the translation - to the first one.

As an example of the nonce word formation with a semantic change/shift in the source and target texts can be the following excerpt: “Then let them anatomize Regan” [28, p. 908]: «Тож нехай розітнуть лікарняно Регану» [22, р. 97], where the lexeme «лікарняно» acquires a new meaning, thus becoming a nonce word.

The rendering of nonce words poses a challenge for a translator, as far as the lingual correspondence of the source language unit in question does not exist in the target language. According to N.V. Hlinka and A.S. Khmara, the main difficulties that arise during the translation of new words created by an author lie in the understanding of these words, the meaning of which can be deduced from the context. The authors propose the following methods of their translation: transcoding, caique, explication, concretization and generalization [3, p. 243]. Nevertheless, we consider that herein one more method can be added: under the condition when the author transforms the already existing lexeme applying the word-forming rules of the source language, the same technique can be used by the translator, however he/she should subdue to the word-forming rules of the target language. In his work “A textbook of translation” P. Newmark states that “if it is a derived word it should be replaced by the same or equivalent morphemes; if it is also phonoaesthetic, it should be given phonemes producing analogous sound-effects” [7, p. 143]. Vasyl Barka mainly resorts to caique, explication, creation of a new lexeme by means of the word-forming rules of the target language and in certain places tends to use a nonce word in the translation as the equivalent to the stylistically neutral lexeme of the original.

According to the Oxford English Dictionary, over 2200 words are neologisms from W. Shakespeare. Adriana T. Damascelli provides the graph that shows the distribution of new words of Latin origin that were created and used by W. Shakespeare in his works over the period 1589-1613 [6]. Thus, it follows from it that out of 44 plays, “King Lear” occupies the fourth place after “Hamlet” (55), “Troilus and Cressida” (35) and “Love's Labour's Lost” (35), with 31 new lexemes of Latin origin used. However, it should be noted that but for Latinate nonce words W. Shakespeare created other lexemes that were not registered in dictionaries of that period by skillfully applying methods of word formation of the English language, i.e. by means of affixation, conversion and composition. He also introduced into English borrowings from Lrench (e.g. “oeillades”, that means “tender looks”) and the Germanic languages (e.g. the lexeme “crants” that is used in “Hamlet”, meaning “wreaths”). Thus, W. Shakespeare played with the language and in particular with the words so as to create specific effects for particular contexts. In “King Lear” the reader can find the following words and phrases coined by W. Shakespeare: “full circle”, “to blanket” (first use as a verb), “to elbow” (first use as a verb), “epileptic” (first use as an adjective), “half-blooded', “hot-blooded”, “noiceless”, “ungoverned”, “unpublished'' (in the sense “still unknown”), etc. Therefore, the translator of “King Lear” is not only to challenge himself/herself with the complexity of W. Shakespeare's plot, allusions, metaphors, puns and other stylistic devices, but to decide on how to preserve author's idiostyle and his tendency to create new words.

According to N.A. Adakh, Vasyl Barka “went down in history of contemporary literature and language as an audacious experimentalist not only in the sphere of thematic spectrum of a text, but also in the sphere of author's lexical nomination” [1, p. 2]. He made a significant contribution to the enrichment of the poetic lexicon of the 20th c. In his translation of “King Lear” he was trying to preserve the style ofW. Shakespeare, creating new and fresh coinages. If to compare his translation with those made by P.O. Kulish, Panas Mymyi, M.T. Rylskyi and O.A. Hriaznov, we will see that the translation done by Vasyl Barka is the one that preserves the author's idiostyle in reference to the usage of nonce words to the greatest extent. Thus, for instance W. Shakespeare's nonce word “fen-suckt fogs” from King Lear's address to his daughter Regan: “You fen-suckt fogs, drawn by the powerful sun, / Tofall and blast her pride!” [28, p. 901] is translated in the following ways: «важка та мокра пара <...> з озер гнилих та багон» [26, р. 579], «тумани» [24, р. 280], «тумани, що вас всисають багна» [25, р. 62], «болотно-виссані тумани» [22, р. 71], «пара <...> із болота» [23, р. 49]. Thus, what we observe is that only Vasyl Barka used the nonce word in his translation that is considered to be equivalent to its source language correspondence both in its meaning and form. In all other cases the translators used already existing words only partly reproducing the meaning of the original lexeme, some of them applied the method of descriptive paraphrase. The same situation can be met in the following examples:

