TRACY S TIGER New Translation and Analysis

Masaryk University in Brno Faculty of Education DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE

TRACY’S TIGER New Translation and Analysis Diploma Thesis

Brno 2009

Supervisor:

Written by:

Mgr. Martin Němec

Eva Smolková

I declare that I worked on my thesis on my own and that I used only sources mentioned in the Bibliography section.

Prohlašuji, že jsem diplomovou práci zpracovala samostatně a použila jen prameny uvedené v seznamu literatury.

…………........................…........

Eva Smolková

Acknowledgements: I would like to thank Mgr. Martin Němec for his kind supervision of my thesis. Further, I would like to thank my mother for her support and her tremendous enthusiasm for Tracy’s Tiger.

CONTENTS

1 INTRODUCTION ............................................................................................................ 6 1.1 About the author and the book ................................................................................... 7 2 THEORY OF TRANSLATION ....................................................................................... 8 2.1 What is translation?.................................................................................................... 8 2.2 Translation methods ................................................................................................... 8 2.3 Translation procedures ............................................................................................. 10 2.4 The product of translation ........................................................................................ 11 3 NEW TRANSLATION OF TRACY’S TIGER.............................................................. 13 3.1 Chapter 6 .................................................................................................................. 13 3.2 Chapter 7 .................................................................................................................. 21 3.3 Chapter 8 .................................................................................................................. 28 3.4 Chapter 9 .................................................................................................................. 36 3.5 Chapter 10 ................................................................................................................ 39 3.6 Chapter 11 ................................................................................................................ 44 3.7 Chapter 12 ................................................................................................................ 52 3.8 Chapter 13 ................................................................................................................ 58 4 TRANSLATION ANALYSIS ........................................................................................ 66 4.1 Style in translation ................................................................................................... 66 4.2 Stylistic analysis....................................................................................................... 66 4.2.1 Register ............................................................................................................. 67

4.2.1.1 Field of discourse ....................................................................................... 69 4.2.1.2 Mode of discourse ...................................................................................... 70 4.2.1.3 Tenor of discourse ..................................................................................... 72 4.2.2 Genre ................................................................................................................. 75 4.2.2.1 Poetry translation ....................................................................................... 75 4.2.2.2 Methods frequently used in poetry translation .......................................... 77 4.2.2.2.1 Rhyme ................................................................................................. 78 4.2.2.2.2 Rhythm ............................................................................................... 80 4.3 Translation of fractured English .............................................................................. 81 4.4 Jiří Josek’s translation .............................................................................................. 84 5 CONCLUSION ............................................................................................................... 86 6 SUMMARY .................................................................................................................... 87 7 RESUMÉ ........................................................................................................................ 87 8 BIBLIOGRAPHY ........................................................................................................... 88

1 INTRODUCTION “Not to translate word for word, but to preserve the general style and force of the language [24].”

Cicero Even though we do not realize it, translation is all around us. The need for global communication grows every day and brings about new theories and approaches. The translator’s work becomes more demanding and its criticism even stronger. Translation and translation analysis became the topic of my diploma thesis because I have been interested in this matter for some time and I consider myself an amateur translator. While working on the thesis, I would like to use my knowledge and experience in translating and I also hope to learn a lot of new. I have decided to continue in translation of selected chapters from Tracy’s Tiger by William Saroyan. Translation of the first five chapters can be found in my bachelor thesis. I have chosen this book not only because it is one of my favorite titles but also because it includes various features that may be suitable for translation analysis. In the theoretical part of the thesis, I would like to present some of the well-known theories of translation at first and then analyze the new translation from stylistic point of view. What I find most challenging this time is translation of the poem The Tyger by William Blake, which appears in the book, and translation of fractured English (also known as ‘broken’ English).

6

1.1 About the author and the book William Saroyan was born in 1908 in California, the USA. His parents came there from Armenia and young William grew up in an Armenian community. Later on, he became a valuable American author and wrote many plays and short stories. The main characters of his works were poor people from Armenian communities. His famous play The Time of Your Life (1939) won a Pulitzer Prize. His advice to a young writer reflects his own style of writing: “Try to learn to breathe deeply; really to taste food when you eat, and when you sleep really to sleep. Try as much as possible to be wholly alive with all your might, and when you laugh, laugh like hell [23].”

Selected bibliography: The Daring Young Man on the Flying Trapeze (1935) My Name Is Aram (1940) The Human Comedy (1943) Tracy’s Tiger is a short novel written in 1951. It appeared in the short story collection The William Saroyan Reader first published in 1958. This work does not have a typical Saroyanesque topic but it is still humorous, nostalgic and optimistic like other Saroyan’s books and plays. The main character of the novel, Thomas Tracy, seems to be an ordinary person. What is special about him is his imaginary tiger that is actually a black panther. The tiger encourages Tracy to do things that he would never do on his own, helps him to be more self-confident, self-assertive and sometimes even acts or speaks instead of him. Tracy comes from California to New York where he wants to become a coffee taster. He meets Laura Luthy there and falls in love with her. However, Tracy takes a wrong turn and he loses Laura and the tiger as well. At the end he wins Laura’s heart back and finds out that the tiger is nothing else than love itself.

7

2 THEORY OF TRANSLATION There is no doubt, that translator’s work is complex, creative and thus very demanding. The whole process of translation involves various aspects of linguistics and the translator is expected to possess wide range of professional qualities. Over the years, a great number of sophisticated theories have been constructed and many books were written in order to describe and define translator’s work and procedures. Some of these theories are very similar but a lot of them differ in disputatious issues. Is translation considered to be art or science? Are both translating and its analysis highly objective or subjective? And there are many other. Therefore, the second part of the thesis is devoted to theories, methods and procedures frequently used in translating.

2.1 What is translation? Although it is not fully visible, translation is a part of our everyday lives. Unfortunately, translation itself often remains unnoticed but this does not diminish its importance. Hatim and Munday offer several possible views of translation: Translation is a very broad notion which can be understood in many different ways. For example, one can talk of translation as a process or a product, and identify such sub-types as literary translation, technical translation, subtitling and machine translation; moreover, while more typically it just refers to the transfer of written texts, the term sometimes also includes interpreting [6.3, 4]1

In general, translation is seen as a product rather than a process. Despite this reality, the process is of the same importance as the product. In fact, Hatim and Mason claim that the translated text should be seen as an evidence of translator’s decision-making procedures rather than an end-product.

2.2 Translation methods Newmark strictly distinguishes between translation methods and translation procedures. He writes that while translation methods relate to whole texts, translation procedures are used

1

See Bibliography section [no. of a publication. appropriate page no.]

8

for sentences and the smaller units of language [11.81]. He refers to following methods of translation: Word-for-word translation - the SL2 word order is preserved and the words translated singly by their most common meanings, out of context. Cultural words are translated literally. The main use is either to understand the mechanics of the SL or to construe a pre-translation. Literal translation - the SL grammatical constructions are converted to their nearest TL3 equivalents but the lexical words are again translated singly, out of context. It can be considered as a pre-translation process as well. Faithful translation - attempts to produce the precise contextual meaning of the original within the constraints of the TL grammatical structures and to be completely faithful to the intentions and the text-realization of the SL writer. Semantic translation - differs from 'faithful translation' only in as far as it must take more account of the aesthetic value of the SL text. The distinction between ‘faithful’ and ‘semantic’ is that the first is uncompromising and dogmatic, while the second is more flexible. Adaptation - the ‘freest’ form of translation, and is used mainly for plays (comedies) and poetry; the themes, characters, plots are usually preserved, the SL culture is converted to the TL culture and the text is rewritten. Free translation - produces the TL text without the manner, content or form of the original. Usually it is a paraphrase much longer than the original. Idiomatic translation - reproduces the ‘message’ of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original. Communicative translation - attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership [12.45, 47].

Hatim and Mason discuss the controversy between literary and free translation. They support a theory which claims that both the methods are of the same importance. They highlight that the choice of method depends on a particular kind of text being translated and its translator:

2 3

SL – source language TL – target language

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The problem is that the issue is all too often discussed without reference to the context in which translating takes place; the social circumstances of translation are lost from sight. In fact, the beginners of a solution to the problem will depend, to borrow a well-known sociolinguistic formula, on: who is translating what, for whom, when, where, why and in what circumstances [5.6]?

2.3 Translation procedures Translation as a process is a highly individual procedure. This means that every translator has his or her own way of organizing the whole process. However, many linguists have introduced a wide range of rules, laws and suggestions that may be advisable to follow. Levý divides the process of translation into three parts: 1. Apprehension of the original text – a good translator has to be a good reader first of all. Consequently, translator’s apprehension takes place at three levels: a) Philological apprehension – apprehension of the text itself; b) Apprehension of ideological and aesthetic values – a standard reader might not be able to identify these values. However, the translator has to be able to identify them and recognize which means of language were used in order to imply these values; c) Apprehension of matters presented in the text – e.g. characters, their relations, plot, ideology, etc. 2. Explication of the original text – there is not an absolute agreement between SL and TL systems, thus not only linguistically correct translation but also explication of the original is important. Three stages of explication: a) Search for an objective idea of the original b) Translator’s point of view of the explication c) Explication of objective values of the original 3. Stylization of the original text – the author of the original is expected to present an artistically valuable stylization of the reality; the translator is expected to present an artistically valuable stylization of the original. Language problems connected with stylization of the original may be these: a) Different language systems (SL, TL) b) Signs of the SL in the stylization of the translation

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c) Tension in style of the translation caused by fact that the ideology of the original is transferred into different language system. [8.53-69, transl. by E.S.] Moreover, Newmark mentions further procedures that are usually used in translating: Componential analysis – the meaning is broken into its conceptual and connotative meanings and then it is decided which meaning is closest to the given context, e.g. mean – ničemný, podlý, skoupý, lakomý, etc.; Modulation – translation from SL to TL in current norms. However, SL and TL may appear dissimilar, e.g. no mean city – štědré město; Descriptive equivalent – the meaning of a word or phrase in the SL is explained in several words, e.g. carrycot – vak na přenášení dítěte; Functional equivalent – a word or a phrase is translated by highlighting its function, e.g. knife – ostrý předmět; Cultural equivalent – cultural equivalents are usually inaccurate but they are a shorthand, have emotional force, are useful for immediate effect on the receptor, e.g. in the theatre or cinema (dubbing or sub-titling), and they transport the readership uncritically into the TL culture, e.g. gingerbread – perník; Synonymy – is a near TL equivalent, e.g. the absolute truth – úplná, naprostá pravda; Paraphrase – the loosest translation procedure, which simply irons out the difficulties in any passage by generalizing, e.g. Sierra Mist – citrónová limonáda [10.3, 4].

2.4 The product of translation Translation itself can be seen as an end-product of the process of translation. In fact, the end-product serves as a base for further analysis of methods and procedures used in the translating process. Two possible views of the end-product can be given: The first is relative: descriptive, historical, socio-cultural, it sees a translation as a product of its culture and its time, as a component of another – the TL literature – written to meet the requirements of new readers, which it studies [10.5].

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Newmark suggests that translation is an adaptation of the original. This approach is usually used in poetry and comedy translation. He adds that this attitude practically ignores the SL text and hardly suits translation of serious originals. The second view of the product is critical and evaluative, requires a continuous comparison of the translation with the original and a verification of correspondences, grammatical, lexical and often phonaesthetic. It is more concrete and detailed, often more pernickety and pedantic, than the first view, and shows up moral as well as stylistic and linguistic deficiencies [10.5].

He states that this point of view includes all types of texts and interprets translator’s prejudices and ignorance. Every translated text – the end product – has certain qualities which can vary according to used methods (e.g. literary vs. free translation), translator’s abilities, skills and many other factors. Translator’s principles listed by Levý can be regarded as a summary of contradictory qualities of a translated text: 1. A translation must duplicate words of the original. 2.

A translation must duplicate ideas of the original.

3. A translation should be read as an original. 4. A translation should be read as a translation. 5. A translation should reflect the style of the original. 6. A translation should expose translator’s own style. 7. A translation should be read as a text written at the same time as the original. 8. A translation should be read as a text written at the translator’s time. 9. A translator can add something to or omit something from the original. 10. A translator should never add anything to or omit anything from the original. 11. Poetry should be translated in form of prose. 12. Poetry should be translated in form of verse [8.33, 34, transl. by E.S.].

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3 NEW TRANSLATION OF TRACY’S TIGER 3.1 Chapter 6

Kapitola 6

What hearts have broken in times gone by,

Kolik jen srdcí puklo v časech již

what hearts break now in our own times,

minulých, kolik jich puká v době dnešní

what hearts shall break in times to come,

a kolik srdcí má ještě puknout v dobách

Nimmo gone, Laura Luthy lost, Shively in

budoucích; Nimmo je mrtvý, Laura

the Tasting Department at last, Peberdy

Luthyová ztracena, Shively je konečně

and Ringert treating him like a dog,

v oddělení

frequently questioning his taste, looking at

Ringert jsou na něj jako na psa, když

one other knowingly.

neustále zkoušejí vytříbenost jeho chuti

ochutnávačů.

Peberdy

a

a významně po sobě přitom pomrkávají. The three lines of Tracy’s turned out to be,

První tři verše Tracyho písničky se tak

as so many other things turn out to be, dirt.

jako mnoho jiných věcí ukázaly být

The song faded away, the very scrap of

nanic. Písnička vyhasla, cár papíru, na

paper on which Tracy had so carefully

který Tracy tak pečlivě napsal slova, byl

written the words was lost, the melody

ztracen

was forgotten.

zapomenuta.

Tracy and the tiger walked on Sunday to

V neděli si Tracy a jeho tygr, hořící

Saint Patrick’s on Fifth Avenue, burning

plamenem jakési starodávné a přece tak

with the fervor of an old and undefined

svěží víry, vyšli do kostela Sv. Patricka,

religion that somehow seemed new, each

každý ve své vlastní osamělosti - lidské

of them walking in man’s or animal’s

a zvířecí.

a

melodie

byla

navždy

loneliness. They went in and looked at everything.

Vešli dovnitř a vše si prohlédli.

The following Saturday Tracy quit his job

Příští sobotu dal Tracy výpověď u Otto

at Otto Seyfang’s and went back to San

Seyfanga a odjel do San Francisca.

Francisco. A number of years went by.

Uplynulo několik let.

Then one day Tracy was twenty-seven,

A pak jednoho dne, to mu bylo

and he was back in New York, and he was

sedmadvacet, byl Tracy opět v New 13

walking there as he’d walked six years

Yorku a procházel se tam jako před šesti

ago.

lety.

He turned off Broadway when he came to

Odbočil z Broadwaye na Warrenovu

Warren Street and went down the street to

ulici a kráčel k podniku Otto Seyfanga,

Otto Seyfang’s, which now bore the name

který teď nesl název Keeneyovy sklady.

of Keeney Warehouse. Did the mean coffee had failed, too?

Znamenalo to snad, že ani prodej kávy neměl úspěch?

Nimmo,

Peberdy,

Ringert,

Shively,

A Nimmo, Peberdy, Shively, Seyfang -

Seyfang – had they all failed?

selhali ti všichni?

The tiger stiffened when it saw the

Když tygr zahlédl vchod do onoho

entrance of the building, for it was there

domu, celý se napružil, protože právě

the tiger had stood one whole afternoon

tam kdysi zůstal celé odpoledne zírat

staring the way Laura Luthy had gone

směrem, kterým Laura Luthyová odešla.

Tracy

Keeney’s

Tracy pospíchal pryč od Keeneyových

Warehouse, stopped a taxi, got in, and got

skladů, zastavil si taxi a vystoupil u

out at the Public Library.

Veřejné knihovny.

From there Tracy and the tiger began to

Odtud se Tracy a tygr opět vydali po

walk up Fifth Avenue again. The street

Páté avenue. Ulice byla plná svátečních

was full of Sunday people, men and

chodců - mužů, žen i jejich dětí.

hurried

away

from

women and their children. Tracy had not yet found the one to take the

Tracy si ještě nenašel náhradu za Lauru

place of Laura Luthy. Nimmo had

Luthyovou. Nimmo předpověděl, že ji

predicted that Tracy would never find her,

nikdy nenajde a možná měl koneckonců

and perhaps Nimmo had been right, after

pravdu.

all. Tracy stood on a corner, a block from

Tracy se zastavil na rohu, jeden blok od

Saint Patrick’s, and watched a small boy

svatého Patricka, a pozoroval malého

and the boy’s sister cross the street. The

chlapce a jeho sestřičku, jak přecházejí

tiger came up beside him. Tracy rested his

přes ulici. Tygr se postavil vedle 14

Tracyho a on si položil ruku na jeho

hand on the tiger’s head.

hlavu. “They might have been mine,” Tracy said.

„Takové jsem už mohl dávno mít,“ povzdech si.

“Eyeej,” the tiger said.

„Uáááu,“ řekl tygr.

Tracy strolled on, the tiger beside him. He

Tracy se vydal dál a tygr mu kráčel po

was astonished to find that all of the

boku. S úžasem zjistil, že všichni chodci

people on his side of the street were

na jeho straně ulice náhle přebíhají na

moving swiftly to the other side of the

druhou stranu. Když se tím směrem

street. He glanced at the other side of the

podíval, uviděl tam davy lidí, jak na něj

street and saw people standing there,

hledí, někteří přímo a někteří skrze

crowds of them, looking at him, some of

objektivy svých fotoaparátů.

them, looking at him, some of them through cameras. In all innocence Tracy decide to go across

Ve vší nevinnosti se Tracy rozhodl, že

the street to find out what all the

přejde ulici a zjistí, co má všechno to

excitement was about, but when he

vzrušení znamenat. Když však sestoupil

stopped down from the curb to go, the

z chodníku, lidé na druhé straně začali

people across the street began to run, some

prchat, někteří s křikem a několik žen

of them shouting, and a number of women

s jekotem.

screaming. Tracy turned and looked at the tiger again.

Tracy se otočil a znovu se podíval na tygra.

Well, he’d had the tiger beside him most Skoro celý život měl tygra po svém boku, of his life, but never before had anything ale ještě nikdy předtím se mu nic like this happened.

takového nestalo.

Never before had anybody else seen the Ještě nikdy předtím nikdo jeho tygra tiger.

neviděl.

Was it possible now that the tiger was Copak se snad mohlo stát, že jeho tygra actually

being

seen

by

other,

by vlastně viděli i ostatní lidé, a vůbec 15

everybody?

všichni?

A number of dogs on leashes began to

Několik psů přivázaných na vodítcích

yap and bark and carry on. This also was

začalo nesouhlasně štěkat a vyvádět.

something new. Tracy stopped in the

Tohle bylo taky něco nového. Tracy se

middle of Fifth Avenue to let a bus go by,

zastavil uprostřed Páté avenue a počkal,

and was astonished once again, this time

až přejede autobus, a znovu se musel

by the face of the driver of the bus, and

podivit, tentokrát nad udivenými obličeji

by the faces of the passengers.

řidiče autobusu i cestujících v něm.

“Well, what do you know?” Tracy said to „No, co tomu říkáš?“ zeptal Tracy tygra. the tiger. “I believe they can see you. I „Mám pocit, že tě vidí. Myslím, že tě believe they can actually see you, just as opravdu můžou vidět, tak jak tě já vidím I’ve seen you most of my life, but look at skoro celý život. Ale podívej se na ně, them, they’re terrified, they’re scared to jsou zděšení, k smrti zděšení. Dobrý death. Good God, they ought to know Bože, někdo by jim měl říct, že se není there’s nothing to be afraid of.”

čeho bát.“

“Eyeej,” the tiger said.

„Uáááu,“ řekl tygr.

“Yes,” Tracy said. “I haven’t heard you

„Ano,“

speak so well since we were at Otto

takhle dobře jsem tě neslyšel mluvit od

Seyfang’s and Laura Luthy came dancing

té doby, co jsme byli u Otto Seyfanga a

down Warren Street.”

Laura Luthyová protančila Warrenovou

řekl

Tracy.

