MASARYK UNIVERSITY BRNO Faculty of Education Department of English Language and Literature Naformátováno: Písmo: není Tučné

MASARYK UNIVERSITY BRNO Faculty of Education Department of English Language and Literature Naformátováno: Písmo: není Tučné

Naformátováno: Normální

JIŘÍ BRDEČKA: TAJEMSTVÍ HRADU V KARPATECH (TRANSLATION) Diploma thesis

Brno 2007

Supervisor:

Written by:

Mgr. Martin Němec

Eva Čížková

Naformátováno: Řádkování: 1,5 řádku Naformátováno: Normální, Řádkování: jednoduché, Tabulátory: není na 6.13"

Naformátováno: Vpravo: 0.25"

Naformátováno: Čeština Naformátováno: Žádné, Řádkování: jednoduché

DECLARATION

Naformátováno: Písmo: (výchozí) Times New Roman, 12 b.

I hereby declare that I have worked on this undergraduate diploma thesis on my

Naformátováno: Písmo: (výchozí) Times New Roman

own and that I have used only the sources listed in the bibliography. I also give consent to deposit this thesis at Masaryk University in the library or the Informational system of the Faculty of Education and to be made available for study purposes. Naformátováno: Písmo: (výchozí) Times New Roman, není Tučné

________________________

Naformátováno: Písmo: (výchozí) Times New Roman, není Tučné

Eva Čížková

Naformátováno: Odsazení: Vlevo: 3.5", Řádkování: 1,5 řádku Naformátováno: Písmo: není Tučné Naformátováno: Písmo: 12 b. Naformátováno: Vpravo: 0.25"

Contents Introduction ............................................................................................................................ 4

Naformátováno

... [1]

Naformátováno

... [2]

Naformátováno

... [3]

Naformátováno

... [4]

Naformátováno

... [5]

Odstraněno: Introduction 2¶

... [6]

Naformátováno

... [7]

Naformátováno

... [8]

Naformátováno

... [9]

Naformátováno

1.1 From Verne’s story to Brdečka’s ..................................................................................... 6

... [10]

Naformátováno

... [11]

1.2 The ‘Carpathian dialect’................................................................................................... 7

Naformátováno

... [12]

Naformátováno

... [13]

Naformátováno

... [14]

1.4 Parameters of the English ‘Carpathian dialect’.............................................................. 12

Naformátováno

... [15]

1.5 Analysis of English dialects ........................................................................................... 15

Naformátováno

... [16]

Naformátováno

... [17]

Naformátováno

... [18]

1.7 Translation of the title and realia ................................................................................... 22

Naformátováno

... [19]

1.8 Translation of characters’ names ................................................................................... 25

Naformátováno

... [20]

Naformátováno

... [21]

Naformátováno

... [22]

1.10 Translation of the idiomatic expressions ..................................................................... 27

Naformátováno

... [23]

1.11 Translation of the police song ...................................................................................... 33

Naformátováno

... [24]

Naformátováno

... [25]

Naformátováno

... [26]

Naformátováno

... [27]

Naformátováno

... [28]

Naformátováno

... [29]

Naformátováno

... [30]

Naformátováno

... [31]

Naformátováno

... [32]

Naformátováno

... [33]

Resumé................................................................................................................................. 68

Naformátováno

... [34]

Summary .............................................................................................................................. 68

Naformátováno

... [35]

Naformátováno

... [36]

Naformátováno

... [37]

Online resources................................................................................................................... 70

Naformátováno

... [38]

Quotes .................................................................................................................................. 72

Naformátováno

... [39]

Naformátováno

... [40]

Naformátováno

... [41]

Naformátováno

... [42]

Naformátováno

... [43]

Naformátováno

... [44]

Naformátováno

... [45]

Naformátováno

... [46]

Naformátováno

... [47]

Naformátováno

... [48]

PART ONE ............................................................................................................................ 6

1.3 The analyses of the ‘Carpathian dialect’.......................................................................... 9

1.6 English ‘Carpathian dialect’........................................................................................... 18

1.9 Other issues of translation.............................................................................................. 26

1.12 Translating the registers ............................................................................................... 34

PART TWO ......................................................................................................................... 36 2.1 Translation ..................................................................................................................... 36

Conclusion ........................................................................................................................... 66

Resources ............................................................................................................................. 69

3

Naformátováno: Písmo: 14 b., není Tučné

Introduction

Naformátováno: Písmo: 14 b. Naformátováno: Normální

This diploma thesis is an attempt of a literary translation of a film script to Tajemství Hradu v Karpatech, a Czech film directed by Oldřich Lipský in 1981. The screen play written by Jiří Brdečka was inspired by Jules Verne’s novel from 1881 The Castle of the Carpathians. Verne’s originally serious narration was replaced by Brdečka’s humour and transformed into a parody whose main device is the contrast between low and high class achieved by creating a special language for the villagers. This special language is the backbone of this work which naturally set the main goal of this work: to analyse it, discuss its parameters, features, structure and meaning and to find its suitable English equivalent. This work was my first major project in the field of literary translation as up till now I have always concentrated on general translations in which meaning was the primary focus and the quality, let alone the beauty of the language simply did not matter. From that point of view I felt the literary translation was going to be a great challenge for me, especially considering the choice of material and the ‘direction’ of the translation. Nevertheless, there were no doubts about those issues at all; choosing literary translation for my diploma thesis was my last opportunity to attempt such work with professional supervision and professional feedback on the final result from the opponent. The choice of the material was influenced mainly by my personal experience: my appreciation of this film was passed onto me by my parents; and even though the

Odstraněno: the Odstraněno: for

film has had English subtitles done, their lack of differentiating the formal and informal

Odstraněno: has been

registers brought the idea into my mind to try and produce the translation myself. Of

Odstraněno: have

course, I was aware of my own shortcomings, both linguistic and translational which I

Odstraněno: g

hoped to overcome thanks to my supervisor’s guidance and kind help from my English speaking friends. Despite the fact that I was translating a script of a film the result of this work is not subtitles to the film but a literary translation of the script. This was so for the purpose of avoiding the demanding limits which a translator has to work within when

Odstraněno: subdue to

creating subtitles: generally it is only between 30-38 characters on the line1. My aim was to focus on quality not on quantity. 1

Rundle Ch: Using Subtitles to Teach Translation [online] 2000. [Retrieved 28 April 2007]. Available at http://chrisrundle.agregat.net/section_subtitle/open_project/documents/Rundle(2000)_Using-Subtitlesto-Teach-Translation.doc

4

Naformátováno: Písmo: Kurzíva Odstraněno: r


There are two major chapters in this work which are tightly interlocked: the first one deals with different aspects of the translating process, the second one is the translation itself. The first one has several subchapters and includes theoretical background to the script and its origin, chapters analysing the language of the villagers, the ‘Carpathian dialect’- a term I have used to label the villagers way of speaking, and the rest focuses on the practical issues of translating – translation of the title, realia, proper names, dialect, registers and idiomatic expressions. When translating I have always tried to list possible equivalents and then choose the best option and justify it by using advice of Mr. Levý from his book ‘The Art of Translation’ whenever possible or by providing explanation of the notions between different registers and dialects; meter

Odstraněno: . Odstraněno: um

and alliteration have also played an important role in deciding for the best translation, and are often taken into consideration. The translation placed at the end of this work is presented in two columns, the Czech original in the left column and its English translation in the right one. The format was changed into less typical landscape form for practical reasons: in the standard format the names of the speakers at the beginning of each replica were taking a great deal of the sheet space and the length of the whole translation increased significantly; the wider prospective of the landscape format allowed more space for the replicas and made the reading more comfortable. Last but not least I would like to take this opportunity to thank to my supervisor, Mgr. Martin Nĕmec for all the support, help and advice, and also to Jessica Edmonds,

Odstraněno: ... Odstraněno: and

Joseph Lemmon and Peter Crossley for their valuable comments of the ‘guinea pig Odstraněno:

readers’ of the translation. Thank you very much.

Odstraněno: ¶ ¶ ¶ ¶

Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku


5

Naformátováno: Písmo: 14 b.

PART ONE

Naformátováno: Řádkování: 1,5 řádku Naformátováno: Písmo: 14 b.

1.1 From Verne’s story to Brdečka’s


The screenplay written by Jiří Brdečka is based on Jules Verne’s novel The Castle of the Carpathians (Le château des Carpathes), written in 1892. Verne himself introduces his story in the first chapter not as fantastic, genre so typical for him, but as romantic2. He set his story right at the end of the 19th century with a belief that if some of the events described are impossible for his days, they might be part of everyday life someday. It should be said, he was right. Though technical miracles mentioned in the book had been already invented in Verne’s time, they only existed in a very primitive form. As for the electrical bulb the ‘… conversion of electrical energy to light was demonstrated in laboratories as early as 1801, it took more than 100 years for the modern form of electric light bulb to be developed, with the contributions of many inventors.’3 Gramophone was patented in 1887,4 the first working television in 19075; all these novelties are crucial to the novel and appear in it with daily platitude for some of the characters and an utter astonishment for others. Verne’s story is simple; in the small village off the beaten track – in Transylvania, west part of nowadays Romania – the villagers live in fear of the local

Odstraněno: out of Odstraněno: oath

ruined and deserted castle. Their fear comes from their natural belief in ghosts occupying the haunted castle, and, partly, from the strange phenomenon occurring at the castle – smoke. A daring young man decides to investigate the magic himself but his visit ends in fiasco; he is himself converted to the commonly shared belief – that the

Odstraněno: see Odstraněno: right through Odstraněno: turned into the

castle is haunted. Meanwhile the village is visited by Count Férenc Telek, a man who turns out to be pursuing the last owner of the castle, Baron Robert Gorc. The reason for Odstraněno: e

enmity between these two men is nothing less than a woman; Férenc’s fiancée and

Odstraněno: occurance

Robert’s admired opera signer, Stilla who, as Férenc believes, had died five years ago.

Naformátováno: Písmo: Kurzíva

However, Férenc hearing the name of the owner and the occurrence of smoke above the

Odstraněno: Wikipedia

Naformátováno: Písmo: 10 b. 2


3

Odstraněno: Wikipedia

Verne,J: Tajemný hrad v Karpatech, Supraphon 1972, p.7 Wikipedia the free ecyclopedia [online], 2001. Modified 22 August 2006[retrieved 24 August 2006]. Available at http://en.wikipedia.org/wiki/Electric_bulb#History_of_the_light_bulb 4 Wikipedia the free ecyclopedia [online], 2001. Modified 20 August 2006[retrieved 24 August 2006]. Available at http://en.wikipedia.org/wiki/Gramaphone 5 Wikipedia the free ecyclopedia [online], 2001. Modified 20 August 2006[retrieved 24 August 2006]. Available at http://en.wikipedia.org/wiki/History_of_television

Naformátováno: Písmo: Kurzíva Odstraněno: Wikipedia

Naformátováno: Písmo: Kurzíva Naformátováno: Vpravo: 0.25"

6

castle’s main tower, heads for the castle where after escaping from a trap he reunites with Stilla. Unfortunately, to Férenc’s utter despair, it is only Stilla’s image and recording of her voice that he encounters. These were preserved by inventions of professor Orfanik, the baron’s faithful companion. In the end, the castle is destroyed using Orfanik’s explosives, the baron dies and Férenc leaves Transylvania with a twice broken heart and the villagers keep their belief in magic. To a 21st century reader the story seems rather grotesque, and this notion became the main starting point for Jiří Brdečka who finished his screenplay of The Mystery of the Castle in Carpathian Mountains in 1981. He kept the concept of Verne’s story as such; the location and the era stayed unchanged along with the basic line of the plot. The inventions in Brdečka’s story were somewhat updated appropriately to ‘our’ times – gramophone was replaced by quadraphonic system, telephone connection became

Odstraněno: quadrophonia

wireless, and rockets to the Moon and remote device for launching the dynamite charges were added in order to bring more charm to a modern man one hundred years after Verne. However, the critical transformation the story underwent was the change of a genre. The typical Verne’s genre, the fantastic story was diminished, the original romantic intention survived but in a new form, and the seriousness was utterly omitted a parody was born. By giving the locals their own dialect Brdečka created a historical grotesque full of sharp contrasts: new vs. old, high class manner and vs. the low one of the local people, grammatically correct way of speaking vs. uneducated dialect, technical progress vs. simplicity. Even proper name used throughout the film, which will be discussed later in a separate chapter, can be divided according to this notion: existing important cities, such as Dresden or Slovak district town Čadca are put into opposition with fictional places carrying the image of small villages of no importance whose names often have witty connotations in meaning - Vyšné Vlkodlaky and Salašáry. Odstraněno: ¶ ¶ ¶


1.2 The ‘Carpathian dialect’

Odstraněno: ¶

Naformátováno: Písmo: 12 b. Naformátováno: Normální Naformátováno: Písmo: 14 b. Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku


7

In order to obtain a written script of the film I have searched databases of Národní Knihovna Praha6, Moravská Zemská knihovna7, Masaryk University8, AMU9, and JAMU10, also bookshops Barvič a Novotný and Akademia, and the Internet (www.imdb.com, www.gutenberg.org, www.google.com) with no positive result. Therefore I believe that there has never been an officially published script for this film. As the Barrandov film archive is not freely open to the public, the language of the villagers exists only in the spoken form of the film version. So to give the attempted translation justice, it would have to be translated into spoken form, too. However, the objective of this work is to create a written literary translation, and for that reason I transcribed the spoken heavily accented language into its Czech written form. The language of the villagers is an artificial dialect created by blending many exiting Czech and Slovak dialects; according to some opinions it also paraphrases Romanian or Hungarian language at the same time11. As for such creation there are no conventions for the correct spelling, and consequently, during the process of transcribing the accent into its written form I have encountered many passages in the text which were problematic: mostly it was the issue of the fine nuances of shifted word

Odstraněno: eg.

stress (distinguishing whether ‘copak’ or ‘copák’ was said), the quality of first


consonants (‘všici’, ‘fšici’, or ‘šici’) and also deciding if an accented word – e.g.

Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie)

‘mrtvou’ – was pronounced sufficiently clearly for transcribing it as ‘mertvou’; such

Naformátováno: Angličtina (Velká Británie)

issues might seem of no high importance but they influence the proportion of accent


words in the text and thus the translation itself. Even though the dialect is generally


comprehensible to a Czech native speaker, there are few places, e.g. ‘šak huž je otec


Semafór zhodil z kazatelny’ where the wording sounds unfamiliar while the meaning


can be easily deduced.

Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie) Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva

6

Národní knihovna České Republiky [online] 2006. Modified 28 February 2006 [retrieved 5 March 2007]. Available at http://www.nkp.cz/pages/page.php3?nazev=Katalogy a databaze&page=sluz_altnk_kat.htm 7 Moravská zemská knihovna [online] 2006. Modified 3 March 2006 [retrieved 5 March 2007]. Available at http://aleph.mzk.cz/F 8 Katalogy Masarykovy University [online] 2005. Modified September2005 [retrieved 5 March 2007]. Available at http://library.muni.cz/katalogy.html 9 Akademie muzických umění v Praze [online] 2006. [Retrieved 5 March 2007]. Available at http://www.amu.cz/?r_id=1366 10 Katalog JAMU [online] 2004. [Retrieved 5 March 2007]. Available at http://aleph.jamu.cz/F?local_base=JAM01 11 Česko-Slovenská filmová databáze [online] 2001-2006. [Retrieved 10 March 2007]. Available at http://www.csfd.cz/film/6000-tajemstvi-hradu-v-karpatech/?podle=bodu&limk=-1&limr=

8

Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie) Odstraněno: r Odstraněno: r

Naformátováno: Odsazení: Vlevo: 0", Předsazení: 0.16" Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Odstraněno: r

Naformátováno: Angličtina (Velká Británie) Naformátováno: Vpravo: 0.25"

Odstraněno: ¶ ¶

1.3 The analyses of the ‘Carpathian dialect’


The ‘Carpathian dialect’ is an nonexistent dialect created from standard Czech language, dialect words from various Czech and Slovak dialects and words or the

Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku Naformátováno: Písmo: 14 b.

typical features associating the setting – Eastern Europe. It has not been an aim of mine to localise the origin of the individual dialect words, on the contrary I analysed the language focusing on its non-standard features only, and consequently tried to find a compatible language in English – mixture of English dialects of no specific location. I estimate that about one third of the dialect is created by standard Czech language with no differentiations whatsoever. The rest of it is formed by the dialect words, which - no matter how unusual they might seem - always keep the clarity of meaning to the Czech or Slovak reader. There are two general types of dialectic features – the first group is consistently used within the text (a small but important part consists

Odstraněno: is

of proper nouns whose primary aim is the allusion of a places with different degree of importance; they will be discussed later in the section dealing with Translating realia), the second one has the surprising element of inconsistency which in some cases

Odstraněno: not

involves truly unique features and those examples will be provided, too. Naformátováno: Řádkování: 1,5 řádku

1. Omitting phonemes One typical feature of any dialect is leaving out various parts of the official vocabulary. Here, the first group in such category is formed by omitting the initial phoneme of words, mostly ‘k’ e.g. kde, kdybyste, ‘j’ e.g. jenem, jestli, jsme, jsem, ‘v’ in words však, všechna, všichni and vomdlíla (one exception to this rule can be found in the old man’s speech in which he clearly pronounces ‘všici’), and ‘m’ in mňa. There are also cases of omitting two phonemes ‘vž’ e.g. vždykcky and vždyť, and one exception to the rule concerning a ‘vz’ variation on the last mentioned expression – the forester pronounces all the phonemes in the imperative vzbuďájte sa. Second group of omission is connected to mid- and end-position syllables with the side-effect of changing the word accents as well; ether adding stress, e.g. nějaký-ňáký, nepamatuji-nepametám or omitting accents: povídáš-poudáš, na pochopení-na pochopa.

2. Adding phonemes


9

The opposite of omitting phonemes is naturally adding some extra ones. That can be

Odstraněno: to

done at the beginning of a word using phoneme v (vona, voči, vomdlít) and h (huž, ha, hale), but also in some other cases such as oučinný. Pronouncing extra ‘e’ inside a word is another general notion in dialects, which achieves prolonging the word of one more syllable: deržal, mertvou, skerze, drcnutí. However, other phonemes can be added in word like příjít-přichodit which also leads into change in accents - in this case omitting, or adding it in verbs neruš-nerůšaj and vzbuďte se-vzbuďájte sa. Few examples can be found of phonemes added at the end of words for the effect of de-standardising them: duchách, dálejc, radějc, vedlejc, zasejc, zatracenejm, zlejm and proklatejch. The most unique group has only one member – sprosták. By using one of the typical features described above, the adding the ‘s’ into initial position of the word prosták – a simple man, the author managed a new meaning, he created image of somebody morally dirty, which is a characteristic highly suitable for the young forester.

3. Changing phonemes Dialects often differentiate their own vocabulary from the other dialects’ or the standard one by substituting phonemes with different ones, both vowels and consonants. For this text the í –> á substitution is very frequent. It happens in most fourth conjugation in present tense of 1st person sg and pl (slyším-slyšám, mylím-myslám, vyletíme-vyleťáme), and 3rd person sg (straší-strašá, škodí-škoďá, sedí-seďá, nehodínehoďá). In past tense of the same verb class e changes both into á, e.g. viďěl-viďál, přišel-přišál, bydleli-bydláli, zasyčelo-zasyčálo, or í, e.g. museli-musíli, omdlelavomdlíla. The exception here is ‘neví‘ and ‘žíví‘ which stay unchanged and thus grammatically correct as their dialect forms ‘nevá‘ and ‘živá’ would not sound comprehensible. There are many features occurring in various Czech and Slovak dialects which are also presented in this dialect blend. One is the change of ‘se’ into the informal ‘sa’ and other various vowel changes: ukrutně-ukrutno, kloub-klúb, nikdy-nidká, potom-potém, rachocení-rachocání. Also the substitution e/é – ý typical for central bohemian dialects is presented here: vymeteno-vymetýno, salašárského-salašárskýho, širého-širýho, and vice versa ý - é which is often enriched by extra ‘j’: horácký-horáckej, netopýrům-

Odstraněno: but not least

netopejrům, týrali-tejráli, blýskání-blejskání. Lastly there is the usage of current correct

Odstraněno: nowadays

verb ending of first conjugation –u for first person sg, e.g. vynšuju, which was

Odstraněno: considered Odstraněno:

considered at the time of creation to be a grammatically incorrect form and uneducated. 10


Within consonant changes there are only a few examples; the first feature is replacing consonants with ‘j’: anděl-anjel, generál-jenerál, and the substitution doktordochtór is accompanied by the accent change as well. Some of the changes involve both vowels and consonants: zatím-zaťál, chtěl-chcel and some are not used as consistently as one might expect. For example, it was not surprising of the forester to say ‘neřek’ instead of official ‘neřekl’; it is a characteristic notion of informal speech. However, the same person later pronounces ‘mukl’ rather then ‘muk’; in this case it could be the character’s attempt for educated language as the first replica, though claimed in front of the Count, is purely about the forester himself, while in the second case it is aimed at the butler. Similarly strange is the fact that all the villagers pronounce ‘ř’, which the majority of Czech accents omits and Slovak language and dialects do not know at all.

4. Changing stress Shifting the word stress, adding it to unexpected parts of words and ignoring it in others could be considered the most powerful tool of the ‘Carpathian dialect’. Some typical stress changes connected to phoneme change have already been discussed above, in part focusing on omitting and adding. However, there is a significant tendency to change word stress in words that are otherwise standard Czech, and due to this notion these words gain their ‘dialectism’. Within disyllabic words the stress is sometimes put at the beginning: ‘Včíra po nĕm nebýlo áni vídu‘, or on the last syllable thus creating for Czech language unfamiliar iamb: ‘Copák to mohlo vzít jinéj konéc, dyž zaséjc brouzdál kolém týho Čórtova Hrádu?’ Polysyllabic words might carry the stress on the penultimate syllable: vomdlíla, dooprávdy, meducína, zvoníce, rachocání, bydláli, or even on the second one, e.g. vypářila. Many words kept their standard stress and a reader might discover whole sentences with no change whatsoever: ‘A jakto, že tu má nakvartýrovanou Vaši miloslečnu snoubenku?’ Having found no strict rules according to which the stress is shifted I came to the conclusion that it is the overall impression of highly rhythmical text ‘…poudal nášmu dĕtkoj…’ which gives the idea of a dialect, and that - in my opinion - was the author’s

Odstraněno: ’,

aim. The poetical effect is furthermore magnified by occasional alliteration p-t-j ‘…sám Odstraněno: ‘

jenerál Patlaj. Po tý patáliji…’.

5. Vocabulary


11

As stated above in the introduction to this chapter the origin of individual words and their localization will not be discussed. In this section I will only deal with expression that have not been referred to yet, i.e. typical dialect expressions, some instances of metaphorical meaning and also newly coined derivations. The text contains several words which generally belong to dialect vocabulary without being unique to any specific dialect: šlamastika, nakvartýrovanou, kanafas, zblo – although the first two have their origin in German, these expressions are generally understandable. Then a group of less familiar expressions could be distinguished – words like felčár and škapulíř which might not be directly known to a particular reader but their meaning can be guessed from the context. Last group comprises of nonexistent words with the function of interjections: krléš, šturmem and all the mysterious Odstraněno: ing

lyrics of the song that the police sing while marching.

Odstraněno:

A special approach was used to form the title miloslečna; two words were joined

Odstraněno: Sp

together – milostivá slečna. Also examples of metaphorical meaning can be found in the text: štulec has the normal meaning of slap or a punch, but in the film is used to describe the powerful attack to break the door. Although ‘palice’ has the original meaning of a

Odstraněno: P Odstraněno: however

stick it has been used in many dialects and slang as an alternative name for a head.