W. Shakespeare's phrase “Thy tender-hefted nature” from “No, Regan, thou shalt never have my curse: / Thy tender-hefted nature shall not give / Thee o'er to harshness: her eyes are fierce; but thine / Do comfort and not burn” [28, p. 901] is translated as: «Душа твоя, предобра й жаліслива» [26, р. 579], «ти вродилась / Незлобною» [24, р. 280], «бо природа / У тебе ніжносерда» [25, р. 62], «ласкавно-складна вдача» [22, р. 71], «ти лагідної вдачі» [23, р. 49]. Thus, only Р.О. Kulish and Vasyl Barka preserve the SL nonce word opting for the word-composition. Another lexeme “unbonneted” [28, p. 903] that also occurs in W. Shakespeare's “Othello” - “May speak, unbonneted, to as proud a fortune / As this that I have reacht” [28, p. 820] - is rendered as follows: «без шапки» [26, p. 588], «З невкритою <...> головою [24, p. 285], «простоволосий» [25, p. 72], «босоголовий» [22, p. 78], «простоволосий» [23, p. 56]. Herein Vasyl Barka uses the method of composition of lexemes «босий» and «голова», applying the same method that W. Shakespeare opted for in his plays “A Midsummer Night's Dream” and “Macbeth” creating the similar English neologism “barefaced”: “Some of your French crowns have no hair at all, and then you will play barefaced” [28, p. 282], “and though I could / With barefaced power sweephim from my sight” [28, p. 869]. Another nonce word “oak-cleaving” in the line “Vaunt-couriers to oak-cleaving thunderbolts” [28, p. 903] has the following translations: «Трощіте на скіпки дуб'я то височенне» [26, р. 590], «що ламають / Дуби в лісах» [24, р. 287], «що дуби скіпає» [25, р. 74], «дубокрушних» [22, р. 80], «Що спалюють дерева» [23, р. 57]. It is only Vasyl Barka who introduced a corresponding nonce word into the translation, preserving both the meaning and the form.

According to M.M. Morozov, “W. Shakespeare created many words by adding suffixes, esp. “en”, “un”, “out” to already existing ones” [5, p. 5]. The same method of word formation can be observed in the play “King Lear”, where the author with the help of affixation creates various nonce words. Moreover, it is often that Vasyl Barka in his translation not only creates anew lexeme adding a prefix to the already existing word, but also substitutes prefixes so as to create a new word. Here the reader can find such lexemes as: “superser- viceable” [28,p. 897]:: «виставніжковий» [22,p. 59], “superflux” [28, p. 905] :: «надстаток» [22, p. 88], “out-frown” [28, p. 919] :: «розхмурити» [22, p. 137], “out-face” [28, p. 899] :: «зустріну» [22, p. 65], “out-paramour'd” [28, p. 905] :: «переамурував» [22, p. 89], “outlaw'd” [28, p. 906] :: «навіженить» [22, p. 92]. In some lines the translator uses this method for the ordinary lexemes of the original what can be considered as the method of compensation, as well as the reflection oftranslator's idiostyle, e.g. «вмінитися» [22, p. 143] :: “to shift” 28, p.922], «всильній» [22, p. 23] :: “strain'd” [28, p. 887], «встидна» [22, p. 27] :: “ashamed” [28, p. 887], «вречений» [22,p. 37] ::“condemn'd” [28,p. 891], «вскородятъ» [22, p. 46] :: “stamp” [28, p. 894], «впастковану» [22, p. 49] :: “caught” [28, p. 894], «вранив» [22, p. 56] :: “lanced” [28, p. 896], «вколодкувавши» [22, p. 63] :: “stocking” [28, p. 898], «врепетувавши» [22, p. 65] :: “with roaring” [28, p. 899].