„Mimochodem,

ulicí.“ Tracy and the tiger moved up Fifth

Tracy a tygr šli dál po Páté avenue, až se

Avenue until they were across the street

ocitli naproti kostelu svatého Patricka.

from Saint Patrick’s. Tracy had planned to

Tak jako před šesti roky, měl Tracy

go into the church, as he and the tiger had

s tygrem v plánu kostel navštívit, a tak si

done six years ago, and so he began to

to namířil přes ulici, aby se k němu

cross the street, to get to the church, but as

dostal. Jakmile se však dal na cestu,

he did so the few people in front of the

hlouček lidí stojících před kostelem se

church broke and ran. And then everybody

rozutekl. V tu chvíli začali z kostela

in the church came out. Tracy and the tiger

vycházet další lidé. Bohoslužba už

were late for church, but even, they would

skončila, ale i tak se chtěl Tracy projít 16

go in, and Tracy would walk all the way

s tygrem

down the centre aisle with the tiger and

prohlédnout si všechny ty krásné věci,

look again at all the fine things there, the

ten úžasný prostor a světlo, vitrážová

wonderful height and light, the stained-

okna, jemně zdobené pilíře a hořící

glass windows, the fine pillars, the burning

svíčky.

uličkou

mezi

lavicemi

a

candles. The people who came out of the church

Lidé

vycházející

z kostela

vypadali

seemed at peace, and then suddenly they

pokojně, ale náhle se vše změnilo.

deteriorated, some of them running down

Někteří se rozutekli do vedlejších uliček,

side streets, some up and down Fifth

jiní dolů po Páté avenue a zbytek se

Avenue, and some back into the church, to

běžel ukrýt zpět do kostela.

hide there. “I’m awful sorry about this,” Tracy said.

„Strašně mě to mrzí,“ posteskl si Tracy.

“It’s never happened before, as you

„Však víš, že se nám tohle ještě nikdy

know.”

nestalo.“

“Eyeej,” the tiger said.

„Uáááu,“ odpověděl tygr.

“We’re going to church anyway,” Tracy

„A stejně tam půjdeme,“ rozhodl se

said.

Tracy.

He rested his hand on the tiger’s head, and

Nechal ruku položenou na tygrově hlavě

thus they went together to the steps of the

a bok po boku stoupali nahoru po

church, up the steps, and then on to the

schodišti kostela, až se konečně ocitli

handsome area that was inside.

uvnitř toho vznešeného prostoru.

But if the area was handsome, the people

Prostor byl sice vznešený, ale ne tak ti,

still in the area were not, including several

kteří se stále ukrývali v jeho útrobách,

men in robes. Their going was swift and

včetně několika svatých mužů. Jejich

untidy.

úprk byl zběsilý a nepřehledný.

Tracy and the tiger walked slowly down

Tracy a tygr pomalu kráčeli uličkou

the centre aisle. He noticed shut doors here

mezi lavicemi. Tracy si všimnul, jak se

and there opening a little, frightened eyes

tu a tam některé dveře zavřely, jiné

staring out at him, and he saw the doors

pootevřely a ze štěrbiny na něj vykouklo 17

shut again, heard them being locked or

vystrašené oko, pak se zase dveře

bolted.

zavřely a bylo slyšet zarachocení klíče v zámku či zaklapnutí závory.

“Well, it is a beautiful place,” Tracy said,

„Je to tu krásné,“ povídá Tracy, „ale

“but you remember how different it was

vzpomínáš, jaké to bylo před šesti lety?

when we came here six years ago. The

Jen se to tu hemžilo lidmi, muži, ženy,

place was full of people then, men,

děti, a všichni měli z něčeho radost – ne

women, and children, and they were all

jako teď, kdy jsou k smrti vyděšení a

glad about something, not the way they are

prchají, aby se schovali venku za

now, scared to death, gone running, or

dveřmi. Čeho se tak bojí? Co se jim

hiding behind doors. What are they afraid

stalo?“

of? What’s happened to them?” “Eyeej,” the tiger said.

„Uáááu,“ řekl tygr.

Tracy and the tiger left the church by a

Tracy

side door that opened on 50th Street, but

postranními dveřmi, které vedly na

when they came to the street Tracy saw an

Padesátou ulici. Když však byli venku,

armoured car standing there, with gun

spatřil

barrels pointed at him and the tiger. He

hlavněmi všech zbraní mířících na něj a

looked down the street, and there near

tygra. Tracy se rozhlédl a dole nedaleko

Madison Avenue he saw another armoured

Madisonovy avenue uviděl další obrněný

car. He looked up to Fifth Avenue, and

vůz. Pak se podíval nahoru směrem

there on the corner he saw two more of

k Páté avenue a na rohu uviděl další dva

them. Beyond the armoured cars was a

vozy. Za obrněnými vozy stály davy

multitude of people, all terrified, waiting

vyděšených lidí a vyčkávaly jestli se

for a fight of some kind, and an outcome.

strhne nějaká rvačka a co se vůbec bude

a

tygr

tam

vyšli

Tracy

ven

obrněný

z kostela

vůz

s

dít. The man who sat in the driver’s seat of the

Řidič obrněného vozu stojícího přímo

armoured car directly in front of Tracy

před Tracym rychle zatáhnul okénko,

quickly raised the window of the car, to be

aby se před tygrem lépe chránil.

better protected against the tiger.

18

“What’s the matter?” Tracy said.

„Co se to děje?“ zeptal se Tracy.

“For God’s sake man,” the driver replied,

„Proboha, člověče, copak nevidíš to

“don’t you see the animal beside you?”

zvíře vedle sebe?“ odpověděl mu na to řidič.

“Of course I see it,” Tracy said.

„Jasně, že ho vidím,“ řekl Tracy.

“It’s a panther escaped from the circus,”

„Je to panter, co utekl z cirkusu,“ poučil

the driver said.

ho řidič.

“Don’t be silly,” Tracy said. “It’s never

„To je pěkná hloupost,“ řekl Tracy. „S

been near the circus. And it’s not a

cirkusem nemá nic společného a navíc to

panther, it’s a tiger."

není panter, ale tygr.“

“Stand aside, man,” the driver said, “so

„Odstup stranou, člověče, ať to zvíře

one of the men can shoot the animal.”

může někdo z nás zastřelit,“ volal na něj řidič.

“Shoot it?” Tracy said. “Are you crazy?”

„Zastřelit?“ vyděsil se Tracy. „Zbláznili jste se?“

He began to walk down 50th Street toward

Tracy si to namířil dolů Padesátou ulicí

Madison Avenue. The driver of the

směrem k Madisonově avenue. Řidič

armoured car started the motor, and the car

obrněného vozu nastartoval a vydal se

moved slowly beside Tracy, the driver

pomalu za ním. Přitom se snažil Tracyho

trying to argue him into stepping away

donutit, aby od tygra odstoupil.

from the tiger. “Stand aside, man,” the driver said.

„Jdi od něj, člověče!“ křičel na Tracyho.

“Go on,” Tracy said. “Take your armoured

„Odjeďte odtud,“ volal Tracy. „Odjeďte

car back to the bank or the garage or

s tím obrněným vozem třeba do banky

wherever it is you keep it.”

nebo do garáže nebo kam to vlastně patří.“

“Stand back or we’ll shoot anyway,” the

„Jestli

neodstoupíš,

budeme

driver said.

střílet,“ vyhrožoval řidič.

stejně

19

“You wouldn’t dare,” Tracy said.

„To byste si netroufli,“ řekl Tracy

“O.K., boy,” the driver said, “You asked

„O.K., kamaráde. Řekl sis o to,“

for it.”

odpověděl řidič.

Tracy heard the shot. He looked to see if

Tracy zaslechl výstřel. Podíval se na

the tiger had been hit. It hadn’t, but it was

tygra, aby zjistil, jestli ho to netrefilo.

off for Madison Avenue.

Netrefilo

–

ale

byl

už

na

cestě

k Madisonově avenue. The tiger was swift, swifter than Tracy had

Tygr běžel s větrem o závod, rychleji

ever before known it to be. When it

než ho kdy Tracy viděl běžet. Když se

reached the second armoured car on 50th

dostal na úroveň druhého obrněného

Street another shot was fired, the tiger

vozu na Padesáté ulici, zaslechl Tracy

leaped, fell, and when it began to run

druhý výstřel. Tygr se prudce vzepjal,

again Tracy noticed that it did so with the

pak se zhroutil na zem, a když se dal

right front foot held up. When the tiger

zase do běhu, všiml si Tracy, že tygr

reached

turned

nechává pravou přední tlapu zvednutou.

uptown, and disappeared, the nearest

Na Madisonově avenue se dal tygr

armoured car going after it with all of its

směrem od centra a ztratil se z dohledu.

slow might.

Nejbližší obrněný vůz se pomalu, ale

Madison

Avenue,

it

jistě, pustil za ním. Tracy broke into a trot, chasing after the

Tracy

se

tiger.

pronásledoval.

He was stopped at the corner by three

Na rohu ulice ho zastavili tři policisté.

officers. They pushed him into the second

Strčili ho do jednoho z obrněných vozů a

armoured car and drove off with him.

dali se na cestu.

“What do you want to kill my tiger for?”

„Proč mi chcete zabít tygra?“ zeptal se

Tracy said to the driver.

Tracy řidiče.

“That animal escaped from the circus last

„Ta bestie uprchla včera večer z cirkusu

night, after mauling a keeper,” the driver

potom,

said.

ošetřovatele,“ řekl řidič.

co

rozběhl,

pořádně

aby

tygra

pokousala

20

“What are you talking about?” Tracy said.

„Co to plácáte?“ divil se Tracy.

“You heard me,” the man said.

„Slyšel jsi,“ řekl ten muž.

“I’ve had that tiger most of my life,”

„Toho tygra jsem měl skoro celý život,“

Tracy said.

bránil se Tracy.

“You haven’t had any tiger most of your

„Žádného tygra jsi nikdy neměl,“ řekl

life,” the driver said, “but you’ve had

řidič, „ale něco jsi asi přece jenom měl a

something, and we’ll soon find out what it

my už brzo zjistíme co.“

is.”

3.2 Chapter 7

Kapitola 7

Tracy sat in a Bank of England chair at

Tracy seděl v pohodlné židli podobné

the center of an enormous room in which

těm, co mají v nóbl bankách, uprostřed

newspapermen,

obrovské

photographers,

police

místnosti

plné

novinářů,

officers, animal trainers, and a good many

fotografů, policistů, krotitelů zvířat a

others milled about.

mnoha dalších.

If the tiger had actually not been his own

Pokud bylo možné, že ten tygr, jak

tiger, as they said, his own tiger was

všichni tvrdili, nebyl jeho tygr, pak bylo

certainly not with Tracy now.

jisté, že jeho tygr tu teď s ním nebyl.

He sat alone.

Tracy tu seděl sám.

The tiger did not sit on the floor at his feet.

Tygr mu neseděl u nohou.

Tracy had been in the chair more than an

Tracy strávil v té židli víc než hodinu.

hour. Somebody new came into the room

Náhle někdo vstoupil do místnosti.

suddenly. “Dr. Pingitzer,” Tracy heard somebody

„Doktor Pingitzer,“ zaslechl Tracy, jak

say.

kdosi říká.

This was a small, smiling man of seventy

Byl

to

malý,

usměvavý,

asi

21

or so.

sedmdesátiletý pán.

“Now,” the man said quickly to the crowd.

„Nuže,“ promluvil hned k přítomným.

“What is it?”

„Copak to tu máme?“

The doctor was drawn to one side and

Zatáhli doktora stranou, obstoupila ho

surrounded by a group of experts, several

skupina expertů a ti mu vysvětlili o co

of whom told him what it was.

běží.

“Ah ha,” Tracy heard the doctor say. The

„Aha,“ zaslechl Tracy říkat doktora. A

doctor went quickly to Tracy.

hned si to namířil k Tracymu.

“My boy,” he said. “I am Rudolph

„Chlapče,“

Pingitzer.” Tracy got up and shook

Pingitzer.“ Tracy vstal a podal mu ruku.

řekl.

„Já

jsem

Rudolf

Rudolph Pingitzer’s hand. “Thomas Tracy,” he said.

„Thomas Tracy,“ odpověděl.

“Ah ha, Thomas Tracy,” Dr. Pingitzer

„Nuže, Thomas Tracy,“ dr. Pingitzer se

turned to the others. “Perhaps a chair like

otočil k ostatním. „Možná tam být pro

this for me, too?”

mě ještě jedna židle jako tahle.“

Another Bank of England chair was

Rychle

quickly fetched for the doctor.

pohodlnou a nóbl židli.

He sat down and said pleasantly, “I am

Posadil se a spokojeně řekl: „Já jsem

seventy-two years old.”

dvaasedmdesát let starý.“

“I am twenty-seven,” Tracy said.

„Mně je dvacet sedm,“ řekl Tracy.

Dr. Pingitzer filled a pipe, spilled a good

Dr. Pingitzer si nacpal dýmku, přitom si

deal of tobacco over his clothing which he

rozsypal nemalé množství tabáku na šaty

did not bother to brush off, used seven

a ani se neobtěžoval ho smést, použil

matches to get the pipe lighted, puffed at it

sedm zápalek, než se mu podařilo

a dozen times, then said with the pipe in

dýmku zapálit, několikrát vyfouknul

his mouth, “I have wife, sixty-nine years

dým a pak s dýmkou v puse řekl: „Já

old, boy forty-fife years old, psychiatrist,

mám ženu, devětašedesát let je stará,

boy forty-two years old, psychiatrist, boy

kluk má pětačtyřicet, je psychiatr, další

thirty-nine years old, psychiatrist, girl

kluk má devětatřicet, psychiatr, dcera

přinesli

doktorovi

podobně

22

thirty-six years old, says thirty-one years

šestatřicet, ale říká, že jednatřicet, taky

old, psychiatrist, girl thirty-one years old,

psychiatr, a další dcera jednatřicet, říká,

says twenty-six years old, psychiatrist,

že šestadvacet, psychiatr; zařízený byt já

furnished apartment, phonograph, piano,

mám, gramofon, klavír, televizi, stroj na

television, typewriter, but with typewriter I

psaní, ale s tím já mít mechanické

have mechanical disorder.”

potíže.“

“Why don’t you get it fixed?” Tracy said.

„Proč ho nedáte opravit?“ zajímal se Tracy.

“Ah, yes,” Dr. Pingitzer said. “Never use

„Aha, opravit,“ řekl dr. Pingitzer. „Já

typewriter. Is for grandchildren. Junk. I

nikdy nepoužívám ten stroj. Je pro

have these things, mostly psychiatrist.”

vnoučata. On patřit do šrotu. Já mít spoustu věcí, většinou z psychiatrie.“

“Do you have any money?” Tracy said.

„Máte peníze?“ zeptal se Tracy

“No,” Dr. Pingitzer said. “Is expensive so

„Ne,“ řekl dr. Pingitzer. „Moc psychiatrů

many psychiatrists. Have books. Have

moc stojí. Já mám knížky. Já taky mám

also, ah, yes, bed. For sleep. At night. I lie

– ja - no, postel. Pro spaní. V noci. Já si

down. Sleep. Is change.”

lehnu a já spím. To být dobrá změna.“

“Do you have any friends?” Tracy said

„Máte nějaké přátelé?“ zeptal se Tracy.

“Many friends,” Dr. Pingitzer said. “Of

„Moc přátelů,“ řekl doktor. „Přirozeně,

course when I say friends” — Dr.

když říkám přátelů -“ zamával zbrkle

Pingitzer’s hand moved quickly, he made

rukama

odd little noises — “you understand I

podivných hlásek. „Však víte, já myslím

mean” — more noises – “naturally. Who

–“ Opět několik hlásek. „Samozřejmě.

knows?”

Kdo ví?“

“Do you go to church?” Tracy said.

„Chodíte do kostela?“ chtěl vědět Tracy.

“Ah,” Dr. Pingitzer said. “Yes. Sentiment.

„Ach,“

I like it. It is nice.”

Sentiment, to já rád. Moc pěkné.“

A newspaperman stepped forward, and

Jeden z novinářů vystoupil z davu a

said “How about you asking the questions,

zeptal se: „A co kdybyste teď pro změnu

a

vydal

řekl

dr.

ze

sebe

Pingitzer.

několik

“Ano.

23

doctor?”

kladl otázky vy, pane doktore?“

“Ah ha?” the doctor said quickly. “If to be

„Aha?“ podivil se doktor “Jestli já mám

interview with Dr. Pingitzer room to be

klást

empty.”

prázdná.“

A police captain who was in charge, a man

Policista, který to tam měl na starost,

named Huzinga, said quickly, “O.K., you

nějaký

heard the doctor. Everybody out.”

„O.K., slyšeli jste. Všichni ven.“

There was a good deal of protesting on the

Ze strany novinářů bylo slyšet mnoho

part of the newspapermen, but Huzinga

protestů, ale Huzinga a jeho muži

and his men got everybody out into the

zahnali všechny do chodby. Když byla

hall. When the room was empty, the

místnost prázdná, doktor se usmál na

doctor, puffing on his pipe peacefully,

Tracyho, několikrát spokojeně vyfoukl

smiled at Tracy, then began to doze. Tracy

kouř z dýmky a začal podřimovat. Tracy,

himself was tired by now, so he began to

který už byl tou dobou unavený, začal

doze, too. The old man snored, but Tracy

taky podřimovat. Narozdíl od Tracyho,

didn’t.

starý pán pochrupoval.

After a moment the door was pushed open,

Po chvíli se otevřely dveře a jednomu

and a photographer quickly took a picture

z fotografů se podařilo zvěčnit obrázek

of the men asleep in the Bank of England

dvou mužů, kteří usnuli v pohodlných

chairs.

židlích.

Huzinga then came in and woke the doctor

Poté vstoupil do místnosti Huzinga a

up.

vzbudil doktora.

“Ah ha,” the doctor said.

„Aha,“ řekl doktor.

Huzinga was about to wake Tracy up, too,

Huzinga se chystal vzbudit i Tracyho,

but the doctor said, “No. Important.”

ale

otázky,

místnost

muset

Huzinga, pohotově

doktor

ho

zastavil:

být

zakročil:

„Nebudit.

Důležité.“ “Yes, doctor,” Huzinga said. He tiptoed

„Ovšem, pane doktore,“ řekl Huzinga a

out of the room.

po špičkách odešel z místnosti.

The little man sat and watched Tracy’s

Malý pán seděl a pozoroval Tracyho

24

face.

tvář.

After a moment Tracy opened his eyes.

Za chvíli otevřel Tracy oči.

“I dream I was in Vienna,” the doctor said.

„Já měl sen, že jsem ve Vídni,“ řekl doktor.

“When were you there last?” Tracy said.

„Kdy jste tam byl naposled?“ zeptal se Tracy.

“Twenty years ago,” Dr. Pingitzer said.

„To už je dvacet roků,“ odpověděl dr.

“Long, long ago. I like very much ice

Pingitzer. „Moc, moc dlouho. Já moc rád

cream. Vanilla.”

zmrzlinu. Vanilkovou.“

“Do you like coffee?” Tracy said.

„Máte rád kávu?“ zajímal se Tracy.

“Coffee?” Dr. Pingitzer said. “I am from

„Kávu?“ řekl dr. Pingitzer. „Já jsem

Vienna, I live on coffee. Ah ha.” He

z Vídně. Já žiju z kávy. Aha.“ Zakřičel,

shouted, so that they would hear him

aby ho bylo slyšet až za dveřmi. „Kávu,

beyond the door. “Coffee, please!”

prosím!“

Outside, Huzinga sent an officer for a pot

Venku Huzinga poslal jednoho policistu

of coffee and two cups.

pro konvici kávy a dva šálky.

“He knows,” Huzinga said to the officer.

„Však on ví,“ řekl Huzinga tomu

“He knows what he’s doing.”

policistovi, “však on dobře ví, co dělá.“

“We will have coffee,” the little man said.