6. Grammar Apart from above mentioned anomalies the dialect is otherwise grammatically correct; to summarise it the major deviance can be found within the areas of shifting the word stress, conjugating verbs and suffixes of adjectives. Odstraněno:


1.4 Parameters of the English ‘Carpathian dialect’


The necessity of differentiating the villagers’ language from the rest of the characters’ came from my personal experience. I have invited my English friends to watch this ‘classic’; it was a Czech version with English subtitles. While the Czech part of the audience were appreciating the eccentric dialect (Čórtův Hrád, tam strášá), my companions read the neutral ‘The Devil’s Castle – it’s haunted.’ Generally very successful and high quality subtitles made by Ms Doris Kožíšková failed to provide the two different registers, and thus failed the film of its most powerful strength, its Naformátováno: Vpravo: 0.25"

12

humour. For some viewers, Brdečka’s visuals (created by Jiří Švankmajer) might be enough to satisfy the curious notion of the movie, and then for them the final image is a light-hearted historical burlesque. However, in my opinion the humour of the film is not just means to laughter but a main device leading to understanding the whole point of the film: the parody of human beings from ‘old’ times, the gigantic differences between worlds of high class tied up by ridiculous conventions, and low class marked by simplicity of traditional uneducated life. This belief became the greatest challenge of

Odstraněno: ght Odstraněno: And Odstraněno: t

my work - finding a suitable way of speaking for the villagers. The local language had to fulfil many criteria. Firstly, its written form had to be clearly distinguishable from the Standard English representing the nobleman’s speech,

Odstraněno: standard English

secondly the language had to give the impression of an existing or at least familiar oldfashioned rural dialect, or more to the point a mixture of dialects but nevertheless with strong comical character, and thirdly no matter how eccentric such dialect might be, it needed to be fairly comprehensible to English native speakers.

a) Written form – there are thousands of accents within English language – virtually every town or village has its own one as professor Higgins showed in G. B. Shaw’s Pygmalion – but they are mostly pronunciation varieties of the Standard English and so


do not differ in vocabulary or grammar12. One way of solving this problem was the idea of writing the villagers’ language using phonemic chart, which would allow every non-standard pronunciation feature visible even in the written form. However, that strategy could not have been followed as

Odstraněno: proceeded

many English native speakers are not familiar with it. In such circumstance the searching for the appropriate language in this translation was searching for a dialect, i.e. ‘… a variety of language differing in vocabulary and grammar as well as pronunciation. Dialects are usually spoken by a group united by geography or class.’13 By using a dialect the problem of high and low language differentiation was solved.

b) Dialect and its connotation – the requirement of certain connotations, such as rural uneducated and old-fashioned notion involved the study of already used dialects in literature: Scottish, Irish, Yorkshire, London dialect, Black American English, and some 12

Wikipedia the free ecyclopedia [online], 2001. Modified 22 February 2007 [retrieved 24 August 2006]. Available at http://en.wikipedia.org/wiki/Accent_%28linguistics%29 13 Wikipedia the free encyclopedia [online], 2001. Modified 17 January 2007 [retrieved 17 Jan 2007]. Available at http://en.wikipedia.org/wiki/Accent_%28linguistics%29

13

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Vpravo: 0.25"

modern artificial creations. The main purpose of reading those was exclusively to gain inspiration and familiarity in written dialects. I was aware that using an already existing dialect for my translation would not be exact as the Czech dialect is not genuine but a blend. The author’s intentions for a ‘new’ dialect might have been the wish not to locate the setting any further (there are several ranges of Carpathians in Eastern Europe) and perhaps to gain the freedom of expressions not limited by any known dialect. Baring these suspicions in my mind and assured by Jiří Levý, it became clear that the English form of the dialect needed to be artificial, too. ‘When hinting a villagers’ language it is possible to use language features showing no regional character instead of a concrete dialect; but only such phonetical, lexical and syntactical features that are common to several dialects and thus are not thought of as specific to a certain region but rather create a general image of a village.’14

c) Comprehensibility of the transcription – a big issue arose from the want of

Odstraněno: u

comprehensibility to English native speakers. The Czech version was targeted to a maximum of ten million Czechs and six million Slovaks. Even though there are many

Odstraněno: in Odstraněno: at

dialects within those viewers, the number of the speakers is fractional to the English

Odstraněno: s

ones and so all the Czech and Slovak could understand the language and its humour.

Odstraněno: of

Such comprehensibility was difficult to achieve in the language which has over 400million speakers15 and over 50 dialects in Great Britain and another 50 in the United

Odstraněno: s Odstraněno: of Odstraněno: everybody

16

States . I felt that some of the existing dialect might be too ‘coded’. Tom Leonard managed to turn a spoken Scottish accent into the written form by changing the spelling of English words so when pronouncing them according Standard


English rules of pronunciation the result sounded like a strong Scottish accent while the grammar and vocabulary stays the same (if a toktaboot thi trooth lik wanna yoo scruff yi widny thingk it wuz troo.17) Another Scottish dialect used by Irvine Welsh in his novel

Odstraněno: on top of the Glasgow spelling

Trainspotting, was a mixture of big city working class Scottish enriched by modern

Odstraněno: iří:

jargon of drug addicts which makes the style extremely difficult to read (Yir snookered

Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie)

14

LEVÝ, J. Umění překladu, československý spisovatel, Praha 1963. p85 15 Wikipedia the free encyclopedia [online], 2001. Modified 17 January 2007 [retrieved 17 Jan 2007]. Available at http://en.wikipedia.org/wiki/English_language 16 Wikipedia the free encyclopedia [online], 2001. Modified 17 January 2007 [retrieved 17 Jan 2007]. Available at http://en.wikipedia.org/wiki/List_of_dialects_of_the_English_language 17 Leonard, T: The 6 O’Clock News [online]; Intimate Voices (3), from a series Unrelated Incidents, 1984. [Retrieved 20 September 2006]. Available at http://www.tomleonard.co.uk/sixoclock.shtml

14

Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Odstraněno: r


eftir that.18), and was therefore partly inappropriate for my purposes. Rather more comprehensible was the Irish dialect used by Roddy Doyle in The Barrytown Trilogy, with the feature of using an apostrophe instead of weak consonants (D’yeh know wha’?19). Using an African American English Alice Walker Morrison wrote her Color

Odstraněno: ‘ Odstraněno: ’

Purple in a dialect free of many common grammatical rules, e.g. past tense and future structures, present tense without the verb ‘to be’ etc; a dialect whose connotation is my target of uneducated people, and clear to understand apart from few expressions which spelling reflects some pronunciation (none of my bidniss20). Pygmalion served the purpose of presenting the London’s dialect though not with many examples as Liza’s

Odstraněno: ‘ Odstraněno: ’ Odstraněno: t

Doolittle’s original speech is after her first talk stopped by the author himself with the following excuse: ‘Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.’21 Last source of inspiration was the style used in the comic cartoon magazine Viz, a style which is the most similar one to my target as it is purely artificial. The Czech university has taught and educated me mainly in British English so the translation is mainly based on British dialects which usually use Irish or North

Naformátováno: Normální, Zarovnat do bloku, Odsazení: První řádek: 0.5", Řádkování: 1,5 řádku Odstraněno: ¶

Yorkshire accents for simulating villagers’ style of talking.


1.5 Analysis of English dialects


In this part of my thesis I was considering possible solutions of translation based on the analysis of the Czech dialect; the outcome was to be an analyses similar by the structure to the Czech one but with English existing dialect features. In majority of cases the Czech dialectic notions could not have been applied into English due to the differences between the two language systems, e.g. English does not conjugate verbs or does not use any punctuation to mark word stress, has fixed word order etc. Therefore, alternative linguistic features are suggested from various notions throughout English dialects and accents whose pronunciation transpires into their written form. Also, some typical examples of specific notions with the area of their origin are provided in spite of the fact that such issue was carefully avoided in the Czech dialect analyses; it is in order

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva

18

Welsh, I: Trainspotting, Vintage, London, 2001, p. 168 19 Doyle, R: The Barrytown Trilogy, Vintage, London, 1998, p. 258 20 Walker, A: Color Purple, Washington Square Press, New York, 1983, p. 14 21 Shaw, B: Pygmalion, Bratislava 1985, p.


15

to prove the final result to be a blend rather than a specific dialect. I have used my personal knowledge of Bristol (BrA) and Somerset (SA) accents, and quoted BlackAmerican English (BAE), Irish English (IE), Scottish English (SE), Yorkshire English (YE), London English (LE) and artificial dialect (AD) as found respectively in Color Purple by Alice Walker, The Barry Town Trilogy by Roddy Doyle, Trainspotting by Irvin Welsh, The Yorkshire Dictionary of Dialect, Tradition and Folklore by Arnold Kellet, Pygmalion by Bernard Shaw and magazine Viz. As will become obvious English dialects use three main means of differentiating themselves from Standard English22. Firstly, it is pronunciation which, apart from

Odstraněno: standard English Odstraněno: r

accents, transpires into the written form and thus creates the alternative spelling. In some cases of the strongest dialects that I have analysed the alternative spelling is the only differentiation as their grammar is generally flawless and the word stock a part of the standard one: this applies to the London dialect used in Pygmalion (Will ye-oo py me f’them?), and some of the artificial ones from the Viz magazine (I don’t know y’d gorra job.). In other cases the grammar stays correct while the specific vocabulary, the

Odstraněno: We aallus ‘ad ‘im doon forra shortliftah

second means of differentiation, is used: e.g. the Glasgow dialect (Ah’m jist gled thit thuv no taken ma wee bairn away). Thirdly, some English dialects nourish grammatical abnormalities of all kinds, simply put dialects are created by misusing standard grammatical rules: omitting grammatical word (e.g. auxiliary verbs) or shortening them into contractions, applying rules in vice versa situations (I needs, but he need), using more than one negative in an affirmative sentence, ignoring question word order, etc.

1. Omitting phonemes Similarly to Czech, initial consonant can be omitted when followed by a vowel; ‘e-he (LE), ‘ope-hope, ‘ere-here (AD). Words with stress on the second syllable can appear written without their first syllable as a consequence of pronouncing the

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva

unstressed beginning of the word so lightly that it finally became fully omitted: against, between, besides (BAE), except (LE), cos – because (IE). Alternatively it is consonants or syllables at the end of words that can be skipped, e.g. wh’-where (LE) gonna (BAE), but most often it is the –ing: trying (SE); in both IE and AD the left out phoneme get substituted by an apostrophe: goin’-going, anythin’-anything, an’-and, y’-you, t’-to, ou’ 22

Wikipedia the free ecyclopedia [online], 2001. Modified 14 January 2007 [retrieved 20 January 2007]. Available at http://en.wikipedia.org/wiki/List_of_dialects_of_the_English_language

16


o’-out of, wha’-what, d’-do, wi’-with; LE uses f’-for, y’-you, awy-away, py-pay, BrA can omit ‘t’ in mid position Bristol or ‘l’ at the end normal. In some cases a double vowel is shortened into a single one: brek-break (YE). Odstraněno: ¶

2. Adding phonemes For most mild dialects this is not a very typical notion but appears frequently in strong ones: YE schooil, dooant-don’t, blinnd; in SE, loast, stoap, shoap. In some areas

Naformátováno: Odrážky a číslování Odstraněno: of

extra r is often added to give the impression of long vowel: orf (LE), arsk, parfs-paths (AD), farntarstic (SA); other ‘filling’ phonemes, e.g. ‘ə’, ‘w’ can be pronunced in order to achieve a round effect of sounds (LE): tə-oo-two, yə-ooa-your, d-ooty-duty, bə-oots, gowin-going, pneumownia.

3. Changing phonemes This is probably the broadest area of changes usually concerning vowels but not uniquely. There are traceable notions, e.g. abnormal occurance of vowel i in both BAE: git-get and SE: whit-what, thin-than, pit-put, eftir-after, jist-just, nivir-never, heid-head, whin-when. In the same dialect a single vowel o is changed and often accompanied by another one: naebody-nobody, tae-to, auld-old, nae-no. In AD o can change into u: tuto. To illustrate further changes in consonants here are some examples: ower-over (SE), behint-behind, bud-but YE. Irish speakers tend not to pronounce voiced th properly hence oder-other, den-then, dat-that; and also struggle with unvoiced form of it: tingthing, tirsty-thirsty. LE features deah-dear, menners-manners, banches-bunches, voyletviolet, san-son, shew-show.

4. Changing stress As already mentioned above in the introduction to this part changing of word stress - such a powerful tool within the Czech language - cannot be transcribed into written English without using the phonemic transcription.

5. Vocabulary Each of the dialects consists of its own unique expressions characteristic only for the one area. Sometimes these are derivations and mongrels of the official vocabulary, at other times the meaning cannot be guessed, here are just few examples of both: howth–how are you (IE), ah-I, yin-one, ur-were, ye-you in sg, yis-you in pl, wee-small 17

Odstraněno: <#>Changing phonemes¶ This is probably the broadest area of changes usually concerning vowels but not uniquely. There are traceable notions, e.g. abnormal occurance of vowel i in both BAE: git-get and SE: whit-what, thin-than, pit-put, eftir-after, jist-just, nivir-never, heid-head, whin-when. In the same dialect a single vowel o is changed and often accompanied by another one: naebody-nobody, tae-to, auld-old, naeno. In AD o can change into u: tu-to. To illustrate further changes in consonants here are some examples: ower-over (SE), behint-behind, bud-but YE. Irish speakers tend not to pronounce voiced th properly hence oder-other, den-then, dat-that; and also struggle with unvoiced form of it: ting-thing, tirsty-thirsty. LE features deah-dear, menners-manners, banchesbunches, voylet-violet, san-son, shewshow.¶ ¶

Naformátováno: Odrážky a číslování Odstraněno: it has been Odstraněno: pired

Naformátováno: Odrážky a číslování Naformátováno: Vpravo: 0.25"

(SE), kecks-trousers (YE), bairn-baby (both SE and YE), trollies-trousers (AD), copper’s nark-informer, baw-buy (LE). Using such expressions in the translation was unsuitable for their strong area connotations which would localize the setting. On the contrary words with no such ties were desirable to create a ‘neutral’ dialect. Odstraněno: ¶

6. Grammar Misusing standard grammatical rules is a very popular means of differentiating

Naformátováno: Odrážky a číslování

dialect; one typical feature is ignoring the affix –s at the end of verbs in third person sg: ‘she smile; (BAE) or on the opposite using it for first person sg: I feels tired (low classes generally); the same applies on the auxiliary ‘do’ – ‘he don’t know’. Using more than one negative in a sentence: ‘I ain’t no money’ can be found in American English, LE; omitting verb to be in progressive and perfect tenses is a typical feature of BAE: ‘she not lying down’. The grammar of questions is often absent ‘Who this?’ (BAE) or the question is formed by correct intonation: ‘You want it?’. Some past tenses of

Odstraněno: w

irregular verbs are formed the same way as the regular ones: knowed-knew (BAE). The occurrence of present perfect tense is generally lower within American English. In the north of England the possessive pronoun gets substituted with the object form of

Odstraněno: ce Odstraněno: ….

personal pronoun, e.g. ‘me brother’.

Odstraněno: ¶

Naformátováno: Normální, Řádkování: 1,5 řádku

1.6 English ‘Carpathian dialect’

Naformátováno: Písmo: 14 b. Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku

Having analysed six linguistic areas of the Czech version of the ‘Carpathian dialect’ (areas concerning omitting, adding and changing phonemes, shifting word stress, special word stock containing dialect words, and non-standard grammar rules) and some features of genuine English dialects within the same structure, I have now proceeded to the final and the greatest task of this work – compiling an English version of the ‘Carpathian dialect’ partly by using the results of the Czech analysis whenever

Odstraněno: e

an equivalent could be found, partly by applying typical features of various dialects so as not to commit to any localisation, and finally by creating some new rules and vocabulary often to the purpose of hinting at an ambiguous meaning of humorous character.


18

Odstraněno: ¶

It was clearly an impossible task to find a straightforward equivalent for every word written n dialect; on this issue Mr. Levý says that when translating dialect ‘…it is not necessary to use a local expression for every dialect one - it can be used later - as long as the overall character of the text stays the same.’23

Odstraněno: necessary Odstraněno: standard English Odstraněno: might seem contra-...or[49] Odstraněno: n Odstraněno: n

At this stage it was crucial to put down some firm rules which would be applied consistently throughout the villagers’ speech so a reader could get familiar with them

Odstraněno: bit it was done in order to ... [50] Odstraněno: clearly Odstraněno: (

and ‘learn’ the dialect. The main objectives for the dialect were firstly its clearly

Odstraněno: which if

differentiation from the Standard English, secondly its associations with no particular

Odstraněno: l Odstraněno: y)

area, and lastly the comprehensibility. Some features e.g. changing initial ‘c’ for ‘k’ (castle for kastle) which were suggested to clearly differentiate the spoken and written form - even though if spoken they would sound identical - were vetoed by the native

Odstraněno: –

Naformátováno

Naformátováno

speakers as infantile. Also despite the analyses of genuine dialects full of ‘rich’ features

Odstraněno:

‘the Carpathian dialect’ stays somewhat simple and comprehensible.

Odstraněno: –

1. Omitting phonemes To mark the omission of consonants an apostrophe was used; in the initial

... [51]

Odstraněno: –

... [52]

Naformátováno

... [53]

Naformátováno

... [54]

Naformátováno

... [55]

Odstraněno: tt

Naformátováno

... [56]

Naformátováno

... [57]

the exception of: have, haunting, hear, help, hell which were left for comprehensibility

Naformátováno

... [58]

reasons or were changed otherwise). The only other initial omission happens to pronoun

Naformátováno

... [59]

Naformátováno

... [60]

Naformátováno

... [61]

Naformátováno

... [62]

Naformátováno

... [63]

Naformátováno

in’ (loiterin’, starin’) and the same happens to standard words ending –ing: brin’, thin’,

... [64]

Naformátováno

... [65]

evenin’. Other examples include prepositions o’-of, ou’-out, wi’-with, f’-for, t’-to and

Naformátováno

... [66]

Naformátováno

... [67]

Naformátováno

... [68]

and the way villagers call the Count – Your Lordshi’. Here the purpose is to cut the last

Naformátováno

... [69]

consonant and allow the reader his own interpretation; clearly the new meaning is a bit

Naformátováno

... [70]

position it is ‘h’ that is left out: ‘im-him, ‘is-his, ‘ere-here, ‘onest-honest, ‘ow-how (with

‘em – them and to words with unstressed first syllable ‘live – alive, ‘gain – again, ’wayaway, ‘nouf-enough, ‘fore-before. Omitting end consonants is more frequent: all gerund –ing sufixes change into –

other words like dammi’-dammit, rasca’-rascal, mus’-must, gues’-guest, pulip’-pulpit

stronger than the Czech word play ‘hrábě-hrabě’ but is only implicitly hinted (the

Odstraněno: Omitting end consonants ... [71]

Naformátováno

... [72]

obvious play with the title itself concerning dropping a vowel would lead into an

Naformátováno

... [73]

extremely strong profanity).

Naformátováno

... [74]

Within the whole translation there are only several examples of omitting a midposition phoneme and that is t’mora-tomorrow, m’self-myself, c’n-can, be’er-better.

23

LEVÝ, J. Umění překladu, Československý spisovatel, Praha 1963. p 88

19

Odstraněno: iří:

Naformátováno

... [75]

Naformátováno

... [76]

Naformátováno

... [77]

Naformátováno

... [78]

Naformátováno

... [79]

2. Adding phonemes Adding phonemes was a desirable feature for its effect of making the vowels sound broader, a typical sound of many dialects. There are three ‘extra’ consonants: ‘r’ in words carstle, darft, arfter, carn’t; ‘h’ in shure, ‘w’ in agow, gow, sow, owpera, hawnting, nowpe, wreally, ownly. A missed opportunity on adding extra phonemes to ‘no’ which would be impossible to recognise from the adverb of time ‘now’; the policy

Odstraněno: Within the whole translation there is only one example of omitting a mid-position phoneme and that is t’mora-tomorrow.¶ ¶

Naformátováno: Odrážky a číslování Odstraněno: Adding phonemes was a desirable feature for its effect of making the vowels sound broader, a typical...sound [80]


of creating an ambiguous situation is generally avoided to eliminate confusion


nevertheless it is used twice in the translation: once for an expression already mentioned


in this section – sow, and for verb ‘be’ which will be mentioned in the following section


of Changing phonemes (the creations are used here for creating gentle ‘animal’ jokes


based on homographs (be-bee, so-sow), and hopefully will not cause any serious troubles in understanding).

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva

3. Changing phonemes


‘Th’ is a troublesome phoneme to pronounce even for some English native


speakers; to hint the same trouble for the villagers ‘th’ written form changes into ’d’


when it is voiced and ‘t’ when unvoiced. Silent ‘l’ can be substituted with ‘w’ (awright)


or ‘r’ (carf), ‘r’ replaces one ‘f’ in ‘orf-off’, ‘ch’ when pronounced as ‘k’ is written that


way (skooling-schooling) and the end ‘s’ whenever pronounced as ‘z’ takes that form:


yez, az, waz, wishez, doorz, peazant. In the word ‘doze’ it helps to deduce the meaning


thanks to hinting the correct pronunciation. Without it the form would be blurred by the


word ‘dose’ which is the purely coincidental result of pronouncing voiced ‘th’ as ‘d’:


those – dose – doze.


Various vowels can be changed into ‘u’: furst-first, nuthing-nothin; vowel ‘e’ tends to be replaced by ‘i’: divil-devil, ever-ivir, rimimber-remember, ivining-evening;

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva

‘ou’ in ‘your’ changes into ‘yer’; along the same line ‘oo’ is substituted with ‘u’: luk,


skuling, livelyhud, pur, tu; ‘ee’ is replaced with ‘ii’ in sii-see and verb ‘be’ gains one


extra ‘e’ to create an insect. The adjective ‘beautiful’ underwent the most serious vowel change and was simplified into ‘bootiful’.

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva

4. Changing stress


For the last time here I must sadly repeat that unless using the phonemic chart instead of standard alphabet there was no way of visualising the word stress in its

Odstraněno: The basic rule involves ... [81] Odstraněno: ¶ Odstraněno: way

written form. It is a truly unfortunate fact because one of the easiest ways of hinting a 20


foreign accent is shifting the stress to abnormal positions; coincidentally this could be seen as a typical feature of the Eastern-European accent.

5. Vocabulary Even though there are many dialect words (see chapter Analysis of English Dialects, section 1.5) they were not used in this translation for their tight link to the area

Odstraněno: Analyses Odstraněno: 6 Odstraněno: re

of origin; quite on the contrary in this work I tried to use mainly words free of any geographical charge, general slang and words of the informal register. As a result the words discussed in the section will be those that were created for this work and occur neither in the standard word stock nor dialects, and the final paragraph will be dedicated to the informal expressions. There are two main sources of these expressions: one is the forester who uses the exclamation ‘prách a broky’ to show surprise and two nonexistent adverbs of time and manner ‘krléš’ and ‘šturmem’; second one is the police singing their marching song – that will be discussed later in chapter 1.11 Translation of the

Odstraněno: an individual Odstraněno: called

police song. The exclamation ‘prách a broky’ comprises of two nouns connected to a hunting jargon – ‘gunpowder and pellets’. From the grammatical point of view these are suitable equivalents; the first one being an uncountable noun and the second one in its plural form. However, the sound of it cannot be on a par with neither the emphatic and hard sounding ‘r’ nor the rhythm of two trochees: in order to keep at least the first one I used the monosyllabic and mono-semantic ‘skunk’ (there are several meanings of the word ‘pellets’24) which in combination with ‘gunpowder’ gained the ‘k-g’ alliteration. For adverbs the only criteria for their translations was that they had to pass for dialect expressions to a native ear and had to be meaningless; ‘warshmellow’ has a clear origin in ‘marshmallow’ and feels ridiculously long compared to traditional monosyllabic words used in the context: go, now, start. ‘Stormlike’ follows the original sound and clearly expresses a manner needed for running against the door with the intention of breaking it. The equivalent to ‘miloslečna’ was created the same way as the Czech expression: it is a blend of ‘milostivá slečna’. After applying the notion I came to the result of Her Miss-ship (as female equivalent to Lordship) where all the ‘ss’ are included and joined together into Missship. It is not appropriate to use the same pattern

Odstraněno: As for the adverbs the only request on their translations was that they had to pass for dialect expressions to a native ear and had to be meaningless; flubber and ..... match both of the criteria. Another new creation is an adjective ‘watty’ which is used only with a question mark as equivalent ‘No totok?’, and is clearly derived from ‘what’.¶ Odstraněno:

Naformátováno: Písmo: Kurzíva 24

Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003

21


for a lady as for the Count – and that is why the final ‘p’ is not substituted by an Odstraněno: or - following the pattern of Lordshi’ – her Missshi’.

apostrophe. Generally the informal language was used as direct opposition to the formal language of the noblemen; it includes phrases such as ‘how come?’, ‘daft donkey’, ‘to pop somewhere’, and ‘have schooling’ which nowadays feels also outdated. The next

Odstraněno: l Odstraněno: N

feature of the dialect comprises of phrasal verbs (e.g. mix up with) and slang expressions: ‘bonesetter’ instead of ‘doctor’, ‘dunno’ for ‘I don’t know’ and ‘nope’ for ‘no’. Another new creation is a one-word phrasal verb ‘wekup’ (from ‘wake up) and an adjective ‘watty’ which is used only with a question mark as equivalent to ‘No totok?’, and is clearly derived from ‘what’. One special form is produced by Miriota who does not speak the dialect. However, when she is spoon feeding her fiancé and speaking children’s rhymes to make him eat, she says ‘yam yaming’ for the purpose of obtaining the rhyme with the second part of her replica: ‘the train is coming’. Odstraněno: ¶

6. Grammar The villager’s grammar needed to reflect their minds and life standard – it had to

Naformátováno: Odrážky a číslování

be kept simple. To hint this the villagers do not use irregular past tense forms for they do not know them, and instead produce verb forms such as: doed, goed, meaned. They have similar problems with irregular plural forms however, they are aware of them but always use them in wrong situations: noblemans, talismen. Also, the third person singular ‘-s’ is ignored apart from the verb ‘to have’ which takes the form ‘haz’. Present perfect tense is absent apart from the sentence ‘he’s gone to Brehovo’ where the ‘s can be explained as ‘is’. The last misuse of Standard English concerns pronouns; rather than


possessive the villagers use the object form of personal pronouns (me father).