According to N.A. Adakh, there are a great number of nonce words that denote people, especially their professions in Vasyl Braka's works, e.g. «вбивник», «документник», «образотворник», «проявник», «турботник» [1, р. 9]. In the process of our analysis we have encountered the nonce words of the same category that are used as the counterparts for the neutral lexemes of the source text, what we also consider as the reflection of translator's idiostyle in the translation, namely: «корончий» [22, p. 18] :: “one bearing a coronet” [28, p. 885], «рабецъ» [22, p. 39] :: “slave” [28, p. 892], «слугівник» [22, p. 89] :: “serving-men” [28, p. 905], «мордерник» [22, p. 147] :: “murderer” [28, p. 923], «сподарець» [22, p. 41] :: “sirrah” [28, p. 892], «сподйнъка» [22, p. 96] :: “mistress” [28, p. 907] and others.

W. Shakespeare created many nonce words by means of composition (juxtaposition), what was preserved in the target text. For instance: “hell-black” [28,p. 909]:: «пекельно-чорний» [22,p. 101], “milk-liver'd” [28, p. 911] :: «кислопечінковий» [22, p. 110], “lily-liver'd” [28, p. 897] :: «бліднопечінковий» [22,p. 59], “dog-hearted” [28,p. 912]:: «собакосердий» [22, p. 113], “shrill-gorged” [28, p. 914] :: «дзвінко- горлий» [22, p. 118], “toad-spotted” [28, p. 921] :: «жабоплямний» [22, p. 142], “empty-hearted” [28, p. 886] :: «порожньосердий» [22, p. 23], “marble-hearted” [28,p. 893]:: «камінносердий» [22, p. 46], “worsted-stocking” [28, p. 897] :: «шерстяно- панчдховий» [22, p. 59] and others. In some places Vasyl Barka used this method for the neutral lexemes of the original: «королъ-безумецъ» [22, p. 101] :: “lunatic king” [28, p. 909], «рід-корінь» [22, p. 109] :: “origin” [28, p. 911], «королик-пташка» [22, p. 120] :: “wren” [28, p. 915], «маніжно-всмішний» [22, p. 120] :: “simpering” [28, p. 915], «шкелъця- очі» [22, p. 122] :: “glass eyes” [28, p. 915]; «друже- служко» [22, p. 40] :: “friendly knave” [28, p. 892], «мисколизний недоїдковець» [22, p. 59] :: “eater of broken meats” [28, p. 897], etc.

On the basis of the analysis conducted, the following classification was outlined that describes the specificity of nonce words in the Ukrainian translation of “King Lear” by Vasyl Barka:

Nonce words that are used exclusively in the Ukrainian translation ofW. Shakespeare's “King Lear” by Vasyl Barka.

Nonce words that are used both in the Ukrainian translation under research and in Vasyl Barka's poetry and prose.

Nonce words that are used first in the Ukrainian translation under research and later in the artistic literature that was published after 1969.

Thus, we come to the following conclusion: the translator not only managed to preserve the idiostyle of W. Shakespeare one of the features of which is the tendency to use nonce words. In his translator's interpretative position that resembles the principles of im- agism and neoromantic conception by W. Benjamin, Vasyl Barka also “remained faithful to his principle to search for the words, that is free from semantic formalism of the established word usage, not impeded by the habit, prompted by the intuitive feeling” [4, p. 61]. The reflection of translator's speech personality formed by his own writings is visible in the usage of nonce words created by the Ukrainian writer in his poetry and prose in the Ukrainian translation of “King Lear”. Moreover, certain nonce words coined by Vasyl Barka in the process of translation ofW. Shakespeare's tragedy did not enter the dictionaries, however were later used by Ukrainian men ofletters.