„Budeme mít kávu,“ těšil se ten malý

“Is happened something. I don’t know.”

pán. „Ono se něco stalo? Já nevěděl.“

“They shot my tiger,” Tracy said.

„Postřelili mi tygra,“ řekl Tracy.

“I am sorry,” Dr. Pingitzer said.

„To je mně líto,“ řekl dr. Pingitzer.

“We went into Saint Patrick’s,” Tracy

„Zašli jsme k svatému Patrickovi stejně

said, “just as we did six years ago, but

jako před šesti lety,“ vysvětloval Tracy,

when we came out they were waiting there

„ale když jsme vyšli ven, čekali na nás

in an armoured car, and another one

v obrněném autě a další auto bylo o kus

farther down on 50th Street. The first shot

dál na Padesáté ulici. První střela šla

went wild, but it frightened the tiger, and it

mimo, ale tygr se polekal a začal utíkat. 25

began to run. When it reached the second

Když se dostal na úroveň toho druhého

armoured car the tiger was shot in the

auta, střelili ho do nohy.“

foot.” “This tiger, it is your tiger?”

„Ten tygr, to je váš tygr?“

“Yes.”

„Ano.“

“Why?”

„Proč?“

“It’s been with me most of my life.”

„Měl jsem ho skoro celý můj život.“

"Ah," the little man said. "It is tiger, like

„Ach tak,“ řekl ten malý pán. „Je to tygr,

dog is dog?”

jako pes je pes?“

“Do you mean,” Tracy said, “is it a real

„Vy jako myslíte,“ ptal se Tracy, „jestli

tiger, as a tiger in the jungle is, or in the

je to opravdický tygr, jako z džungle

circus?”

nebo cirkusu?“

“Precise,” Dr. Pingitzer said.

„Přesně tak,“ přitakal dr. Pingitzer.

“No, it is not,’ Tracy said. “It wasn’t until

„Ne, to není,“ řekl Tracy. „Aspoň

today, at any rate, but it was real today. It

dodneška rozhodně nebyl. Jenže dneska

was still my tiger, though.”

byl opravdický. A stejně to byl můj tygr.“

“Why do they say tiger is escape from

„Proč oni tedy říkali, že tygr z cirkusu

circus?”

utekl?“

“I don’t know.”

„To nevím.“

“Is possible?”

„Je to možné?“

“I suppose so. A caged animal of any kind

„Myslím, že ano. Jakékoliv zvíře, které

might escape from a circus, if possible.”

drží v zajetí, uteče, když k tomu dostane příležitost.“

“You are not afraid of this tiger?” Dr.

„A vy nemáte strach před tím tygrem?“

Pingitzer said. “We have here someplace

zeptal se dr. Pingitzer. „Tady někde být

photographs

fotky od fotografů pro noviny. Moje

taken

by

newspaper

photographers. My young daughter have

mladší

dcerka

jednou

taky

měla 26

hobby of photography one time. Pictures,

takového koníčka, ona dělala fotky.

pictures - all pictures of Papa. Me!” He

Fotky a fotky – a na všech její Papínek.

turned to the door and spoke loudly.

Já!“ Otočil se ke dveřím a zavolal:

“Photographs, please.”

„Fotky, prosím!“

Huzinga came in, and off the top of a desk

Do místnosti vstoupil Huzinga, z desky

picked up a dozen photographs, handed

stolu vzal hromádku fotografií a podal je

them to the doctor, who quickly ran

doktorovi. Doktor je přelétl takovou

through them, with scarcely time enough

rychlostí, že stěží mohl zahlédnout, co

to look at any of them, his hands and eyes

na nich je. Ruce a oči se mu jen míhaly.

moving extraordinarily swiftly. “You are not afraid of this animal,” he said

„Vy

nemáte

strach

před

takovým

again quickly, “this tiger. This is black

zvířetem,“ znovu zadrmolil, „před tím

panther.”

tygrem. To je černý panter.“

“Yes, I know,” Tracy said, “but it’s my

„Já vím,“ řekl Tracy, „ale můj tygr

tiger just the same.”

vypadá úplně stejně.“

“You have this name tiger for this

„To vy mu tak jenom tygr říkáte, že?“

animal?” “Yes, I know it’s a black panther,” Tracy

„Ano, vím, že je to černý panter,“ řekl

said, “but I’ve always thought of it as a

Tracy, „ale pro mě to byl vždycky tygr.“

tiger.” “Your tiger?”

„Váš tygr?“

“Yes.”

„Ano.“

“You are not afraid of this tiger?”

„Před tygrem vy strach nemáte?“

“No.”

„Ne.“

“Everybody is afraid of tiger.”

„Všichni mají strach před tygrem.“

“Everybody is afraid of many things,”

„Lidi mají strach ze spousty věcí,“ řekl

Tracy said.

Tracy.

“I am afraid of night,” Dr. Pingitzer said.

„Já mám strach před nocí,“ řekl dr. 27

“In Vienna at night I go as a young man

Pingitzer. „Když ve Vídni byla noc a já

where are many lights, much brightness.

byl mladý muž, já chodil tam, kde bylo

That way I am not afraid of night.”

hodně světel, hodně jasno. Tak jsem už neměl před nocí strach.“

The coffee was brought in and poured by Kávu přinesl a do šálků nalil Huzinga, Huzinga, who seemed, for some reason, který, jak se zdálo, z nějakého důvodu dr. worshipful of Dr. Pingitzer.

Pingitzera velmi zbožňoval.

“Now, we taste coffee,” the doctor said.

„A teď ochutnáme kávu,“ řekl doktor.

“I wanted to be a coffee taster once,”

„Kdysi jsem chtěl být ochutnávačem

Tracy said.

kávy,“ poznamenal Tracy.

“Ah, yes?” Dr. Pingitzer said. “Let us

„Aha, ano?“ řekl dr. Pingitzer. „Tak tedy

drink coffee now. Enjoy coffee. Life is too

pojďme pít kávu. Vychutnejte ji. Život je

short.” He waved at the door. “Much -

moc krátký,“ mávl rukou směrem ke

much - much –“ He made a face, and was

dveřím. „Moc – moc – moc –“ zašklebil

unable to finish the thought.

se, ale myšlenku nechal nedokončenou.

“Yes,” Tracy said.

„Ano,“ přitakal Tracy.

They drank coffee in silence, Tracy tasting

Mlčky popíjeli kávu, Tracy ji pečlivě

it carefully, as he had done six years ago at

vychutnával, tak jako před šesti lety u

Otto Seyfang's, sitting with Nimmo,

Otto Seyfanga, když ještě sedával ve

Peberdy, and Ringert.

společnosti

Nimma,

Peberdyho

a

Ringerta.

3.3 Chapter 8

Kapitola 8

After they had tasted three cups each Dr.

Vychutnali si již každý tři šálky, když

Pingitzer said, “Ah ha. Work. I hate work.

dr. Pingitzer znovu promluvil. „Aha.

I hate psychiatry. I always hate work. I

Práce. Já nesnáším práci. Psychiatrii já

like fun, play, imagination, magic.”

hrozně nerad. Já vždycky nerad práci. Já rád zábavu, hru, fantazii a čáry.

28

“Why do you work, then?” Tracy said.

„Proč tedy pracujete?“ divil se Tracy.

“Why?” Dr. Pingitzer said. “Confusion.”

„Proč?“ řekl dr. Pingitzer. „Já být

The doctor reflected a moment. “In Vienna

zmatený.“ Na chvíli se zamyslel. „Ve

I see this girl, Elsa. This is Elsa Varshock.

Vídni já potkal jsem tu holku. Elsa. Elsa

Ah ha. Elsa is wife, is mother, is say,

Varshock se ona jmenovala. Aha. Elsa

“Where’s for food, money? So? I work.”

být moje žena, pak matka, a ona říká: ’Kde máš peníze pro jídlo? Kde?’ Takže já pracuju.”

“You understand psychiatry?” Tracy said.

„Vyznáte se v psychiatrii?“ zeptal se Tracy.

“Psychiatry, no,” Dr. Pingitzer said.

„V psychiatrii ne,“ řekl dr. Pingitzer. „V

“People - little bit. Little, little, little bit.

lidech – malinko. Moc moc maličko.

Every year, every day - less, less, less.

Každý rok, každý den víc víc maličko.

Why? People is difficult. People is people.

Proč? Lidi jsou těžký. Lidi jsou lidi. Lidi

People is fun, play, imagination, magic.

jsou zábava, hra, fantazie a čáry. Aha!

Ah ha. People is pain, people is sick,

Lidi jsou bolest a nemoci, lidi jsou

people is mad, people is hurt, people is

šílenství a rány, lidi zraňujou lidi,

hurt people, is kill, is kill self. Where is

zabíjejí lidi, samovraždí se. Kde je

fun, where is play, where is imagination,

zábava, kde je hra, kde fantazie a čáry?

where is magic? Psychiatry I hate. People

Psychiatrii já nesnáším. Lidi já miluju.

I love. Mad people, beautiful people, hurt

Šílené lidi, krásné lidi, raněné lidi,

people, sick people, broke people, in

nemocné lidi, zlomené lidi, rozervané

pieces people, I love, I love. Why? Why is

lidi. Ty já miluju, miluju je. Proč? Proč

lost from people fun, play, imagination,

se od lidí vytratila zábava, hra, fantazie a

magic? What for? Ah ha. Money?” He

čáry? Proč? Aha! Peníze?“ Usmál se.

smiled. “I think so. Money. Is love, this

„To já myslím. Peníze. Je láska ty

money. Is beauty, this money. Is fun, this

peníze? Je krása ty peníze? Je zábava ty

money. Where is money? I do not know.

peníze? Kde jsou peníze? To já nevím. A

No more fun. Work, now. Work, Tiger,

už žádná zábava. Teď práce. Práce.

Tiger.”

Tygr, tygr.“

“Do you know the poem?” Tracy said.

„Znáte tu básničku?“ zeptal se Tracy. 29

“Is poem?” Dr. Pingitzer said.

„Ona

být básnička?“

divil

se dr.

Pingitzer “Of course.”

„Ovšem.“

“What is this poem?” Dr. Pingitzer said.

„Jaká básnička?“

“Tiger,Tiger! burning bright,” Tracy said.

„Tygře, tygře jasně žhnoucí,“ začal recitovat Tracy.

“In the forests of the night,

„Temným lesem, černou nocí,

What immortal hand or eye

kdo vzal smrti její moc

Could frame thy fearful symmetry?”

a stvořil tak dokonalou souměrnost?“

“Ah ha. Is more?” Dr. Pingitzer said.

„Aha. Je to dál?“ řekl dr. Pingitzer.

“Yes, quite a bit,” Tracy said, “if I haven’t

„Ano, ještě to pokračuje,“ řekl Tracy,

forgotten it.”

„jen jestli si vzpomenu.“

“Please,” Dr. Pingitzer said.

„Prosím,“ řekl dr. Pingitzer.

“In what distant deeps or skies,” Tracy

„Na zemi či ve větvích,“ pokračoval

went on.

Tracy.

“Burnt the fire of thine eyes?

„Plane oheň očí tvých?

On what wings dare he aspire?

Kdo na křídlech se vznese,

What the hand dare seize the fire?”

která ruka oheň snese?“

“Ho ho,” Dr. Pingitzer said. “Is poem like

„Ho, hó,“ vydal ze sebe dr. Pingitzer. „Já

this I do not hear seventy-two years! Who

jsem dvaasedmdesát let starý a takovou

do this poem?”

básničku jsem ještě neslyšel. Kdo to

30

sepsal?“ “William Blake,” Tracy said.

„William Blake,“ řekl Tracy.

“Bravo, William Blake!” Dr. Pingitzer

„Bravo, William Blake!“ vykřikl dr.

said.

Pingitzer.

“Is more?”

„Ještě dál?“

“Yes,” Tracy said. “Let me see. Oh yes,

„Ano,“ odpověděl Tracy. „Počkat, jak jen to bylo? Ano, už vím.“

“And what shoulder, and that art,

„Který um a které ruce,

Could twist the sinews of thy heart?

spletly svaly tvého srdce?

And when thy heart began to beat,

Když tvé srdce začlo bít,

What dread hand? and that dread feet?"

chtělo všechno zardousit.“

“More?” the doctor said.

„Ještě dál?“ zeptal se doktor.

“I think I’ve got it all now,” Tracy said.

„Myslím, že jsem si už vzpomněl na celou,“ řekl Tracy.

“What the hammer? What the chain?

„Kdo kladivo, řetěz vzal,

In what furnace was thy brain?

do ohně tvůj rozum dal?

What the anvil? What dread grasp

Kovadlina - vše je smrti blíž,

Dare its deadly terrors clasp?

když to drápy uchopíš.“

“When the stars threw down their spears,

„Když pak hvězdy sešlou kopí,

And watered heaven with their tears,

nebe se v jejich slzách topí.

31

Did He smile His work to see?

Snad stvořitel smál se z nebe,

Did He who made the Lamb make thee?

že stvořil beránka i tebe.“

“Tiger! Tiger! burning bright

„Tygře, tygře jasně žhnoucí,

In the forests of the night,

temným lesem, černou nocí,

What immortal hand or eye,

kdo vzal smrti její moc

Dare frame thy fearful symmetry?”

a stvořil tak dokonalou souměrnost?“

Tracy stopped.

Tracy dorecitoval.

“That’s the whole poem,” he said.

„Tak to je celá básnička,“ řekl.

“Ah, ha,” Dr. Pingitzer said. “Thank you.

„Aha,“ řekl dr. Pingitzer. „Děkuji.

Now, you have this poem since childhood.

Takže, tu básničku vy znát už od dětství,

Yes?”

je to tak?“

“Yes,” Tracy said. “I began to recite it

„Ano,“ souhlasil Tracy. „Začal jsem si ji

when I was three.”

recitovat, když mi byli tři.“

“You

understand

this

poem?”

Dr. „A

Pingitzer said.

vy

jí

rozumíte?“

zajímalo

dr.

Pingitzera.

“I don’t understand anything,” Tracy said.

„Nerozumím ničemu,“ řekl Tracy. „Ale

“I like this poem.”

ta básnička se mi líbí.“

“Ah ha. True.”

„Aha, správně.“

The old man turned to the door.

Starý pán se otočil směrem ke dveřím.

“Much — much — much —“ he said.

„Moc – moc- moc-“ řekl. „Teď dvě

“Now. Two questions. One. Your tiger, is

otázky. Otázka jedna. Váš tygr je co?“

what?” “Mine,” Tracy said.

„Můj,“ odpověděl Tracy.

“Two,” Dr. Pingitzer said. “Tiger in street,

„Otázka dva,“ řekl dr. Pingitzer. „Tygr 32

is what?”

na ulici je co?“

“Well,” Tracy said, “I suppose a black

„No,“ začal Tracy, „myslím, že včera

panther mauled a keeper and escaped from

večer v cirkuse napadl černý panter

the circus last night. Such things happen. I

ošetřovatele a potom utekl. To se někdy

suppose a wounded black panther is now

stává. Teď ten zraněný panter nejspíš

loose in New York. I suppose it will, out

běhá někde po New Yorku. Možná ze

of fear, kill somebody if it thinks it must.

strachu někoho zabije, jestli bude muset.

But the black panther that is loose in the

Ale ten černý panter, co volně pobíhá po

city is also my tiger.”

městě je taky můj tygr.“

“So?”

„Taky?“

“Yes.”

„Ano.“

“Why?” Dr. Pingitzer said.

„Proč?“ zajímal se dr. Pingitzer.

“I don’t know,” Tracy said, “but it walked

„Ani nevím,“ odpověděl Tracy, „šel se

up Fifth Avenue with me and into Saint

mnou po Páté avenue a potom k svatému

Patrick’s. It didn’t attack anybody. It

Patrickovi. Nikoho přitom nenapadl.

stayed beside me. It didn’t run until it was

Pořád byl vedle mě. Začal utíkat, až

shot at. Wouldn’t you run if you were shot

když po něm stříleli. Vy byste neutíkal,

at?”

kdyby po vás stříleli?“

“Very fast,” Dr. Pingitzer said. “Seventy-

„Moc rychle,“ přiznal dr. Pingitzer. „Já

two, but very fast.” He paused a moment,

jsem dvaasedmdesát let starý, ale moc

to imagine himself running very fast at

rychle.“

seventy-two.

představoval

Na

chvíli si,

se jak

odmlčel ve

a

svých

dvaasedmdesáti rychle utíká. “The police, they will kill this animal,” Dr.

„Policie, oni zabít to zvíře,“ řekl dr.

Pingitzer said.

Pingitzer.

“They’ll try to,” Tracy said.

„Pokusí se,“ řekl Tracy.

“They will.”

„Oni zabít.“

“They'll try,” Tracy said, “but they won’t,

„Pokusí se o to,“ řekl Tracy, „ale

33

because they can’t.”

nezastřelí ho, protože to nesmí.“

“Why? They can’t?” Dr. Pingitzer said.

„Proč? Proč to nesmí?“ divil se dr. Pingitzer.

“The tiger can’t be killed.”

„Nikdo nesmí zabít tygra.“

“One tiger? Can’t be killed? Why not?”

„Jeden tygr nesmí nikdo zabít? Proč ne?“

“It can’t, that’s all,” Tracy said.

„Prostě nemůže, a basta,“ řekl Tracy.

“But tiger will kill?” Dr. Pingitzer said.

„A tygr, ten může někoho zabít?“ chtěl vědět dr. Pingitzer.

“If it must,” Tracy said.

„Když bude muset,“ odpověděl Tracy.

“Is this right?”

„To být fér?“

“I don’t know. Is it?”

„Nevím. Co myslíte?“

“I also don’t know,” the doctor said. “I

„Já taky nevím,“ řekl doktor. „Já moc

know very little. Very, very, very little. Ah

maličko vím. Moc moc maliličko. Aha.

ha. Question of psychiatry. You are mad?”

Otázka od psychiatrie. Šílíte vy?“

“Yes, of course,” Tracy said.

„Samozřejmě,“ řekl Tracy.

The old man looked toward the door. He

Starý pán se podíval ke dveřím a dal si

put a finger to his lips.

prst před pusu.

“Soft,” he whispered.

„Potichu,“ zašeptal.

“I’m mad because they wounded the

„Šílím z toho, že mi zranili tygra,“ řekl

tiger,” Tracy said, “I’m mad because they

Tracy. „Šílím z toho, že ho vůbec někdy

put the tiger in the cage in the first place.

zavírali do klece. A taky z toho, že ho

I’m mad because they put it in the circus.

dali do cirkusu. Ale jinak jsem šílenec už

But I am also mad, from birth.”

od narození.“

“I, also, but this is information not to say,”

„Já jsem také. To však nebýt informace

Dr. Pingitzer said. He looked at the door

na říkání,“ poznamenal doktor a znovu

again. He got up suddenly. “I speak so.

pohlédl ke dveřím. Najednou vstal ze

34

This man is sane. This they understand. Ah

židle. „Já řeknu toto. Tento člověk je

ha! Work finish.” He called out loudly,

zdráv. Aha. Hotovo.“ Hlasitě zavolal:

“O. K., please.”

„O.K., prosím.“

Huzinga was the first to enter the room,

Jako první vešel Huzinga, ale brzy byli

but soon everybody was back in.

uvnitř místnosti všichni.

Dr. Pingitzer surveyed the faces, waited a

Dr.

long time for silence, then said, “Ah ha!

přítomné, počkal nějakou chvíli, až bude

This man is sane.”

úplné ticho, a pak řekl: „Aha. Tento

Pingitzer

si

prohlédl

všechny

člověk je zdráv.“ A man altogether unlike Dr. Pingitzer

Jakýsi muž, úplně jiného ražení než dr.

stepped forward and said, “Dr. Pingitzer, I

Pingitzer, vystoupil z davu a řekl: „Pane

am Dr. Scatter, in charge of Neuro,

doktore, jsem doktor Scatter, neurolog

Borough of Manhattan. May I ask the

z manhattanského obvodu. Mohu se vás

psychiatric course by which you have

zeptat, jaký psychiatrický postup jste

reached your conclusion?”

zvolil, aby jste dospěl k tomuto závěru?“

“No,” Dr. Pingitzer said. He turned to

„Ne,“ řekl dr. Pingitzer. Obrátil se

Tracy, “Good-bye, my boy,” he said.

k Tracymu. „Sbohem, chlapče,“ řekl.