1.7 Translation of the title and realia


The original book written by Jules Verne was called Le château des Carpathes, which was translated into English as Castle of the Carpathians and into Czech as Tajemný hrad v Karpatech. Brdečka named his film Tajemství hradu v Karpatech. Using the English name of the book for the film title would be justifiable from the point Naformátováno: Vpravo: 0.25"

22

of view of the tradition of the book and its link with the film. In such a case the title would translate as The Mysterious Castle of the Carpathians. The second possibility for

Odstraněno: concerning Odstraněno: S

the title could be The Mysterious Castle, which would follow Jiří Levý’s claims that ‘…the differences in social awareness often lead into changing the style of the title… The English river Floss does not evoke any concrete image in a Czech reader and that is why the translation of G. Eliot’s novel The Mill on the Floss is translated as Červený mlýn‘25, that is the red mill. I choose to translate it as The Mystery of the Castle in the Carpathian Mountains. The Czech title does not specify that Karpaty is mountain range – in fact several ranges; it is commonly understood for Czech and Slovak speakers. For

Odstraněno: a Odstraněno: shared knowledge

the English ones, however, the Carpathians are distant and even though the name itself might evoke the image of mountains, especially as mountains are a typical setting for a castle, I provided the information in the title to avoid any confusion, which could mislead the readers into thinking the setting is over-important. Apart from the name of the Carpathian mountain range there are another six geographical names mentioned within the story; the first two are repeated several times: Vyšné Vlkodlaky and Salašáry, the last four appear just once: Dolní Žinčice, Brehovo, Drážďany and Čadca. These can be easily divided into existent places (Brehovo, Drážďany, Čadca) and fictitious ones (the rest). There is a strong notion regarding allusions these locations bring to one’s mind: the real cities can of course be found on a map, they are centres of regions and have some history and importance. The fictitious ones, however, tend to sound ‘funny’ – meaning both unusual and humorous; all drawing images of really small and forgotten places in the middle of nowhere and, especially Salašáry, resembling a place somewhere in Hungary. The translation of Vyšné Vlkodlaky is partly formed on the literal meaning of the original Vlkodlaky - Werewolfham; the meaning of the adjective (describing a place high up) was changed on basis of its archaic sound into wuthering, which in English has strong connotation to heights thanks to the novel Wuthering Heights by Emily Brontë.

Odstraněno: a

Salašáry has no strong semantic notion, apart from its association with barns – salaše;

Odstraněno: iří:

keeping the pronunciation I tried to anglicise it into a simile provoking place called


Salisherry. Dolní Žinčice labels a place of a battle; in original žinčice is whey, ie the


watery part of milk which is separated from the solid curds during the process of


26

making cheese . I decided to leave this translation literal as the word and its meaning 25 26

LEVÝ, J. Umění překladu, Československý spisovatel, Praha 1963. p 107 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003

23

Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva Naformátováno: Vpravo: 0.25"

in Czech is so rare that most of the population does not have any concrete idea about the original meaning and presumes it is simply an imaginary place. Unfortunately, ‘whey’ in English does not have the same parameters due to a popular Nursery Rhyme (Little Miss Muffet sat on her tuffet, eating her curds and whey…’)27 therefore I found less known diary product, casein, the most predominant protein found in milk and cheese’28; hence the battle of Lower Casein. Drážďany has its own name in English – Dresden and the last two real places had to be for several reasons dealt with separately: knowing Čadca – at least by name - is a common enough knowledge amongst Czech and Slovak speakers but would not mean anything to any other nationalities. Levý suggests an explanatory approach: ‘A great obstacle of the translator’s work is hinting at facts commonly known in the time and area of the origin but unknown in the background which the work is being translated into….For such cases footnotes are unsuitable… It is a lesser interference into the original to skilfully include the explanation in the translation.’29 Following this advice my translation of: ‘Nicménĕ byl to čadský rod, tihle Gorcové.‘ would be: ‘Still, the Gorc family was a house from the town of Čadca.’ However, I decided the place of origin was not as important as the fact that the family was old, and presumably noble as results from the fact they had a coat of arms, and omitted the name completely: ‘Still, the Gorc family was an old noble house.’ Brehovo has the special characteristic of not sounding familiar even to the Czech and Slovak

Naformátováno: Písmo: není Tučné Odstraněno: potentionality

speakers. In the film it is used only once and merely as a place far away so the easiest Odstraněno: away so one possibility was to leave the name as it was. However I felt that it would sound odd

solution was to leave the name as it was. Possibly the greatest challenge appeared when a geographical location was the source of a joke. The medicine that the Count offers to Miriota for her fiancé is first introduced as ‘zahraniční - foreign’. Miriota is impressed by this generous offer but the butler with his pragmatic attitude spoils the magic of the exotic drug and reveals the

Odstraněno: r

medicine is from Slovakia, the neighbouring state not far away. For people lacking this


geographical awareness the joke could not be understood. One alternative was to


change the country the medicine came from; however, that was not easy in order not to change the whole location explicit (e.g. Scottish medicine). That is why I considered to

Naformátováno: Angličtina (Velká Británie) Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie)

27

Nursery Rhymes - Lyrics and Origins [online] 2004. [Retrieved 20 February 2007]. Available at http://www.dltk-teach.com/rhymes/missmuffet/index.htm 28 Wikipedia the free ecyclopedia [online], 2001. Modified 20 August 2006 [retrieved 20 February 2007]. Available at http://en.wikipedia.org/wiki/Casein 29 Levý, J: Umění překladu, Československý spisovatel, Praha 1963. p. 83

24

Naformátováno: Angličtina (Velká Británie) Naformátováno: Angličtina (Velká Británie) Naformátováno: Vpravo: 0.25"

make the medicine Jewish – Jewish people lived across the whole Europe30, but unfortunately it was not viewed as a joke by the native speakers. Another possibility was to change the character of the joke: to stress the name of it rather than the country of origin. The key was to find a medicine with two names which were both known to the majority of people. One had to be the medical term, the second one the ordinary name known to normal. The first idea failed on the wrong timing: even though the

Odstraněno: the Odstraněno: people called it

extract of the willow tree, the aspirin, was introduced in 189931 which approximately the time of the story, it did not become widely known until after WWI, and therefore was not suitable to use. Eventually, I arrived at a similar pair allium sativum, alias garlic. It could be suggested that nobody knows the Latin name of the common vegetable but that does not spoil the joke, possibly it adds more to it.


1.8 Translation of characters’ names


Mr. Levý says: ‘In a translation it is desirable to keep those specific features which may feel to a reader as typical for the foreign setting, i.e. those that carry the meaning of ‘national or time’ specifics.’32 That is why in cases the names of the

Odstraněno: QUOTE - Levy¶ In many

characters were not translated nor changed simply because they were not from the Czech background but tried to draw allusions with a far away country. The names of the main male characters, Count Felix Telek from Tölök and Baron Robert Gorc from Gorce, brings associations of gentle vowel pronunciation in the first case and ‘r’ rolling practice in the second one; both names I kept unchanged. Also the forester’s name, Vilja Déž, stayed unchanged as well mainly because it is hardly used in the play and most of the time he is referred to simply as the forester. Both Salsa Verde and Il Contencanto are artistic pseudonyms resembling Italian names, and together with Orfanik, Zutra (the

Odstraněno: th


name the Baron calles Tom) and Miriota did not change.


An interesting choice appeared during translating a surname of Tóma Hluchoněmec; his surname describes his condition - he is deaf and dumb - but also changes the later handicap into a nationality: němý-Němec; to achieve the same effect

Naformátováno: Angličtina (Velká Británie) Naformátováno: Angličtina (Velká Británie) Naformátováno: Písmo: Kurzíva, Angličtina (Velká Británie) Naformátováno: Angličtina (Velká Británie)

30

Wikipedia the free ecyclopedia [online], 2001. Modified 5 March 2007 [retrieved 20 March 2007]. Available at en.wikipedia.org/wiki/History_of_the_Jews_in_Europe 31 Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Aspirin 32 Levý, J: Umění překladu, Československý spisovatel, Praha 1963. p. 80

Naformátováno: Angličtina (Velká Británie) Naformátováno: Vpravo: 0.25"

25

dumb could be changed into Dutch. However, if němec is seen not as a nationality but a bearer of a quality; the surname would become dumber, suggesting both the bearer and the comparative of the adjective. The dilemma Deafandutch vs. Deafandumber was finally decided in favour of the later one.

Odstraněno: dilema Odstraněno: th Odstraněno: th

The Count’s butler is called Ignác in the original – a fairly unusual name which I

Odstraněno: a

decided to keep but change a little. As a nobleman’s servant his name should reflect the position and knowledge of his master therefore his name is used in the Latinized form

Odstraněno: latinised

Ignatio. A traditional problem for translators is the existence of diminutive form in

Odstraněno: ¶ Odstraněno: demunitive

Czech language. English has no such device and consequently when Vilja is called by his fiancée Viljuša there is a need to provide some other form of the name. Vilja is a

Odstraněno: fianceé

foreign name and as such sounds unfamiliar to native speakers. To bring it closer to their ear I used a simple English word as a suffix and Viljahun appeared. At the beginning of the story the innkeeper provides very specific information about the previous guest of his inn, general Blewit, whose original name is Patlaj. Even though Patlaj is a genuine surname occurring among other places in New York33 and it can also be interpreted as a Mayan verb ‘to form’ or noun generally meaning ‘dedication’34, I chose to translate it based on its connotation of something unsuccessful; the general Blewit was born. Incidentally, in Yorkshire blewit is also a periphery word labelling a kind of edible mushroom (from bluish tinge).35 Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku Naformátováno: Písmo: 12 b. Naformátováno: Normální, Řádkování: 1,5 řádku

1.9 Other issues of translation


Difficulties arose when playing with which words led to a joke, e.g. when the

Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku Odstraněno: u

Count talks about the possible necessity of laying siege to the Castle: ‘…aby vzal Čertův Hrad stečí.’ His butler replies: ‘Kéž nebude třeba ničeho stékati.’ If the pun were to stay in the text, it had to be based on the expression ‘lay siege’ or its synonym. The


Naformátováno: Písmo: Kurzíva 33

Ancestry.com [online] 2007. [Retrieved 19 February 2007]. Available at http://search.ancestry.com/cgibin/sse.dll?nf=&nl=&bfurl=&targetid=&sourcecode=&gl=allgs&prox=1&rank=&fn=&ln=&gsfn=&g sln=Patlaj&gspl=1%2cAny+Locality&o_xid=0040803744&o_lid=0040803744 34 FAMSI Foundation for Advancement of Mesoamerican Studies, Inc [online] [retrieved 10 February 2007]. Available at http://research.famsi.org/montgomery_dictionary/mt_entry.php?id=773&lsearch=p&search= 35 KELLET, A: The Yorkshire Dictionary of Dialect, Tradition and Folklore. Dalesman Publishing Company Ltd 2002, p. 14

26

Naformátováno: Angličtina (Velká Británie) Odstraněno: ellet

Naformátováno: Písmo: Kurzíva Naformátováno: Angličtina (Velká Británie) Naformátováno: Vpravo: 0.25"

first solution in the form of the butler’s reply - ‘Let there be lying down only.’ - used the

Odstraněno: ying

verb to lay but unfortunately it was not understood by any of the proofreading native speakers for several reaons: the difference of the verbs ‘lay’ and ‘lie’ and the change of the verb form from infinitive into gerund, and also because the expression ‘lay siege’ is rather obscure and the native speakers did not find the wordplay. Eventually, the joke was cancelled and butler’s answers is neutral: ‘Let us pray there shall be no need for

Odstraněno: . To make the joke visible the verb used in the wordplay had to keep the same form, so the replica was changed into: ‘Let there be nothing like that but a lay down.’

that.’ The next issue came with the way the Count talks about his fiancée, he often calls her ‘Prima donna’; this word gained a modern derogatory meaning of somebody

Odstraněno: N Odstraněno: p

overly fussy, attracting a lot of attention. The word in English has the very same connotations and has overruled the original meaning in both languages referring to ‘the most important female singer in opera’36 The title ‘signorina’ was used in the Czech text although it is an Italian word. The reason could be found in the tight link of Italy as the cradle of the opera, Italian language as the most suitable one for opera and also as the country with strong tradition of excellent signers and Salsa, the greatest singer herself. For the same reason I did not use the straight English equivalent – Miss, but kept the original title which is common and understandable enough. Although the Czech film is generally comprehensible there is one unclear situation. When Baron presents the souvenirs of the opera composers, he points to a

Odstraněno: to

piece of cake that belonged to Rosini, however it is not clear what the name of the dessert is. I took the liberty to supply a name of Italian cake which is known both in the Czech Republic and English speaking countries – the tiramisu.


1.10 Translation of the idiomatic expressions


This part will focus on the idioms, collocations and sayings used in the script in order of their occurrence; their meaning will be discussed, possible translations

Odstraněno: s

suggested and in the end I will try to justify the final choice. Idiom is an expression (i.e. term or phrase) ‘whose meaning cannot be deduced from the literal definitions and the arrangement of its parts, but refers instead to a

Naformátováno: Písmo: Kurzíva Odstraněno: ¶

Naformátováno: Angličtina (Velká Británie) 36


27


figurative meaning that is known only through conventional use.’37 Idioms vary according to level of idiomacy they carry, i.e. degree of comprehensibility without the knowledge of the figurative meaning. Within this translation there can be found idioms and clichés used by both nobility and low class, and also many set expressions without

Odstraněno: é

idiomatic features – collocations and sayings; most of them are easily understood though some were transformed by the dialect, and a few are unique. In my work some meanings of idiomatic expressions could be more difficult to deduce due to the lack of the support of the visual images in the film which are naturally missing in the text of a literary translation. At first, I tried to provide the missing information by applying Mr. Levý’s method originally suggested for dealing with prose

Odstraněno: a Odstraněno: he

not script: namely the principle of adding explanatory information (see footnote 27) by including extra words directly into the replicas themselves. Such an approach could be

Odstraněno: right

illustrated on translating the expression ‘ten chlap má v hrdle dynamit’: to explain the replica and the reason for saying it, which is visible to a viewer, the translation would have to be: ‘That guy can’t have vocal cords but dynamite in his throat to break the camera lens.’ The main drawbacks of this method are: a) changing the quality of replicas - from a genuine character involved in the story to an educational figure aware of his audience; b) increasing the length of the translation significantly; and c) ‘spoonfeeding’ the reader. Taking those problems into consideration I arrived at a natural solution - to

Odstraněno: ¶ ¶

insert the missing parts of the plot into setting brackets. Setting notes are typical device used in play scripts, they are an indirect and brief description of the action or setting of the plot. As I did not work with the original script all the notes are used in places and forms according to the best of my knowledge. For the sake of clarity all translations in this chapter, including the ones spoken in the ‘Carpathian dialect’ are provided in Standard English. Of course this will not be the case in the translation itself.

The very first idiom, ‘být zase jako rybička’, is a very common one describing a good physical state. There are two obvious English equivalents – ‘to be fit as a flea’ or ‘to be fit as a fiddle’. Even though according to Google corpus for finding frequency of any two expressions the first one has a higher number of results (1,160,000 vs 37

Wikipedia the free ecyclopedia [online], 2001. Modified 22 January 2007 [retrieved 24 January 2007]. Available at http://en.wikipedia.org/wiki/Idiom

28


1,130,00038) and therefore it could be assumed that it is more usual, it would be inappropriate to portrait a nobleman as a flea, i.e. a very small animal which feeds on blood of animals and humans39. Fiddle serves the purpose better as it is a slang word for violin and refers to its performance of quick tempo Irish like melody. ‘Doušek pálenky’ describes a small amount of a strong alcoholic drink. Even though there could be seen a metaphorical origin - ‘doušek’ could be viewed as a derivation of ‘dech’, ‘a breath’, and then the original meaning might have been ‘to breathe life back in him’ - such notion is no longer felt. So the typical set expression ‘a sip of brandy’ has the quality of the original describing the amount of the spirit only. The verb ‘brouzdat’ in ‘brouzdál kolém týho Čórtova Hrádu’ evokes walking in shallow water - ‘to wade’, even though the castle is on a hill. Unfortunatelly ‘to wade’ does not fulfil the other notion, the one of not being in a hurry. So, other verbs had to be considered: to hang around, or to loiter. To hang around fits the context precisely but erases the contradiction of wading without water. The same could be said about ‘loiter’ with one exception: semantically it is impossible to loiter around a place (correctly one can ‘loiter at the station, outside cinema, in the park’40); so the clash in the expression stays but it is shifted from context misuse to a grammatical one. This replica is said in the ‘Carpathian accent’ whose one basic feature is low grammatical awareness; taking that into the consideration the translation is ‘to loiter around the Devil’s Castle’. The next expression is one of those with the highest level of idiomacy perhaps due to the fact it is not a genuine one and was created for this film: ‘dyť huž je otec Semafór shodil z kazatelny’. The meaning, derived from the context, probably suggests that the two young people have been formally engaged and the act was agreed by the local priest. Why the priest is called Semafór – Traffic Lights, or why he dropped the young couple off the pulpit I cannot explain. For that reason I decided to leave the translation literal and let the English readers be as uncertain as Brdečka made his Czech viewers. The only issue was to find a suitable name for the priest, something not very serious consisting of just one word. To narrow the choice I used the context of the traffic lights and created Father Pelican (Pelican crossing is a type of pedestrian

Odstraněno: r


38

Googlefight [online]. [Retrieved 5 February]. Available at http://www.googlefight.com/index.php?lang=en_GB&word1=fit+as+a+flea&word2=fit+as+a+fiddle 39 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003 40 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003

29


crossing featuring standard set of traffic lights with a push button41) so the whole sentence became: ‘Father Pelican’s already dropped them off of his pulpit.’ ‘Slova jak z mramoru’ is an old-fashioned metaphor based on the superior status of marble amongst other stone, and so indirectly assumes the high quality of words which get carved in it. In English, there is an idiom ‘words in stone’ relating to something that cannot be changed (e.g. the Ten Commandments) which is not the desired notion. The often-quoted line from Richard III. ‘A horse, a horse, my kingdom for a horse!’42 could be described as ‘memorable words’, which is an expression I used as well. Within the context of the story ‘klíma již účinkuje’ could be understood literally:

Naformátováno: Písmo: není Tučné

one of the reasons for the Count to come to Salašáry was the quality of the local air which was believed to have miraculous effects on health, in the Count’s case his voice. On the other side the expression can be viewed as a saying, possibly a slightly ironical one, applied when one’s state improves shortly after his arrival at a new location. There was a wide choice of expressions for the meaning of ‘klíma již účinkuje’ ranging from the informal one ‘the climate’s been doing wonders’ or ‘it’s worked miracles’ to the formal ones which were the targeted register as this line is said by the Count’s butler: ‘the climate has been already paying dividends’. The sentence: ‘človĕk povĕternej ale štĕnici by nezabil’ comprises of two figures of speech: ‘človĕk povĕternej’ is based on the instability of wind as an element (opposite to Sun which moves in a regular manner) and suggests the meaning slightly crazy or mentally ill. There are many informal ways of translating: ‘he’s got a screw loose’, ‘he’s round the bend’, Australian ‘he’s trappo’, ‘he’s crackers / dim / dotty / not all here / out of his mind’. As I have not discovered any phrase that would use the same notion as the Czech one, i.e. wind, air, I finally decided on an old-fashioned expression ‘he has bats in his belfry’. The second part was easier to fit with an equivalent; both in English and Czech we normally talk about not killing a fly. Here the animal in question is a bedbug, possibly to imply exaggeration: it must be a completely innocent pacifist person not to kill an insect which bites him. The final translation, ‘he wouldn’t kill a bedbug’, can be justified as the least typical animal ‘to kill’ in both languages

41

Wikipedia the free ecyclopedia [online], 2001. Modified 28 January 2007 [retrieved 1 February 2007]. Available at http://en.wikipedia.org/wiki/Pelican_crossing 42 Wikipedia the free ecyclopedia [online], 2001. Modified 28 August 2007 [retrieved 1 February 2007]. Available at http://en.wikipedia.org/wiki/Richard_III_(play)

30


(‘moucha’ features more than ‘štĕnice’ and ‘fly’ is used more often than ‘bug’ that is used more than ‘bedbug’43). When the Count announces his intention to ‘poškádlit ta Vaše strašidýlka’ he uses the verb in metaphorical way – he wishes not to upset them but to see what is behind it, i.e. the ghosts; ‘to tease’ has exactly the same quality. Also, in the final effect ‘to tease the ghosts of yours’ is a perfect iamb with three long vowels /i:/, /əu/, / Ǥ:/. The next sentence could be divided into two figures corresponding with the two clauses; nevertheless they have a lot in common and so can be discussed as one unit. Both phrases are highly formal, and the exact wording leads to a parody effect of the pathos and pompousness: ‘abych pohřbil své zoufalství příkrovem zapomnění a zatím se přede mnou otvírá brána nadĕje.’ – ‘to bury my desperation under a layer of forgetting and meanwhile there is a light of hope arising ahead of me.’ The fact that both Great Britain and the Czech Republic are Catholic countries explains the origin of the phrase ‘mňál bych peklo’ - ‘to get hell’ where hell is a place for sinners. A little singing bird, nightingale, has been the source of referring to exceptional voice in both Czech and English: ‘slavičí hrdlo’ – ‘nightingale’s voice’. ‘Vyřídíme to bez rámusu’ suggests an immediate action with no noise or fuss, meaning that nobody will learn about it. My first idea was to use an informal expression ‘to end it nice and quiet’, where ‘nice’, rather than describing something aesthetic, has the function of intensifier of the following adjective ‘quiet’. Later the alliteration notion has overruled and the final version is ‘to end it quick and quiet’. The expression ‘naše cesty se rozešly’ comes from a common enough situation of two walkers sharing a part of a journey but heading to a different destination. The phrase has become a cliché in both Czech and English language in which it has two variations ‘our ways have split’ and slightly more formal ‘our ways have parted’. In the text this is a replica of the Count so the formal phrase is more suitable here. The following expression also has equivalents differing by register. ‘Radĕjc dvakrát mĕřáť a jedou řezáť can be translated as highly colourful expression ‘fools rush in where angels fear to tread’, neutral and a little poetical ‘better safe than sorry’ and informal ‘look before you leap’ which best fulfilled the criteria of the forester’s way of Odstraněno: r 43


Googlefight [online]. [Retrieved 5 February]. Available at http://www.googlefight.com/index.php?lang=en_GB&word1=bug&word2=bedbug


31

speaking even though did it not match with the ‘ř’ alliteration and inner rhyme měřáťřezáť in the original. From the context of the film and thanks to the setting notes in the script it is clear that the phrase ‘ten chlap má v hrdle dynamit’ - ‘he must have dynamite in his throat’ refers to the destructive power of the Count’s voice and for that reason the replica is left as a literal translation. There are two references to falling asleep in the script, both are rather poetical but vary in register. The first one - ‘se odebéřou do říše snů’- is the Baron’s line and as such needs to be formal but at the same time reflecting the unusualness of the structure ‘they will arrive in dreamland’. A beautiful day is not normally described in English as gold, the colour that the Czech phrase refers to. The poetical ‘den jak ze zlata’ was reduced into a typical exclamation ‘Oh, what a day!’ which misses the colourfulness but keeps the optimistic charge. An informal saying ‘mám v palici jak vymetýno’ suggests a lack of memory usually after a night of drinking. The collocation ‘with the slate wiped clean’ means forgetting the past mistakes or crimes and starting from the beginning however; it can be used in the targeted context: ‘my mind is like a slate wiped clean’. This is the second ‘falling asleep’ expression: ‘jak jsem pád do kanafásu’. This time it is an informal forester’s replica and deserves a slang term, e.g. ‘how I hit the sack.’ Expression ‘jako slípka snáší vejce’ describes the ease and regularity which the Professor invents - regularly as clockwork. However such a non-poetical phrase diminishes all the unusual and humorous intention, which the following one - ‘he invents as hen lays eggs’ – includes. This metaphorical expression, ‘hráti s otevřenými kartami’, is easily compatible with ‘now, I will show my hand’. The literal translation of ‘snili jsme tu nerušenĕ svůj rajský sen’ did not sound natural because of the straightforward meaning of ‘dreaming’ in English which is directly pointing to sleeping. For that reason the verb ‘snít’ and the noun ‘sen’ had to be substituted. Thus the final version is ‘what heavenly life we have lived here’. The following remark, ‘a pak jste tady začal čmuchat vy, vlezlý fořte’ has a unique status amongst the others for its derogatory character. It degrades ‘lesník’ into ‘fořt’, i.e. ‘forester’ into ‘parker’. His interest in the castle’s mystery is described as 32


‘čmuchaní – sniffing around’. The whole sentence in English gained one extra inner effect; ‘and then you started to sniff around, you nosy parker’ which benefits from the connection of ‘sniffing’ and ‘nosy’ which in Czech does not exist . ‘Vyletĕt do povĕtří’ has a less poetical equivalent but with a precise meaning ‘to

Naformátováno: Zarovnat do bloku, Odsazení: První řádek: 0.49"

be blown up’ an epxpression which the noblemen use and a little more vague one ‘go up’ for the villagers. The traditional ‘thank you very much’ catches the meaning of ‘vroucí díky’ well but cools down the metaphor. Therefore ‘warmest thanks’ even though usually used to a group is more appropriate as it refers to temperature, and so is preferred. ‘Teď už s ní můžu jedinĕ leštit příbory’ – ‘Now she is only good for polishing cutlery.’ is not a genuine proverb as it might seem but a cynical remark stating the obvious – she’s finished and apart from the above stated purpose she is of no use. Of course there are traditional phrases carrying meaning: a formal one ‘she has outlived her usefulness’ or the informal equivalent ‘she’s strictly for the birds’. But the literal translation best catches the cynicism of this unique replica.