So as to illustrate the items of our classification, let us considerthe following samples.

“O, how this mother swells up toward my heart! / Hysterica passio, - down, thou climbing sorrow, / Thy element's below!” [28, p. 900].

«О, як же материця-неміч душить серце! / Нападний плач, геть - заберуще горе, / від горла вниз спадай!» [22, р. 67].

In this example the stylistically neutral SL lexeme “mother” is substituted in the translation by a nonce word «материця-неміч» that is formed be means of composition of lexemes «'материця» and «неміч». The English lexeme “mother” was a Renaissance term for an illness that felt like suffocation, characterized by light-headedness and strong pain in the stomach, its symptoms resemble those of emotional trauma, grief, and hysteria. The NEDHP provides the following definition for the present lexeme: “11 b. Rising (suffocation, swelling upward, etc.) of the mother. Hysteria <...> 12. Hysteria: equivalent to the phrases in lib. Also fits of the mother” [15, V. VI, Part II, p. 692], moreover, as the illustration of the 12th meaning, the herein mentioned before line from “King Lear” is provided. The Church-Slavon- ic lexeme «материця» has the same meaning as the lexeme “mother-in-law” («теща») [10, p. 299], possessing slight negative connotations in the recipient ethnoculture what preserves the implied negative meaning of the original line. At the same time the original meaning is preserved by means of addition of the lexeme «неміч» defined as: “1. Insufficiency of physical strength; weakness. <...> 3. coll. The same as the disease” [14, V. 5, p. 337]. Therefore, what we observe in the translation is the substitution of the stylistically neutral SL lexeme with a nonce word in the TL. Due to the differences in the parallel diachronic development of the meanings of the lexemes “mother” and «мати» in the source and target languages in question, and as a result absence in the TL of the meaning actualized in the SL text, as well as the association of the lexeme «мати» in the Ukrainian ethnoculture with the cult of mother [8, p. 355-357], the translator was forced to opt for the dynamic equivalent (by E. Nida) and decode the implied meaning aiming at the understanding of the recipient audience. Another nonce word that appears in the translation is the adjective «заберущий» that is the modification of the verb «забиратися» created by means of affixation, what means “to climb somewhere”.

“Fortune, that arrant whore, /Ne'er turns the key to the poor. -/But, for all this, thou shalt have as many dolours for thy daughters as thou canst tell in a year” [28, p. 900].

«Фортуна: лярва на побрідстві, / дверей не відмика для бідних. / Але, щодо цього, матимеш стільки скарбованців скорби від твоїх дочок, що не зможеш почислити зарік» [22, р. 67].

In this sample the SL adjective “arrant”, i.e. “wandering”, is substituted with the noun «побрідство» - a nonce word that is the modification of the Ukrainian verb «побродити». In the dictionary by A. Krymskyi and S. Yefremov there is the similar, but still not identical lexeme «побридки» [11, V.l, p. 60]. In the presented excerpt the Pool warns the King that for everything he gave to his daughters, i.e. his lands, belongings, etc., he will have “as many dolours” as he “canst tell in a year”. The lexeme “dolours” means “money”, “wealth” as used in its direct meaning, and simultaneously the word is used ironically, meaning that the King will have “nothing”. Applying the method of composition Vasyl Barka creates portmanteau words «скарбованці скорби» thus explicating the implied meaning of the original. The lexeme «скарбованці» is most probably the combination of the lexemes «скарб» and «карбованці». Both words bear the direct meaning of the original. However, the usage of the lexeme «карбованці» can be viewed as the method of domestication, as far as it is a currency unit that was used in Ukraine. The lexeme «скорби» is the composition of «скорбота» and «скарб» where the meaning implied by the original author is inferred by the translator. nonceword king lear shakespeare

“Now, Edmund, where's the 'villain?” [28, p. 896].

«Де ж, Едмунде, той бусоркан?» [22, р. 55].