“Good-bye,” Tracy said.

„Sbohem,“ rozloučil se Tracy.

Dr. Pingitzer glanced at everyone in the

Dr. Pingitzer se ještě jednou podíval na

room, then went to the door.

všechny přítomné a namířil si to ke dveřím.

On his way he was photographed by a

Při cestě z místnosti doktora vyfotilo

number of newspaper photographers, one

několik fotografů od novin a jeden

of whom said, “Dr, Pingitzer, how about

z nich se ho zeptal: „A co ten černý

the black panther? Is it his, as he said it

panter, doktore? Je jeho, jak tvrdí?“

is?” “I have examine him, not black panther,”

„Já jsem prošetřoval jeho, ne černého

the doctor said.

pantera,“ odpověděl doktor.

A reporter stepped up to Dr. Pingitzer.

Pak k němu přistoupil jakýsi reportér.

35

“How did it happen that the black panther

„Jak je možné, že mu ten panter

didn’t harm him, doctor?” the reporter

neublížil?“ chtěl vědět.

said. “I don’t know,” Dr. Pingitzer said.

„To já nevím,“ řekl dr. Pingitzer.

“Well, what have you found out about it,

„A co jste zjistil, když jste s ním

after talking to him?” the reporter said.

mluvil?“ ptal se reportér.

“Nothing,” the doctor said.

„Nic.“

“What about a black panther being loose

„A co ten černý panter, co teď volně

in the city?” the reporter said.

pobíhá po městě?“ zeptal se reportér.

“This is not psychiatry problem,” the

„To není problém pro psychiatrii,“ řekl

doctor said.

doktor.

“What kind of a problem is it?” the

„Čí je to tedy problém?“ nenechal se

reporter said.

odbít reportér.

“Where from is this black panther?”

„Odkud je ten panter?“

“From the circus.”

„Z cirkusu.“

“Circus problem,” Dr. Pingitzer said.

„Problém pro cirkus je to,“ řekl dr.

He walked out of the room.

Pingitzer a vyšel z místnosti.

Everybody gathered around Dr. Scatter,

Všichni

who was not at all satisfied with Dr.

Scattera, který vůbec nebyl spokojen se

Pingitzer’s conclusion, or manners.

závěrem ani způsoby dr. Pingitzera.

3.4 Chapter 9

se

shromáždili

kolem

dr.

Kapitola 9

Tracy, in walking with the tiger, had

Tím že se Tracy procházel s tygrem,

broken no law.

neporušil žádný zákon.

Still, what he had done seemed so

A přece to, co udělal se zdálo být tak

enormous and unbelievable as to seem

neobvyklé a neuvěřitelné, až to všem

illegal, or at any rate arrogant, thoughtless,

připadalo

nezákonné

a

vůbec 36

and rude.

opovážlivé, bezohledné a drzé.

At the very least, it was felt, he must be

Přinejmenším považovali lidé Tracyho

insane. A man just naturally doesn’t walk

za blázna. Člověk se přece jen tak

with a black panther escaped from the

neprochází s černým panterem, který

circus as if the animal and he were on

utekl z cirkusu, jakoby on a to zvíře byli

terms of perfect understanding.

nejlepší kamarádi.

Therefore, after the departure of Dr.

A tak se stalo, že po odchodu dr.

Pingitzer, Tracy was examined by Dr.

Pingitzera vyšetřil Tracyho ještě dr.

Scatter, who found it irresistible to

Scatter, který nemohl jinak než vyložit

interpret Tracy’s replies in a manner

Tracyho odpovědi v souladu se svým

convenient

vzděláním a svými předsudky.

to

his

education

and

prejudices. Dr. Scatter had no difficulty in proving, Nedělalo mu sebemenší potíže krok za step by step, that Tracy was in fact mad. krokem dokázat, že Tracy je duševně This is easy to do. It can be done with chorý. Není to vůbec složité a jde to anybody.

dokázat prakticky u kohokoliv.

“Furthermore,” Dr. Scatter said to the

„Dále pak,“ pokračoval dr. Scatter ve

others involved, including Police Captain

své řeči k ostatním, tedy i k policejnímu

Earl Huzinga, who was the only one in the

kapitánovi Earlu Huzingovi, který jako

group who maintained disbelief in Dr.

jediný nepřestával pochybovat o jeho

Scatter’s findings and persisted in being

závěrech a nadále věřil dr. Pingitzerovi,

respectful of Dr. Pingitzer’s, “when the

„když byl dotyčný dotázán, co by řekl

subject was asked what his reaction would

příležitosti

be to an indefinite visit at Bellevue for the

nespecifikovanou

purpose of more prolonged and thorough

ústavu v Bellevue za účelem delšího

psychiatric investigation, he replied that he

důkladného psychiatrického vyšetření,

would rather go home but that if forced to

odpověděl dotazovaný, že by sice radši

go to Bellevue he would make the most of

domů, ale když bude muset, klidně do

his visit and feel just as much at home

Bellevue půjde a vynasnaží se, aby se

there as anywhere else, if not more at

tam cítil jako doma, ne-li mnohem lépe.

home. This attitude suggests that, in

Tento přístup svědčí o tom, že kromě již

pobýt dobu

si

blíže

v léčebném

37

addition to all the other symptoms already

zjištěných

identified, the subject has a martyr

rovněž komplexem mučednickým. Dále

complex.

pak vypovídá o psychotické aroganci a

It

also

reveals

psychotic

symptomů,

trpí

dotyčný

arrogance, and contempt for the collective

pohrdáním

intelligence. The subject is obviously

Dotyčný zjevně nabyl mylného dojmu,

deluded, believing that he is personally

že je zproštěn povinnosti ctít zákony, jež

exempted from the laws which guide and

vedou a řídí zbytek lidské společnosti.

control the rest of society. This belief is

Tento jeho dojem je vzbuzován a

based upon, and has been strengthened by,

neustále

a prolonged association with a fantasy

spolčením

tiger, which he declares is his, and his

tygrem, jenž je, jak on sám říká, jen a jen

alone; which he has confessed is capable

jeho, a o němž vypovídá, že je schopen

of speech - that is, communication by

řeči – máme tu tedy případ komunikace

speech with himself alone. I am sure there

se sebou samým. Jsem si jist, že nikdo již

is no doubt in anyone’s mind that he must

nemá pochyb o tom, že tento člověk

be placed in Bellevue for observation and

musí být umístěn do Bellevue a zde

treatment.”

podroben řádnému vyšetření a léčbě.“

Thus, Thomas Tracy, on a pleasant

A tak byl Thomas Tracy jednoho

Sunday afternoon in October, was placed

krásného nedělního říjnového odpoledne

in Bellevue.

umístěn do ústavu v Bellevue.

He found the people there quite mad. He

Lidé mu tam připadali jako opravdoví

also found that each of them had a tiger: a

blázni. Zjistil, že každý z nich má tygra

very troubled one, a very angry one, a

–

most deeply wounded one, a tiger deprived

raněného, tygra zbaveného humoru,

of humour, and love of freedom and fun,

lásky ke svobodě a taky tygra zbaveného

imagination, and hope.

zábavy, fantazie a víry.

Nimmo’s son was there with a depressed

Našel

and dying tiger. Peberdy’s daughter was

zbídačeným a umírajícím tygrem. Byla

there with a terrified tiger that paced back

tam

and forth. Ringert himself was there with a

tygřicí přešlapující sem a tam. Našel tam

tiger that resembled a weary old dog.

i Ringerta a jeho tygra, který připomínal

společenskými

posilován s jakýmsi

utrápeného,

tam

dlouhodobým imaginárním

vzteklého,

Nimmova

Peberdyho

dcera

pravidly.

hluboce

syna

se

s vystrašenou

38

starého vypelichaného psa. And Laura Luthy was there, her once

A byla tu také Laura Luthyová. Její

magnificent tiger now thin, starved, and

kdysi výstavní tygřice teď byla vyzáblá,

pathetic...

hladová a smutná...

Only Tracy was without a tiger.

Jediný, kdo neměl tygra, byl Tracy.

Tracy’s tiger was hiding under the

Jeho tygr se schovával pod budovou

establishment of Roush, Rubeling and

podniku Roush, Rubeling a Ryan na

th

Ryan on Madison Avenue between 55

Madisonově avenue mezi Padesátou

and 56th. The place was dark, secret, and

pátou a Padesátou šestou ulicí. Bylo to

deathly. The tiger was in hiding under the

temné, tajemné, mrtvolné místo. Tygr se

room in which Roush, Rubeling and Ryan

schovával pod místností, kde Roush,

decorated the dead with powder, rouge,

Rubeling a Ryan pudrem, šminky a

and smiles.

úsměvy zkrášlovali nebožtíky.

The tiger lay there in terror and loneliness,

Tygr tam ležel ve strachu a samotě,

bereaved, heartsick, and eager itself to be

zbídačený

dead.

myšlenkou na svou vlastní smrt.

3.5 Chapter 10

a

nešťastný,

s jedinou

Kapitola 10

What’s the use trying to describe the effect

Má snad vůbec smysl popisovat reakci

upon the people of New York of the story

obyvatel na příběh Tracyho a jeho tygra?

of Tracy and the tiger, as reported on the

Příběh

front pages of every newspaper, as told by

stránkách

anonymous and famous newscasters of

v rádiu i televizi reportéry slavnými i

radio and television, as embellished by

neznámými, a nakonec zpestřený záběry

newsreels of Tracy and the tiger walking

ve filmových týdenících, kde bylo

up Fifth Avenue, entering Saint Patrick's,

možné spatřit, jak Tracy a jeho tygr

coming out of Saint Patrick's? As further

kráčejí

embellished by photographs of Tracy

k svatému Patrickovi a pak vycházejí

drinking

zase

surrounded

coffee by

with

Dr.

police,

Pingitzer, newspaper

rozmáznutý všech

po

ven.

Páté

Příběh

na

novin,

avenue,

brzy

předních rozebíraný

vcházejí

obohatily

fotografie Tracyho a dr. Pingitzera, jak 39

reporters, psychiatrists, others?

společně popíjejí kávu a jsou přitom obklopeni davem policistů, novinářů, psychiatrů a kdo ví koho ještě.

The effect was the usual one.

Reakce byla zcela obvyklá.

Innocent dogs, on their way to relief, came Nejeden muž umřel leknutím, když upon men who dropped dead, women narazil

na

neškodného

pejska

na

screamed at shadows, then slapped their procházce, který si zrovna odskočil children for wanting to go out and play.

ulevit, ženy ječely o život, zahlédly-li pouhý stín, a nasekaly dětem, co si chtěly jít hrát ven.

Everybody stayed home Sunday night, and

V neděli večer zůstali všichni doma,

quite a few Monday morning, for the tiger

někteří dokonce i v pondělí ráno, protože

was still at large, and Tracy was in

tygr byl ještě pořád na svobodě a Tracy

Bellevue.

trčel v Bellevue.

He was examined a good deal of the time.

Vyšetřování bylo velmi zdlouhavé.

He in turn found his examiners interesting.

Čas od času se Tracymu lidé, co ho vyšetřovali, dokonce zamlouvali.

In his spare time Tracy visited Laura

Když měl Tracy jednou volno, zašel

Luthy, who could not remember him. He

navštívil Lauru Luthyovou, ale ona ho

brought up the matter of the Sunday visit

nepoznala. Snažil se jí připomenout

in Far Rockaway, but Laura, pale and wan

nedělní návštěvu v Far Rockaway, ale

now, did not remember.

Laura, nyní bledá a téměř průsvitná, si nevzpomněla.

“I ate six soft chocolates,” Tracy said.

„Snědl

jsem

šest

čokoládových

bonbonů,“ řekl Tracy. “You should have had seven,” Laura said.

„Měl jste jich sníst sedm,“ řekla Laura.

“Why?”

„Proč?“

“Then you would have had one extra,”

„Tak

Laura said. “One extra is always nice. I

vysvětlovala Laura. „mít jeden navíc je

byste

měl

jeden

navíc,“

40

have always believed that. One extra for

vždycky milé. To si myslím odmalička.

everybody.”

Jeden navíc pro každého.“

“Chocolates?” Tracy said.

„Bonbon?“ podivil se Tracy.

“Anything,” Laura said. “Mother, father,

„Cokoli,“ řekla Laura. „Mámu, tátu,

life, chance. Six is fine, but one extra

život, příležitost. Šest není vůbec špatné,

makes it finer. Another and another, you

ale jeden navíc je mnohem lepší. Jeden

should have had another.”

navíc a ještě další, ještě jeden jste si měl dát.“

“Don’t you remember?” Tracy said. “Your

„Copak si nevzpomínáte?“ zkoušel to

father went for ice cream.”

Tracy dál. „Váš otec odešel koupit zmrzlinu.“

“Ice cream melts,” Laura said. “That is the

„Zmrzlina se rozpouští,“ řekla Laura.

secret of ice cream. It melts.”

„To je to tajemství zmrzliny. Rozpouští se.“

“Laura,” Tracy said. “Look at me. Listen

„Lauro,“ řekl Tracy. „Podívejte se na

to me.”

mě. Poslouchejte mě!“

“Nothing is so sad as ice cream melting,”

„Neznám

Laura said.

rozpouštějící se zmrzlina,“ poznamenala

nic

smutnějšího

než

Laura. “It’s not sad, Laura,” Tracy said. “Ice

„Na tom přece není nic smutného,

cream’s supposed to melt.”

Lauro,“ řekl Tracy. „Zmrzlina se prostě musí rozpouštět.“

“It is?”

„Opravdu?“

“Of course.”

„Opravdu.“

“I didn’t know;” Laura said. “I cried so

„To

hard when I saw the ice cream melt.”

„Vždycky jsem moc plakala, když jsem

jsem

nevěděla,“

řekla

Laura.

viděla, jak se zmrzlina rozpouští.“ “What ice cream, Laura?”

„Jaká zmrzlina, Lauro?“

41

“The ice cream girl, the ice cream boy,”

„Zmrzlinka a ledňáček,“ řekla Laura.

Laura said. “I didn’t know. All those tears

„To jsem nevěděla. A všechny ty slzy

for nothing. I cried until I melted, too. Are

pro nic za nic. Plakala jsem, až jsem se

you sure?”

taky rozpustila. A jste si jistý?“

“No,” Tracy said. “No, I’m not sure. I

„Ne,“ odpověděl Tracy. „Jistý si nejsem.

don’t know what happened, but whatever

Nevím, co se stalo, ale ať už to bylo

it was, listen to me, Laura. Six years ago I

cokoli, Lauro, poslouchejte mě. Před

was standing in front of Otto Seyfang’s.”

šesti lety jsem stál před podnikem Otto Seyfanga.“

“Why were you standing there?” Laura

„Proč jste tam stál?“ chtěla vědět Laura.

said. “I worked there,” Tracy said. “I was

„Protože jsem tam pracoval,“ řekl Tracy.

standing there talking to the coffee tasters,

Stál jsem tam a povídal si s ochutnávači

Nimmo, Peberdy, and Ringert.”

kávy, Nimmem, Peberdym a Ringertem.

“Where are they now?” Laura said.

„Kde jsou teď?“ zeptala se Laura.

“Nimmo’s dead,” Tracy said, “Ringert’s

„Nimmo zemřel,“ řekl Tracy, „Ringert je

here, and I don’t know where Peberdy is.

tady, a kde je Peberdy, to nevím. Jak

While I was standing there a beautiful girl

jsem tam tak stál, šla kolem po

came down Warren Street.”

Warrenově ulici překrásná dívka.“

“Was she beautiful?” Laura said.

„Opravdu byla krásná?“ zeptala se Laura.

“The most beautiful girl in the world.”

„Byla to ta nejkrásnější dívka na světě.“

“Who was she?”

„Kdo to byl?“

“You, Laura,” Tracy said.

„Vy, Lauro,“ řekl Tracy.

“Me?” Laura said. “The most beautiful girl

„Já?“ podivila se Laura. „Nejkrásnější

in the world? You must be mistaken.”

dívka na světě? To jste se musel splést.“

“No. It was you, Laura.”

„Ne, opravdu jste to byla vy, Lauro.“

“Well, I’m certainly not the most beautiful

„Jestli jsem někdy byla nejkrásnější 42

girl in the world any more,” Laura said.

dívka na světě, tak už dávno nejsem,“ řekla Laura.

“That’s what I want to talk about,” Tracy

„Právě o tom jsem chtěl s vámi mluvit,“

said.

řekl Tracy.

“All right,” Laura said. “Talk about it.”

„Tak dobře,“ řekla Laura. „Pokračujte.“

“I want you to come down Warren Street

„Chci, abyste zas šla po Warrenově

again.”

ulici.“

“You do?”

„To že chcete?“

“Yes,”

„Ano.“

“Why?”

„Proč?“

“Well, I don’t know how else to put it,”

„Nevím, jak jinak to říct,“ vysvětloval

Tracy said. “I love you.”

Tracy. „Protože vás miluju.“

“What do you mean?” Laura said.

„Co tím chcete říct?“

“I don’t know,” Tracy said. “I suppose I

„Nevím,“ řekl Tracy. „Myslím, že chci

mean – you’re still the most beautiful girl

říct – jste pořád ta nejkrásnější dívka na

in the world.”

světě.“

“I’m not,” Laura said.

„Ne, to nejsem,“ řekla Laura.

“Yes, you are,” Tracy said. “You are to

„Ale ano, jste,“ řekl Tracy. „Pro mě

me.”

jste.“

“No,” Laura said. “It’s so arrogant to be

„Ne,“ byla proti Laura. „Být krásná je

beautiful. It’s such bad taste. It’s so

tak arogantní a nevkusné. A taky velmi

pathetic, too. So much more pathetic than

smutné. Mnohem smutnější než klidně

just lying still and knowing you’re dead."

ležet a vědět, že jsem mrtvá.“

“You’re not dead, Laura.”

„Nejste mrtvá, Lauro.“

“Oh, I am.”

„Ale ano, jsem.“

“Laura!” Tracy said. “For God’s sake,

„Lauro!“ řekl Tracy. „Proboha, Lauro, já

43

Laura, I love you.”

vás miluju.“

“I’m sorry,” Laura said. “I’m terribly

„Moc mě to mrzí,“ omlouvala se Laura.

sorry. I think I prefer to be dead.”

„Opravdu mě to moc mrzí. Radši bych byla mrtvá.“

Tracy didn’t know what to think. Was she

Tracy nevěděl, co si má myslet. Byla

actually mad?

skutečně šílená?

Like Dr. Pingitzer, he didn’t know.

Stejně jako dr. Pingitzer ani on nevěděl.

She was at Bellevue, at any rate.

Tak či tak byla v Bellevue.

She’d had a high fever for months.

Už

několik

měsíců

měla

vysokou

horečku. The opinion of the experts was that she

Odborníci se shodovali, že nejspíš brzy

would soon be dead.

zemře.

Later on, they knew, they too would be

Věděli, že dřív nebo později zemřou

dead, but this did not trouble them because

taky, ale moc je to netrápilo, protože

they believed they might die sane.

věřili, že zemřou duševně zdraví.

3.6 Chapter 11 A hectic week for New York went by.

Kapitola 11 V New Yorku uplynul týden plný vzrušení.

The tiger was still at large. That is to say,

Tygr byl stále ještě na svobodě. Lépe

it was dying of starvation and fear under

řečeno, umíral hlady a strachem pod

the embalming room of Roush, Rubeling

balzamovnou firmy Roush, Rubeling a

and Ryan.

Ryan.