1.11 Translation of the police song


From the linguistic point of view the police song is unique to the rest of the script; the structure of the lyrics consists of two unrhymed double verses of very rhythmical and seemingly identical structure. The rhythm is the core part of any marching song and for such purpose it would be expected regular. In this case, however, it is only partly so. The first lines are identical in structure and the meter is familiar in the Czech language: it is trochee (i.e. stressed syllable followed by unstressed one44) octameter (a poetry line of eight metrical feet45). The second verses vary: the first one is one metric foot shorter - has six trochees and finishes in a cretic (three syllables, metrically long, short, long 46), the second one resembles the first verse in number of metric feet but the second verse in the final foot – it also ends in a cretic.

44

Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Trochee 45 Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Octameter 46 Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Cretic

Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Vpravo: 0.25"

33

The real challenge lays the meaning as the song lyrics are composed of words that make no clear sense. There are only five words which are written in the Czech language or are known from the context of the script: Sálašáry, práva, z cesty, na strach, bumtarara; then there are words that can be understood even though their forms feel unfamiliar: policija, sýmpatika, korpora, poluláry, Karpatula, svorno, kerléš. That leaves the words which are foreign: Jova, príva, Juvá. Jova appears in ex-Yugolslavian countries texts47 next to the name of Jahve (modern reconstruction of the ancient Hebrew name of God48), possibly as its synonym. Lacking a better explanation to these ‘foreign’ expressions I treated them as mistypes: Jova–Juvá, práva- príva, and assumed that the true reason for their existence is the incomprehensibility and resemblance of perhaps Romanian or Hungarian language.

The translation is based on the same

principles: ‘Jova’ is treated as ‘Jehovah’ which is the official name as ‘Jehovara’; ‘právo – justice’ is mistyped into ‘justness’. One more word play is added: ‘bodybuddy’ and other words are anglicised into familiar forms: popularish, Carpathetic. The final shape looks like this: Naformátováno: Řádkování: 1,5 řádku

Pólicíja, pólicíja, Sálašáry, práva Jova.

Naformátována tabulka

Police body, police buddy, Salisherry, Good Jehovah.

Z césty príva, z césty práva, sýmpatika,

Path of justness, path of justice,

korpora.

sympathetic, limited.

Populáry, Karpatula. Juvá svorno

Popularish Carpathetic. Jovarama police

policána.

bowdy.

Kerléš na strach, policíja. Bumtarára,

Warshmelow fear, police buddies.

bumtarára, bum.

Bumtarara, bumtarara, bum.

Naformátováno: Řádkování: 1,5 řádku

Naformátováno: Řádkování: 1,5 řádku, Tabulátory: 0.77", (Zarovnání vlevo) + není na 1.45" Naformátováno: Řádkování: 1,5 řádku Naformátováno: Řádkování: 1,5 řádku Naformátováno: Řádkování: 1,5 řádku Naformátováno: Písmo: 14 b.

1.12 Translating the registers

Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku Naformátováno: Písmo: Kurzíva

The chapter dealing with the English version of the ‘Carpathian dialect’ provides sufficient examples illustrating the language system of the dialect and the way it

Odstraněno: r Odstraněno: i Odstraněno: i


47

Google [online] 2007. [Retrieved 29 April 2007]. Available at http://www.google.co.uk/search?hl=en&q=jova+jahve&meta= 48 HighBeam Encyclopedia [online] 2007. [Retrieved 29 April 2007]. Available at http://www.encyclopedia.com/doc/1E1-Jahve-Ja.html

Odstraněno: i Odstraněno: e


34

operates. However, some of its feature could be best depicted when compared with the formal style of the nobility. The following part will summarise all the linguistic features representing the two styles and the contrast between them. The low register uses the informal style while the high register uses the formal one; the low style has the specific spelling hinting the pronunciation of the dialect, the high one is as formal as possible which often contributes to the parody effect of the whole film. When comparing the vocabulary of the two styles a difference in quality can be seen – villagers use simple words including phrasal verbs (pop in, show off) and dialect expressions (bonesetter) while nobility prefers the formal (confusion, forswear), educated expressions (superlative disposition) and also foreign phrases (par excellence, amnesia); the same quality notion can be applied on the structures used (I dunno. vs If I may ask...). The two registers are also divided by using and absence of the contracted forms – villagers say: I’d’ve thought... but noblemen say: I would not doubt that. Another striking feature is the level of correctness in grammar: villagers ignore the standard grammatical rules (he have) including the irregular past form of verbs (slepped, doed), grammatical tenses especially present perfect (could it ended otherwise), auxiliary verbs for creating questions (He let Your Lordship study singing?) and semantic patterns (loiter around). On the contrary the noblemen speak without any mistakes, using the emphatic structures (little did it matter...).


35


PART TWO

Naformátováno: Mezera Před: 0 b., Za: 0 b., Řádkování: 1,5 řádku Naformátováno: Řádkování: 1,5 řádku

2.1 Translation


As it has already been mentioned the Czech text was created according to the film by transcribing the replicas. The Czech original is placed in the left column and on the right hand side there is the English translation. The format is changed into the landscape one to allow more comfortable and continuous reading.


36

Naformátováno: Začátek oddílu: Nová stránka

Tajemství Hradu v Karpatech

The Mystery of the Castle in the Carpathian Mountains

Hrabě Felix Teleke z Tılıke Primadona Salsa Verde Komorník hrabĕte Ignác Baron Robert Gorc z Gorceny Vynálezce Orfanik Baronův sluha Zotra / Tóma Hluchonĕmec Lesník Vilja Déž Jeho snoubenka Miriota Miriotin otec, krčmář Miriotina matka, krčmářka Kmet Sedlák v kožichu Kantor Prefekt

Count Felix Teleke of Tılıke Prima donna Salsa Verde Count’s Butler Ignatio Baron Robert Gorz of Gorcz Inventor Orfanik Baron’s Butler Zotra / Tom the Deafandumber Forester Vilja Déž His fiancée, Miriota Miriota’s father, innkeeper Miriota’s mother, innkeeper’s wife Old man Farmer in a fur coat Teacher Prefect

KRÁLOVSTVÍ KARPATSKÉ

CARPATHIAN KINGDOM

(v lese) Hrabě:

(in the woods) Count: That good man Dr. Blutwurst is right. The local air – that is a healing seltser. Butler: When Your Lordship has drunk enough of it, he shall be as fit as a fiddle again. Count: Why should I be a fiddle, dear Ignatius? Butler: I do beg your pardon. Count: Anyway, I shall only be cured by forgetting the past. And in order to do that I shall require fresh new experiences.

Komorník: Hrabě: Komorník: Hrabě:

Pravdu má ten dobrý doktor Blutwurst. Zdejší vzduch toť léčivá kysybelka. Když se ho jeho hraběcí milost řádně naloká, bude zase jako rybička. Nevím, proč bych měl být rybičkou, milý Ignáci. Oh, promiňte. Ostatně, uzdravím se, jen když zapomenu na minulost. A k tomu bude zapotřebí nových, silných dojmů.


37

Úžasné! Toť učiněná kulisa z Upírovy kletby.

How extraordinary! A perfect setting from The Vampire’s Curse. Komorník: Jednání druhé, Waldemarova vstupní árie. Butler: Second act, the opening aria of Waldemar. Hrabě: Můj eklatantní úspěch v drážďanské opeře. Pamatuješ? Count: My phenomenal success in the Dresden Opera House. Do you remember? Komorník: Ó, jak by ne. Vaše milost spadla při děkování do Butler: How could I forget? While taking the bow Your orchestru. Lordship fell into the orchestra. Hrabě: Ó, kouzlo vzpomínek! Count: Sweet memories. Ten divý kraj mne mocně inspiruje. Ty barbarské This wild country inspires me deeply - those barbaric totemy. Zdejší lid je asi nádherně zaostalý. totems. The local folk shall probably be wonderfully underdeveloped. Komorník: Ale proč všechny ty klacky ukazují ke hradu, milosti? Butler: But why are all those sticks pointing to the castle? Hrabě: Klacky? Primitivní, ale působivé plastiky. Count: Sticks? These are primitive yet impressive sculptures. Komorník: Ale tohle... nevypadá jako plastika, milosti. Butler: But this one... does not seem to be a sculpture. Hrabě: Ne, nevypadá. Count: No, it does not. Ubohý jonák! Poor chap. Lesník: De je? Forester: Where’s ‘er? Hrabě: Kdo, pane? Count: Who, sir? Lesník: Vona. Forester: ‘er. Hrabě: Posil ubožáka douškem pálenky. Count: Encourage the unfortunate with a sip of brandy. (kolem projíždí vůz tažený koněm) (a horse carriage passes by) Hrabě: Stůjte! Stůjte! Count: Stop! Stop! Kantor: Prrrr! Nestřílejte! Živím početnou rodinu a tohoto koně. Teacher: Whoa! Do not shoot! I am the breadwinner for numerous children, a wife and this horse. Hrabě: Upokojte se, pane. Jsme řádní občané, kteří by chtěli Count: Pray do not worry, sir. We are law-abiding citizens who zabezpečit včasné ošetření zraněnému. Chcete nám wish to bring imminent help to the needy. Would you pomoci? help us? Kantor: Jak by ne. Lékařské úkony však neovládám. Jsem Teacher: Of course. Unfortunately, I’m not trained in medical učitelem toho času vezoucím učebnou pomůcku pro své assistance. I am a teacher presently transporting a působiště ve Vyšných Vlkodlakách. teaching aid to my employing institution in Wuthering Naformátováno: Vpravo: 0.25"

38

Komorník: Hrabě: Kantor: Hrabě: Kantor:

Ó, toť naší cesty cíl! Pojďte. Zde – raněný. Ubohé děvče! Vždyť je to muž! A jaký! Lesnický adjunkt Vilja Déž. Politoval jsem však jeho nevěstu, krásnou Miriotu, dcerušku našeho rychtáře.

Butler: Count: Teacher: Count: Teacher:

Werevolfham. Oh, that be the destination of our journey. Come! Here – the injured. Pitiful Miss! Why, he is a man! And what a man: the forester Vilja Déž. However, I pity his fiancée, beautiful Miriota, the daughter of our innkeeper.

O HODINU POZDĚJI VE VYŠNÝCH VLKODLAKÁCH...

AN HOUR LATER IN WUTHERING WEREWOLFHAM…

Miriota: Sedlák:

Miriota: Farmer:

Miriota: Krčmář: Miriota: Krčmář: Krčmářka: Krčmář: Komorník: Krčmář: Vesničané: Komorník: Krčmář:

Viljo, ach Viljo. Copák to mohlo vzít jinéj konéc, dyž zaséjc brouzdál kolém týho Čórtova Hrádu? Beran vertohlavá. Jaký beran? Můj ženich je státní zaměstnanec. No, odnesem ho zaťál do šenku. Je to můj nastávající, otče. Chci o něj pečovat ve své komůrce. No totok! Ale múži, dyť huž je otec Semafór shodil z kazatelny.

Miriota: Innkeeper: Miriota: Innkeeper: His wife:

Tož do tého! Innkeeper: Neračte se namáhat, milosti. Butler: Joj. Innkeeper: Milosti. Milosti. Villagers: Hrabě Felix Teleke z Tılıke hodlá dnes přenocovat v Butler: Tvém hostinci. Óh. Innkeeper:

Vilja, oh Vilja! Kud it ended oderwise wid ‘im loiterin’ ’bout de Divil’s Carstle ‘gain? Darft donkey. Donkey? My fiancé is a civil servant. Well, let’s brin’ ’im t’ de inn. Father, he is my husband-to-be. I would like to nurse him in my chamber. Watty? Let dat bee me man. Why, Fader Pelikan already dropped ‘em orf of ‘is pulpi’. Well, gow on den. Do not strain Your Lordship. Ooo. Oooo. Lordshi’. Count Felix Teleke from Tılıke intends to stay overnight in your inn. Wow.

Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"



39

(v pokoji hraběte) Krčmář: Odydávna tu ložírovali eném milostpáni. I sám jenerál Patlaj. Po tý patáliji u Dolní Žinčice potom ráno poudal nášmu dĕtkoj: „Tož bitvu sem presrál. Ale dobro se vyspál.” Hrabě: Slova jak z mramoru. Á, zase ten pitoreskní hrad. Jeho věž se tyčí jako hrozivý ukazovák. Krčmář: Pravá Míšeň. Hrabě Óh. (zpívá) Zde spočívá ta divotvorná číše, co svátost nejsvĕtĕjší střežená. Je zvána gráááál. (nádoba praskne sílou hlasu) Komorník: Ó, zdejší klíma již účinkuje. Připište to na účet. Miriota: Krčmář: Hrabě: Miriota: Hrabě: Krčmář: Miriota:

Komorník:

Tato, tato! Vilja třeští v horečce jak smyslů zbaven. Sákra. Felčára sem už do zajtra nedostanem. Vodjel do Brehova rodit kostelníkovu krávu. Když slečna dovolí, mohl bych prozatím vypomoci zahraničním lékem. Ó, zahraničním... Díky, pane Hrabě. Slečna nemluví horalským nářečím? Je študovaná. Ale tatíčku, mluvíš jako kdyby klášterní vzdělávací ústav pro výchovu křesťanských panen v Salašárech byl nějakou univerzitou. Milosti, zde je ten slovenský lék.

(in the Count’s room) Innkeeper: Ivir since only noblemans slepped in ‘ere. Ivin general Blewit ‘imself. Arfter de blew in de battle of Lower Kasein he telled me old folk: I shure screwed de fight. But hav slepped awrigh’. Count: Memorable words. And again, that picturesque castle of yours. Its tower is pointing up like a threatening index finger. Innkeeper: Genuine Meissen. Count: Wow. (sings) Here lays the magical goblet, the most holy sacrament which is called the graaail. (the goblet breaks from the power of the voice) Butler: Oh, the local climate is has been already paying dividents. Put it on the bill. Miriota: Papa, papa! Vilja’s rambling in a fever. Innkeeper: Dammi’. De bonesetter woun’t pop in t’mora. ‘e’s gon t’ Brehovo t’ help ou’ wid de birt o’ the churchman’s carf. Count: If Miss allows me I could perhaps temporarily assist with an extract of allium sativum. Miriota: An extract! Oh, thank you, Your Lordship. Count: Does Miss not speak the local dialect? Innkeeper: She haz skulin’. Miriota: Oh, papa. You sound as if the Convent Institution for Educating Christian Maidens in Salisherry was a university. Butler: Here are the garlic pills, Your Lordship.




Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"



40

(později v krčmě) Krčmář: Zázračná meducína, pane hrábě. Šecka horkost se z nĕj vypářila, jen to zasyčálo. Hrabě: To mě těší, pane krčmáři. A kdy pan lesní adjunkt bude schopen sdĕliti nám příčiny svého fatálního stavu? Krčmář: Možná už ráno. Sedlák: Esli se ho dočká. Hrabě: Vždyť jeho stav není vážný. Sedlák: Tož to se nikdá neví, dyž je v tem zamotané ten Čórtův Hrád. Tóma: Ble-ble-ble… Krčmář: Nerůšaj vzácného pána. Voláme ho Tóma Hluchonĕmec. Člověk povĕternej, ále štěnici by nezabil. Živí sa poctivo, prodává za půlgroš oučiný škapulíře proti zlejm duchám z Čórtova Hrádu. Hrabě: Podaruj chuďasa stříbrňákem. Pan adjunkt se tedy vypravil k Čertovu Hradu? Sedlák: A né poprvá. Chcel tomu strašání přichodit na klúb. Hrabě: Krčmář: Sedlák:

Hrabě: Krčmář: Kmet: Krčmář: Kmet:

Jakému strašení? Jakýmu? Vobyčajnýmu…. Šelijaký takový rachocání a blejskání… A ňáký ty světýlka. Jaký světýlka, rychtáři? Na týhle voči sem to viďál. Z Hrádu vylít do nebe vohnivej šíp velkej jako zvoníce vod salašárskýho kostela. A proč tam vlastně straší? Proč? Čórtův Hrád... Čórtův Hrád, tam strašá. Jajajaj tam strašá. A proč tam strašá, dědečku, proč? Dávno, pradávno tému, co žílo na Čórtovo Hrádu

(later in the inn) Innkeeper: Real wonder drug, Yer Lordshi‘. De fivir slipped ou‘ o‘ ‘im wid a sizzle. Count: I am pleased to hear that. And when is dear Mr. Forester going to tell us the cause of his fatal condition? Innkeeper: Mebbe t’mora. Farmer: If ‘e sii it. Count: Why not? After all, his condition is not serious. Farmer: Well, dat kudn’t bee sayed f’ shure when it’s mix up wid dat Divil’s Carstle. Tom: Ble bleble… Innkeeper: Doun’t disturb ar noble gues’. We call ‘im Tom de Deafandumber. ‘e’s bats in ’is belfry bu’ wouldn’t kill a bedbug. ‘e’s an ‘onest livelihud, ‘e sell powerful talismen agin’ de ivil spirits from de Divil’s Carstle. Count: Spare some copper for the poor, Ignatio. So Mr. Forester has been to the Devil’s Castle, is that so? Farmer: An’ not f’ de furs’ time. ‘e wanted t’ sii ‘bout de hawnting. Count: What haunting? Innkeeper: Wha’ kind o’? Norma’ one. A few dem rattlin‘s an‘ lightenin‘s. An‘ some fireworks. Farmer: Lights you say? I seed it m’self. A burnin’ arrow size o’ Salisherry church spire shoted up from de Carstle. Count: Innkeeper: Old man: Innkeeper: Old man:

Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"

And why is it haunted then? Why? De Divil’s Carstle… De Divil’s Carstle, it’s hawnted. Awawaw, hawnted. An’ why is it hawnted, grandpa, why? Lon’ time agow it waz when a family o’ lutin’ knites

Naformátováno

... [82]

Naformátováno

... [83]

Naformátováno

... [84]

Naformátováno

... [85]


41

Krčmář: Kmet:

Krčmář: Hrabě:

Kantor: Krčmář:

(v pokoji) Hrabě:

Komorník:

pleméno loupeživejch rytýřů. A tý lotrové mordováli kupce a poutníky. Kého pak nĕutrátili, tého ukrutno tejráli nebo hladomoříli. Ale skerze pak ty hovadný skutové musíli všici po smerti do pekla, kde čort rozkázal jejich zatracenejm dušám, haby… Haby… haby…strašá… Haby strašáli na Hrádĕ jak zjednaní. A to strašání tĕch duchůch proklatejch bylo voprávdu k nevyderžení, že ty potomkové, co tam bydláli, hutékli do svĕta širýho a necháli Čórtův Hrád na pospás duchům... Ha netopejrům. Bravo, bravo. Pan děd - toť učiněný vyšnovlkodlacký Homér. Vzbudil ve mě tak živý interest o ten Váš ‘Čórtův Hrád’, že jen co se zotavím z dnešní únavné túry, dopřeji si malý výlet k oné romantické lokalitě, abych poškádlil ta Vaše strašidýlka. Hahahaha. Nebylo by snad lépe sečkati, až nám pan lesník sdělí své zážitky? Tož báť. Nech ať hurozený pan hrábě klidně seďá na perdeli.

Innkeeper: Old man:

Innkeeper: Count:

Teacher: Innkeeper:

lived in de Carstle. An’ dey were murderin’ merchants an’ travellers. Dose no’ killed were mercessly tortured or starved. Arfter deir deats, trough deir beastly acts, dey all haved t’ gow t’ hell where de Satan ‘imself ordered deir lost souls t’... t’… T’… hawnt… …t’ hawnt at de Carstle like crazy. An’ dat cursed ghoasts’s hawnting waz truly unbearable so dat all de offsprin’s dat lived dere runned ‘way t’ de world an’ leaved de Divil’s Carstle t’ ghosts… …an’ bats. Bravo, bravo. Dear Grandfather – he is the Wuthering Homer of the Werevolfham. He has caused to rise in me such an intense curiosity about that ‘Divil’s Kastle’ that as soon as I have rested after today’s tiring walk, I shall treat myself to a small trip to this romantic locality in order to tease those ghosts of yours. Wouldn’t it be perhaps wiser to wait until Mr. Forester shares his experience with us? Shure az hell. Lets ‘is Lordship’ res’ on ‘is arse.

(in the count’s room) A ta jadrná, horalská mluva. Jak stříbrnĕ zvoní v ústech Count: And that earthy mountain dialect, how silverly it rings in rázovitého lidu. Á, cítím se jako znovuzrozený. Vždyť to the mouth of these sharp folk. I feel reborn. These are the vše jsou ty svĕží a silné dojmy, které mi tak vřele fresh and deep impressions which Dr. Blutwurst so doporučoval doktor Blutwurst. Vĕkovití bardové, warmly recommended. Aging bards, romantic ruins, romantické ruiny, čáry a kouzla. magic and haunting. Smím-li se zeptat, co si vlastnĕ Vaše milost myslí o tĕch Butler: If I may ask – what does Your Lordship think of these



Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"


Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Vpravo: 0.25"

42

Hrabě:

hrůzostrašných zkazkách? Jen to nejlepší, Ignáci. Nebylo by přec nádherné, kdyby tĕď z té pekelnické barabizny svištĕly ohnivé šípy zvící salašarské zvonice? Bohužel, milý Ignáci, tyto poetické fenomény musíme odkázati do říše bájů. Bohužel.

Count:

ghost tales? Only the best, dear Ignatius. After all, wouldn’t it be wonderful if there were burning arrows the size of the church spire firing out from that devil’s nest at this very moment? Unfortunately, dear Ignatius, we must leave these poetic phenomena to the world of magic. Unfortunately.

(v noci, hrabě zpívá ve spánku) Komorník: Ubohý pán, nikdy na ni nezapomene.

(at night, the Count sings in his sleep) Butler: Poor master, he shall never forget her.

(ráno v Miriotinĕ komůrce) Miriota: No...No...No Viljušo. Co se Ti tam přihodilo? Lesník: Nevím. Krčmář: Japatože nevíš? Lesník: Tož, příšál sem zvečíra k Hrádu, ha potém... Krčmář: Co potém? No? Miriota: No Viljušo. Lesník: Ha potém se huž na nic nepametám. Krčmář: Co to poudáš? Hrabě: Typický případ amnésie, čili ztráty pamĕti, způsobené nĕjakým otřesným prožitkem. Sedlák: Plémĕ lotrovské. Škoďálo zaživa, škoďá i posmrti. Kantor: Nicménĕ byl to čadský rod, tihle Gorcové. Mĕli v erbu vlastnoručnĕ uťatý sultánův plnovous.