In the next sample under analysis the neutral SL lexeme “villain” is rendered as a TL nonce word «бусоркан» that can be either the composition of «босоркун» - “a vampire” [9, V. 1, p. 41] or the “mountain spirit” and «бусурман» - “1. the one of different religion. 2. Is used as a swear word” [14, V. 1, p. 264]: on the one hand, nothing is being said directly either about any vampires, or about the different religion of Edmund, on the other hand some religious shades are heard in his voice in many lines of the original, what is more, the text of “King Lear” contains a hidden allusion to the “Declaration” by S. Harsnett that deals with the very issue. Moreover, the second meaning of the lexeme «бусурман» is actually actualized in the SL text.

In the following examples, the nonce words that are used both in the Ukrainian translation under research and in Vasyl Barka's poetry and prose can be found. Even though the word is not registered in a dictionary, it still occurs in more than one artistic work. The supposition can be made that translation activity influenced Vasyl Barka's own works and, vice versa, his own creativity influenced his translation.

“Sir, I love you more than 'words can wield the matter; / Dearer than eyesight, space, and liberty; / Beyond what can be 'valued, rich or rare” [28, p. 885].

«Мій пане, я люблю вас більше, ніж слово виразити може, / миліші ви над посвіт ока, простір і свободу /над все, що варте, скарбність аборідкість» [22, р. 19].

In the herein provided above sample of the original text the consonance of the letter “r” in the lexemes “rich or rare ” constitutes the euphony of the passage. Vasyl Barka did not reproduce the consonance, however he preserved the euphony by the repetition of the suffix -ість: «скарбність або рідкість», thus creating a nonce word «скарбність» by means of suffixation. Vasyl Barka also used this word later in his writing published after the appearance of the translation: «найвищу скарбність громадського та особистого життя» [27, р. 32]. The present nonce word resembles another one applied by the translator in the Ukrainian text of “King Lear”, i.e. «скарбованці», as well as a newly-created lexeme «скарбничність» in the verse «Будяк» (“Thistle”): «коли скарбничности дарів солодких / світові досить» [27, р. 36] that was also written on August 8, 1981, afterthe appearance ofthe translation.

“Vengeance!plague! death! confusion! ” [28, p. 900].

«Возмездя, моровиця, смерть, розбивство!» [22, р. 68].

In the present sample the lexeme «возмездя» can be considered the modified borrowing from the Russian language, as far as there is no such lexeme in the Ukrainian language and the Russian word «возмездие» is translated into Ukrainian as «відплата, віддяка, заплата, (за хорошее) нагорода, (за преступление) кара» etc. The lexeme was used in Vasyl Barka's novel «Рай» (“Paradise”): «щоб не образити судних сил возмездя» [18, р. 192]. Another stylistically neutral lexeme “confusion” is substituted with the lexeme «розбивство». According to N.A. Adakh, the Ukrainian nonce word is formed by means of prefix and suffix word-formation. The lexeme was used in Barka's play «Господар міста» (“The Master ofthe town”) published in 1980: «А розбивство! - як мені в серці» [17, р. 60]. Nevertheless, we consider that it is also possible that the present lexeme is formed by means of the composition of the lexemes «розбійство», i.e. “robbery” and «вбивство», i.e. “murder”.

“Poor Tom; that eats the swimmingfrog, the toad, the tadpole, the wall-newt and the water; that in the fury ofhis heart, when thefoulfiend rages, eats cow- dungfor sallets; swallows the old rat and the ditch- dog; drinks the green mantle of the standing pool; who is whipt from tithing to tithing, and stock-pun- isht, and imprison'd; who hath had three suits to his back, six shirts to his body, /Horse to ride, and weapon to wear; /But mice and rats, and such small deer, / Have been Tom's food for seven long year. / Beware myfollower” [28, p. 906].