According to the newspapers, however, on

Nicméně podle novinových zpráv byl

Monday morning the tiger was seen in

tygr v pondělí ráno spatřen na třech

three different places in Harlem, two in

různých místech v Harlemu, na dvou

Greenwich Village, six in Brooklyn, and a

místech v Greenwich Village, na šesti

boy in Fresno, California, killed a black

v Brooklynu a jeden chlapec z Fresna ve 44

cat with a .22 rifle because it looked

státě Kalifornie zabil puškou ráže 22

enough like Tracy’s tiger to make it worth

černou kočku, která se tak podobala

his while. A photograph of the boy,

Tracyho tygrovi, že to za pokus stálo.

proudly holding the cat by the tail,

Fotografie chlapce hrdě držícího kočku

appeared in newspapers all over the

za ocas se objevila v novinách po celé

country.

zemi.

His name was Benintendi, first name

Jmenoval

Salvatore.

jménem Salvatore.

By sundown Tuesday Tracy’s Tiger, as it

Do úterního večera byl Tracyho tygr -

was

jak se mu teď říkalo - spatřen na

now

called,

was

seen

by

se

Benintendi,

křestním

miscellaneous people all over the country.

nejrůznějších místech po celé zemi.

A man in London saw it in Soho and

Jakýsi

explained in a letter to The Times how the

v londýnském

creature, as he called it, had reached there.

Timesů vysvětlil, jak se tam ta němá

His explanation was quite interesting, and

tvář, jak tygra nazýval, dostala. Jeho

his sympathies were entirely with the

vysvětlení bylo velmi zajímavé a jeho

creature, as British sympathies sometimes

sympatie byly zcela na straně té němé

are, at least among her gentle eccentrics.

tváře, tak jak to u Angličanů občas bývá,

Angličan Soho

zahlédl a

tygra

v dopise

do

zvláště jsou-li mírně výstřední. A bookie in Seattle who had been beaten

Sázkař ze Seattlu, kterého si podali

by a rival bookie’s thugs informed the

ranaři od konkurence, informoval policii,

police that he had been attacked by

že byl napaden Tracyho tygrem.

Tracy’s Tiger. A saloon-keeper in Chicago advertised a

Výčepní

new drink called Tracy’s Tiger, twenty-

novému nápoji, který nazval „Tracyho

five cents a shot.

tygr“, sklenka za 25 centů.

A toy manufacturer in Toledo called in his

Výrobce hraček z Toleda svolal své

designers and salesmen, and by Saturday

návrháře a obchodníky a do sobotního

morning had a black velvet Tracy’s Tiger

rána měl sametového Tracyho tygra pro

for children to take to bed. He also had a

děti

do

z Chicaga

postýlek,

dělal

taky

reklamu

svetřík

s

45

sweater on which was stamped a picture of

natištěným obrázkem i se jménem toho

the animal and its name, all sizes of

zvířete, nafukovací Tracyho tygry všech

Tracy’s Tiger made of inflated rubber, and

možných velikostí a tygříka v krabičce,

a jack-in-the-box out of which Tracy’s

ze které vyskakoval Tracyho tygr a děsil

Tiger sprang at one’s loved ones.

všechny milované příbuzné.

The animal itself had a cold that was

Zvíře samotné zatím chytlo rýmu, která

quickly turning to pleurisy. Its eyes were

rychle přerůstala v zánět pohrudnice. Oči

lustreless. They were giving off a good

mu pohasly a začal z nich vytékat žlutý

deal of yellow mucus. Its nose was

hnis. Nos mělo ucpaný a jeho dřív bílé

clogged. Its white teeth had become coated

zuby byly pokryty něčím, co mělo

with something that tasted like the end.

příchuť blížícího se konce.

The observing of Tracy continued, and

Vyšetřování Tracyho pokračovalo a

was dutifully reported to the nation and the

zprávy o něm byly

denně, spolu

world every day, along with other, equally

s dalšími

mimořádnými

peculiar, news.

událostmi, poctivě předkládány národu i

neméně

celému světu. A dozen or more reputations were made

Počet psychiatrů a novinářů snažících se

by psychiatrists and newspapermen on

udělat si jméno na případu Tracyho a

Tracy and his Tiger.

jeho tygra neustále stoupal.

Tracy’s devotion to Laura Luthy was

Tracyho oddanost Lauře byla odhalena

discovered by an astute newspaperman

jedním obzvlášť prohnaným reportérem,

who scooped the world with a story

který

captioned

senzaci. V novinách stálo:

tak

přinesl

světu

nevídanou

TRACY LOVES LAURA

TRACY MILUJE LAURU

TIGER BOY

CHLAPEC S TYGREM

WOOS

NA NÁMLUVÁCH

BELLEVUE BELLE

U KRÁSKY Z BELLEVUE.

The Mirror, however, having had poor

Nakonec se i listu Mirror, který až

luck in its photographs and stories about

doposud neměl s články ani fotografiemi

46

Tracy and the tiger, got even with the

týkajícími se případu Tracyho a jeho

other newspapers by demanding and

tygra mnoho štěstí, podařilo dohnat

instantaneous investigation of the city’s

ostatní

police, and if need be the dismissal of

s požadavkem

Chief August Bly, for if he could not kill

postupy městské policie a v případě

or capture a lame tiger, how would he take

nutnosti

care of the citizens of New York in the

policejního náčelníka Augusta Blye,

event a bomb was dropped on the city?

protože nebyl-li tento muž schopen zabít

noviny,

když

vystoupil

okamžitě

prošetřit

vyžadovat

odstoupení

či polapit raněného tygra, jak by se snad mohl postarat o bezpečí obyvatel New Yorku ve chvíli, kdy na město dopadne bomba? This theme was taken up by a number of

Tohoto tématu se ujala řada čtenářů,

people who readily take up miscellaneous

která si na podobné slátaniny potrpí.

themes. Chief Bly was asked point-black by the

Policejní náčelník Bly byl listem Mirror

Mirror, “When can you assure the people

přímo dotázán: „Kdy můžete ujistit

of the greatest city in the world that

obyvatele největšího města na světě, že

Tracy’s Tiger will be killed or captured,

Tracyho tygr bude zabit či polapen, aby

and permit the people to sleep peacefully

zas mohli klidně a spokojeně spát?“

again?” The question was asked by telegram.

Otázka byla poslána telegramem.

Chief Bly called in his brightest men and

Náčelník Bly svolal své nejbystřejší

asked them to answer the telegram. There

muže a požádal je, aby na telegram

were a dozen different answers, all

odpověděli. Objevilo se mnoho různých

unsatisfactory, because nobody knew when

odpovědí, ale žádná z nich nebyla

the tiger would be killed or captured.

uspokojivá, protože nikdo nevěděl, kdy bude tygr zabit či polapen.

“I don’t know,” the Chief wanted to say

„Nevím,“ byla odpověď, kterou chtěl

but didn’t dare.

náčelník poslat, ale netroufl si.

47

Instead, a 500-word reply was written and

Namísto toho byla sepsána rozsáhlá

dispatched by telegram to the Mirror. The

odpověď a telegraficky zaslána do

reply was run on the front page of the

Mirroru. Celé to bylo otištěno na první

Mirror under the heading of Shame on the

stránce

New York Police. The Mirror demanded

newyorské policii. Mirror požadoval

that Chief Bly resign. It also offered a

Blyovu rezignaci. Vypsal taky odměnu

reward of $ 5,000 to any man, woman, or

5000 dolarů jakémukoli muži, ženě či

child, regardless of race, color, creed, or

dítěti bez ohledu na rasu, barvu pleti,

religion, who brought Tracy’s Tiger to the

víry či náboženského vyznání, který

Mirror, dead or alive.

dopraví Tracyho tygra – živého či

listu

pod

titulkem

Hanba

mrtvého – do redakce novin. The following day a man went to the

Následující

den

přišel

do

redakce

Mirror with a black panther shot through

Mirroru muž, přes rameno nesl černého

the head, and the Mirror had the scoop it

pantera s prostřelenou hlavou, a Mirror

wanted at last.

měl konečně senzaci, po které tak toužil.

The stories and photographs of the killing

Podrobnosti a fotografie ze zabíjení

of Tracy’s Tiger were sent all over the

Tracyho tygra obletěli celou zem i svět.

country and all over the world. The man, Art Pliley, in a matter of hours

Během několika hodin telefonovaly do

received hundreds of ‘phone calls at the

redakce Mirroru stovky lidí, aby se

Mirror, mostly from women, several of

spojili s tím mužem, Artem Plileyem.

whom offered to be his bride. Negotiations

Většinou to byly ženy, z nichž několik

were under way for him to buy a clean suit

mu rovnou nabízelo manželství. Jednání

and appear in a Men of Distinction

v Mirroru probíhala slibně, takže si Art

advertisement when the police escorted

Pliley pořídil nový oblek, aby se mohl

Tracy to the Mirror to have a look at the

objevit v upoutávce nazvané „Význačné

tiger.

osobnosti naší doby“, když v tom do redakce

Mirroru

přivedli

policisté

Tracyho, který si měl prohlédnout tygra. Each of the other papers had a reporter and

Fotografové a reportéři z ostatních listů

a photographer on hand, just in case. It

byli poblíž pro případ, že by se něco 48

seemed a wild and pathetic chance for the

semlelo.

Přítomnost

policejního

Chief of Police to be taking, but it was

náčelníka se mohla zdát jako troufalý a

worth looking into just the same.

zoufalý risk, ale i tak stál tento případ za prošetření.

The Mirror however, refused to permit Nicméně Mirror odmítl povolit, aby si Tracy to examine the tiger.

Tracy tygra prohlédl.

Art Pliley was asked to shake hands with

Art Pliley byl požádán, jestli by si před

Tracy for a photograph, but by now he

fotografem nepotřásl s Tracym rukou.

knew the ropes, and said, “I couldn’t do

Ten už ale věděl, jak na to a tak řekl:

that for less than five.”

„Nemůžu to udělat za míň než za pět.“

“Five what?” he was asked.

„Za jakých pět?“ ptali se.

“Hundred,” Art Pliley said. “The Mirror

„Za pět stovek,“ řekl Art Pliley. „Z

can photograph me for nothing. That’s in

Mirroru mě můžou vyfotit zadarmo. To

my contract. Any other paper, though,

mám ve smlouvě. Ale jiný noviny jen za

five.”

pět stovek.“

“This is a high school paper,” the

„Ale my jsme studentské noviny,“ řekl

photographer said as a joke, and Art

fotograf a myslel to jako vtip, a Art

Pliley, never having attended high school

Pliley, který nikdy nechodil na střední,

and believing it was his duty, shook hands

to vzal jako svou povinnost a potřásl si

with Tracy free of charge.

s Tracym rukou zadarmo.

He was given a severe bawling out by the

Však to pak od šéfredaktora Mirroru

managing editor of the Minor, however.

pěkně schytal.

As for Tracy, he shook hands with

Co se týče Tracyho, ten si potřásl rukou

everybody. He believed they were sincere.

se všemi. Měl dojem, že jsou buď dost

Either that, or helpless.

upřímní anebo bezmocní.

The News charged that the Mirror had

List

perpetrated a hoax on the citizens of New

z podvodného klamání obyvatel New

York, and that the dead tiger in their

Yorku. Prohlásil, že ten mrtvý tygr,

possession was not Tracy’s Tiger.

kterého mají, vůbec není Tracyho tygr.

The

News

obvinil

Mirror

49

The upshot of this rivalry and jealousy

Dva dny trvající spor plný soupeření a

resulted after two days in a formal and

žárlivosti vedl nakonec k oficiální a

ceremonious examination of the Mirror’s

slavnostní

tiger by Tracy, by the animal’s trainer at

s mirrorským tygrem za přítomnosti

the circus, and by a half-dozen people who

krotitele z cirkusu a několika dalších

wanted any kind of publicity they could

lidí, toužících po jakékoliv veřejné

possibly get.

pozornosti, které by se jim snad mohlo

konfrontaci

Tracyho

dostat. The ceremony was swift. Tracy looked at

Celý obřad proběhl velmi rychle. Tracy

the poor dead black panther lying beside

se podíval na nebohého černého pantera,

the specially built casket in which the

položeného vedle speciálně vyrobeného

Mirror planned to bury it. He looked, that

koše, v němž ho chtěli lidé z Mirroru

is, from across the room. He spoke

pohřbít. Stačil mu pouze jediný pohled

altogether out of turn, too, making a

z druhého konce místnosti. Bez vyzvání

shambles of the whole ceremony.

promluvil a bylo po obřadu.

“That’s not my tiger,” he said. “That’s not

„To není můj tygr,“ řekl. „Ani to není

even a black panther. That’s a mountain

černý panter. Je to puma, kterou někdo

lion that’s had its fur dyed black.”

nabarvil načerno.“

Art Pliley, to sum up the hoax, was Tak skončil tento podvodný pokus, Art arrested, his bank account confiscated by Pliley byl zatčen a uvězněn, jeho the Mirror, and he was put in jail. There bankovní konto zabavil Mirror. Na he was visited by the managing editor of návštěvu do vězení za ním však přišel the News, however, and a new deal was šéfredaktor listu The News a sepsal s ním made. If Pliley would confess exclusively novou smlouvu. Když Pliley poskytne to the News, the News would give him six svou zpověď výhradně listu The News, thousand dollars. Pliley confessed every dostane od nich šest tisíc dolarů. Celé tři day for three days, whereupon he was sent dny se Pliley zpovídal, až z toho byl to the penitentiary, for in confessing, he poslán do káznice. Zpovídal se totiž tak was thorough, and revealed that he had a důkladně, že se objevila i spousta dalších good many other clever things. He said povedených věcí, co měl na svědomí. he’d always wanted to be famous mainly, Prohlásil, že se vždycky chtěl stát

50

and since he was famous at last, he didn’t slavným, a protože slavným konečně je, want to stop half-way.

nehodlá zůstat někde na půl cesty.

It would be tedious to go into the nature

Rozepisovat se o jeho zpovědi by bylo

of his confessions. He wanted to be

zbytečně zdlouhavé. Prostě se chtěl stát

famous, that’s all.

slavným, nic víc.

Tracy’s Tiger grew very ill on the ninth

Tracyho

day of hiding under the embalming room

balzamovnou firmy Roush, Rubeling a

of Roush, Rubeling and Ryan. That night,

Ryan již devátý den a velmi se mu

in trembling desperation, it crawled out

přitížilo. Tu noc se zoufalý a roztřesený

from its hiding place to an open garbage

tygr vyplazil ze svého úkrytu a našel

can in which it found meat scraps, bones,

otevřenou

and

masa,

outer

leaves

of

miscellaneous

tygr

se

popelnici

kostí

a

ukrýval

plnou

zbytků

pod

odřezků

nejrůznější

vegetables. Much of this scrap it carried to

zeleniny. Kousek po kousku začal

its hiding place, making one trip after

přenášet odpadky do své skrýše.

another. A small boy, awake at two in the morning,

Ve dvě hodiny ráno se ze spánku

coughing and waiting for his mother to

probudil malý chlapec. Kašlal a čekal na

bring him the cough medicine, said to her

maminku, až mu přinese sirup proti

when she came with it, “Look at the big

kašli. Když přišla, chlapec ukázal prstem

cat in the garbage can, Mama.”

z okna. „Mami, vidíš tu velikánskou kočku v popelnici?“

Mama looked and woke up Papa. Papa had

Maminka se podívala a šla vzbudit

no

tatínka.

gun,

but

he

was

an

amateur

Tatínek

neměl

pušku,

ale

photographer, and he did have a flash

protože byl fotograf – amatér, měl

camera.

fotoaparát s bleskem.

Papa sat at the window three minutes,

Tři minuty čekal s fotoaparátem u okna,

waiting for the tiger to come back to the

než se tygr vrátí k popelnici. Když se tak

garbage can. When the tiger came back

stalo, tatínek pocítil něco jako loveckou

Papa got something like buck fever, and

trému a zjistil, že nemůže zmáčknout

found that he couldn’t snap the picture.

spoušť.

51

Mama took the camera angrily out of his

Maminka

hands and handed it to the boy, eight years

fotoaparát z ruky a podala ho jejich

old. The boy focused as well as he was

devítiletému chlapci. Chlapec zaostřil,

able to, the tiger saw the flash, leaped, and

jak nejlépe to uměl, tygr zahlédl blesk,

went back to its hiding place.

vyskočil a utíkal zpět do svého úkrytu.

The man put on his clothes and developed

Pak se muž oblékl a vyvolal obrázek ve

the picture in his own dark-room. The

své vlastní temné komoře. Na obrázku

picture showed the rear half of the tiger.

bylo vidět tygrovo pozadí.

The man went to the police with the

S obrázkem pozadí Tracyho tygra se pak

picture of the rear half of Tracy’s Tiger.

ten muž vydal na policii. Policie ho

The police questioned the man an hour,

vyslýchala hodinu a ve čtyři ráno

and at four that morning the sick tiger

zaslechl nemocný tygr hlasy a uviděl

heard voices and saw lights. It watched

světla. Díval se a poslouchal nějakou

and listened a long time.

dobu.

When things quieted down, the tiger came

Když byl zas kolem klid, vylezl tygr

out, and began to move downtown.

z úkrytu a namířil si to do centra.

The photograph, and the story of its

Zprávu o té události i fotografii otiskly

achievement, was duly published in the

jak se sluší a patří v novinách a objevil

newspapers, along with photographs of the

se tam i obrázek onoho nemocného

sick boy, who immediately grew sicker.

chlapce, kterému se okamžitě přitížilo.

The area of New York in which the boy

Kartografové

lived was drawn by special map-makers,

Yorku, ve které chlapec bydlel, a začalo

and speculations were made as to where

se uvažovat nad tím, kde by se tak tygr

the tiger was now hiding.

mohl nyní skrývat.

3.7 Chapter 12

mu

rozzlobeně

zmapovali

vytrhla

část

New

Kapitola 12

Police Captain Earl Huzinga, after many

Po

mnoha

důvěrných

hovorech

quiet chats with Tracy at Bellevue, made

s Tracym v ústavu Bellevue se policejní

up his mind to go directly to Chief Bly and

kapitán Earl Huzinga konečně rozhodl jít přímo za náčelníkem Blyem a sdělit mu 52

say his piece, even if it cost him his job.

svůj plán, i kdyby ho to mělo stát místo.

“He can get us the tiger,” Captain Huzinga

„Najde nám toho tygra,“ řekl kapitán

said.

Huzinga.

“How?” Chief Bly said.

„Jak?“ zeptal se náčelník Bly.

“Well, it sounds complicated,” Huzinga

„Možná to zní dost složitě,“ řekl

said, “but I’ve had a lot of talks with him,

Huzinga, „ale mockrát jsem s ním o tom

and it’s not complicated. I know he can do

mluvil, a nic složitého to není. Vím, že

it.”

to dokáže.“

“How?” Bly said again.

„Jak?“ zeptal se znovu Bly.

“First,” Huzinga said, “he doesn’t want

„Tak za prvé,“ začal Huzinga, „nechce

anybody to know about it. No publicity at

aby o tom někdo věděl. Musíme to

all.”

provést s vyloučením veřejnosti.“

“We can keep it quiet,” the Chief said. He

„To se dá zařídit,“ řekl náčelník. Celá ta

was sick and tired of the whole thing and

záležitost už ho unavovala a lezla mu na

beginning to feel older than his sixty-six

nervy. Ve svých šestašedesáti se cítil na

years.

mnohem víc.