(in Miriota’s chamber) Miriota: Come on, Viljahun. What has happened to you? Forester: I dunno. Innkeeper: ‘ow come you dunno? Forester: Well, I comed in de ivinin‘ t’ de Carstle an‘ den … Innkeeper: An‘ den? Well? Miriota: Come on, Viljahun. Forester: Den I rimimber notin‘. Innkeeper: Wha’ are you sayin’? Count: This is a typical example of memory loss, so-called amnesia caused by some traumatic experience. Farmer: Raska‘ race – did ivil while ‘live, do ivil still. Teacher: Nevertheless, the Gorcz family was an old noble house. In their Coat of Arms they had a Sultans beard which they themselves had cut off. Count + Butler: The Gorcz family? Kantor: Yes, the Gorczes from Gorcz, the owners of this castle.

Hrabě + Komorník: Gorcové? Kantor: Ano, Gorcové z Gorceny, držitelé tohoto hradu.




43

Hrabě:

Robert Gorc, proboha. Ale pak tam může být i ... i... (omdlí)

Count:

Pray, Robert Gorcz. That means that there could even be…be.. (he faints)


(pozdĕji v komůrce) Miriota: A papi papi papi... Hami hami hami... Lesník: (brouká si stejnou melodii jako hrabě ve spánku) Miriota: Kde jsi, prosím Tĕ, vzal tu odrhovačku? A vůbec, státní zamĕstanec má zpívat jen státní hymnu.

(later in Miriota’s chamber) Miriota: Yam yam yaming… The train’s coming. Forester: (hums the same melody the Count did in his sleep) Miriota: Where have you, for God’s sake, got that lousy melody from? Anyway, a civil servant should only sing the national anthem.

VILJA SE JIŽ ZOTAVIL...

VILJA’S STATE HAS IMPROVED…

(později, venku) Hrabě: Robert Gorcz zmizel beze stopy. Ale co když se skrývá právĕ v tomto doupĕti? Zvláštní, přišel jsem, abych zde pohřbil své zoufalství příkrovem zapomnĕní, a zatím se přede mnou otvírá brána nadĕje. Vždyť je-li zde ten pomatenec, bude s ním – samozřejmĕ proti své vůli – i ona. Komorník: Nechť Vaše Milost promine, ale zdá se mi, že rozvalina je zcela neobydlena. Prosím. (podává mu šálek kávy) Hrabě: (slyší melodii, kterou zpíval ze spánku) Její nejslavnĕjší árie. (melodii hraje lesník sedící opodál) Bravo, pane adjunkte. Jste reprodukční umĕlec par excelans. Mohu to posoudit, protože znám tuto božskou melodii. A odkud ji znáte Vy? Lesník: Já... no... hani névim.

(later, outside) Count: Robert Gorcz disappeared without a trace. But what if he is hiding right here, in this lair? How odd, I have come here to bury my desperation under a layer of forgetting and meanwhile there is a light of hope arising ahead of me. Why, if the madman is here, then – against her own will of course - she will be here with him. Butler: Pardon my saying so but it seems that the ruin is totally uninhabited. Here you are. (gives him a cup of coffee) Count: (hears the melody he sang from his sleep) Her most famous aria. (it is played by the forester sitting nearby) Bravo, Mr. Forester. You are a mimic par excellence. I can appreciate it as I know this godlike melody. And where do you know it from? Forester: I…really dunno.




44

Hrabě: Lesník: Hrabě:

Lesník:


Lesník: Hrabě:

Lesník: Hrabě:

I víte. Hrál jste ji s týmiž finesami, jak je zpívala jen ona. Stále slyším ten andĕlský hlas. Dyť vona je taky krásná jako anjel. Jaká ona? Asi nevíte, že ministr lesnictví a já jsme mĕli společnou kojnou? Mléko není voda. A tak jsme zůstali až dodneška důvĕrnými soukojenci. Zkrátka, bylo by pro Vás výhodnĕjší, kdyby Vaše ztráta pamĕti pominula. Tak jak to bylo? Tož huž se trošinku rozpomínám. Přišál som tedá zvečíru k Čórtovu Hrádu a jak tak náňho koukám... (retrospektiva: lesník slyší z hradu onu melodii, šplhá k oknu, odkud zpěv vychází; najednou padá dolů a zůstává ležet v lese, kde ho později najde hrabě.) Ha co bylo dálejc, to huž dovoprávdy nevím. Voprávdu.

Count:

Váš popis nepřipouští pochybnosti. Je to ona. Musím ji vidĕt. Já taky. Á, již rozumím té Vaší ztrátĕ pamĕti. Obával jste se, že před svou snoubenkou neutajíte onen mocný dojem, kterým Vás uchvátil jediný pohled na tu nádhernou ženu. Není-liž pravda? Pane hrábĕ, mňál bych peklo. Úpřímnost za úpřímnost, příteli. Vĕzte, že ona rajská pĕvkynĕ, siňorina Salsa Verde, jest nejen primadonou svĕtových operních scén, ale především ztracenou, a nyní opĕt nalezenou, mojí snoubenkou. Pĕknĕ vynšuju, pane hrábĕ. Předčasné blahopřání. Siňorina Salsa Verde mešká na

Count:

Forester: Count:

Forester:

Forester: Count:

Forester: Count:

Forester: Count:

Oh yes, you do. You played it with the very same finesse as only she could sing. I can still hear that angel’s voice. Well she’s az bootiful az an angel. Who ‘she’? You probably do not know that the minister of forestry and I had the same wet nurse? Milk is not water, and that’s why we have stayed intimate wet brothers till nowadays. Simply put, it would be better for you to overcome your memory loss. So what is the story? Well, I’m startin’ t’ rimimber a bi’ now… Sow, I comed in de ivining t’ de Carstle an’ az I waz starin’ at it… (fleshback: he hears the melody from the castle, climbs to the window which it comes from; suddenly he falls down and stays without moving in the woods where the Count finds him later) An’ wha’ happened next I wreally kudn’t say, I swear. Your description allows no doubts. It is she. I must see her. Sow mus’ I. Oh, now I understand that amnesia of yours. You were afraid that you could not hide from your fiancée that powerful impression left on you after having caught a single glance of this magnificent woman. Am I right? Yer Lordshi’, I’d hav hell. Honesty for honesty, dear friend. Let me tell you that the divine singer, signorina Salsa Verde, is not only the world’s greatest diva, but more importantly my lost, and now found again, fiancée. Bes’ wishez. Those are premature congratulations. Signorina Salsa




Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Vpravo: 0.25"

45

Lesník:

tomto hradĕ nedobrovolnĕ, jsouc vĕznĕna zámožným, leč nebezpečným šílencem. Prách a broky. No to v tem miloslečnu nenecháme!

Hrabě:

Šlechetný synu hor, vy byste tam šel se mnou?

Lesník: Komorník: Hrabě:

Lesník: Hrabě:

Komorník:

Hrabě:

Idem. Ehm ehm...Vaše Milost učiní nejlépe, když se odebéře do vsi a tam všechno řádnĕ promyslí. Již je promyšleno, Ignáci. Do Vyšných Vlkodlaků půjdeš ty, a to hned. O naší návštĕvĕ hradu tamním strašpytlům ani nemukneš. Dybyste mukl, mňál bych peklo. Nešetře zlatem, najmeš vůz, který by ještĕ dnešního večera dostihl Salašáry, kde se vykážeš prefektovi mojí navštívenkou a tímhle zednářským prstenem. Vysvĕtlíš mu mé postavení a požádáš jej o následující zákrok. Jestliže se neobjevím v jeho residenci do dvacetičtyř hodin, nechť ihned vyšle policejní sbor, aby vzal Čertův Hrad stečí. Kéž nebude třeba ničeho stékati. Ale kdo se ujme péče o slavičí hrdlo Vaší Milosti? Já sám, Ignáci. Vím, že nepatří mĕ, ale celému svĕtu.

(přichází Tóma se zvláštním aparátem, kterým přenáší skrytou kamerou do Hradu) Lesník: Tóma Hluchonĕmec. Baron: (na hradě) Sakrlot.

Verde is held at this castle against her will having been imprisoned there by a rich but dangerous maniac. Forester: Skunk an’ gunpowder. Well we carn’t leave yer’ Missship init. Count: You wholehearted son of the mountains, would you go there with me? Forester: Shure. Butler: Ehm ehm… Your Lordship will do best if he returns to the village to think everything through. Count: It has already been done. It is you that will go to Wuthering Werewolfham and you shall set off immediately. To the local cowards you shan’t mention a word about our expedition to the castle. Forester: If you doed I’d get hell. Count: No matter what the cost is you will hire a carriage to reach Salisherry tonight. There you must find a prefect and establish yourself with my business card and this Masonic ring. Explain my situation and request the following: if I do not appear at his residency within 24 hours he shall immediately send the body of policemen to lay siege to the Devil’s Castle. Butler: Let us pray there shall be no need for that. But who shall be responsible for taking care of Your Lordship’s nightingale voice? Count: Me myself, dear Ignatius. It is not mine, but the world’s possession. (Tom arrives holding a special apparatus which shows the Baron at the castle what is happening) Forester: Luk, Tom de Deafandumber. Baron: (at the castle) Dammit.


Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"



46

Hrabě:

Komorník: Hrabě: Komorník: Tóma:

Zajímavý folkloristický předmĕt. Podaruj nebožáka, Ignáci. A my, pane adjunkte, vzhůru na cestu. Na brzkou shledanou, starouši. Kéž bych smĕl setrvati po boku Vaší Milosti. Opĕt se k nĕmu přivineš. Nashledanou, můj pane. Policajtů se panstvu zachtĕlo. No, vyřídíme to bez rámusu. (bere flintu, ale zakopne a padá, ostatní odejdou)

(později blízko hradu) Hrabě: Pozorujeme, aniž bychom byli pozorováni. Prostĕ dokonalá observatoř. Lesník: Na to si račej vodskočáme do lesa, ne? Hrabě: (zpívá) Botnon, trombon, bonton... Lesník: Co to je? Hrabě: Nácvik tzv. hlavového posazení hlasu. Ano příteli, opera – to je tvrdá řehole. Lesník: Promiňte, pane hrábĕ, já sem enem horackej sprosták. Co je to opera? Hrabě: Divadlo, ve kterém se nemluví, ale zpívá. Hraje se v nádherných dvoranách, před nejlepší společností, která mne zpravidla zahrnuje bouřlivou pochvalou. Lesník: Pane hrábĕte, ha proč? Hrabě: Protože jsem operní zpĕvák svĕtového vĕhlasu. Lesník: Ha já ždycky myslál, že takový producírování sa nehoďá pro velkomožné pány. Hrabě: Zrovna tak mluvil můj otec.

Count:

An interesting folkloric object. Spare some coppers for the poor, Ignatius. And us, Mr. Forester, let us set off. Goodbye, old chap.

Butler: Count: Butler: Tom:

If only I could stay side by side with Your Lordship. You shall return there. Goodbye, Milord. So the gentry wishes for cops, yeah? Well, we’ll end it quick and quiet. (picks up his gun but trips over and falls; the others leave)


(later near the castle) Count: We are watching without being watched; this is an impeccable observatory. Forester: We be’er pop t’ de forest f’ dat. Count: (sings) Bonton, trombone, bonton... Forester: Wha’ waz dat? Count: Practice of so-called head voice singing technique. Yes, dear friend, opera is a heavy burden. Forester: I beg Yer Lordshi’s pardon, I’m ownly a mountain peazant –wha’s an owpera? Count: A theatre with singing instead of talking, It is performed in beautiful venues for the best society which usually treats me with ecstatic adulation. Forester: Yer Lordshi’, an’ why? Count: Because I am a world famous opera singer. Forester: Bu’ I always tougt dat showin’ orf like dat is nuthin’ f’ noblemans. Count: My father used to think so, too.



47

Lesník: Hrabě:

Lesník: Hrabě: Lesník: Hrabě:

Lesník: Hrabě:

Hale dovolil panu hrábĕti aby se vyučil na zpĕváka? Forester: Kapituloval před silou mého talentu. Count: (retrospektiva: hrabě zpívá, vlivem jeho hlasu se utrhne lustr, pod nímž zahyne otec hraběte) Nyní již otec nic nenamítal, abych se vydal za svou hvĕzdou. Rodinné ohledy mi velely, abych dobyl Evropy pod zvoleným umĕleckým jménem Il Contecanto. Nešťastný Mouřeníne benátský, byl jsi mým osudem. (hrabě a Salsa se setkávají, a rozcházejí za svými pracovními povinnostmi) Co na tom, že se naše cesty rozešly. Díky zázrakům moderní techniky zůstali jsme pospolu. Až jednoho večera... (telegram)‚Přijeď ihned. Stop. Salsa.‘ Neztrácel jsem ani vteřinu. (hrabě spěchá na Salino představení, na jehož konci Salsa omdlí) Ha proč miloslečna vomdlíla? Nepředbíhejte vyprávĕní. Libĕjí prominout, pane hrábě. Jak úžasným výkonem nás oblažila toho večera. Vtiskl se mi tak nesmazatelnĕ do zvukovodu mé pamĕti, že se mi někdy stává, jako bych jej opravdu slyšel. Ano, už je to tu zas. Zbytečná námaha, příteli. Je to jen moje ryze soukromá halucinace. Ha.. ha... hale, dyť já to taky slyšám. Hano, to zpívá vona. Ne tak zhurta, pane adjunkte. Siňorina Salsa je moje snoubenka. Salso! Salso!

Forester: Count: Forester: Count:

Forester: Count:

Bu’ ‘e let Yer Lordshi’ study singin’? He capitulated to the power of my talent. (fleshback: the Count sings and under the power of his voice the chandelier falls down; his father dies beneath it) Now father had no more objections to my career. Considering my family position in society I chose to conquer Europe under the artistic name of Il Contecanto. You unfortunate Moor of Venice, you were my fate. (the Count and Salsa meet, and part due to job duties ) Little did it matter that our ways have parted. Thanks to modern technical miracles we have stayed together. Until one evening... (a telegram) ‘Come quick. Salsa.’ I did not waste another second. (the Count hurries to Salsa’s performance; she faints at the end of it) An’ why di’ ‘er Missship fain’? Do not jump too far ahead! I beg Yer Lordshi’s pardon. What magnificent performance she pleased our hearts with that night. So clearly it has been imprinted into the memory of my auditory canal that I can still hear it at times. Oh yes, here it is again. Do not waste any efforts my friend, it is only my private hallucination. Bu’.. bu’…bu’ I c’n hear it tuu. Yez, it’s ‘er singin’.



Calm down, Mr. Forester. Signorina Salsa is my fiancée. Salsa! Salsa!


48

VÍTEJTE HRABĚ FÉLIXI TÉLEKU (nápis na zdi hradu) Hrabě: Lesník: Hrabě: Lesník: Hrabě: Baron:

(později) Hrabě:

Tóma:

WELCOME COUNT TELEKE (a sign on the wall of the castle)

Tak tedy jsme očekáváni. Pane hrábĕ.... pane hrábĕ, vopáternĕ. Radĕjc dvakrát mĕřáť a jedou řezáť. Když jde o siňorinu, rovnou řežu.(vejdou do pokoje; dveře se za nimi zabouchnou) Ha huž sme v lapáku.Tož báť, dyť tu ani nejsú vokna. Jako v pohádce. (dveře se otevírají na fotobuňku, oba několikrát probíhají tam a zpátky) Znamenité. (pozoruje je ne své televizi) Hrabě? Tajtrlik!

Nu, prozatím není důvodu ke stížnostem: lahodnĕ zamřelá zvĕřina, chateau Dracula ročník 80. Na šťastný zítřek, příteli. (zpívá) Kéž zdar provází nás! Kéž zdar provází nááááás! (praskne čočka na skryté kameře) (vidí, co se stalo) Ten chlap má v hrdle dynamit.

Count: Forester: Count: Forester: Count: Baron:

(later) Count:

Tom:

Well, we are expected. Yer Lordshi’… Yer Lordshi’, careful. Luk ‘fore you leap. I shall leap straightforward when the signorina is involved.(they enter a room; the door shuts) An’ we’re trappe’. Shure ’nouf, dere are now windowz. Just like in a fairy tale. (the door opens automatically; both men jump back and forth) Brilliant. (watches them on his TV) Nobleman? Nincompoop!

So far, there has been no reason for complaints: delicious venison, Chateu Dracula year 80. To tomorrow, dear friend. (sings) Let the success be with us. Let the success be with uuuus. (a lens on a transmitting camera breaks) (watches it happen) That guy can’t have vocal cords but dynamite in his throat.


PORUCHA NENÍ NA VAŠEM PŘÍJÍMAČI (oznámení na baronově THE DEFECT IS NOT ON YOUR RECIEVER (an announcement on obrazovce) the Baron’s screen) Baron:

Nebezpečný nepřítel. Musím ho mít stále na očích. (telefonuje) Profesore! Profesore!

Baron:

Profesor: Baron: Profesor:

Okamžik. Profesore! Právĕ vystřeluji čtyřistadvacátouprvní raketu na Mĕsíc.

Professor: Baron: Professor:

A dangerous enemy. I must keep an eye on him at all times. (phones) Professor! Just a minute. Professor! Just a minute, I’m just sending my 421st rocket to the Naformátováno: Vpravo: 0.25"

49

Baron: Profesor: Baron: Profesor: Baron:

Tentokrát se určitĕ strefím. Start! Nechte toho. Máme na starosti důležitĕjší vĕci. Zatracená práce. Co je? Porucha na druhém programu. Okamžitá oprava nutná. Ale snad by ti pánové nemĕli být při tom. Nebudou. Bĕhem nĕkolika sekund se odebéřou do říše snů.

Baron: Professor: Baron: Professor: Baron:

Moon. This time I won’t miss. Launch! Forget that! We have a more serious business to attend to. Dammit. What’s up? A defect on the 2nd channel. Immediate repair needed. Perhaps those gentlemen should not witness it. They will not. Within a few seconds they will arrive in the dreamland.

(v pokoji hraběte začne unikat plyn, on i lesník usínají; lustr se spouští, po žebříku nad ním slézají dva muži: profesor – opravuje kameru, a Tom – uklízí ze stolu a zohne hlaveň lesníkovi flinty)

(gas starts to leak to the Count’s room, he and the forester fall asleep; the chandelier drops down with a ladder above it, and two men come down it: the Professor – to repair the lens, and Tom - to clean the table and bend the barrel of the forester’s gun backwards)

(ráno) Lesník:

(in the morning) Forester: Yer Lordshi’, oh! Yer Lordshi’, wekap, wekup. Wekup.

Hrabě: Lesník: Hrabě: Lesník: Hrabě:

Lesník: Hrabě: Lesník:

Pane hrábĕ. Joj! Pane hrábĕ, vzbuďájte sa. Vzbuďájte sa, vzbuďájte sa. Vzbuďájte sa. Dobré jitro, příteli. Den jak za zlata. Čort vém zláto. Ale co to vokno! Včíra po nĕm nebýlo áni vídu. Pravda, vždyť je to táž komnata. Já mám po včíru v palici jak vymetýno. Hani nevím, jak sem pád do kanafásu. Máte pravdu, ani já. Vida, vše je připraveno pro jitřní toaletu civilizovaného muže. Vĕru vzorná obsluha. Hani bych neřek. (dívá se na svou flintu) Ó, no... WC. Co je to?

Count: Forester: Count: Forester: Count:

Forester: Count: Forester:

Good morning, my friend. Oh, what a day! T’ hell wid de day bu’ wha’ ‘bout de window? It wazn’t dere yesterday. True, it is the very same room… Arfter las’ night’s my mind’s like a slate wipped clean, I doun’t ivin know ‘ow I hitted de sack. You are right, nor do I. See, everything is ready for the morning toilette of a civilised man. Truly excellent service. I wouldn’t say sow. (sees his rifle) Oh, a lavotary. Wha’s it? Naformátováno: Vpravo: 0.25"

50

Hrabě:

(hrabě uslyší hudbu) Rej blažených z Orfea a Euridiky.


Tohle? (ukazuje na WC) Jsme zamčeni! Ták, huž je to tady. Ále, šak máme taky nákou sílu, ne? Tož ba. Pan hrábĕ se ráčí postavit vedlejc ňa, tak, ha haž řeknu krléš, vezmem to šturmem. Hrabě: Och, vy chrabří horalé! Lesník + Hrabě: Krléš! (rozběhnou se proti dveřím, ty se samy otevřou, oba skončí na podlaze pokoje; v něm jsou baron a profesor) Hrabě: Zázrak. (slyší orchestr, ale nevidí ho) Profesor: Pšt. Baron: Ano, zázrak kvadrafonografie. Je to jeden z nejumnĕjších vynálezů našeho profesora Orfanika. Úpřimnĕ řečeno, je to šílenec. Tedy naprostý šílenec, ale nicménĕ... Je to šílenec, nicménĕ génius. Vynalézá, jako slípka snáší vejce. Ale aby si dal narůst pořádný plnovous, to ne. Hrabě: Pane, je mi známo, že je... Baron: Pst. Ještĕ pár nebeských tónu z Traviaty. Ó, vznešené operní melodie. Kořím se jim výhradnĕ jen v úboru důstojném jejich velebení. (hrabě je v noční košili) Hrabě: Baron:

Pane! Již moji předkové zbožňovali hudbu. Tleskali odsouzenci, který zaječel na mučidlech vysoké ‚cé‘, a odmĕnili ho slavnostní popravou provázenou fanfárami pražských pozounérů. A moje, moje uctívání opery vůbec, vůbec nezná mezí.

Count:

(hears music) The Dance of the Blessed Spirits from Orpheus and Eurydice. Forester: Dat? (points to the toilet) Count: We are locked up! Forester: Righ’, dere we gow. Bu’ we’re stron’, aren’t we? Shure. Yer Lordshi’ will stand ‘ere, nex’ t’ me, an’ when I say warshmellow let’s take it stormlike. Count: Oh, you lion-hearted highlanders! Count + Forester: Warshmellow! (they run against the door which opens, they fall on the floor of a room; Baron and Professor are there) Count: A miracle. (hears an orchestra but cannot see it) Professor: Sssh. Baron: Yes, a miracle of quadrophenea, one of the top notch inventions by our professor Orfanik. Honestly, he is mad – I mean absolutely mad – but all the same a genius. He invents as hen lays eggs. Only he would never grow a proper full beard, would you? Count: Baron:

Count: Baron:

Naformátováno

Sir, I know that… Sssh, let’s hear a few more heavenly tones from La Traviata. Noble opera melodies – I admire them exclusively in outfits worth their praising. (the Count wears his pyjamas) Sir. Even my ancestors loved music. They applauded a convict who, while being tortured, screamed the high C; and they awarded him with an execution accompanied by fanfares of Prague’s trombonists. And there are no… no limits at all to my admiration of opera. Naformátováno: Vpravo: 0.25"

51

Hrabě: Baron:

Pane! Zde suvenýry na její tvůrce: parapli de Beethoven, taktovka Hektora Berlioze, baret Richarda Wágnera a tu Rosiniho tiramisu. Hrabě: Salsa! (vidí její obraz) Baron: Zhotoveno podle živého modelu. Hrabě: O tom nepochybuji. Lesník: Pane hrábĕ. Baron: Co to je? Profesor: Jabko. A to je likvidátor zemské přitažlivosti. Baron: Takové hračičky, profesore. Kdybyste si radĕji vynalezl řádný plnovous. Ssss. (jablko se vznasi a pak spadne do šálku s kávou; ta postříká baronův smoking) Profesor: Ještĕ to chce vychytat ňáký blechy. Hrabě: Pane, vím, že je zde... Baron: Ú, pardón. Promiňte prosím, že jsem se dosud nepředstavil. Hrabě: Myslím, že mám tu čest s baronem Robertem Gorczem z Gorczeny. Baron: Bravo. A já s hrabĕtem Tılıke z Teleke. Hrabě: Prosím, s Télekem z Tılıke. A nikoliv Tılıkem z Teleke. Baron: Chápu - Tılıke z Teleke. A tady je profesor Orfanik, můj osobní vynálezce. Profesor: Vĕdecko-technický revolucionář. Hrabě: Tĕší mĕ. Barone... Baron: Ano. Hrabě: Vím, že je zde moje... Lesník: Pane hrábĕ, Tóma Hluchonĕmec.