«Хома-бідак, що їсть плавучих жаб, ропавок, пуголовків, стінних ящірок і водяних; що в шаленстві свого серця, коли казить нечиста сила, їсть кров'янку як салат; глитає старого щура і собаче падло, п'є жабуриння на ковбані. Хто від селища батожений до селища, колодкований і тюрмлений. Хто мав три вбрання до спини, шість сорочок до тіла, коня - їхати, і зброю - носити. / Проте мишва, щурня, мільга сама: / все - їв довгих сім літХома. /Бережіться мого слідоступа» [22, р. 91].

In this sample there is only one nonce word in the source text (“stock-punished”') and, on the contrary, six of them in the target text with one used in Vasyl Barka's own work «Правда Кобзаря» (“Kobzar's Truth”) in 1961 - «слідоступ за плечима росіян» [16, р. 30], and later in the translation of “King Lear”. Herein the following methods were used so as to create the nonce words: “stock-punished' and «Хома-бідак» - juxtaposition; «батожений», «колодкований», «тюрмлений» - by means of suffixation the translator creates adjectives from the already existing nouns «батіг», «колодки», «тюрма» correspondingly. Another lexeme «щурня» is formed according to the word-forming rules of the Ukrainian language, where the suffix -ня is used so as to form collective nouns. The noun «слідоступ» is formed by means of composition of the noun «слід» and the verb «ступати».

Another item of our classification is illustrated by the samples provided herein above, when nonce words that were used in Vasyl Barka's translation interweave with the original Ukrainian artistic literature that was published after 1969, i.e. after the publication of the Ukrainian translation of “King Lear” produced by Vasyl Barka.

“To shake all cares and business from our age; / Conferring them on younger strengths, 'while we / Unburden'd crawl toward death” [28, p. 885].

«Наш загад - / всі клопоти і справи скинути з свого доліття, / їх сповіряючи на міць молодшу, та тоді/до смерти легкома хилити» [22, р. 18].

In the present sample the Ukrainian equivalent of the SL lexeme “unburden'd” is the lexeme «легкома» that is not registered in any dictionary to which we had access. The word is formed by means of suffixation, where the suffix -ома is used in the Ukrainian language for the formation of adverbs, for instance: «крадькома», «тайкома». Nevertheless, the adverb «легко» is considered to be the conventional one that is registered in the dictionaries having the meaning “1. Without physical strength, without much effort. <...> With smooth passing over; gracefully (to walk, dance, etc.)” [14, V. 4, p. 463]. The lexeme «легкома» was used in the verses by D. Pavly- chko - «Ти навчаєш ходить легкома /Попід хмари навислі» [19] and V. Romanovskyi - «І зимний холод крався крадькома» [20].

“Nor are those empty-hearted whose low sound / Reverbs no hollowness” [28, p. 886].

«<...> та й не порожньосерді - ті, у кого тиха мова дуплиння не відлунює» [22, р. 23].

In the next sample W. Shakespeare's nonce word “empty-hearted” is rendered by Vasyl Barka with the Ukrainian lexeme «порожньосердний». In both cases the method of composition is used. Uet us compare other Ukrainian translations of the excerpt: «Повір мені, що не без серця той, /Хто змалу не навчивсь базікати цікаво» [26, р. 519], «І не жорстока та, чиї слова /Хоч тихі, та від повного йдуть серця» [24, р. 242], «Ще не порожнє серце в тих, що стиха, / Не як гучна порожнява, говорить» [25, р. 9], «Бо не бездушні ті, хто мовчазні, - /Лиш почуття ховають непритворні» [23, р. 9]. Thus, it is only in Vasyl Barka's translation that one encounters the nonce word that has the same meaning and corresponds to the same method of word-building as the original one. The only dictionary in which we have found the Ukrainian lexeme «порожньосердний» was the “Dictionary of poetic language of Vasyl Stus” compiled by U.V. Olifirenko. Herein the lexeme under analysis is registered as an “individual author's word” [13, p. 57], meaning that it was a nonce word created by V. Stus: «Порожньосердий вибільшився світ, / мов простору запрагло німування» [21, V. З, р. 59]. However, it should be mentioned that the poet used this lexeme in his verse that belongs to the verses written within 1973-1979, therefore, cannot be ascribed to him. Most probably, the word was introduced into the Ukrainian language by Vasyl Barka as a caique of the English lexeme “empty-hearted” in the Ukrainian translation of “King Uear” published in 1969 and done even earlier.