“There’s a place on Warren Street that

„Ve Warrenově ulici je jedno místo, kde

used to be Otto Seyfang’s, a coffee

kdysi býval podnik Otto Seyfanga,

importing house,” Huzinga said. “It’s out

dovozce kávy,“ řekl Huzinga. „Podnik

of business now, but the building’s still

zkrachoval, ale ten dům tam pořád je.

there. It’s a warehouse now. Tracy wants a

Teď jsou z toho sklady. Tracy chce,

sign made like the old sign, Otto

abychom nechali udělat nápis podniku

Seyfang’s, and he wants the sign put up

Otto Seyfanga, stejný jako ten starý, a

where it was. He wants the Tasting

pověsili ho tam, kde býval. Pak chce

Department restored, and he wants a man

nechat obnovit oddělení ochutnávačů a

named Peberdy, a man named Ringert, and

sehnat nějakého Peberdyho, Ringerta a

a man named Shively to sit there and taste

Shivelyho, kteří by si tam sedli a

coffee. Peberdy’s living in a furnished

ochutnávali kávu. Peberdy si pronajímá

room. Ringert’s at Bellevue. Shively’s

pokoj v penzionu. Ringert je v Bellevue

living with his daughter in the Bronx.”

a Shively žije se svou dcerou v Bronxu.“ 53

“What’s he want all this nonsense for?”

„K čemu bude celý tenhle nesmysl?“

Bly said.

zeptal se Bly.

“I know it doesn’t sound reasonable,”

„Vím, že to zní divně,“ řekl Huzinga,

Huzinga said, “but I know he’ll get us the

„ale taky vím, že nám najde toho tygra.

tiger. He needs only one day. It’s got to be

Stačí mu jen jeden den. Musí to být

a Sunday. That suits us fine because there

v neděli. To se nám bude hodit, protože

won’t be anybody but one or two drunks

v neděli v poledne nebude ve Warrenově

on Warren Street at noon on a Sunday.”

ulici kromě pár opilců vůbec nikdo.“

“You’ve been at Bellevue so long,” Chief

„Byl jste v Bellevue dost dlouho, aby

Bly said, “you’ve gone a little bats

jste se z toho tak trochu zbláznil,“ řekl

yourself, but go on, let’s hear the whole

náčelník Bly. „Ale dobrá, pokračujte.“

thing.” “He wants at least a hundred sacks of

„Chce, aby ve skladu bylo aspoň sto

coffee in the storeroom,” Huzinga said.

pytlů kávy,“ řekl Huzinga.

“What for?”

„A k čemu?“

“He used to work there,” Huzinga said.

„Kdysi

“On this Sunday he’s going to get there at

Huzinga. „Tuhle neděli tam přijde v osm

eight in the morning. He’s going to lift and

ráno. Začne zvedat a přenášet ty pytle.

carry the sacks. Peberdy, Ringert, and

Peberdy, Ringert a Shively budou

Shively will be in the Tasting Department

ve svém oddělení ochutnávat kávu. Čas

tasting coffee. Every now and then Tracy

od času Tracy přestane nosit pytle, zajde

will stop carrying sacks, and go in there

k nim do oddělení a bude ochutnávat

and taste some coffee with them. At noon

kávu

he’ll stop work, go out front, and stand

pracovat, vyjde ven a bude se vyhřívat

there in the sun. At half-past twelve a girl

na slunci. V půl jedné půjde dívka, která

named Laura Luthy will come walking

se

down Warren Street. She’ll stop in front of

Warrenově ulici a zastaví se před

Otto Seyfang’s.”

podnikem Otto Seyfanga.“

“She will?” Bly said.

„Opravdu?“ divil se Bly.

“Yes,” Huzinga said.

„Ano,“ řekl Huzinga.

tam

s nimi.

jmenuje

pracoval,“

V poledne

Laura

vysvětloval

přestane

Luthyová,

po

54

“So what?” Bly said.

„A co dál?“ zeptal se Bly.

“In a moment Tracy’s Tiger will be there,

„Pak se tam objeví Tracyho tygr,“ řekl

too,” Huzinga said. “He’ll take the girl by

Huzinga. „Tracy vezme tu dívku za ruku

the arm and walk down Warren Street with

a společně se vydají dolů po Warrenově

her. There’s an empty store three doors

ulici. Tři domy od podniku Otto

down from Otto Seyfang’s - it used to be a

Seyfanga je prázdný obchod. Kdysi tam

produce house. He’ll walk into this store

prodávali ovoce a zeleninu. Tracy

with the girl and the tiger. In the store will

s dívkou a tygrem vejdou dovnitř. Bude

be a cage. The tiger will go into the cage.

tam klec. Tracy ji zamkne a společně

Tracy will lock the cage. Then, he and the

s tou dívkou vyjde ven z toho obchodu.“

girl will walk out of the store.” “He will?”

„Opravdu?“

“Yes.”

„Ano.“

“Go ahead,” the Chief said. “Tell me

„Pokračujte,“

more.”

„Řekněte mi úplně všechno.“

“Two things we’ve got to promise him,”

„Musel jsem mu slíbit dvě věci,“ řekl

Huzinga

no

Huzinga. „Za prvé: naprosté vyloučení

publicity. No photographs, not even for

veřejnosti. Žádné fotografování, ani pro

our own records. You and I can watch

policejní záznamy. Vy a já to můžeme

from the building across the street. Two.

sledovat z budovy naproti. Za druhé:

We can have the tiger in the cage, but we

tygra můžeme zavřít do klece, ale

have got to promise that we do not

musíme

announce to anybody that we’ve got it. If

neřekneme, že ho máme. A kdyby byl

the tiger’s ill, we’ve got to give it expert

tygr nemocný, musíme sehnat lékařskou

care, especially the injured foot. It’s the

pomoc, hlavně na tu poraněnou nohu.

right front one.”

Má to být pravá přední.“

“You believe this nut, don’t you?” Chief

„Vy tomu cvokovi věříte, že jo?“ řekl

Bly said.

náčelník Bly.

“Yes, sir.”

„Ano, pane.“

“You put me on the case ten days ago,”

„Nasadil jste mě na ten případ před

said.

“One.

Absolutely

mu

pobídl

slíbit,

ho

že

náčelník.

nikomu

55

Huzinga said. “I’ve been with him the

deseti dny,“ řekl Huzinga. „Celou tu

entire time. That was no bull in the papers

dobu jsem strávil s ním. To, co psali o

about Laura Luthy. The doctors said she

Lauře Luthyové, nebyl žádný nesmysl.

was dying, and all you had to do was see

Doktoři prohlásili, že umírá, a stačilo se

her to know she was. Well, she’s not dying

na ni podívat a poznal jste to taky. No

any more. Pingitzer’s in there every day

tak teď už neumírá. Pingitzer je tam u

talking with both of them, trying to figure

nich každý den a snaží se pochopit, co

it out. He says everybody at Bellevue is

v tom je. Říká, že všichni, co jsou

somebody who lost love somewhere along

v Bellevue, ztratili někdy během života

the line. The ones that love means the

svou lásku. Ti co milují často onemocní,

most to get sick, a lot of them die. It

spousta z nich taky proto umírá. A

doesn’t take very long, either. Tracy’s not

nemusí to trvat ani moc dlouho. Tracy

crazy.”

není žádný blázen.“

“What about Dr. Scatter and all the other

„A co doktor Scatter a všichni to ostatní

experts who say he is crazy?” the Chief

odborníci, co tvrdí, že je blázen?“ zeptal

said.

se náčelník.

“I don’t know,” Huzinga said. “Their

„To netuším,“ řekl Huzinga. „Jejich

reports seem to stack up all right. I guess

lékařské zprávy se zdají jedna vedle

there are a couple of ways of looking at

druhé v pořádku. Myslím, že je asi

things

Pingitzer’s

možné dívat se na tyhle věci z několika

studying Tracy’s way. He says it’s a way

stran. Pingitzer se na to dívá ze strany

he’s

work,

Tracyho. Říká, že je to způsob, o kterém

especially if it’s started early enough, but

si vždycky myslel, že může pomoct,

he’s never seen it work in an advanced

zvlášť když se s tím začne dostatečně

case like Laura Luthy’s. He says when it

brzo. Nečekal to však u tak pokročilého

comes to human beings, you’ve got to be

případu, jakým byla Laura Luthyová.

patient, you’ve got to be willing to learn,

Když se jedná o lidskou bytost, povídal,

because anything can happen, especially if

pak musí být člověk trpělivý a ochotný

love’s involved. You wouldn’t think

se ještě učit, protože stát se může cokoli,

there’d be laughter in Bellevue, would

hlavně je-li ve hře láska. To byste si

you?”

nemyslel, že v Bellevue uslyšíte smích,

like

always

that,

though.

believed

might

56

že?“ “No, I wouldn’t, not decent laughter

„No to by mě nenapadlo, tedy aspoň ne

anyway,” Bly said.

normální smích,“ řekl Bly.

“Well, there is, and it’s damned decent,”

„Tak ten smích, co je tam slyšet, je

Huzinga said. “Scatter and all the others

zatraceně

are getting annoyed by it, too. They’re

„Scattera a ty ostatní to taky pěkně trápí.

trying to stop it. They’re bringing out new

Pokoušejí se to zarazit. Každý den

regulations every day, but they can’t stop

přijdou s novým nařízením, ale zastavit

it. They’re sore because the patients aren’t

to nedokážou. Štve je, že pacienti se

acting the way they’re supposed to act.

nechovají, tak jak by měli. Vstávají

They get up, visit one another, help one

z postele,

another, tell stories, dance, sing - and I

pomáhají si, vyprávějí příběhy, tančí,

don’t mean in a crazy way, either. I mean

zpívají – tím nemyslím nic šíleného. Je

in a natural, decent, kind way. Most of

to úplně přirozené, normální a přátelské.

them are sad, of course, but not much

Většina jich je sice smutná, samozřejmě,

sadder than people anywhere else.”

ale nejsou o nic víc smutnější, než lidé

normální,“

vzájemně

řekl

se

Huzinga.

navštěvují,

kdekoli jinde.“ Huzinga stopped a moment. “He’ll get the

Huzinga se na chvíli odmlčel. „On nám

tiger for us all right. When that happens

toho tygra najde. Bude to v pořádku. Až

we’ll know where we stand, at any rate,

se to stane, v každém případě budeme

even if we won’t be able to tell anybody

vědět, jak na tom jsme, i když o tom

about it. Everybody will forget the whole

nebudeme smět nikomu říct. Stejně se

thing after a couple of weeks anyway.

pak na celou věc za pár týdnů zapomene.

How about it?”

Co vy na to?“

“No,” the Chief said. “It’s silly. It would

„Ne,“ řekl náčelník. „Je to hloupost.

get around. I’d be the laughing stock of

Rozneslo by se to a já bych byl pro

New York.”

smích celému New Yorku.“

“Today’s Wednesday,” Huzinga said.

„Dneska je středa,“ řekl Huzinga.

“We’d know in four days. Will you give

„Uvidíme za čtyři dny. Dovolíte mi,

me permission to do it? If it flops, I’ll take

abych to udělal sám? Když to nevyjde,

the rap. I’ll say it was my idea. I did it on

vezmu to na sebe. Řeknu, že to byl můj 57

my own. Pingitzer’s with me. He wants to

nápad, a že jsem na tom pracoval sám.

watch.”

Pingitzer je taky pro. Chtěl by u toho být.“

The Chief thought about all this a long

Náčelník se na dlouhou dobu zamyslel.

time. “O.K.,” he said at last. “O.K., I’ll watch, „Dobře,“ řekl nakonec. „Budu u toho too.”

taky.“

“We’ve got to keep our promise, though,”

„Ale musíme dodržet náš slib,“ řekl

Huzinga said.

Huzinga.

“O.K.,” the Chief said. “Get going.”

„Dobře,“ řekl náčelník. „Můžete jít.“

The Captain, glad and confident but at the

Kapitán, šťastný a spokojený, ale i

same time deeply frightened, got going.

hluboce znepokojen, odešel.

3.8 Chapter 13

Kapitola 13

One bright Sunday morning Tracy came

Jednoho slunečného nedělního rána se

up out of the earth, climbing the subway

Tracy vynořil z podzemí a vyběhl po

steps.

schodech ze stanice metra.

He stood in the light, looking around as he

Stál ve slunečním světle a rozhlížel se

had done six years ago. The scene was not

kolem sebe jako před šesti lety. Moc se

greatly changed.

od té doby nezměnilo.

He walked across Bowling Green Park to

Přes Bowling Green Park došel do

Warren Street, glanced at his watch, then

Warrenovy ulice, letmo se podíval na

hurried, as he’d always done, for the time

hodinky a stejně jako kdysi přidal do

was five minutes to eight.

kroku, protože už bylo za pět minut osm.

Warren Street was empty. Like most

Warrenova ulice byla liduprázdná. A

Sunday streets, it seemed to be a street that

jako většina nedělních ulic připomínala

was being dreamed.

ulici ze snu.

Tracy saw that the place was again Otto

Tracy si všimnul tabule Otto Seyfang na 58

Seyfang’s. He hurried to the entrance and

zdi podniku. Rozběhl se k jeho vchodu a

went in, and from the building across the

vešel

street Captain Huzinga and Chief Bly saw

náčelník Bly vše sledovali z budovy na

him do so.

protější straně ulice.

They had already seen Peberdy, Ringert,

Už předtím viděli, jak do podniku vešli

and Shively go in.

Peberdy, Ringert a Shively.

“Well,” Chief Bly said, “I don’t know how

„Nevím, jak to vidíte vy,“ promluvil

you feel, but I feel Tracy’s crazier than

náčelník Bly, “ale podle mě je Tracy

anybody knows, or ever will know. How

větší blázen, než si kdokoli z nás dokáže

do you feel?”

vůbec představit. Co vy na to?“

“It’s a little early,” Huzinga said. “At half-

„Na to je ještě moc brzy,“ řekl Huzinga.

past twelve, I know Laura Luthy is going

„Vím jen, že o půl jedné, stejně jako

to come down Warren Street, as she did

před šesti lety, půjde po Warrenově ulici

six years ago.”

Laura Luthyová.“

“Well, that’s nice,” Chief Bly said. “Now,

„No to zní dobře,“ řekl náčelník Bly.

this work that he’s going to be doing in

„Takže ať už tam bude Tracy dělat

there – it’s going to draw the tiger away

cokoliv, přitáhne to tygra z místa, kde se

from

právě schovává, až k Otto Seyfangovi. Je

wherever

it’s

hiding

to

Otto

dovnitř.

Kapitán

Huzinga

a

Seyfang’s, is that right?”

to tak?“

“Yes.”

„Ano.“

They were interrupted by the police radio,

Přerušil je zvuk policejní vysílačky.

the speaker reporting all quiet.

Podle hlášení byl všude klid.

“Now, let me go over everything again,”

„Tak si to pojďme ještě jednou projít,“

Chief Bly said. “She’ll be wearing a

navrhl náčelník Bly. „Ona bude mít na

yellow knit dress, is that right?”

sobě žluté pletené šaty, je to tak?“

“Yes,” Huzinga said.

„Ano,“ potvrdil Huzinga.

“She’ll come by around half-past twelve,

„Přijde asi tak o půl jedné, je to tak?“

is that right?”

59

“Yes.”

„Ano.“

“Tracy will be standing in front there, on

„Tracy bude stát venku na schodech, je

the steps, is that right?”

to tak?“

“Yes.”

„Ano.“

“The girl will stop when she sees Tracy, is

„Jakmile ta dívka uvidí Tracyho, zastaví

that right?”

se, je to tak?“

“Yes.”

„Ano.“

“At that moment the tiger will appear, is

„V tom okamžiku se tam objeví tygr, je

that right?”

to tak?“

“Yes.”

„Ano.“

“Tracy will take the girl by the arm and

„Tracy vezme tu dívku za ruku a vydají

walk down Warren Street, the tiger

se po Warrenově ulici, tygr jim půjde

walking beside him, is that right?”

v patách, je to tak?“

“Yes.”

„Ano.“

“Three doors down the block, in that

„O tři domy dál v tom prázdném

empty store there that is now full of

obchodě, kde jsou teď na stěnách

paintings of animals hanging on the walls,

rozvěšeny obrazy zvířat, bude klec, je to

will be a cage, is that right?”

tak?“

“Yes.”

„Ano.“

“Where’d you get the paintings?” Bly said.

„Kde jste sehnal ty obrazy?“ chtěl vědět Bly.

“Raymond & Raymond,” Huzinga said.

„Od

“They’re

Raymond,“ odpověděl Huzinga. „Jsou to

reproductions

of

the

most

famous animal paintings in the world.”

společnosti

Raymond

&

reprodukce nejslavnějších obrazů zvířat na světě.“

“The tiger will walk into the cage, and

„Tygr vleze do klece a Tracy ji zavře, je

Tracy will shut the cage, is that right?” the

to tak?“ ujišťoval se náčelník.

60

Chief said. “Yes,” Huzinga said.

„Ano,“ řekl Huzinga.

“On the mezzanine of the store, unnoticed,

„V mezipatře nad obchodem budou

are two of our younger men, Splicer and

schovaní naši dva mladší policisti,

Slew, to report what they see to us later

Splicer a Slew a ti nám pak podají

on, is that right?”

hlášení o tom, co viděli, je to tak?“

“Yes. They’re there now.”

„Ano, už jsou tam.“

“Call them.”

„Zavolejte jim.“

Huzinga called, and Slew came to the

Huzinga jim zavolal. Z vysílačky se

‘phone. Huzinga and Slew spoke a

ozval Slew. Chvíli spolu mluvili.

moment. “They’re all set,” Huzinga said.

„Jsou připraveni,“ oznámil Huzinga.

“What was it you told him not to do?” the

„Co jste mu říkal, aby nedělal?“ zeptal

Chief said.

se náčelník.

“He asked if he could take some

„Ptal se, jestli může udělat nějaké

photographs,” Huzinga said. “He doesn’t

fotky,“ řekl Huzinga. “Sice neví, co

know what he’s going to be observing, but

bude pozorovat, ale fotoaparát si se

he’s got his camera.”

sebou vzal.”

“Don’t you think it might be a good idea

„Nemyslíte, že by to mohl být docela

to have him take some pictures?” the Chief

dobrý nápad, aby něco nafotil?“ zeptal

said.

se náčelník.

“We promised we wouldn’t,” Huzinga

„Slíbili jsme, že nebudeme nic fotit,“

said.

připomenul mu Huzinga.

“This is the Police Department,” the Chief

„My jsme policie,“ řekl náčelník, „co

said. “What do we care what we

nám je po tom, co jsme slíbili?“

promised?” “Even so, I don’t think we’d better take

„Stejně si myslím, že bysme neměli nic

any pictures,” Huzinga said.

fotit,“ stál si za svým Huzinga. 61

“O.K.,” the Chief said. “If we’ve not all of

„Tak dobře,“ řekl náčelník. „Jestli se

us gone mad, and he does get the tiger in

z toho všichni dřív nezblázníme a jemu

the cage, he’s going to leave the store and

se podaří dostat toho tygra do klece, tak

go on down Warren Street with the girl, is

pak vyjde z toho obchodu a s tou holkou

that right?”

půjdou dál po Warrenově ulici. Je to tak?“

“Yes.”

„Ano.“

“Where’s he going?” Bly said.

„Kam potom půjde?“ chtěl vědět Bly.

“None of our business,” Huzinga said.

„To už není naše starost,“ řekl Huzinga.

“For a walk, I suppose.”

„Asi na procházku.“

“We’re to go to the store the minute he

„Jakmile tedy vyjdou z toho obchodu,

leaves, for the reports of Splicer and Slew,

půjdeme tam my a poslechneme si

is that right?”

Splicera a Slewa, je to tak?“

“Yes.”

„Ano.“

“In back of the store is a moving van,” the

„Vzadu za obchodem stojí stěhovací

Chief said. “The tiger in the cage will be

dodávka,“ řekl náčelník. „Tygra v kleci

placed in the van. As soon as possible the

naložíme do té dodávky. Co nejdříve ho

tiger will be examined, given any care it

musíme nechat vyšetřit, poskytneme mu

may need, and then turned loose where it

veškerou potřebnou péči a pak ho

can harm no one, is that right?”

pustíme na svobodu. Na místě, kde nemůže nikomu ublížit, je to tak?

“Yes.”

„Ano.“

“Where would that be?” Bly said.

„Kde to má být?“ zeptal se Bly.