Count: Baron:

Sir! Here, the souvenirs of its creators – Beethoven’s brolly, Hector Berlioz’s baton, Richard Wagner’s beret, and here Rosini’s tiramisu. Count: Salsa! (he sees a painting of her) Baron: Painted from a live model. Count: I would not doubt that. Forester: Yer Lordshi’. Baron: What is it? Professor: An apple. A diminisher of gravity. Baron: Such silly toys, professor. You should rather invent a proper beard for yourself. (the apple floats but then falls into a cup of coffee which stains the Baron’s tuxedo) Professor: Still some fine tuning to be done. Count: Sir, I know that… Baron: I am sorry, but I don’t think I have introduced myself yet. Count: Do I have the honour of meeting Baron Robert Gorc from Gorc? Baron: Bravo, and I of meeting Count Tölöke from Teleke. Count: If you please, of Teleke from Tölöke. Baron: Professor: Count: Baron: Count: Forester:

I understand, Tölöke from Teleke. And now, meet professor Orfanik, my personal inventor. A scientific-industrial revolutionary. How do you do? Baron… Yes. I know that my… Yer Lordshi’, Tom de Deafandumber. Naformátováno: Vpravo: 0.25"

52

Hrabě:

(Tóma je hází do jejich pokoje, který je doopravdy výtah – sjíždí do podzemí) Lesník: Ha sme zasejc doma.

Baron, I know that my fiancée is here. I request that I see her immediately. Baron: Immediately? As you wish. (the Count still wears his pyjamas) Count: Well, not immediately but… (there is a bang) What was that? Baron: When you are dressed, Count, I will have the pleasure of fulfilling your wish. Zutro, accompany the gentlemen to their room. (Tom throws them into their room, which is a lift and takes them deep underground) Forester: An’ we’re back ’ome.

AKCE ROBERT ĎÁBEL

PROJECT ROBERT THE DEVIL

Baron: Profesor: Baron:

Baron: Professor: Baron:

And is this distribution of charges sufficient? A total destruction is guaranteed, sir. Well done, professor, well done. Is it understood that the test must be done within twenty-four hours?

Professor:

Though I must warn you, sir. I have worked in the field of explosives only twice. (points to his blind eye and lost forearm) You must not disappoint me, professor. Nope. Who freed you from the nuthouse cell where you ended up thanks to the scientific-technical revolutionary’s intrigues? You did, sir.

Baron: Hrabě: Baron:

Profesor:


Profesor:

Barone, vím, že je zde moje snoubenka. A žádám, abych k ní byl okamžitĕ uveden. Okamžitĕ? Ó, velmi rád. (hrabě je pořád v noční košili) Tedy... okamžitĕ ne, ale... (ozve se rána) Co to bylo? Až se upravíte, milý Hrabě, bude mi potĕšením splnit Vaše přání. Zutro, vyprovoď oba pány.

A je tato dislokace náloží opravdu dostačující? Totální destrukce je zaručena, pane. Výbornĕ profesore. Ale výbornĕ. Je Vám ovšem jasné, že zkušební test musí být proveden do čtyřiadvaceti hodin? Musím Vás ovšem upozornit, pane, že v oboru třaskavin jsem vynalézal pouze dvakrát. (ukazuje na slepé oko a utrženou ruku) Nesmíte mĕ zklamat, profesore. Nee. Kdo Vás vysvobodil z kobky blázince, do které jste byl uvržen pletichami vĕdecko-technických kontrarevolucionářů? Kdo? Vy, pane.

Count:

Baron: Professor: Baron:

Professor:


Naformátováno: Písmo: Tučné



53

Hlas: Profesor: Hlas: Profesor: Hlas: Profesor: Hlas:

(v pokoji) Hrabě: Leník: Hrabě:

Salsa:

Leník:

(telefonuje) Karbonizujte koksohydráty! Provedem. Karmujte nukleáry! Provedem. Akcelerujte moderátory! Provedem. Ohřejte mi párek! K službám.

Je to démon. Démon. Démon v lidské podobĕ. A jakto, že tu má nakvartýrovanou Vaši miloslečnu snoubenku? Jak to? Když tehdy siňorina Salsa klesla bezducha v mou náruč, byla odnesena do své šatny a tam přivedena k vĕdomí lékařem, který konstatoval srdeční záchvat. Když jsme osamĕli, má nejdražší mi odhalila zdroj svých smrtelných úzkostí. (retrospektiva) Krátce po našem rolzoučení se objevil v lóži mých obdivovatelů záhadný baron Gorcz. Putoval za mnou od opery k opeře. Nešetřil úplatky, aby pronikl do mé nejtĕsnĕjší blízkosti. V divém zmatku požádala jsem Tĕ telegrafickou depeší o pomoc a zároveň jsem zapřísahala barona potrubní poštou, aby mne zbavil své blízkosti. Odpovĕdĕl mi obratem: „Bohynĕ mého ucha, slibuji, že již více nespatříte mou tvář.” Hle, jak ďábelsky splnil svůj slib. (hrabě sedí v divadle celý omotán jako mumie) Joj, tak proto slečna vomdlíla.

Voice: Professor: Voice: Professor: Voice: Professor: Voice:

(phones) Carbonise the cokehydrates. Yes, sir. Carmonise nuclears. Yes, sir. Accelerate the moderators. Yes, sir. Get me a sausage. At your service.

(in the Count’s room) Count: He is a demon; a demon in a human body. Forester: An’ ‘ow come e’s got yer fiancée moved in ’ere wid ‘im? Count:

Salsa:

Forester:

How come? After signorina Salsa had fallen unconscious in my arms, she was carried to her dressing room and woken up by a doctor who diagnosed her with a heart weakness. When we were alone my dearest uncovered the source of her earthly worries. (flashback) Shortly after our parting a mysterious Baron Gorc joined the group of my admirers. He followed me from one opera house to another. Giving generous bribes he got as close to me as he could. In sheer confusion I wrote a telegraphic dispatch asking for your help and, at the same time pleaded with the Baron by pneumatic post to get me rid of his presence. He answered at once: ‘The goddess of my ear, I swear you will never see my face again.’ What a devilish promise. (the Baron sits in the audience dressed as a mummy) Sow dat’s why ’er Misssship fainted.



54

Salsa: Hrabě: Salsa: Hrabě: Baron:

(retrospektiva) Již nemohu, je to nad mé síly. Vždyť jsem jen slabá primadona. Salso, miluješ mne? Félixi, kolikrát již zašeptalo Tvé sluchátko na tuto otázku mé mezimĕstské ano. Ale pak je všechno snadné. (čte oznámení na ulici) Jakže? Zasnoubení primadony Salsy Verde s maestrem Contecantem? Jakže? Pĕvkynĕ končí svou umĕleckou dráhu? Jakže? Příští týden se loučí s veřejností v úloze knĕžny Karoly? A to poboku svého snoubence? Ty kvákale! Nikdy mi ji neuloupíš! Nikdy! Nikdy!

Salsa: Count: Salsa: Count: Baron:

(flashback) I am at the end of my tether. Why, I am only a fragile prima donna. Salsa, do you love me? Dear Felix, how many times has your receiver whispered my long-distance yes to you? But then everything is easy. (reads an announcement in the street) What? Prima donna Salsa Verde is engaged to maestro Il Contecanto? What? She is retiring? What? Next week she is giving her final performance in the role of Countess Karol, side by side with her fiancé? What? You quack! You will never steal her from me! Never!

(večer posledního představení) Hrabě: Drahá, proč si tak strašlivĕ rozrušena dnešního večera? Salsa: Mé srdce svírá neblahá tucha. Ha ano, tam jistĕ číhá on!

(the evening of the last performance) Count: Dearest, why are you so terribly upset tonight? Salsa: There is a baleful foreboding pressing on my heart. Yes, over there - he is surely lurking there. (představení začíná; na konci Salsiny árie hrabě foukne na papírovou (the performance starts; at the end of it the Baron blasts into his paper frkačku, Salsa padá do mdlob a je doktorem prohlášena za mrtvou) blowout, Salsa faints and is announced dead by a doctor) Hrabě: Milosrdná mdloba mne zbavila vĕdomí. Salsino tĕlo Count: The merciful swoon drew away my consciousness. bylo ponecháno v uzamčené šatnĕ, kdež mĕlo zůstat až Salsa’s body was left in her locked dressing room where do nedaleké chvíle, kdy bude podrobeno příslušným it was to stay until some time later when it would be šetřením. Ale když po necelé hodinĕ šatna byla otevřena, examined. After less than an hour when the room was nĕco se tu zmĕnilo. „Hrabě, nyní jest Salsa Verde reopened, something had changed inside: ‘Dear Count, navždy má. Nepátrejte po ní, je-li Vám život milý.“ Salsa Verde is now mine forever. Do not seek her or you Podepsán Robert Gorcz. shall put your life in danger.’ Signed Robert Gorc. Veškerá pátrání po tom netvoru skončila fiaskem. All investigations to find the monster led nowhere. Zmítaje se na pokraji šílenství, zoufal jsem nad Salsinou Balancing on the edge of sanity I mourned Salsa’s death smrtí a zároveň hýčkal myšlenku, že má snoubenka žije. but all the same nursed the hope that my fiancée was Pravda, prožívá strastiplné dny v zajetí choromyslného alive. True, she would be imprisoned by her ill-minded



55

zbožňovatele, nicménĕ žije. Haby né, pan hrábĕ tu miloslečnu slyšál, ha já ju i viďál. Enem mi nejde na pochopa, že ten pan dochtór ji deržal za mertvou. Hrabě: Snadné vysvĕtlení. Baron bezpochyby vládne tajemnou silou, kterou zoveme hypnóza. Jejím působením přivedl siňorinu do stavu naprosté ztuhlosti, jež zmátla i zkušeného lékaře. Baron: (vchází) Máte pravdu, přesnĕ tak. Hrabě: Vy jste poslouchal za dveřmi? Baron: Samozřejmĕ. Je to velmi praktické. Nuže Hrabě, jdeme. Hrabě: Kam? Baron: Chtĕl jste přece vidĕt siňorinu Salsu. Hrabě + Leník: Ano. Leník: Nechť pan hrábĕ líbí prominout. Hrabě: Ten dobrý hoch půjde s námi. (uvidí obraz sebe sama) Málem jsem zapomnĕl, že také kradete obrazy. Baron: Ovšem jen ze zdravotních důvodů. (baron několikrát zabodne do obrazu dýku, vždy se ozve zasténání hraběte) Obraz: Ách! Ach! Ach! Baron: Hned se cítím lépe. Hrabě: Tedy nĕco jako akupunktura. Baron: Ano, svého druhu ano. Pšt. Život geniální umĕlkynĕ spočívá teď výhradnĕ ve Vašich rukách Hrabě: Nechápu. Baron: Pochopíte. Pšt. (baron odhrne divadelní oponu, za ní spí Salsa) Leník:

Forester:

admirer, yet alive. Shure, Yer Lordshi’ heared ‘er an’ I seed ‘er awrigh’. Jus’ carn’t grasp dat de doctor tougt o’ ‘er dead.

Count:

The easy explanation is that the baron is surely a master of the mysterious power called hypnosis. Using it he had brought signorina into a state of absolute stiffness, by which even an experienced doctor was confused. Baron: (enters) Exactly, rightly so. Count: Have you been eavesdropping? Baron: Of course, it’s highly practical. Well, Count, let us go. Count: Where to? Baron: Why, you wanted to see signorina Salsa. Count + Forester: Yes. Forester: I beg Yer Lordshi’s pardon. Count: This good young man will go with us. (sees a portrait of himself) I almost forgot you were also stealing paintings. Baron: Only for medical reasons. (the Baron stabs the painting with a dagger; moaning comes out of it in response) Picture: Ouch! Ouch! Baron: Immediately, I feel much better. Count: A kind of acupuncture, that is. Baron: Yes, of its own kind. Ssssh, the life of a genial artist lies exclusively in your hands. Count: I do not understand. Baron: You will.Ssh. (the Baron opens a theatre curtain, Salsa sleeps behind it)

Naformátováno Naformátováno: Doleva, Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Odsazení: Vlevo: 0", První řádek: 0"


56

Lesník: Baron: Hrabě: Baron:

Učinĕná Panenka Maria. Pšt. (zvolá) Sal... Chcete ji usmrtit? Právĕ usnula. Jestliže procitne a spatří Vás, její choré srdce podlehne otřesu z tak nenadálého setkání. (opona spadne) Lesník: Joj. Baron: Učinil jsem Vašemu přání zadost. Hrabě, pojďme. Hrabě: Salso! (rozběhne se směrem k Salse, ale je zastaven ránou do hlavy od Tómy) Baron: Výbornĕ. Lesník: Prách a broky. Baron: Bravo, Zutro. Váš rodovĕrný plnovous nikdy nezradí.

Forester: Baron: Count: Baron:

Jus’ like Virgin Mary. Ssh. (cries) Sal… Do you want to kill her? She has just fallen asleep. If she wakes up and sees you, her weak heart will succumb to the shock of meeting you. (the curtain falls) Forester: Oh!. Baron: I have fulfilled your wish. Count, let us go. Count: Salsa! (runs towards Salsa but faints as Tom hits his head) Baron: Well done. Forester: Skunk an’ gunpowder. Baron: Bravo, Zutra. Your genuine family beard will never betray me.

(zpátky v komnatĕ) Hrabě Vsadil bych se, že pravou příčinnou jejího spánku jest nĕjaká ďábelská droga. Zlosyn. Vĕzní ji v zlaté kleci jako kanára. Lesník: Hale jak miloslečnu z tý klece dostanem? Hrabě Moje inspirace mĕ nezradí. Lesník: Copato je? Hrabě Tajemný hlas, který radí nám, umĕlcům. Lesník: Ha co praví? Hrabě Prozatím nic. (podívá se na hodinky) Ostatnĕ jaképak starosti. Salašárský policejní sbor právĕ vyrazil.

(back in their room) Count: I would bet the true cause of her sleep is some devilish drug. Evildoer! He is keeping her in a cage like a canary. Forester: Count: Forester: Count: Forester: Count:

Bu’ ‘ow are we goin’ tu get ‘er Missship ou’? My inspiration will not let me down. Wha’s dat? A secret voice that helps us artists. An’ wha’s it sayin’? So far nothing. (looks at his watch) But let us stop worrying. The Salisherry body of policemen has just set off. Naformátováno: Vpravo: 0.25"

57

Policejní sbor:

(pochoduje a zpívá) Pólicíja, pólicíja, Sálašáry, práha Jóva. Z césty príva, z césty práva, sýmpatika, korpora.

(baron a Tóma) Baron: (sleduje sbor) Kávu. Více svĕtla. Co to vidím? Podej mi telefóna. Á, pan salašárská prefekt osobnĕ. Kdy sem dorazí ti pobudové? Tóma: No, i když mašírujou hezky zvostra, potrvá jim to dobré dvĕ hodiny, než obejdou Medvĕdí vrch. Pak si musejí vodpočinout a tak tu budou... no nejdřív zejtra ráno. Baron:

Baron: Profesor:

Proklatĕ. (telefonuje) Profesore? Moment. Profesore. Moment. Experimentuji s živočišnou elektřinou. Akce Robert Ďábel musí být připravena nejpozdĕji do zítřejšího jitra. Kdy konečnĕ provedete svůj zkušební test? Ihned. (test proveden) Test akce Robert Ďábel pozitivní. Jakže, toho jste dosáhl tímto jediným zrnkem? Ano. Na celou akci postačí čtvrt kila Orfanitu.


Nešetřete na váze. Mám zařídit dislokaci náloží? Ovšem.

Profesor: Baron: Profesor: Baron:

Profesor:

Police:

(march and sing) Police body, police buddy, Salisherry, Good Jehovah. Path of justness, path of justice, sympathetic, limited.


(the Baron and Tom) Baron: (watches the police) Coffee. More light. What is that? Pass me the telephone. Hmm, the prefect of Salisherry himself. When will they make it up here? Tom: Though they are marching pretty briskly it will take them a good two hours to walk around Bear Hill. Then they’ll need to rest so they’ll be here at… the soonest tomorrow morning. Baron: Damn. (phones) Professor! Professor: Just a minute. Baron: Professor. Professor: Just a minute. I’m experimenting with animal electricity. Baron: The Project Robert the Devil must be ready by tomorrow dawn. When are you going to test it? Professor: Baron: Professor: Baron: Professor: Baron:


Immediately. (test is done) The test of Robert the Devil was positive. And you used just one grain for all that? I’ll need only half a pound of Orfanicum for the whole project. Oh, be generous. Shall I order the relocation of the charges? Indeed. Naformátováno: Vpravo: 0.25"

58

Profesor:

Škoda, že ten krásný výbuch zničí veškeré mé vynálezy.

Professor:

Baron:

Zase je dáte dohromady. Víte přece, že má finanční pomoc je neomezená. Ano, ať žijí Vaše továrny na falešné šeky! Teď již budu hráti s otevřenými kartami.

Baron:

Profesor: Baron:

Professor: Baron:

Only pity this beautiful explosion will destroy all my inventions. You will put them together again. Don’t forget my financial help is limitless. Long live your factories for fake cheques! Now, I will show my hand.

(v pokoji je baron, hrabĕ a lesník) (Baron, Count and forester are in a room) Záznam: Nešetře zlatem najmeš vůz, který by ještĕ dnešního Record: No matter what the costs is you will hire a carriage to večera dostihl Salašáry, kde se vykážeš prefektovi mojí reach Salisherry tonight. There you must find a prefect navštívenkou a tímhle zednářským prstenem. Vysvĕtlíš and establish yourself with my business card and this mu mé postavení a požádáš ho o následující zákrok. Masonic ring. Explain my situation and request the Jestliže se neobjevím v jeho residenci do čtyřiadvaceti following: if I do not appear at his residency within 24 hodin, nechť ihned vyšle policejní sbor, aby vzal Čertův hours he shall immediately send the body of policemen Hrad stečí. to lay siege to the Devil’s Castle. Baron: Ta steč nebude nutná, Hrabě.. Policejní sbor najde bránu Baron: That siege will not be necessary. The body of police will otevřenu dokořán. find the main gate open. Hrabě: Aha, rozumím barone. Vydáte se do rukou spravedlnosti Count: I understand, you are going to give yourself up to the dobrovolnĕ. Dobře činíte. hands of authority. Well done. Baron: Salsa a já. Snili jsme tu nerušenĕ svůj rajský sen. Baron: Salsa and myself, what a heavenly life we have lived Prastaré báchorky a dĕsivé úkazy provázející here. The ancient tales and strange phenomena profesorovy experimenty udržovaly prostý lid v uctivém accompanying the professor’s experiments kept the local odstupu. Až jste tady začal čmuchat vy, vlezlý fořte. folks at a respectful distance. Then you started to sniff Varoval jsem Vás elektrickou ranou, ale Vy jste přišel around, you nosy parker. I warned you with an electrical opĕt, a navíc jako průvodce tohoto pána, který na mĕ shock yet you came back as the guide of this monsieur poštval policejní chátru. Jenže milý Tılıke... who set the police after me. But, dear Tölöke… Hrabě: Téleke Count: Teleke. Baron: Jenže milý Tılıke, až ti Vaši biřicové vpochodují na Baron: But, dear Tölöke, when those yokels march into the nádvoří, budu já s Vaší snoubenkou již dávno za horami, courtyard your fiancée and I will be far gone, and the Naformátováno: Vpravo: 0.25"

59

Hrabě: Baron:

Profesor: Baron: Profesor: Baron: Profesor: Baron: Profesor:

Baron: Profesor:

a oni s hradem vyletí do povĕtří. Ne. Ano. A vy poletíte s nimi. Oba dva. (vidí, že Salin portér se rozbil) Proboha, co jste to udĕlal? Volal jste mĕ, pane? Profesore, ten Váš zkušební test... Absolutnĕ pozitivní s negativním dopadem. Víte vůbec, co jste způsobil? Vím, pane. Vĕdecko-technická revoluce není žádná idyla. Co mohu očekávat od človĕka bez plnovousu? Mnoho, pane. Ihned předvedu. Univerzální bezdrátový odpalovač našich náloží. Zde načasované odpálení automatické, zde okamžité ruční. Což je Váš případ. Demonstruji náznakovĕ: vysunu anténu, odjistím – jakoby, odpálím – bác! Obslouží i dĕcko. Tedy i já. Ale to je rozkošné. Díky profesore. Vroucí díky. Prosím, prosím

Count: Baron:

Professor: Baron: Professor: Baron: Professor: Baron: Professor:

Baron: Professor:

castle and them will be ...blown up. No. Yes. And you with it. Both of you. (sees a broken protrait of Salsa) In the Lord’s name what have you done? You called me, sir? Professor, your test… Absolutely positive with negative consequence. Do you know what you have done? I do, sir. The scientific-technological revolution is no sweet idyl. What can I expect from a beardless man? A lot, sir. Let me show you - a universal remote wireless launcher for our charges. Here is a preset automatic launch, and here – an immediate manual one. That’ll be your case. I’ll demonstrate: pull the antenna, undo the safety - as if - and launch…bang! Can be operated by a child. Even I can do it then! That is amazing. Thank you professor, very much. You’re most welcome. Naformátováno: Počet sloupců: 2

(zpátky vjejich pokoji) Lesník: Pane hrábĕ, ty dvéře. Hrabě: Ano, umĕlecká práce. Lesník: Hale né. Dyť by stačálo pár dercnutí a vylítnou i s futrem. Hrabě: Vy myslíte? Lesník: Takhle náký bytelný beranidlo, to já myslám... (vidí

(back in their room) Forester: Yer Lordshi’, dem doors. Count: Yes, handmade. Forester: Nowpe. Lets dem hav a few punches and dem will fly orf wid de frame. Count: You think… Forester: A nice batterin’ ram, dat’s wha’ I tink. (sees a sculpture)



60

Hrabě: Lesník: Hrabě: Lesník: Hrabě: Lesník: Hrabě: Lesník: Hrabě:

Lesník:

sochu) To je vono. Tenhle strejda. Božský Beethoven beranidlem? Ne! Konečnĕ, napsal jenom jednu operu. Druhej štulec nevyderžej. (dveře povolují, za nimi je skála) Tak ha jsme v perdeli. Ano, v perdeli, přesnĕ tak, milý příteli. Ha co ten Váš hlas? Můj hlas? (začne zpívat) Hale ne ten. Je v naprostém pořádku. Já myslál ten tajemné hlas, co raďá vám umĕlcům. Nevĕďál by povĕdít, jak z tejdletej šlamastiky? (zpívá) Mamamamáááá... Zvláštní. Navzdory této fatální situaci jsem superlativnĕ disponován. (hlasem se uvolňuje lustr s žebříkem) Tož, kdo poleze pervní?

Count: Forester: Count: Forester: Count: Forester: Count: Forester: Count:

Forester:

Yeap, dat fella… The divine Beethoven as a battering ram? Never! Well, he only wrote one opera. Dey woun’t larst de second punch. (the door breaks, there is solid rock behind them) An’ now we’re furked. Yes, furked, my friend. An’ yer voice? What about it? (starts to sing) Nowpe, no’ dat one. It’s absolutely fine. I meaned de secret one dat help you artists. Doun’t it know de way ou’ o’ dis mess? (sings) Lalalalaaaaa… Odd, despite these dire circumstances my voice is of superlative disposition. (his voice brings down the chandelier with the ladder) Sow, who’s gowin’ furst?

(Tóma telefonuje baronvovi) Tóma: První etapa evakuace provedena.

(Tom phones the Baron) Tom: The first phase of evacuation’s finished.

(v podzemí) Hrabě: Profesore, vy zde? Osvobodíme nebožáka. Lesník: Nebožák? Baronův sluha! Hrabě: Ale geniální. Dovolíte? (rozvazuje ho) Profesor: Mstít, chci se mstít. Hrabě: Au, nehet. Lesník: Já sám, pane hrábĕ. Hrabě: Budu na stráži.