On the basis of the Translation Studies analysis conducted, the conclusion can be drawn that in his translation Vasyl Barka skillfully reproduced the id- iostyle of W. Shakespeare, preserving his tendency to create nonce words. As well as an original author, the translator also applied the methods of affixation and composition, however the method of conversion was not used in the translation as far as this method of word building is not very much productive in the Ukrainian language. Not only did Vasyl Barka reproduce the forms of the original nonce words, but he also explicated the implied meanings that might not have been understandable to a target reader due to the historical distance or absence of the necessary cultural background knowledge. The contrastive analysis of Vasyl Barka's translation with the texts created by other Ukrainian translators helped us to make an assumption that Vasyl Barka was the only Ukrainian translator of W. Shakespeare's tragedy “King Uear” who managed to reproduce the style of Shakespeare-neologistto the greatest extent. The acquaintance with Vasyl Barka's own creativity helped us to presume that his own idiostyle, here we mean his tendency to create new words, not only facilitated better reproduction of the original, but highly influenced the target text with the overuse of nonce words. This tendency is also visible if we compare the results presented in Figures 1 and 2. Figure 1 presents the frequency distribution of nonce words in the Ukrainian translation of W. Shakespeare's “King Fear” by Vasyl Barka according to the parts of speech. The present chart shows the outcome of our analysis. If to compare our results (Fig. 1) with those received by N.A. Adakh (Fig. 2) [2, p. 8], we will see that both charts bear similarity. This, to our viewpoint, can serve as the evidence to the fact that even though a translator is dependent on author's style, his/her individuality is inevitably reproduced in the translation.

Fig 1. Frequency distribution of nonce words in the Ukrainian translation of W. Shakespeare's “King Lear” by Vasyl Barka according to parts of speech

Fig. 2. Frequency distribution of nonce words in Vasyl Barka's poetic works (1931-1991) according to parts of speech. The quantitative analysis was conducted by N.A. Adakh

References

1. Адах Н.А. Авторські лексичні новотвори в поезії Василя Барки: семантика, функції, прагматика : автореф. дис. ... канд. філол. наук : спец. 10.02.01 «Українська мова» І Н.А. Адах ; Нац. пед. ун-т ім. М.П. Драгоманова. - К., 2009. - 20 с.

2. Адах Н.А. Словотворчість Василя Барки з погляду статистики І Н.А. Адах II Науковий вісник Волинського національного університету імені Лесі Українки. -2011.-№2.-Ч. 1.-С. 82-85.

3. Глінка Н.В. Особливості перекладу термінів та неологізмів у творах наукової фантастики І Н.В. Глінка, А.С. Хмара II Науковий вісник Волинського національного університету імені Лесі Українки. - 2010. -№9.- С. 241-244.

4. Коломієць Л.В. Перекладознавчі семінари: методологічно-стильові орієнтири в українському поетичному перекладі від кінця XIX до початку XXI століття (на матеріалі перекладів англомовної поезії та поетичної драми) : навчальний посібник І Л.В. Коломієць. -К. : Видавничо-поліграфічний центр «Київський університет», 2011. -495 с.

5. Морозов М.М. Язык и стиль Шекспира І М.М. Морозов //Из истории английского реализма / под ред. проф. И.И. Анисимова ; Академия наук СССР. Институт мировой литературы им. A.M. Горького. -М. : Изд-во Академии наук СССР, 1941. - С. 5-56.

6. Damascelli А.Т. Shakespeare: The Power of Language and the Language of Power I A.T. Damascelli ll Proceedings of the Corpus Linguistics Conference. -2007 [Electronic resource], - Access mode : http://ucrel.lancs.ac.uk/publications/CL2007/paper/247_Paper.pdf.