“The animal’s trainer has stated that the

„Krotitel tygrů říkal, že se náš tygr

animal was born in captivity,” Huzinga

narodil v zajetí,“ vysvětloval Huzinga.

said. “The place was Madison Square

„Přímo v Madison Square Garden. Tracy

Garden. Tracy has asked that the tiger be

chce, abychom tygra pustili na svobodu

turned loose in the mountains nearest New

v nejbližších horách za New Yorkem.“

York.”

62

“Who says it will be safe there?” the Chief

„A kdo říká, že to tam bude bezpečné?“

said.

pochyboval náčelník.

“The nearest mountains that are wild,” „V nejbližších divokých horách,“ řekl Huzinga said. “Where people do not live.”

Huzinga. „Kde nikdo nežije.“

“I’m not thinking of people,” Bly said.

„Nemluvím o lidech, ale o tygrovi,“ řekl

“I’m thinking of the tiger. How’s it going

Bly. „Jak tam bude žít? Zaručeně narazí

to live? It’s liable to run into a hunter, and

na nějakého lovce a ten ho zastřelí.“

be shot.” “Those are decent chances,” Huzinga said.

„I tak má slušnou šanci na přežití,“ ujistil ho Huzinga.

“That’s if everything goes the way Tracy

„Takhle to snad dopadne, půjde-li

and you like to believe they’re going to

všechno podle vašich a Tracyho plánů,“

go,” the Chief said. “What do we do if the

řekl náčelník. „Co když se ale tygr vůbec

tiger doesn't appear?”

neobjeví?“

The younger man looked at the older one.

Mladší muž pohlédl na staršího.

“You’ll have to fire me,” Huzinga said,

„Budete mě muset propustit,“ odpověděl

“so I’ll resign.”

Huzinga, „jinak dám výpověď sám.“

“No one else knows, is that right?” Bly „Nikdo jiný o tom neví, je to tak?“ zeptal said.

se Bly.

“Just you and I,” Huzinga said, “but if it

„Jen vy a já,“ řekl Huzinga, „ale jestli to

flops, I resign.”

nevyjde, dám výpověď.“

“What about Tracy and the girl - if it

„A co bude s Tracym a tou dívkou –

flops?”

jestli to nevyjde?“

“I’ve given Dr. Scatter my word to take

„Slíbil jsem doktoru Scatterovi, že je

them both back to Bellevue,” Huzinga

oba odvezu zpátky do Bellevue,“ řekl

said.

Huzinga.

“Does Dr. Scatter know about all this?”

„Doktor Scatter o tom všem ví?“

“No, I cooked up another story,” Huzinga

„Ne, namluvil jsem mu něco jiného,“ 63

said. “Pingitzer knows. I mean, he knows

řekl Huzinga. „Pingitzer o tom ví. Teda

Laura Luthy’s going to meet Tracy at half-

jenom to, že se dnes o půl jedné mají

past twelve in front of Otto Seyfang’s. He

před podnikem Otto Seyfanga setkat

doesn’t know anything else, though.”

Laura Luthyová a Tracy. Nic víc netuší.“

“Where’s he?” Bly said.

„Kde je?“ zeptal se Bly.

“Tracy asked Dr. Pingitzer to sit in the

„Tracy ho poprosil, aby byl taky

Tasting Department,” Huzinga said. “I saw

v oddělení

him go in a few minutes before you

Huzinga. „Viděl jsem ho, jak vešel

arrived.”

dovnitř pár minut předtím, než jste

ochutnávačů,“

odpověděl

přišel.“ “What’s he doing in there?” Bly said.

„A co tam ten pohledává?“ řekl Bly.

“Tracy wanted him in there.”

„Tracy ho tam chtěl mít.“

“Does Tracy know that if the thing flops

„Ví Tracy, že jestli to nevyjde, tak on i

he and the girl go back to Bellevue?”

ta holka se budou muset vrátit do Bellevue?“

“No,” Huzinga said. “That’s the thing that

„Ne,“ řekl Huzinga. „To mi právě dělá

bothers me. I did keep that from him. I

starost. Nezmínil jsem se mu o tom.

thought I’d better. I don’t feel easy about

Myslel jsem, že to tak bude lepší. Ale

it, though.”

stejně mě to mrzí.“

The radio reported again at half-past eight.

O půl deváté se znovu ozvala vysílačka.

Again it was all quiet. The Chief

A opět byl všude klid. Náčelník zavolal

telephoned his secretary.

své sekretářce.

“We’ve had two all quiets,” he said. “I

„Už dvakrát mi hlásili, že se nikde nic

want to know exactly what’s happened,

neděje,“ řekl. „Chci přesně vědět, co se

whatever it is. Call me back.”

kde děje. Ať už je to cokoli, zavolejte mi hned zpět.“

The secretary called back and said, “All

Sekretářka zavolala zpět a informovala

precincts report no events of any kind.”

náčelníka:

„Všechny

okrsky

hlásí

naprostý klid.“

64

“Are you sure?”

„Jste si jistá?“

“Yes, sir.”

„Ano, pane.“

“Has this ever happened before?” the

„Už se někdy stalo,“ chtěl vědět

Chief said. “A whole New York hour with

náčelník. „aby se celou hodinu v New

no events at all?”

Yorku nic nepřihodilo?“

“Not as far as I know,” the secretary said.

„Pokud vím, tak ne,“ řekla sekretářka.

“Well,” Bly said to Huzinga, “something’s

„Něco se děje,“ obrátil se Bly na

happened. No episodes of any kind, not

Huzingu, „za poslední hodinu se v celém

even drunks, not even a family fight, not

New Yorku nic nestalo, dokonce žádní

even a petty theft, not even a disturbance

opilci, žádné domácí násilí, dokonce ani

of the peace in a whole New York hour.”

mizerná krádež nebo výtržnosti.“

65

4 TRANSLATION ANALYSIS The aim of this chapter is to describe, interpret and compare an extract from the book Tracy’s Tiger with the new translation. It is necessary to realize that translation analysis, as well as translating itself, offers various points of view. One of the most well-known translation analyses is an analysis based on equivalence. This method is described into detail in K teorii i praxi překladu written by Dagmar Knittlová. Nevertheless, in the following chapters, we will look at the translation from the stylistic point of view.

4.1 Style in translation Style and stylistic is essential not only to translating but also to understanding of literary texts and literary translation. On one hand, the translator’s task is to fully recognize and understand the style of a source text. The apprehension of the original style helps the translator to create a new style which mirrors the style of the source text. On the other hand, stylistics plays a significant role in analyzing and understanding literary texts. The theory of analyzing style in translation is greatly supported by G. Miššíková: Style is central to the way of reading, analyzing and interpreting texts. The ways of understanding style determine the process of translation in many aspects. Firstly, style is seen as the way the translator understands and views the style of a source text. The translator’s view of style, the recognition of particular stylistic means, will definitely influence the creation of the target text. The translator’s own style will thus become part of the translation. The notion of style should also be considered as part of an evaluating or proofreading process (for instance, in the training of translators) when a detailed analysis and interpretation of what the translator has done takes place [9.37].

4.2 Stylistic analysis As Miššíková implies, the translator writes a completely new piece of text when translating. Consequently, the translated text is the result of his or her decision-making process. By identifying and understanding the specific nature and functions of the source text (genre, linguistic and extra-linguistic features, etc.) we are able to observe the process of final shaping of the target text and its style [9.39]. For the purpose of analyzing the extract from Tracy’s Tiger and its translation, I will use a schema for analyzing presented by Juliane House, a professor of applied linguistics at 66

Hamburg University. In her research, House investigates how English as a global lingua franca influences German. In order to be able to analyze both English (SL) and German (TL) texts, she based her research on the following scheme (Figure 1):

Figure 1 A scheme for analyzing and comparing original and translation texts [1.172] Initially, the English original text is analyzed using a somewhat simplified Hallidayan analytic methodology for describing the function of lexico-grammatical patterns. The ultimate goal of the analysis is to reconstruct the types of motivated choices a text producer has made in order to create this particular effect in the context of the situation enveloping a text [1.171].

Looking at the scheme (Figure 1), we can see that the analysis is based on two main elements – register and genre. Furthermore, the register analysis is built upon tree register parameters introduced by M.A.K. Halliday (1994): field, tenor and mode.

4.2.1 Register To be able to analyze a register, a difference between user- and use-related variations of language must be realized. Figure 2 can provide a visual model of the variations.

67

Figure 2 Use- and User-related variations [5.46] Simpson observes differences between the variations as follows: Whereas a dialect is a linguistic variety that is defined according to the user of language – it tells you things about their social and regional background – a register, on the other hand, is defined according to the use to which language is being put [15.104].

In other words, a register indicates, through rigid patterns of vocabulary and grammar, what is a speaker or writer doing with language at the moment. Text variations can be illustrated by following examples: (1) Saroyan’s original

My translation

“I’m awful sorry about „Strašně

mě

Josek’s translation to

mrzí,“ „Moc mě to mrzí,“ posteskl

this,” Tracy said. “It’s never posteskl si Tracy. „Však víš, si Tracy. „To se přece ještě happened before, as you že se nám tohle ještě nikdy nikdy nestalo.“ know.”

nestalo.“

(2) Saroyan’s original

My translation

Josek’s translation

This attitude suggests that, Tento přístup svědčí o tom, Takováto in addition to all the other že symptoms

kromě

already symptomů,

již trpí

reakce

nám,

zjištěných prosím svědčí o tom, že dotyčný dotyčný trpí, kromě všech 68

identified, the subject has a rovněž martyr complex.

komplexem symptomů již prokázaných,

mučednickým.

též

komplexem

mučednickým.

The two variations – dialect and register – may be recognized in above examples. The first has to do with who the speaker is. In other words, we can see an example of dialect. Thomas Tracy is an American English speaker (a geographical factor) who is also a user of modern non-standard English (a temporal factor) [6.77]. The second variation relates not so much to the user as to the use of language. Basically, registers have to do with such factors as profession of the speaker and formality/informality of the situation. In our example, Dr. Scatter is a neurologist (special vocabulary - jargon) who is giving a speech to group of other specialists at the moment (formal occasion) [6.77].

4.2.1.1 Field of discourse It may be said that field reflects ‘what is going on’ in a discourse. It can also be called the field of activity. However, it must be born in mind that whichever register we decide to use, we cannot mistake field for subject matter. For instance, political discourse as a field may be about law, taxation and other subject matters. In addition, use of language is in certain fields limited (e.g. a PE lesson). We can recognize a close relation between field and subject matter only when subject matter is expected to play a main role in a given situation (e.g. a mathematics class) or when it is essential for a social activity (courtroom session) [5.48]. Hatim and Mason define following problems that may occur in translating: In translating and interpreting, field can become a problem when working from a source language such as English which has developed a scientific and technical culture and, consequently, a wide variety of what Gregory (1980) calls ‘marked fields of discourse’ to reflect this ‘world experience’ [5.48].

They add that translators translating in the developing world have to face the challenge of creating and developing new expressions in these fields. 69

Here are some examples of field that can be found in my translation: a) Field of a medical discourse – an example that can be found in the previous chapter. Dr. Scatter is talking to a team of experts using medical jargon. b) Field of a police operation – in the example that can be seen below two policemen discuss their further steps in chase for a black panther. They use jargon typical for their occupation: Saroyan’s original

My translation

Josek’s translation

“On the mezzanine of the „V mezipatře nad obchodem „V poschodí nad obchodem store, unnoticed, are two of budou schovaní naši dva budou schovaní dva mladší our younger men, Splicer mladší policisti, Splicer a policisti, Splicer a Slew, a ti and Slew, to report what Slew a ti nám pak podají nám pak podají zprávu o they see to us later on, is hlášení o tom, co viděli, je tom, co viděli, ano?“ that right?”

to tak?“

It is worth noticing that both the Czech translations use the same Czech equivalent to translate the expression ‘younger man’. It shows evidence of fixed expressions used in given jargon.

4.2.1.2 Mode of discourse Mode of discourse determines the medium of the language activity. Therefore, in this chapter, we shall be investigating features which indicate the choice of channel which transmits the signal. We distinguish two basic media – speech and writing – and their various permutations (e.g. written to be spoken) [5.49]. Different types of medium relationship can be observed in the following diagram (Figure 3):

70

Figure 3 Types of medium relationship [3.191] According to Bell, four scales need to be considered within the general category of mode of discourse: a) Channel limitations – communication may involve single or multiple channels. Speech operates in visual and audio channels, sometimes even with tactile channel. Writing is limited only to visual channel. Consequently, written texts are required to be more explicit, for instance by support of adverbials which indicate how text is to be read (e.g. ‘fortunately...’, ‘to be frank...’ etc.) [3.188, 189].

An example of explicitness in the translation – everything has to be described into detail since the reader is not able to see it: Saroyan’s original

My translation

Tracy sat in a Bank of England chair at the Tracy seděl v pohodlné židli podobné těm, center of an enormous room in which co newspapermen,

photographers,

mají

police obrovské

v nóbl místnosti

bankách, plné

uprostřed novinářů,

officers, animal trainers, and a good many fotografů, policistů, krotitelů zvířat a others milled about.

mnoha dalších.

b) Spontaneity – a spontaneous utterance is produced on the spur of the moment without any planning. Because the planning of written texts can extend over long periods of time during which revisions can take place, writing tends to be not only more fluent than speech but also syntactically more complex [3.189].

71

An example from the translation - a long complex sentence which does not have a sign of spontaneity: Saroyan’s original

My translation

What hearts have broken in times gone by, Kolik

jen

srdcí

puklo

v časech

již

what hearts break now in our own times, minulých, kolik jich puká v době dnešní a what hearts shall break in times to come, kolik srdcí má ještě puknout v dobách Nimmo gone, Laura Luthy lost, Shively in budoucích;

Nimmo

je

mrtvý,

Laura

the Tasting Department at last, Peberdy and Luthyová ztracena, Shively je konečně Ringert treating him like a dog, frequently v oddělení ochutnávačů. Peberdy a Ringert questioning his taste, looking at one other jsou na něj jako na psa, když neustále knowingly.

zkoušejí vytříbenost jeho chuti a významně po sobě přitom pomrkávají.

In order to preserve comprehensibility of the translation, I had to divide the complex sentence into two sentences. c) Participation – can range from the pure monologue to seemingly chaotic jumble of the genuine relaxed dialogue. First of all, this category includes speech where feedback is permitted between sender and receiver. In writing, there is no feedback, or if there is, it may come later in form of a review or a letter to the author [3.190]. d) Privateness – this last category concerns the number of recipients intended for a particular text; the more addressees the less private [3.190].

Looking at the translation of Tracy’s Tiger from the point of view of mode, we can note that it is a text written to be read and following features can be recognized: channel limitations – there is a need for explicitness, a low level of spontaneity, a low level of participation, a low level of privateness - the text is meant to be distributed among the public.

4.2.1.3 Tenor of discourse Tenor refers to the relationship between the addresser and the addressee. This relationship can be intentionally or unintentionally visible in the form of the message that is being 72

transmitted at the moment. This means that the message carries a ‘tone’ indicating certain relationship. In translating, we should be aware of this tone, especially in translations between languages which are culturally distinct from each other. Bell claims again that tenor, as well as mode, consists of four overlapping and interacting categories: a) Formality –an attention the writer (or speaker) gives to the structuring of a text. Greater attention leads to higher level of formality and reflects a more distant relationship between writer and reader(s). Formality always ranges on scale from formal to informal. In English, formality can be marked in number of ways: syntactical structures (complex/simple sentences, subordination/coordination, etc.), lexical alternatives (polysyllabic/monosyllabic vocabulary, generic pronoun one/you, etc.) [3.186].

We can generally consider Tracy’s Tiger informal. Some informal features (in bold) – contractions, informal vocabulary - may be observed in the following extracts: Saroyan’s original

My translation

Well, he’d had the tiger beside him most of Skoro celý život měl tygra po svém boku, his life, but never before had anything like ale ještě nikdy předtím se mu nic takového this happened.

nestalo.

A bookie in Seattle who had been beaten Sázkař ze Seattlu, kterého si podali by a rival bookie’s thugs informed the ranaři od konkurence, informoval policii, police that he had been attacked by Tracy’s že byl napaden Tracyho tygrem. Tiger.

Some of these informal features do not have any equivalents in Czech (e.g. contractions). b) Politeness – it reflects the social distance in the addressee relationship between sender and receiver. Two dimensions of politeness may be distinguished: horizontal (between social groups) and vertical (relationships connected with status, seniority, authority).

73

Many languages including Czech indicate politeness through their address systems, selecting some form equivalent to the Czech ty for the non-polite (between social equals) and a form equivalent for the Czech Vy for the polite [3.187].

The following example from the translation illustrates that there is not such a system in English: Saroyan’s original

My translation

“You, Laura,” Tracy said.

„Vy, Lauro,“ řekl Tracy.

“That’s what I want to talk about,” Tracy „Právě o tom jsem chtěl s vámi mluvit,“ said.

řekl Tracy.

c) Impersonality - indicates to which extent the producer of a text – speaker or writer – avoids reference to him/herself or to the hearer/reader. Impersonality is typically used in written discourse and can be usually seen in academic, bureaucratic and legal writing where the impersonal manner (it as subject, passive, abstract nouns, we rather than I, etc.) frequently occurs [3.187, 188].

Tracy’s Tiger is a typical fiction literature. It is more impersonal in indirect speech and more personal in direct speech: Saroyan’s original

My translation

It would be tedious to go into the nature Rozepisovat se o jeho zpovědi by bylo of his confessions. He wanted to be famous, zbytečně zdlouhavé. Prostě se chtěl stát that’s all.

slavným, nic víc.

“Well, I’m certainly not the most beautiful „Jestli jsem někdy byla nejkrásnější dívka girl in the world any more,” Laura said.

na světě, tak už dávno nejsem,“ řekla Laura.

d) Accessibility – sender’s assumptions about the knowledge he or she shares with the receiver. The more the writer assumes is shared, the less needs to be made explicit [3.188].

Accessibility is closely connected with channel limitations which have already been mentioned in the previous chapter (p. 18).

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4.2.2 Genre If we return to the House’s scheme for analyzing and comparing (p. 11), we can see that genre is another important element of stylistic analysis. House describes literary genre as follows: Genre, a concept used to capture the impact of the cultural macro-context on language by exploring the staged structures which cultures institutionalize as ways of achieving goals. Genre reflects language users’ shared knowledge about the nature of texts of the ‘same kind’. Knowledge of genres enables speakers to refer any single textual exemplar to the class of texts with which that exemplar shares a communicative purpose [1.172].

In other words, language users need to be aware of features shared by various texts. According to these features, we are able to range texts of the same kind into genres and numerous sub-genres. In general, we distinguish tree classic genres of Ancient Greece – poetry, drama and prose. Naturally, all the three genres have its subdivisions, e.g. poetry may be divided into lyric, epic and dramatic. Tracy’s Tiger is a novel written in prose. Nevertheless, I have decided not to analyze prose but poetry in this chapter. Translation of poetry is considered to be one of the most demanding translations, and since the poem The Tyger written by William Blake is a part of the book, it offers an excellent matter that can be used for the purpose of analysis.

4.2.2.1 Poetry translation The Tyger (1789) written by William Blake is an epic poem. The question is how to translate poetry in general (free vs. literal translation) and how to translate a more than 200-year-old poem to be comprehensible to a modern reader. Here are two possible Czech translations of the poem: My translation

Josek’s translation

Tygře, tygře jasně žhnoucí,

Tygře, tygře planoucí,

temným lesem, černou nocí,

lesem černým za noci,

kdo vzal smrti její moc,

čí ruka nesmrtelná 75

a stvořil tak dokonalou souměrnost?

stvořila krásu tak děsivou?

Na zemi či ve větvích,

Kde oheň tvých očí plál?

plane oheň očí tvých?

na nebi či v jícnu skal?

Kdo na křídlech se vznese,

Kdo si troufl letět za ním?

která ruka oheň snese?

Kdo vzal oheň do svých dlaní?