(in the underground) Count: Professor, are you here? Let us help the unfortunate man. Forester: Unfortunate? ‘e’s de baron’s lot. Count: But a genial one. Do you mind? (loosens his bonds) Professor: Revenge, I want revenge. Count: Ouch, my nail. Forester: Let me, Yer Lordshi’. Count: I will be guarding around. Naformátováno: Vpravo: 0.25"

61

Profesor: Dĕkuji. (hrabě dojde do baronovi komnaty, kd, zpíva Salsa) Hrabě: Drahá. Baron: Tılıke. Hrabě: Kam zmizela siňorina Salsa? Byla zde. Vidĕl jsem ji. Baron: Zutro, ukážeme pánovi, co vidĕl. Ano, profesor ji zvĕčnil svým optickým vynálezem při jejím, žel posledním vystoupení. Hrabě: Ale... Baron: Ale ano Hrabě, vidĕl jste tu jen pouhý obraz. Hrabě: Ale slyšel jsme také ten hlas. Baron: Božský hlas. Hrabě: Nechápu. Vždyť jsem ji zde vidĕl. Z masa a krve. Či to byla také jen vĕdecko-technická šalba? Co, co to znamená? Baron: Divadelní lékař se nemýlil. Primadona byla mrtvá. Krása zesnulé však zůstala netknuta dík Orfanikovĕ zázračné balzámovací metodĕ, jejíž trvalou účinnost zaručoval, dle jeho výpočtů, toliko hermeticky uzavřený prostor. Žel, ten vzal za své, a s ním vše, co bylo smrtelného na mé zbožňované umĕlkyni. (ze spící Salsy zbyl jen oděv, paruka a zubní protéza) Hrabě: Respektuji Vaše city. Baron: Teď už s ní můžu jedinĕ leštit příbory. Hrabě: Cinická obludo! Baron: Pomíjivá hmota je mi lhostejná. Mám víc, mám její duši, její nesmrtelný hlas. Když jej obléknu obrazem jejího tĕla, ona žije a já s ní. Hrabě: Barone, vy jste šílenec. Baron: Ten pán mĕ nudí. Zkol ho jako psa. Ale civilizovanĕ.

Professor: Thanks. (the Count comes to the Baron’s room where Salsa sings) Count: Dearest! Baron: Tölöke! Count: Where has she gone? She was here, I saw her. Baron: Zutro, show this man what he saw. Yes, during her unfortunately last performance the professor immortalised her with his optical device. Count: But… Baron: Yes Count, all you saw here was a picture. Count: But I have heard her voice. Baron: A heavenly voice. Count: I do not understand. I saw her in the flesh. Or was that also just a scientific-technological illusion? What does it mean? Baron: The doctor was right, the Prima donna was dead. Her beauty stayed untouched thanks to Orfanik’s miraculous embalming method whose effectivness was ensured, according to his calculations, by nothing more than a hermetically enclosed space. However, that broke and everything mortal of my adored soprano went with it. (only the clothes, wig and false teeth are left of Salsa) Count: I respect your feelings. Baron: Now she is only good for polishing cutlery. Count: You cynical beast! Baron: I am not interested in volatile matter. I have more – her soul, her immortal voice. When I clothe it with the picture of her body, she lives and so do I. Count: Baron, you are insane. Baron: I am being bored by this man. Zutra, shoot him like a



62

Tóma: Hrabě:

Kapesník. Copak nemáte svůj? Hrdĕ pohlédnu smrti v tvář. Až upustím kapesník, palte.

Tom: Count:

Policejní sbor:

(zpívá do pochodu na cestĕ k hradu) Pólicíja, pólicíja, Police: Sálašáry, práva Jova.

dog! But in a civilised manner. Hankie! Do you not have your own? I shall look death proudly in his eye. When I drop my handkerchief, shoot.

(sing while marching up to the Castle) Police body, police buddy, Salisherry, Good Jehovah.


(začíná groteskní bitka, ve které každý z účastníků několikrát padne a zase vstane) Profesor: Moment.

(a grotesque fight starts in which all participants fall but revive again several times) Professor: Just a minute!

Policejní sbor:

(pochojuje k hradu a zpívá) Z césty príva, z césty práva, sýmpatika, korpora.

Police:

(march to the castle and sing) Path of justness, path of justice, sympathetic, limited.


Baron:

(vidí Tómu, který v boji ztratil plnovous) Falešný plnovous? Padouch. Oklamal mne.

Baron:

(sees Tom who has lost his beard in the fight) A fake beard? Villian! He has cheated me.


Policejní sbor:

(zpívá) Z césty príva, z césty práva, sýmpatika, korpora.

Police:

(sing) Path of justness, path of justice, sympathetic, limited.

Lesník: Profesor: Hrabě:

Pane hrábĕ. Haló. Haló! Odevzdat kompetentním ministrům. Co to je?

Forester: Professor: Count:

Yer Lordshi’. Here, here! Submit this to the competent ministers. What is it? Naformátováno: Vpravo: 0.25"

63

Profesor:

Professor:


To je... to je kompletní dokumentace všech mých vynálezů. Joj. Kdyby se to ztratilo, tak se vĕdecko-technický pokrok zdrží o pĕknou řádku let. Rychle. Rychle pryč. Pryč. Já už definitvnĕ umírám. Prách a popel. Chudinka miloslečna. Nashledanou, drahá. Pane hrábĕ, to bude co neviďát. Vždyť každým vokámerkem vyleťáme do povĕtřá. Pak budeme s ní. Né! Rychle pryč. Pryč? Rychle pryč.

That is... that’s a complete documentation of all my inventions. Wow. If that were lost, scientific progress would be held back years. Quick! Away! Quickly away. Away. I’m definitely dying now. Skunk an’ ashes. Pur ‘er Missship. Goodbye, my dearest. Dat will bee in no time a’ all. Witin a blink o’ de eye we’re gonna gow up an’ bee wid ’er. No! Quick, go! Gow? Go quick!


Policejní sbor:

(zpívá) Populáry, Karpatula. Juvá svorno policána. Kerléš na strach, policíja. Bumtarára, bumtarára, bum.

Police:


Prefekt: Zastavit stát! Na stéč! (hrabě a lesník utíkají z hradu) Hrabě: Ne, né! Komorník: Milosti. Lesník: Zpátky, hrád vyleťá do povĕtřá. Hrabě: Sbohem, drahá. Prefekt: Na stromy! Náskokem skok!

(sing) Popularish, Carpathetic. Jovarama police bowdy. Warshimellow fearless buddies, bumtarara, bumtarara, bum. Prefect: Attention. Ready to lay siege! (the Count and the forester run from the castle) Count: No, no! Butler: Oh, My Lordship. Forester: Back, de castle’s gonna gow up! Count: Goodbye, my dear. Prefect: Up the trees! Look lively!

(Baron na hradě odpaluje rozbušku; kameny se vaíi zkopce dolů, všichni jsou však v bezpečí na stromech)

(the Baron launches the charges; the stones fall from the castle but everybody is safely in the trees)

Lesník: Profesor:


Forester: Professor:

Forester: Count: Forester: Count: Forester: Count:



Naformátována tabulka

Naformátováno: Počet sloupců: 2


64

Z ČERTOVA HRADU NEZBYLO ANI ZBLO

Hlas:

KONEC

Ale nakonec, všechno dobře dopadlo. Orfanikova dokumentace vynálezů byla uložena v Královském patentním úřadĕ, a prostudována kompetentními odborníky. (žerou ji myši) A co Hrabě? Hle, jak fenomenálnĕ završil svou umĕleckou dráhu. (svým hlasem na sebe shodí divadlo) I lesník Vilja Déži dosáhl kýženého štĕstí. (má s Miriotou syna a v roli hraběte hraje tento příběh na vesnickém divadle)

NOT A SINGLE BIT FROM THE DEVIL’S CASTLE WAS LEFT STANDING

Voice:

Naformátováno: Písmo: není Kurzíva

After all, it was a happy ending. Orfanik’s documentation was deposited in the Royal Patent Office and studied by competent experts. (eaten by mice) And the Count? How phenomenally he finished his career. (his voice breaks the theatre). Even the forester Vilja Déž reached his desired happiness. (has a son with Miriota and in the role of the Count he performes this story with a village theatre group)

Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátována tabulka

THE END


65

Naformátováno

Naformátováno: Písmo: (výchozí) Times New Roman, 14 b., není Tučné

Conclusion

Naformátováno: Nadpis 1, Doleva, Řádkování: jednoduché

The main concern of this diploma thesis is a literary translation of Tajemství hradu


v Karpatech, a Czech film written by Jiří Brdečka and directed by Odřich Lipský in 1981. The translation itself is the final outcome presented in the second part of the diploma thesis; the first part provides the theoretical background to the translation. The origin of the story – a novel by Jules Verne - is discussed and the common features of Verne’s and Brdečka’s stories are depicted. The other chapters are exclusively dedicated to the Brdečka’s film

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

script and discovering the possibilities of translating it into English. While working on the thesis I have gained some personal experience; the most


precious one was the reading the primary literature: Umění překladu by Mr. Jiří Levý. Even though the book comforted me by showing the common pitfalls and shortcomings committed by professional translators, it also showed me how high the standard of the ideal

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

is. Through this book I became aware of issue that needed to be focussed on and the way


they should be treated. The second most important discovery was connected to my personal


knowledge and the limits of it. The first draft of the translation was written almost nine

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

months ago. Since then I have arrived to the final version endless number of times and


always with the feeling I could not improve it any further simply because I did not know

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

any better English. I was wrong every time: when revisiting it I always found new issues to


attend and change. I still believe that within amateur standard there is potential towards improvements. Of course, that does not relate only on the form of the ‘Carpathian dialect’; there are so many various dialect features and it could be easily argued that I should have used different ones; it concerns the language on the whole.

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

From the practical exercise I have attempted linguistic analysis of both Czech and English text, tried to get some insight into etymology of idiomatic expression, and applied

Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné Naformátováno: Písmo: není Tučné

my musical ear to achieve rhythm, rhyme, consonance, alliteration and the beauty of the


language. Also I was forced to constant distinguishing of the registers and exploiting my


imagination in several situations which desired a creative solution so as not to loose the original jokes. The quality of the translation could be tested generally by offering it to more readers and scientifically by applying the Functional Sentence Perspective approach on it. Naformátováno: Vpravo: 0.25"

66

Furthermore the translation could be used to create subtitles for the film, i.e. subtitles with two registers, high and low, for illustrating the differences in the noblemen’s and villagers’ way of speaking. Thus my original intention would be fulfilled and the justice to this film would be done.

Naformátováno: Nadpis 1


67

Naformátováno: Standardní písmo odstavce, Písmo: 14 b.

Resumé


Diplomová práce se zabývá literárním překladem scénáře Jiřího Brdečky k filmu Tajemství

Naformátováno: Zarovnat do bloku

hradu v Karpatech. Práce řeší praktické problémy překladu a její hlavní důraz je kladen na převod uměle vytvořeného „karpatského” nářečí do angličtiny: jeho rozbor je v práci detailně analyzován v šesti oblastech (vynechávání, přidávání a změna hlásek ve slovech, posun slovního přízvuku, slova typická pro nářečí a gramatické odchylky) a na jeho základě jsou navrženy různé možnosti překladu. Výsledný výběr výrazů je odůvodňován na základě jazykové, stylistické a literární kvality.


Summary

Naformátováno: Nadpis 1, Řádkování: jednoduché

This diploma thesis deals with a literary translation of a film script to Tajemství Hradu

Naformátováno: Zarovnat do bloku

v Karpatech which was written by Jiří Brdečka. The work addresses the practical issues of translation with the main focus on the transcription of the artificial ‘Carpathian dialect’ into English; its analysis is discussed in detail within six categories (omitting, adding and changing phonemes in words, word stress shifts, dialect words and grammar abnormalities) and based on the results the alternative solutions of translation are provided. The final choice is justified on the basis of the linguistic, stylistic and literary quality.

Naformátováno: Nadpis 1, Doleva


68


Resources

Naformátováno: Písmo: 14 b. Naformátováno: Řádkování: 1,5 řádku

VERNE, J. Tajemný hrad v Karpatech, Návrat, Brno 1998, ISBN: 80-7174-127-2

Naformátováno: Písmo: Times New Roman, 12 b., Barva písma: Automatická

LEVÝ, J. Umění překladu. Československý spisovatel, Praha 1963

Naformátováno: Čeština

WELSH, I. Trainspotting, Vintage; New Ed edition, 1994, ISBN-10: 0099465892

Naformátováno: Písmo: Kurzíva Naformátováno: Doleva

DOYLE, R. The Barrytown Trilogy, Vintage; New Ed edition, 1993, ISBN-10: 0749397365

Naformátováno: Písmo: Times New Roman, 12 b.

WALKER, A. Color Purple, Harvest Books, 2002, ISBN-10: 0156028352

Naformátováno: Písmo: Times New Roman, 12 b., není Tučné

SHAW, B. Pygmalion, Penguin Books Ltd; Rev Ed edition, 2003, ISBN-10: 0141439505

Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Kurzíva

KELLET, A. The Yorkshire Dictionary of Dialect, Tradition and Folklore. Dalesman Publishing Company Ltd 2002, ISBN: 1-85825-016-1

Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Times New Roman, 12 b., není Tučné

VIZ magazine, Dennis Publishing Ltd, 147August, 2005 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003

Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Odsazení: Vlevo: -0.25", První řádek: 0.25", Mezera Před: 0 b., Za: 0 b. Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Times New Roman, 12 b., není Tučné Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Mezera Před: 0 b., Za: 0 b. Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Times New Roman, 12 b., není Tučné Naformátováno: Písmo: Times New Roman, 12 b. Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva Naformátováno: Písmo: Kurzíva


69


Online resources Rundle, Ch: Using Subtitles to Teach Translation [online] 2000. [Retrieved 28 April 2007]. Available at http://chrisrundle.agregat.net/section_subtitle/open_project/documents/Rundle(2000)_Usin g-Subtitles-to-Teach-Translation.doc

Naformátováno: Písmo: (výchozí) Times New Roman, 14 b., není Tučné Naformátováno: Nadpis 1, Doleva Naformátováno: Písmo: Kurzíva

Wikipedia the free ecyclopedia [online], 2001. Modified 22 August 2006 [retrieved 24 August 2006]. Available at http://en.wikipedia.org/wiki/Electric_bulb#History_of_the_light_bulb


Národní knihovna České Republiky [online] 2006. Modified 28 February 2006 [retrieved 5 March 2007]. Available at http://www.nkp.cz/pages/page.php3?nazev=Katalogy a databaze&page=sluz_altnk_kat.htm


Moravská zemská knihovna [online] 2006. Modified 3 March 2006 [retrieved 5 March 2007]. Available at http://aleph.mzk.cz/F


Katalogy Masarykovy University [online] 2005. Modified September2005 [retrieved 5 March 2007]. Available at http://library.muni.cz/katalogy.html


Akademie muzických umění v Praze [online] 2006. [Retrieved 5 March 2007]. Available at http://www.amu.cz/?r_id=1366


Katalog JAMU [online] 2004. [Retrieved 5 March 2007]. Available at http://aleph.jamu.cz/F?local_base=JAM01


Naformátováno: Standardní písmo odstavce

Naformátováno: Standardní písmo odstavce


Naformátováno: Písmo: 12 b. Naformátováno: Písmo: 12 b.

Česko-Slovenská filmová databáze [online] 2001-2006. [Retrieved 10 March 2007]. Available at http://www.csfd.cz/film/6000-tajemstvi-hradu-vkarpatech/?podle=bodu&limk=-1&limr=


Leonard, T: The 6 O’Clock News [online]; Intimate Voices (3), from a series Unrelated Incidents, 1984. [Retrieved 20 September 2006]. Available at http://www.tomleonard.co.uk/sixoclock.shtml


Nursery Rhymes - Lyrics and Origins [online] 2004. [Retrieved 20 February 2007]. Available at http://www.dltk-teach.com/rhymes/missmuffet/index.htm


Ancestry.com [online] 2007. [Retrieved 19 February 2007]. Available at http://search.ancestry.com/cgibin/sse.dll?nf=&nl=&bfurl=&targetid=&sourcecode=&gl=allgs&prox=1&rank=&fn=&ln= &gsfn=&gsln=Patlaj&gspl=1%2cAny+Locality&o_xid=0040803744&o_lid=0040803744


FAMSI Foundation for Advancement of Mesoamerican Studies, Inc [online]. [Retrieved 10 February 2007]. Available at

Naformátováno: Písmo: 12 b. Naformátováno: Odsazení: Vlevo: 0", První řádek: 0" Naformátováno: Písmo: 12 b. Naformátováno: Písmo: 12 b. Naformátováno: Vpravo: 0.25"

70

http://research.famsi.org/montgomery_dictionary/mt_entry.php?id=773&lsearch=p&search = Googlefight [online]. [Retrieved 5 February]. Available at http://www.googlefight.com/index.php?lang=en_GB&word1=fit+as+a+flea&word2=fit+as +a+fiddle


Google [online] 2007. [Retrieved 29 April 2007]. Available at http://www.google.co.uk/search?hl=en&q=jova+jahve&meta=


HighBeam Encyclopedia [online] 2007. [Retrieved 29 April 2007]. Available at http://www.encyclopedia.com/doc/1E1-Jahve-Ja.html



71


Quotes 14 Levý, J. Umění překladu, Československý spisovatel, Praha 1963, str. 85: „Pro naznačení venkovské řeči je záhodno užít jazykových rysů regionálně bezpříznakových, tedy ne přímo konkrétního nářečí, ale takových fonetických, lexikálních a syntaktických rysů, které jsou společné několika nářečím, proto se přestávají cítit jako specifické pro určitý kraj a spojují se spíše s obecnější představou venkova.“ 23 Levý, J. Umění překladu, Československý spisovatel, Praha 1963. p 88: „Není např. nutné, aby v lidové řeči cizímu hovorovému prvku odpovídal hovorový prvek domácí: může ho být užito na jiném místě, jen když celkový ráz mluvy zůstane stejný.“ 25 Levý, J. Umění překladu, Československý spisovatel, Praha 1963, str 107: „Také rozdíly ve společenském vědomí nutí často k přestylizování názvu... Anglická říčka Floss nevyvolává v domácím čtenáři konkrétní představu, proto román G. Eliotové The Mill on the Floss je přeložen jako Červený mlýn, nikoliv Mlýn na Flossu...“ 29 Levý, J. Umění překladu, Československý spisovatel, Praha 1963, str.83: „Velikou potíží pro překladatele jsou narážky na fakta běžně známá v době a oblasti vzniku originálu, ale neznámá v prostředí, do něhož se dílo převádí....Poznámky pod čarou v takových případech nevyhovují...Daleko menší porušení originálu je vsunout obratně takové vysvětlení přímo do textu.“

32 Levý, J. Umění překladu, Československý spisovatel, Praha 1963, str.80: „ V překladu má smysl zachovat jen ty prvky specifična, které čtenář přkladu může cítit jak charakteristické pro cizí prostředí, t.j. jen ty, které jsou schopny být nositeli významu „národní a dobová specifičnost“.

Naformátováno: Nadpis 1, Doleva, Řádkování: jednoduché Naformátováno: Písmo: není Tučné Naformátováno: Doleva, Řádkování: jednoduché Naformátováno: Písmo: Kurzíva Odstraněno: Taking those problems into consideration I arrived at a natural solution - to insert the missing parts of the plot into setting brackets. Setting notes are typical device used in play scripts, they are an indirect and brief description of the action or setting of the plot. As I did not work with the original script all the notes are used in places and forms according to the best of my knowledge. ¶ For the sake of clarity all translations in this chapter, including the ones spoken in the ‘Carpathian dialect’ are provided in standard English. Of course this will not be the case in the translation itself. ¶ ¶ The very first idiom, ‘být zase jako rybička’, is a very common one describing a good physical state. There are two obvious English equivalents – ‘to be fit as a flea’ or ‘to be fit as a fiddle’. Even though according to Google corpus for finding frequency of any two expressions the first one has a higher number of results (1,160,000 vs 1,130,00049) and therefore it could be assumed that it is more usual, it would be inappropriate to portrait a nobleman as a flea, i.e. a very small animal which feeds on blood of animals and humans50. Fiddle serves the purpose better as it is a slang word for violin and refers to its performance of quick tempo Irish like melody. ¶ ‘Doušek pálenky’ describes a small amount of a strong alcoholic drink. Even though there could be seen a metaphorical origin - ‘doušek’ could be viewed as a derivation of ‘dech’, ‘a breath’, and then the original meaning might have been ‘to breathe life back in him’ - such notion is no longer felt. So the typical set expression ‘a sip of brandy’ has the quality of the original describing the amount of the spirit only.¶ The verb ‘brouzdat’ in ‘brouzdál kolém týho Čórtova Hrádu’ evokes walking in shallow water - ‘to wade’, even though ... [86]

Naformátováno: Odsazení: První řádek: 0" Naformátováno: Standardní písmo odstavce Naformátováno: Standardní písmo odstavce Naformátováno: Vpravo: 0.25"

72

Stránka 3: [1] Naformátováno

svgrre

12.5.2007 21:23:00

Vlevo: 1.58", Vpravo: 0.79", Nahoře: 1.18", Šířka: 8.27", Výška: 11.69", není Jiné na první stránce Stránka 3: [2] Naformátováno

svgrre

12.5.2007 10:07:00

svgrre

12.5.2007 20:46:00

svgrre

12.5.2007 10:52:00

svgrre

12.5.2007 10:52:00

Řádkování: 1,5 řádku Stránka 3: [3] Naformátováno

Písmo: 14 b. Stránka 3: [4] Naformátováno

Čeština Stránka 3: [5] Naformátováno

Normální, Řádkování: jednoduché, Tabulátory: není na 6.13" Stránka 3: [6] Odstraněno

svgrre

12.5.2007 17:49:00

Introduction ............................................................................................................................ 2

PART ONE ............................................................................................................................ 4 1.1 From Verne’s story to Brdečka’s ..................................................................................... 4 1.2 The ‘Carpathian dialect’................................................................................................... 6 1.3 The analyses of the ‘Carpathian dialect’.......................................................................... 7 1.4 Parameters of the English ‘Carpathian dialect’.............................................................. 11 1.5 Analysis of English dialects ........................................................................................... 14 1.6 English ‘Carpathian dialect’........................................................................................... 17 1.7 Translation of the title and realia ................................................................................... 21 1.8 Translation of characters’ names ................................................................................... 24 1.9 Other issues of translation.............................................................................................. 25 1.10 Translation of the idiomatic expressions ..................................................................... 26 1.11 Translation of the police song ...................................................................................... 32 1.12 Translating the registers ............................................................................................... 34

PART TWO ......................................................................................................................... 34 2.1 Translation ..................................................................................................................... 35

Conclusion ........................................................................................................................... 36 Resources ............................................................................................................................. 38 Online resources................................................................................................................... 38 Quotes .................................................................................................................................. 40


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00

svgrre

13.5.2007 16:10:00



16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00

Písmo: 12 b. 67


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00

svgrre

13.5.2007 16:10:00



16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00

svgrre

13.5.2007 16:10:00



16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00


16.5.2007 9:45:00


svgrre

13.5.2007 16:10:00

svgrre

12.5.2007 20:07:00


Vpravo: 0.25" 68

Stránka 19: [49] Odstraněno

svgrre

1.5.2007 20:59:00

might seem contra- or even un-productive, e. Stránka 19: [50] Odstraněno

svgrre

1.5.2007 20:59:00

bit it was done in order to achieve the three objectives; in this case to Stránka 19: [51] Naformátováno

svgrre

15.5.2007 20:03:00

svgrre

15.5.2007 20:03:00

svgrre

15.5.2007 20:03:00

svgrre

15.5.2007 20:04:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:05:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

Písmo: Kurzíva Stránka 19: [52] Naformátováno


















69


svgrre

15.5.2007 20:06:00

svgrre

1.5.2007 21:07:00

Písmo: Kurzíva Stránka 19: [71] Odstraněno

Omitting end consonants is more frequent: all gerund –ing sufixes change into –in’ (loiterin’, starin’) and the same happens to standard words ending –ing: brin’, thin’, evenin’. Other examples include prepositions o’-of, ou’-out, wi’-with, f’-for, other words like dammi’-dammit, rasca’-rascal, mus’-must, and the way villagers call the Count – Your Lordshi’. Here the purpose is to cut the last consonant and allow the reader his own interpretation; clearly the new meaning is a bit stronger than the Czech word play ‘hráběhrabě’ but is only implicitly hinted (the obvious play with the title itself concerning dropping a vowel would lead into an extremely strong profanity). Stránka 19: [72] Naformátováno

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

15.5.2007 20:06:00

svgrre

12.5.2007 20:45:00

svgrre

12.5.2007 20:45:00




Angličtina (Velká Británie) Stránka 19: [76] Naformátováno

Písmo: Kurzíva, Angličtina (Velká Británie) Stránka 19: [77] Naformátováno

svgrre

12.5.2007 20:45:00

svgrre

12.5.2007 20:45:00

svgrre

12.5.2007 20:07:00

svgrre

1.5.2007 21:08:00



Vpravo: 0.25" Stránka 20: [80] Odstraněno

Adding phonemes was a desirable feature for its effect of making the vowels sound broader, a typical sound of any dialect, but it was quite difficult to achieve within the task of keeping the level of the comprehensibility high. For that reason there are only few examples to be found: extra ‘r’ in words darft, ‘h’ in shure and ‘w’ in agow, gow, sow, owpera, hawnting, nowpe, wreally, ownly. A missed opportunity on adding extra phonemes is the negative ‘no’ which would be impossible to recognise from the adverb of time ‘now’; the policy of creating an ambiguous situation is generally avoided for the confusing effect nevertheless is used twice in the translation: once for an expression already mentioned in 70

this section – sow, once for verb ‘be’ which will be discussed in the following section of Changing phonemes. The policy is used here for creating gentle ‘animal’ jokes based on homographs (be-bee, so-sow), and hopefully will not cause any serious troubles in understanding. Stránka 20: [81] Odstraněno

svgrre

1.5.2007 21:09:00

The basic rule involves the initial ‘c’ which changed into less typical ‘k’: kan-can, kould-could, kastle-castle, ‘ch’ when pronounced as k is written as ‘k’ - skuling. ‘Th’ is a troublesome phoneme to pronounce even for some English native speakers; to hint the same trouble for the villagers ‘th’ written form changes into ’d’ when it is voiced and ‘t’ when unvoiced. Silent ‘l’ can be substtied with ‘w’(awright) or ‘r’ (carf), ‘r’ replaces one ‘f’ in ‘orf-off’, and the end ‘s’ whenever pronounced as ‘z’ takes that form: yez, az, waz, wishez, doorz, peazant. In the word ‘doze’ it helps to deduce the meaning thanks to hinting the correct pronunciation. Without is the form would be blurred by the word ‘dose’ which is the purely coincidental result of pronouncing voiced ‘th’ as ‘d’: those – dose – doze. Various vowels can be changed into ‘u’: furst-first, nuthing-nothin; vowel ‘e’ tends to be replaced by ‘i’: divil-devil, ever-ivir, rimimber-remember, ivining-evening; ‘o’ changes into ‘u’ when pronounced that way: , tu-to; along the same line ‘oo’ is substituted with ‘u’: luk, skuling, livelyhud, pur, tu; ‘ee’ is replaced with ‘ii’ in sii-see and verb ‘be’ gaines one extra ‘e’ to create an insect. Stránka 41: [82] Naformátováno

svgrre

12.5.2007 15:44:00

svgrre

12.5.2007 15:44:00

svgrre

12.5.2007 15:44:00

svgrre

12.5.2007 15:44:00

svgrre

1.5.2007 22:31:00

Odsazení: Vlevo: 0", První řádek: 0" Stránka 41: [83] Naformátováno



Odsazení: Vlevo: 0", První řádek: 0" Stránka 72: [86] Odstraněno

Taking those problems into consideration I arrived at a natural solution - to insert the missing parts of the plot into setting brackets. Setting notes are typical device used in play scripts, they are an indirect and brief description of the action or setting of the plot. As I did not work with the original script all the notes are used in places and forms according to the best of my knowledge.