7. Newmark P. A Textbook of Translation IP. Newmark. -N.Y. ; London ; Toronto ; Sydney ; Tokyo : Prentice Hall. - 292 p.

8. Жайворонок B.B. Знаки української етнокультури : [словник-довідник] І В.В. Жайворонок. - К. : Довіра, 2006. - 703 с.

9. Малоруско-нїмецкий словарь : в2т. / уложили Є. Желеховський, С. Недїльский. - Л. : Друкарня товариства ім. Шевченка, 1886.

10. Полный церковно-славянский словарь (со внесением в него важнейших древнерусских слов и выражений) I сост. L. Дьяченко. -М. : ТипографияВильде, 1900. - 1120 с.

11. Російсько-український словник : у 4 т. (1924-1933 рр.) І гол. ред. А. Кримський, С. Ефремов. -К., 2007. - Т. 1-3. -2550 с.

12. Селіванова О.О. Лінгвістична енциклопедія I O.O. Селіванова. - Полтава : Довкілля-К, 2011. - 844 с.

13. Словник поетичної мови Василя Стуса. Рідковживані слова та індивідуально-авторські новотвори І уклад. Л.В. Оліфіренко. - К. : Абрис, 2003. - 90 с.

14. Словник української мови :в11т./за ред. І.К. Білодіда (голова) та ін. - К. : Наукова думка, 1970-1980.

15. ANew English Dictionary on Historical Principles ; founded mainly on the materials collected by the Philological Society I ed. by J.A.H. Murray. - Oxford : Clarendon Press, 1888-1933. - VV. 1-11.

16. Барка В. Правда Кобзаря I В. Барка. - N.Y. : Вид-во «Пролог», 1961. - 288 с.

17. Барка В. Еосподар міста : п'єса І В. Барка II Сучасність. - 1980. - № 7-8. - С. 41-63.

18. Барка В. Рай : роман І В. Барка. - Нью-Йорк : Вид-во «Свобода» Джерзі Ситі, 1953. - 309 с.

19. Павличко Д. Таємниця твого обличчя І Д. Павличко. -К. : Основи, 1998.

20. Романовський В. Ти вийшла вслід за мною легкома... І В. Романовський II Клуб поезії [Електронний ресурс]. - Режим доступу : http://mail.poetryclub.com.ua/getpoem.php?id=290071.

21. Стус В.С. Твори :у4т.(з додатковими 5 і 6 т.), 9 кн. І В.С. Стус. - Л. : Просвіта, 1994-1999.

22. Шекспір В. Король Лір І В. Шекспір ; пер. В. Барки. - Штутгард ; Нью Йорк ; Оттава : На горі, 1969. - 151 с.

23. Шекспір В. Король Лір І В. Шекспір ; пер. О.А. Грязнова II В. Шекспір: трагедії та хроніки. - К. : Задруга, 2008. - КН.2.-2008.-С.З-125.

24. Шекспір В. Король Лір / В. Шекспір ; пер. М. Рильського II Твори : в 6 т. -К. : Дніпро, 1986. - Т. 5. - 1986. - С. 235-343.

25. Шекспір В. Король Лір І В. Шекспір ; пер. П.А. Куліша. - Л. : Українсько-руська видавнича спілка, 1902. - 164 с.

26. Шекспір В.. Король Лір І В. Шекспір ; пер. Панаса Мирного II Зібрання творів : у 7 т. І Панас Мирний (П.Я. Рудченко). - К. : Наукова думка, 1970. -Т.6.- 1970. - С. 511-682.

27. Шукає серце щастя (до 100-річчя від дня народження Василя Барки) : біобібліогр. покажч. І уклад.: Н. Мельник, Т. Буряк, О. Круківська ; Держ. закл. «Держ. б-ка України для юнацтва». - К., 2008. - 43 с.

28. The Complete Works of William Shakespeare. - Hertfordshire : WordsworthEditions, 1996. - 1263 p.

Размещено на Allbest.ru