Který um a které ruce,

Jaký důvptip, jaký um

spletly svaly tvého srdce?

upnul šlachy ke svalům?

Když tvé srdce začlo bít,

Když začalo tvé srdce bít,

chtělo všechno zardousit.

kdo nebál se je uchopit?

Kdo kladivo, řetěz vzal,

Kdo kladivo, kdo řetěz vzal,

do ohně tvůj rozum dal?

do pece mozek tavit dal?

Kovadlina – vše je smrti blíž,

Kdo na kovadlinu tě nes,

když to drápy uchopš.

svíraje v kleštích krutý děs?

Když pak hvězdy sešlou kopí,

Když hvězdy seslaly houf střel,

nebe se v jejich slzách topí.

pláč deště zemi pozastřel,

Snad stořitel smál se z nebe,

usmál se nad svým dílem z nebe?

že stvořil beránka i tebe.

Stvořitel beránka – i tebe?

Tygře, tygře jasně žhnoucí,

Tygře, tygře planoucí,

temným lesem, černou nocí,

lesem černým za noci,

kdo vzal smrti její moc a

čí ruka neochvějná

a stvořil tak dokonalou souměrnost?“

stvořila krásu tak děsivou?

It is obvious that both the translations differ from each other and some verses even carry completely different meaning. Is it caused by inaccuracy or is it impossible to use wordfor-word translation in poetry? Opinions differ as to whether poetry should be translated 76

freely or literally. Still many authorities agree that translating poetry can be ranked among the most demanding and difficult translations ever. Nemark’s theory of the translation of poetry is based on distinction between literary and free translation. He does not reject literary translation in poetry, yet he prefers less literal approach: The translation of poetry is the field where most emphasis is normally put on the creation of a new independent poem, and where literal translation is usually condemned [12.70]. Inevitably, when I look more closely at a good translation of poetry, I find many points of divergence, and what appeared to me a literal translation and attractive for that reason (the truth, not cosmetic) is not one. For me, a translation can be inaccurate, it can never be too literal [12.71, 72].

This approach reflects my own theory about translation a lot. In my opinion, a translator of poetry should do his or her best to preserve the main ideas of the poem and at the same time be very creative. This means that a good translator should not only be a skilled expert but also a poet. David Connolly discusses this issue in a short article called Poettranslators and translator-poets: There has always been a close connection between writing original poetry and translating it, and major poets are often themselves translators and concerned with the theoretical issues involved. Many writers have claimed that one must be a poet to translate poetry, though it could also be said that even if the translator is not a poet in his or her own right, he or she becomes one in the process. If artistic ability is needed to produce an original poem, then a very similar artistic gift is required in translating it, and the names of original poets and their translators are therefore frequently linked in the literature [2.175].

4.2.2.2 Methods frequently used in poetry translation In general, the more poetic features are there in the poem (e.g. rhyme, rhythm, onomatopoeia, etc.) the more creativity is required in the translation. Nevertheless, the primary concern of poetry translation is with rhyme and rhythm equivalents. Therefore, I have decided to analyze these two features in this chapter. For my analysis I have chosen theory presented by Jiří Levý in his book Umění překladu.

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4.2.2.2.1 Rhyme Following methods of rhyme formation can be found in English poetry: a) Disturbance of conventional word order – a word involved in the rhyme stands at the end of the verse (usually verb) [8.227, transl. by E.S.]:

Blake’s original

My translation

Did He smile His work to see?

Snad stořitel smál se z nebe

b) A meaningful language unity is divided into two verses – a word involved in the rhyme stands at the end of the line [8.227, transl. by E.S.]:

Blake’s original

My translation

What immortal hand or eye

kdo vzal smrti její moc,

Could frame thy fearful symmetry?

a stvořil tak dokonalou souměrnost?

c) Auxiliary verbs are used in English verse – the full verb is moved towards the end of the verse [8.227, transl. by E.S.]:

Blake’s original

My translation

On what wings dare he aspire?

Kdo na křídlech se vznese,

Some of the methods mentioned above are also used in Czech poetry [8.227, transl. by E.S.]:

a) most often Blake’s original

My translation

In what furnace was thy brain?

do ohně tvůj rozum dal?

And watered heaven with their tears,

nebe se v jejich slzách topí.

b) less often

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It is extremely difficult to find a rhyme in one language that would correspond in meaning and form to a rhyme in second language. This can be only possible in close language systems (e.g. Russian – Czech translation). Generally, a translator is considered to be successful when he or she is able to find a rhyme corresponding in meaning with its original [8.229]: Blake’s original

My translation

When the stars threw down their spears,

Když pak hvězdy sešlou kopí,

And watered heaven with their tears,

nebe se v jejich slzách topí

Frequently, the translator is not able to find rhyme of any correspondence. This can be caused by lack of such a rhyme in the TL or translator’s creativity and experience [8.229]: Blake’s original

My translation

And when thy heart began to beat,

Když tvé srdce začlo bít,

What dread hand? and that dread feet?

chtělo všechno zardousit.

According to Levý, there is an analytical method which can help us analyze the correspondence of meaning in the SL and TL [8.232, 233]: a) the meaning fully corresponds: Blake’s original 1

My translation 2

3

4

And when thy heart began to beat,

1

2

3

4

Když tvé srdce začlo bít,

b) the meaning corresponds but the order differs:

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Blake’s original 1

2

My translation 3

4

1

Tiger,Tiger! burning bright,

2

4

3

Tygře, tygře jasně žhnoucí,

c) something is missing or there is something extra: Blake’s original

My translation

1

2

What the anvil? What dread grasp 1

1

3

Kovadlina – vše je smrti blíž,

2

In the forests of the night,

1

2

temným lesem, černou nocí,

d) zero correspondence

4.2.2.2.2 Rhythm It must be realized that while English is a typical stress-counting language, Czech is a syllable-counting language. English poetry employs five basic rhythms/meters: iambs, trochees, spondees, anapests and dactyls. The five meters are based on variation of stressed (/) and unstressed (x) syllables. Each unit of rhythm is called a ‘foot’ of poetry. The Tyger is written in trochaic meter in which a stressed syllable is followed by an unstressed one. There are always four feet in each trochee (line). The unstressed syllable from the last foot of each line is missing. This whole conception of the rhythm causes that the poem seems to be written in a pulse-like meter:

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Blake’s original / x

/ x

My translation / x

/

Tiger,Tiger! burning bright, / x

/ x

/ x

/

In the forests of the night,

1 2

3 4 5 6

7 8

Tygře, tygře jasně žhnoucí, 1

2

3 4 5 6

7 8

Temným lesem, černou nocí,

The rhythm of the Czech translation is different to some extend but still there are eight syllables in each line which corresponds with the English original, only stress is missing.

4.3 Translation of fractured English Fractured English is hesitant or badly structured English, specifically as used by non-native speakers of the language. It is usually called ‘broken’ English [27]. Since fractured English occurred in the translation of Tracy’s Tiger, I have decided to include it in the analysis. One of the main characters, Dr. Pingitzer, a distinguished expert in psychology, comes from Vienna, Austria, and therefore has some difficulties with English. A several instances of translation of fractured English can be found. However, there is no doubt that Antonín Přidal’s translation of the book O Kaplan! My Kaplan! written by Leo Rosten is the Bible of fractured language translation: „Nejvěčí a nej fantastyš spisovatelé pro něj byli Ček Londýn s jeho Bílým Česákem, Valda Vítman, co psal verši Z tepla trávy, a dvůrce dvouch kouselných kníšek pro velký a malý hoši – Dobrý družstvo Toma Šlajera a Dobrý družstvo Chňaplkterýho Fina [7.117].“

In the past, most of the translations of fractured language used phonetic deformation of the language. In other words, translators used to translate this kind of language by highlighting phonological features typical for the foreign language. This can be seen on an extract from Salinger’s The Catcher in the Rye. Two French singers introduce their performance in English with French accent:

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„A nyný bykom vám ktěli prdžedvesty „vulé vu francé“. Je to istorie maličke francouzske dyvenky, co pržide do velkého mjesta a zamiluje se do maleho klapce z Brooklynu. Doufáme, že ona vám bude líbity [7.116].” Knittlová expressed her opinion on this matter as follows: Translation of the fractured language would use means such as change of the grammatical gender or suffixes in the past. According to J. Boor, usage of these means should be limited. For example, usage of new, hidden associations, namely semantic associations, are considered more advanced and appropriate. [...] It is strongly recommended to base the translation on knowledge of the language rules and the process of its development. The translator should also know how to use the knowledge for intentional or unintentional deformation of the standard language [7.117, 118, transl. by E.S.].

In my translation, I used my knowledge of German in order to preserve the authenticity. My aim was to highlight the difficulties that German speakers may have while acquiring the Czech language. Nevertheless, I did not reach this aim by means of phonetic deformation but mainly by deformation of grammatical and semantic structures: a) Different word order Saroyan’s original

My translation

He sat down and said pleasantly, “I am Posadil se a spokojeně řekl: „Já jsem seventy-two years old.”

dvaasedmdesát let starý.“

The Czech translation of the sentence “I am seventy-two years old.” is actually a wordfor-word translation of a German sentence “Ich bin zweiundsiebzig Jahre alt.“ Saroyan’s original

My translation

“Why do they say tiger is escape from „Proč oni tedy říkali, že tygr z cirkusu circus?”

utekl?“

In German subordinating clauses, the verb is always at the end. A German translation of this sentence looks as follows: Warum haben sie gesagt, dass der Tiger aus dem Zirkus geflohen ist?

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b) Usage of infinitives Saroyan’s original

My translation

“Ah, yes,” Dr. Pingitzer said. “Never use

„Aha, opravit,“ řekl dr. Pingitzer. „Já

typewriter. Is for grandchildren. Junk. I

nikdy nepoužívám ten stroj. Je pro

have these things, mostly psychiatrist.”

vnoučata. On patřit do šrotu. Já mít spoustu věcí, většinou z psychiatrie.“

Foreign speakers may have difficulties with conjugation of Czech verbs. They often use the infinitive because they find it in the dictionary. c) Usage of German words Saroyan’s original

My translation

“No,” Dr. Pingitzer said. “Is expensive so „Ne,“ řekl dr. Pingitzer. „Moc psychiatrů many psychiatrists. Have books. Have also, moc stojí. Já mám knížky. Já taky mám – ah, yes, bed. For sleep. At night. I lie down. ja - no, postel. Pro spaní. V noci. Já si Sleep. Is change.”

lehnu a já spím. To být dobrá změna.“

I have translated English ‘yes’ as ‘ja’, which is its German equivalent. d) Pronoun as a subject of a sentence Saroyan’s original

My translation

“Coffee?” Dr. Pingitzer said. “I am from „Kávu?“ řekl dr. Pingitzer. „Já jsem Vienna, I live on coffee. Ah ha.” He z Vídně. Já žiju z kávy. Aha.“ Zakřičel, shouted, so that they would hear him beyond aby ho bylo slyšet až za dveřmi. „Kávu, the door. “Coffee, please!”

prosím!“

In Czech, a pronoun functioning as a subject of a sentence can be often omitted. In German or English, all clauses must have a subject.

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e) Collocations Saroyan’s original

My translation

“You are not afraid of this animal,” he said „Vy

nemáte

strach

před

takovým

again quickly, “this tiger. This is black zvířetem,“ znovu zadrmolil, „před tím panther.”

tygrem. To je černý panter.“

In German, a noun ‘der Angst’ (‘starch’ in Czech) always collocates with a preposition ‘vor’ (‘před’ in Czech) which differs from its Czech equivalent ‘strach z’. Therefore, a German speaker can easily make a mistake. f) Morphological deformation Saroyan’s original

My translation

“Ho ho,” Dr. Pingitzer said. “Is poem like „Ho, hó,“ vydal ze sebe dr. Pingitzer. „Já this I do not hear seventy-two years! Who jsem dvaasedmdesát let starý a takovou do this poem?”

básničku jsem ještě neslyšel. Kdo to sepsal?“

Czech is a synthetic language, which means that the words are composed of multiple morphemes. A foreign speaker can get confused and use a different suffix or prefix, in this case ‘sepsal’ instead of ‘napsal’.

4.4 Jiří Josek’s translation Jiří Josek is the only translator to have translated Tracy’s Tiger into Czech. The translation is almost thirty years old but still up-to-date. Comparing Josek’s and my translation, I have noticed that they do not differ significantly from each other. However, there are a few differences that I would like to mention:

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a) Word order Saroyan’s original

My translation

Josek’s translation

In his spare time Tracy Když měl Tracy jednou Ve volné chvilce navštívil visited Laura Luthy, who volno, zašel navštívil Lauru Tracv Lauru Luthyovou, ale could not remember him.

Luthyovou,

ale

ona

ho ona ho nepoznala.

nepoznala.

Differences in word order can be observed in the example. I do not reject Josek’s version, though, I wanted the sentence to sound naturally and modern. b) Fractured English Saroyan’s original

My translation

Josek’s translation

“Ho ho,” Dr. Pingitzer said. „Ho, hó,“ vydal ze sebe dr. „Ho, “Is poem like this I do not Pingitzer.

„Já

hó,“

zvolal

dr.

jsem Pingizer. „Taková básnička

hear seventy-two years! dvaasedmdesát let starý a a já ji sedmdesát dva roky Who do this poem?”

takovou básničku jsem ještě neznal! Kdo to napsal?“ neslyšel. Kdo to sepsal?“

Josek’s translation of fractured English is obviously conservative. In some parts of his translation, it is hard to recognize that the speaker is speaking broken English at the moment. c) Choice of vocabulary Saroyan’s original

My translation

“The ice cream girl, the ice „Zmrzlinka cream boy,” Laura said.

řekla Laura.

a

Josek’s translation ledňáček,“ „Zmrzlinka a zmrzliňáček,“ řekla Laura.

Although I like Josek’s ‘zmrzlinka a zmrzliňáček’ a lot, I decided to use the expression ‘ledňáček’ which is a well-known Czech brand name, and therefore the readers might be familiar with it.

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5 CONCLUSION It can be said that translating is a quest after perfection that is full of unexpected surprises and challenges. Vladimir Nabokov said once that the clumsiest literal translation is a thousand times more useful than the prettiest paraphrase [24]. However, the reader must not be forgotten. The reader wants to understand and enjoy the book that he or she is reading. It is the translator’s responsibility to be accurate in translating as much as possible and at the same time adjust the text to the TL environment. Only then we can say that the translator’s mission has been accomplished. During my work on the translation I have learned two major things. Firstly, the translator has to believe in what he or she has translated. He or she has to be able to justify the choice of the words and never doubt about it. Secondly, as long as the translator enjoys working on the translation, the reader enjoys reading it. The theoretical part of the thesis was as challenging as the translation itself. If truth be told, I had to learn how to work with various sources and combine them into my very own theory of translation analysis which I could apply on my translation. I was particularly interested in the theory of poetry translation. Since it is considered to be one of the most difficult translations, I wanted to present at least some general methods and rules. In my opinion, it is impossible to translate poetry word by word. The translator should be able to preserve the playfulness of poetry and let the reader use his or her own imagination. In general, I have enjoyed working on both practical and theoretical part of the thesis. I appreciate that I got this chance to gain new experience in translating.

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6 SUMMARY The diploma thesis is divided into three parts. The first part presents some of the wellknown theories of translation. The second part includes the original English text and my translation of eight selected chapters from Tracy’s Tiger by William Saroyan, an American writer. The third part deals primarily with stylistic analysis of the translation. The analysis is based on a scheme designed by Juliane House, a professor of applied linguistics at Hamburg University. In this part, the most challenging aspects of the translation were also included, i.e. poetry translation and translation of fractured English.

7 RESUMÉ Tato diplomová práce je rozdělena do tří částí. První část prezentuje některé ze známých teorií překladu. Druhá část obsahuje anglický originál a můj překlad osmi vybraných kapitol z knihy Tracyho tygr od Williama Saroyana, amerického spisovatele. Třetí část se zabývá především stylistickou analýzou daného překladu. Tato analýza vychází ze schématu, které navrhla Juliane Housová, profesorka aplikované linguistiky na Hamburské universitě. Třetí část také zahrnuje nejnáročnější aspekty daného překladu, i.e. překlad poezie a ‘lámané’ angličtiny.

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8 BIBLIOGRAPHY [1] Anderman, Gunilla & Rogers, Margaret. Translation Today: Trends and Perspectives. Clevedon: Multilingual Matters, 2003. [2] Baker, Mona. Routledge Encyclopedia of Translation Studies. London: Routledge, 1998. [3] Bell, Roger T. Translation and Translating: Theory and Practice. London: Longman, 1991. [4] Dontcheva-Navrátilová, Olga. Grammatical Structures in English: Meaning in Context. Brno: Masarykova universita, 2005. [5] Hatim, Basil & Mason, Ian. Discourse and the Translator. New York: Longman, 1990. [6] Hatim, Basil & Munday, Jeremy. Translation: An advanced resource book. London: Routledge, 2004. [7] KNITTLOVÁ, Dagmar. K teorii i praxi překladu. Vyd. 2. Olomouc: Univerzita Palackého v Olomouci, 2000. 215 s. ISBN 80-244-0143-6. [8] LEVÝ, Jiří. Umění překladu. Vyd. 3. Praha: Ivo Železný, 1998. 386s. ISBN 80-2373539-X. [9] Miššíková, Gabriela. Analysing Translation as Text and Discourse. Praha: JTP, 2007. [10] Newmark, Peter. About Translation. Clevedon: Multilingual Matters, 1991. [11] Newmark, Peter. Approaches to Translation. New York: Prentice Hall, 1988. [12] Newmark, Peter. A Textbook of Translation. New York: Prentice Hall, 1988. [13] SAROYAN, William. Tracyho tygr. [Přel. Josek, J.]. Vyd. 1. Praha: Odeon, 1980. 133 s. [14] SAROYAN, William. Tracy’s Tiger. Tracyho tygr. [Přel. Josek, J.]. Bilingvní vyd. 1. Praha: Argo, 2001. 203 s. ISBN 80-7203-375-1. 88

[15] Simpson, Paul. Stylistics: A resource book for students. New York: Routledge, 2004. [16] VANČURA, Zdeněk, et al. Slovník spisovatelů: Spojené státy americké. Vyd. 1. Praha: Odeon, 1979. 732 s. 01-068-79. Dictionaries: [17] MARTINCOVÁ, Olga, et al. Pravidla českého pravopisu: školní vydání. Vyd. 3. Praha: Pansofia, 1994. 383 s. ISBN 80-901 373-6-9. [18] PODLAUF, Ivan, et al. Anglicko český a česko anglický slovník. Vyd. 1. Praha: Státní pedagogické nakladatelství, n.p., 1971. 1223 s. 48-91-501. [19] RUNDELL, M., et al. Macmillan English Dictionary for Advanced Learners: International Student Edition. Oxford: Bloomsbury, 2002. Dictionaries online: [20] Cambridge dictionaries [http://dictionary.cambridge.org] [21] Oxford dictionary advanced [http://www.oup.com/elt/catalogue/teachersites/oald7/?cc=cz] [22] Seznam slovník [http://slovnik.seznam.cz/] Internet sources: [23] Armeniapedia [http://www.armeniapedia.org/index.php?title=William_Saroyan]. 17 April 2009. William Saroyan [24] Center for Translation Studies, [http://translation.utdallas.edu/translationstudies/quotes.htm]. 17 April 2009. Translation quotes

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[25] Czech-English Translation Problems, [http://czeng.wetpaint.com/page/012+Componential+analysis?t=anon]. 24 March 2009. Componential analysis [26] Ordudari, Mahmoud. (2007). Translation procedures, strategies and methods. Translation Journal, vol. 11, no.3, [https://is.muni.cz/auth/th/44686/pedf_m/scan.pdf]. 25 March 2009. [27] Wikipedia [http://en.wikipedia.org/wiki/William_Saroyan]. 17 April 2009. William Saroyan. [http://en.wikipedia.org/wiki/Broken_English]. 18 April 2009. Broken English.

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