71

For the sake of clarity all translations in this chapter, including the ones spoken in the ‘Carpathian dialect’ are provided in standard English. Of course this will not be the case in the translation itself.

The very first idiom, ‘být zase jako rybička’, is a very common one describing a good physical state. There are two obvious English equivalents – ‘to be fit as a flea’ or ‘to be fit as a fiddle’. Even though according to Google corpus for finding frequency of any two expressions the first one has a higher number of results (1,160,000 vs 1,130,0001) and therefore it could be assumed that it is more usual, it would be inappropriate to portrait a nobleman as a flea, i.e. a very small animal which feeds on blood of animals and humans2. Fiddle serves the purpose better as it is a slang word for violin and refers to its performance of quick tempo Irish like melody. ‘Doušek pálenky’ describes a small amount of a strong alcoholic drink. Even though there could be seen a metaphorical origin - ‘doušek’ could be viewed as a derivation of ‘dech’, ‘a breath’, and then the original meaning might have been ‘to breathe life back in him’ - such notion is no longer felt. So the typical set expression ‘a sip of brandy’ has the quality of the original describing the amount of the spirit only. The verb ‘brouzdat’ in ‘brouzdál kolém týho Čórtova Hrádu’ evokes walking in shallow water - ‘to wade’, even though the castle is on a hill. Unfortunatelly ‘to wase’ does not fulfil the other notion, the one of not being in a hurry. So, other verbs had to beconsidered: to hang around, or to loiter. To hang around fits the context precisely but erases the contradiction of wading without water. The same could be said about ‘loiter’ with one exception: semantically it is impossible to loiter around a place (correctly one can ‘loiter at the station, outside cinema, in the park’3); so the clash in the expression stays but it is shifted from context misuse to a grammatical one. This replica is said in the ‘Carpathian accent’ whose one basic feature is low grammatical awareness; taking that into the consideration the translation is ‘to loiter around the Devil’s Castle’.

1

Googlefight [online]. [retrieved 5 February]. Available at http://www.googlefight.com/index.php?lang=en_GB&word1=fit+as+a+flea&word2=fit+as+a+fiddle 2 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003 3 Cambridge Advanced Learner’s Dictionary [Electronic Version 1.0], Cambridge University Press 2003

72

The next expression is one of those with the highest level of idiomacy perhaps due to the fact it is not a genuine one and was created for this film: ‘dyť huž je otec Semafór shodil z kazatelny’. The meaning, derived from the context, probably suggests that the two young people have been formally engaged and the act was agreed by the local priest. Why the priest is called Semafór – Traffic Lights, or why he dropped the young couple off the pulpit I cannot explain. For that reason I decided to leave the translation literal and let the English readers be as uncertain as Brdečka made his Czech viewers. The only issue was to find a suitable name for the priest, something not very serious consisting of just one word. To narrow the choice I used the context of the traffic lights and created Father Pelican (Pelican crossing is a type of pedestrian crossing featuring standard set of traffic lights with a push button4) so the whole sentence became: ‘Father Pelican’s already dropped them off of his pulpit.’ ‘Slova jak z mramoru’ is an old-fashioned metaphor based on the superior status of marble amongst other stone, and so indirectly assumes the high quality of words which get carved in it. In English, there is an idiom ‘words in stone’ relating to something that cannot be changed (e.g. the Ten Commandments) which is not the desired notion. The oftenquoted line from Richard III. ‘A horse, a horse, my kingdom for a horse!’5 could be described as ‘memorable words’, which is an expression I used as well. Within the context of the story ‘klíma již účinkuje’ could be understood literally: one of the reasons for the Count to come to Salašáry was the quality of the local air which was believed to have miraculous effects on health, in the Count’s case his voice. On the other side the expression can be viewed as a saying, possibly a slightly ironical one, applied when one’s state improves shortly after his arrival at a new location. There was a wide choice of expressions for the meaning of ‘klíma již účinkuje’ ranging from the informal one ‘the climate’s been doing wonders’ or ‘it’s worked miracles’ to the formal ones which were the targeted register as this replica is said by the Count’s butler: ‘the climate has been already paying dividends’ or finally the chosen one containing ‘r’ alliteration ‘the climate’s been reaping rewards’.

4

Wikipedia the free ecyclopedia [online], 2001. Modified 28 January 2007 [retrieved 1 February 2007]. Available at http://en.wikipedia.org/wiki/Pelican_crossing 5 Wikipedia the free ecyclopedia [online], 2001. Modified 28 August 2007 [retrieved 1 February 2007]. Available at http://en.wikipedia.org/wiki/Richard_III_(play)

73

The sentence: ‘človĕk povĕternej ale štĕnici by nezabil’ comprises of two figures of speech: ‘človĕk povĕternej’ is based on the instability of wind as an element (opposite to Sun which moves are regular) and suggests the meaning slightly crazy or mentally ill. There are many informal ways of translating: ‘he’s got a screw loose’, ‘he’s got bats in his belfry’, Australian ‘he’s trappo’, ‘he’s crackers / dim / dotty / not all here / out of his mind’. As I have not discovered any phrase that would use the same notion as the Czech one, i.e. wind, air, I finally decided on ………….. The second part was easier to fit with an equivalent; both in English and Czech we normally talk about not killing a fly. Here the animal in question is a bedbug, possibly to imply exaggeration: it must be a completely innocent pacifist person not to kill an insect which bites him. The final translation, ‘he wouldn’t kill a bedbug’, can be justified as the least typical animal ‘to kill’ in both languages (‘moucha’ features more than ‘štĕnice’ and ‘fly’ is used more often than ‘bug’ that is used more than ‘bedbug’6). When the Count announces his intention to ‘poškádlit ta Vaše strašidýlka’ he uses the verb in metaphorical way – he wishes not to upset them but to see what is behind it, i.e. the ghosts; ‘to tease’ has exactly the same quality. Also, in the final effect ‘to tease the ghosts of yours’ is a perfect iamb with three long vowels /i:/, /əu/, / Ǥ:/ The next sentence could be divided into two figures corresponding with the two clauses, nevertheless they have a lot in common and so can be discussed as one unit. Both phrases are highly formal, and the exact wording leads to a parody effect of the pathos and pompousness: ‘abych pohřbil své zoufalství příkrovem zapomnění a zatím se přede mnou otvírá brána nadĕje.’ – ‘to bury my desperation under a layer of forgetting and meanwhile there is a light of hope arising ahead of me.’ The fact that both Great Britain and the Czech Republic are catholic countries explains the origin of the phrase ‘mňál bych peklo’ - ‘to get hell’ where hell is a place for sinners. The exclamation ‘prách a broky’ was born with this movie. The two nouns used in it are generally connected to a hunting jargon – gunpowder and pellets. From a grammatical point of view these are suitable words; the first one being an uncountable noun and the 6

Googlefight [online]. [retrieved 5 February]. Available at http://www.googlefight.com/index.php?lang=en_GB&word1=bug&word2=bedbug

74

second one in its plural form. However, the sound of it cannot be on a par with emphatic and hard sounding ‘r’, which in both words is rolled. In order to keep the metrum – two dactyls – I decided for ‘…………’. A little singing bird, nightingale, has been the source of referring to exceptional voice in both Czech and English: ‘slavičí hrdlo’ – ‘nightingale’s voice’. ‘Vyřídíme to bez rámusu’ suggests an immediate action with no noise or fuss, meaning that nobody will learn about it. My first idea was to use an informal expression ‘to end it nice and quiet’, where ‘nice’, rather then describing something aesthetic, has the function of intensifier of the following adjective ‘quiet’. Later the alliteration notion has overruled and the final version is ‘to end it quick and quiet’. Expression ‘naše cesty se rozešly’ comes from a common enough situation of two walkers sharing a part of a journey but heading to a different destination. The phrase has become a cliché in both Czech and English language in which it has two variations ‘our ways have split’ and slightly more formal ‘our ways have parted’. In the text this is a replica of the Count so the formal phrase is more suitable here. The following expression also has equivalents differing by register. ‘Radĕjc dvakrát mĕřáť a jedou řezáť can be translated as highly colourful expression ‘fools rush in where angles fear to tread’, neutral and little poetical ‘better safe than sorry’ and informal ‘look before you leap’ which best fulfilled the criteria of the forester’s way of speaking even though did not match with the ‘ř’ alliteration and inner rhyme měřáť- řezáť in the original. From the context of the film and thanks to the setting notes in the script it is clear that the phrase ‘ten chlap má v hrdle dynamit’ - ‘he must have dynamite in his throat’ refers to the destructive power of the Count’s voice and for that reason the replica is left as a literate translation. There are two references to falling asleep in the script, both are rather poetical but vary in register. The first one - ‘se odebéřou do říše snů’- is Baron’s replika and as such needs to be formal but at the same time reflecting the unusualness of the structure - ‘they will arrive in dreamland’. A beautiful day is not normally described in English as gold, the colour that the Czech phrase refers to. The poetical ‘den jak ze zlata’ was reduced into a typical

75

exclamation ‘Oh, what a day!’ which misses the colourfulness but keeps the optimistic charge. An informal saying ‘mám v palici jak vymetýno’ suggests a lack of memory usually after a night of drinking. The collocation ‘with the slate wipped clean’ means forgetting the past mistakes or crimes and starting from the beginning however; it can be used in the targetted context: ‘my mind is like a slate wipped clean’. This is the second ‘falling asleep’ expession: ‘jak jsem pád do kanafásu’. This time it is an informal forester’s replica and deserves a slang term, e.g. ‘how I hit the sack.’ Expression ‘jako slípka snáší vejce’ describes the ease and regularity which the Professor invents - regularly as clockwork. However such a non-poetical phrase diminishes all the unusual and humorous intention, which the following one - ‘he invents as hen lays eggs’ – includes. This metaphorical expression, ‘hráti s otevřenými kartami’, is easily compatible with ‘now, I will show my cards/ hand’. Literal translation of ‘snili jsme tu nerušenĕ svůj rajský sen’ did not sound natural because of the straightforward meaning of ‘dreaming’ in English which is directly pointing to sleeping. For that reason the verb ‘snít’ and the noun ‘sen’ had to be substituted. Thus the final version is ‘what heavenly life we have lived here’. The following remark, ‘a pak jste tady začal čmuchat vy, vlezlý fořte’ has a unique status amongst the others for its derogatory character. It degrades ‘lesník’ into ‘fořt’, e.i. ‘forester’ into ‘parker’. His interest in the casle’s mystery is discribed as ‘čmuchaní – sniffing around’. The whole sentence in English gained one extra inner effect; ‘and then you started to sniff around, you nosy parker’ which benefits from the connection of ‘sniffing’ and ‘nosy’ which in Czech does not exist . FIND OUT ‘Vyletĕt do povĕtří’ is nowadays understood – go off The traditional ‘thank you very much’ catches the meaning of ‘vroucí díky’ well but cools down the metaphor. Therefore ‘warmest thanks’ even though usually used to a group is more appropriate as it refers to temperature, and so is preferred. ‘Teď už s ní můžu jedinĕ leštit příbory’ – ‘Now she is only good for polishing cutlery.’ is not a genuine proverb as it might seem but a cynical remark stating the obvious – she’s finished and apart from the above stated purpose she is of no use. Of course there 76

are traditional phrases carrying meaning: a formal one ‘she has outlived her usefulness’ or the informal equivalent ‘she’s strictly for the birds’. But the literal translation best catches the cynicism of this unique replica.

1.11 Translation of the police song

From the linguistic point of view the police song is unique to the rest of the script; the structure of the lyrics consists of two unrhymed double verses of very rhythmical and seemingly identical structure. The rhythm is the core part of any marching song and for such purpose would be expected regular. In this case, however, it is only partly so. The first lines are identical in structure and the metrum is typical for the Czech language: it is trochee (i.e. stressed syllable followed by unstressed one7) octameter (a poetry line of eight metrical feet8). The second verses vary: the first one is one metric foot shorter - has six trochees and finishes in a cretic (three syllables, metrically long, short, long 9), the second one resembles the first verse in number of metric feet but the second verse in the final foot – it also ends in a cretic. However the real challenge was the meaning as the song lyrics are composed of words that make no clear sense. There are only five words which are written in the Czech language or are known from the context of the script: Sálašáry, práva, z cesty, na starch, bumtarara; then there are words that can be understood even though their form feels unfamiliar or Slovak: policija, sýmpatika, korpora, poluláry, Karpatula, svorno, kerléš. That leaves the words which are foreign: Jova, príva, Juvá. Jova appears in ex-Yugolslavian countries texts10 next to the name of Jahve (modern reconstruction of the ancient Hebrew name of God11), possibly as its synonym. Lacking a better explanation to these ‘foreign’ 7

Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Trochee 8 Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Octameter 9 Wikipedia the free ecyclopedia [online], 2001. Modified 25 April 2007 [retrieved 28 April 2007]. Available at http://en.wikipedia.org/wiki/Cretic 10 Google [online]2007. [retireived 29 April 2007]. Available at http://www.google.co.uk/search?hl=en&q=jova+jahve&meta= 11 HighBeam Encyclopedia [online] 2007. [retireived 29 April 2007]. Available at http://www.encyclopedia.com/doc/1E1-Jahve-Ja.html

77

expressions I treated them as mistypes: Jova–Juvá, práva- príva which true basis lays in the incomprehensibility and resemblance of perhaps Romanian or Hungarian language.

Konec oddílu (další stránka)

78

Pólicíja, pólicíja, Sálašáry, práva Jova.

Z césty

príva,

z césty

práva,

sýmpatika, korpora. Populáry, Karpatula. Juvá svorno policána. Kerléš

na

strach,

policíja.

Bumtarára, bumtarára, bum. Police

body,

police

buddy,

Salisherry, Jova lawful. Path of freedom, path of justice, sympatical limited. Popular as Carphatical. Jova group of policedomness Feary

flubber,

police

Bumta Konec oddílu (další stránka)

buddy.

Konec oddílu (další stránka)

1.12 Translating the registers

The chapter dealing with the English version of the ‘Carpathian dialect’ provides sufficient examples illustrating the language system of the dialect and the way it operates. However, some of its feature could be best depicted when compared with the formal style of the nobility. The following part will summarise all the linguistic features representing the two styles and the contrast between them. The low register uses the informal style while the high register uses the formal one; the low style has the specific spelling hinting the pronunciation of the dialect, the high one is as formal as possible which often contributes to the parody effect of the whole film. When comparing the vocabulary of the two styles a difference in quality can be seen – villagers use simple words inlcuding phrasal verbs (pop in, show off) and dialect expressions (bonesetter) while nobility prefers the formal (confusion, forswear), educated expressions (superlative dispoisition) and also foreign phrases (par excellence, amnesia); the same qualtity notion can be applied on the structures used (I dunno. vs If I may ask...). The two registers are also divided by using and absence of the contracted forms – villagers say: I’d’ve thought... but noblemen say: I would not doubt that. Another striking feature is the level of correctness in grammar: villagers ignore the standard grammatical rules (he have) inlcuding the irregular past form of verbs (slepped, doed), grammatical tenses especially present perfect (could it ended otherwise), auxiliery vebrs for creating questions (Why she fainted?) and semantical patterns (loiter around). On the contrary the noblemen speak without any mistakes, using the emphatic strucuters (little did it matter...).

PART TWO

2.1 Translation

As it has already been mentioned the Czech text was created according to the film by transcribing the replicas. The Czech original is placed in the left column and on the right hand side there is the English translation. The format is changed into the landscape one to allow more comfortable and continuous reading.

67

Konec stránky

Conclusion

The main concern of this diploma thesis is a literary translation of Tajemství hradu v Karpatech, a Czech film written by Jiří Brdečka and directed by Odřich Lipský in 1981. The translation itself is the final outcome presented in the second part of the diploma thesis; the first part provides the theoretical background to the translation. The origin of the story – a novel by Jules Verne - is discussed and the common features of Verne’s and Brdečka’s stories are depicted. The other chapters are exclusively dedicated to the Brdečka’s film script and discovering the possibilities of translating it into English. While working on the thesis I have gained some personal experience as well; the most precious one was the reading my primary literature: Umění překladu by Mr Jiří Levý. Even though the book comforted me by showing the common fall pits and shortcomings committed by professional translators, it also showed me how high the standard of the ideal is. Through this book I became aware of issue that needed to be focussed on and the way they should be treated. Second most important discovery was connected to my personal knowledge and the limits of it. The first version or a draft of the translation was written almost nine months ago. Since then I have arrived to the final version endless number of times and always with the feeling I could not improve it any further simply because I did not know any better English. I was wrong every time and I still believe that within amateur standard there is potential towards improvements. Of course, that does not relate only on the form of the ‘Carpathian dialect’; there are so many various dialect features and it could be easily argued that I should have used different ones; it concerns the language on the whole. From the practical exercise I have attempted linguistic analysis of both Czech and English text, tried to get some insight into etymology of idiomatic expression, and applied my musical ear to achieve rhythm, rhyme, consonance, alliteration and the beauty of the language. Also I was forced to constant distinguishing of the registers and exploiting my imagination in several situations which desired a creative solution so as not to loose the original jokes. The quality of the translation could be tested generally by offering it to more readers and scientifically by applying the Functional Sentence Perspective approach on it. 68

Konec stránky

Resources LEVÝ Jiří: Umění překladu. Československý spisovatel, Praha 1963

VERNE Jules: Tajemný hrad v Karpatech, Supraphon 1972

WALKER Alice: Color Purple, Washington Square Press, New York, 1983

DOYLE Roddy: The Barrytown Trilogy, Vintage, London, 1998

WELSH Irwin: Trainspotting, Vintage, London, 2001

KELLET Arnold: The Yorkshire Dictionary of Dialect, Tradition and Folklore. Dalesman Publishing Company Ltd 2002

69

SHAW Bernard: Pygmalion, Bratislava 1985

VIZ magazine


Online resources Rundle Ch: Using Subtitles to Teach Translation [online] 2000. [retrieved 28 April 2007].

Available

at

http://chrisrundle.agregat.net/section_subtitle/open_project/documents/Rundle(2000)_UsingSubtitles-to-Teach-Translation.doc

Wikipedia the free ecyclopedia [online], 2001. Modified 22 August 2006 [retrieved 24 August

2006].

Available

at

http://en.wikipedia.org/wiki/Electric_bulb#History_of_the_light_bulb Národní knihovna České Republiky [online] 2006. Modified 28 February 2006 [retrieved

5

March

2007].

Available

at

http://www.nkp.cz/pages/page.php3?nazev=Katalogy a databaze&page=sluz_altnk_kat.htm

Moravská zemská knihovna [online] 2006. Modified 3 March 2006 [retrieved 5 March 2007]. Available at http://aleph.mzk.cz/F

Katalogy Masarykovy University [online] 2005. Modified September2005 [retrieved 5 March 2007]. Available at http://library.muni.cz/katalogy.html

Akademie muzických umění v Praze [online] 2006. [retrieved 5 March 2007]. Available at http://www.amu.cz/?r_id=1366

70

Česko-Slovenská filmová databáze [online] 2001-2006. [retrieved 10 March 2007]. Available at http://www.csfd.cz/film/6000-tajemstvi-hradu-v-karpatech/?podle=bodu&limk=1&limr=

Leonard T: The 6 O’Clock News [online]; Intimate Voices (3), from a series Unrelated Incidents,

1984.

[retrieved

20

September

2006].

Available

at

http://www.tomleonard.co.uk/sixoclock.shtml

Nursery Rhymes - Lyrics and Origins [online] 2004. [retrieved 20 February 2007]. Available at http://www.dltk-teach.com/rhymes/missmuffet/index.htm

Ancestry.com

[online]

2007.

[retrieved

19

February

2007].

Available

at

http://search.ancestry.com/cgibin/sse.dll?nf=&nl=&bfurl=&targetid=&sourcecode=&gl=allgs&prox=1&rank=&fn=&ln=& gsfn=&gsln=Patlaj&gspl=1%2cAny+Locality&o_xid=0040803744&o_lid=0040803744

Googlefight

[online].

[retrieved

5

February].

Available

at

http://www.googlefight.com/index.php?lang=en_GB&word1=fit+as+a+flea&word2=fit+as+a +fiddle

Google

[online]2007.

[retireived

29

April

2007].

Available

at

http://www.google.co.uk/search?hl=en&q=jova+jahve&meta=

HighBeam Encyclopedia [online] 2007. [retireived 29 April 2007]. Available at http://www.encyclopedia.com/doc/1E1-Jahve-Ja.html

71

Quotes 7 Jiří Levý, Umění překladu, Československý spisovatel, Praha 1963, str. 85: „Pro naznačení venkovské řeči je záhodno užít jazykových rysů regionálně bezpříznakových, tedy ne přímo konkrétního nářečí, ale takových fonetických, lexikálních a syntaktických rysů, které jsou společné několika nářečím, proto se přestávají cítit jako specifické pro určitý kraj a spojují se spíše s obecnější představou venkova.“

11 Jiří Levý, Umění překladu, Československý spisovatel, Praha 1963, str 107: „Také rozdíly ve společenském vědomí nutí často k přestylizování názvu... Anglická říčka Floss nevyvolává v domácím čtenáři konkrétní představu, proto román G. Eliotové The Mill on the Floss je přeložen jako Červený mlýn, nikoliv Mlýn na Flossu...“

12 Jiří Levý, Umění překladu, Československý spisovatel, Praha 1963, str.83: „Velikou potíží pro překladatele jsou narážky na fakta běžně známá v době a oblasti vzniku originálu, ale neznámá v prostředí, do něhož se dílo převádí....Poznámky pod čarou v takových případech nevyhovují...Daleko menší porušení originálu je vsunout obratně takové vysvětlení přímo do textu.“

72

MASARYK UNIVERSITY BRNO Faculty of Education Department of English Language and Literature Naformátováno: Písmo: není Tučné

Recommend Documents