The process of translating a text from one language to another has a diverse and ambiguous nature, associated with the many components included in it, and it is the multidimensionality of this process that determines the differences in points of view on translation and its features. There are 3 types of written translation in science:

1. Word-by-word translation (literal or interlinear). This is a word-by-word reproduction of the source text in units of the target language, if possible, even preserving the order of the elements. Such a translation is used mainly as a basis for further translation work; it is also used in comments on untranslatable puns or phraseological units.

2. Literal translation consists of the most complete transfer of the contextual meaning of the elements of the source text in units of the target language. If the syntactic structure of the sentence being translated can be expressed in translation using similar means, the literal translation is considered as the final version of the translation without further literary processing. However, such a coincidence of the syntactic means of two languages ​​is quite rare; Most often, during literal translation, a violation of the syntactic norms of the Russian language occurs. In such cases, there is a gap between content and form: the author’s thought is clear, but the form of its expression is unlike Russian speech. Despite the fact that literal translation often violates the syntactic norms of the Russian language, it can be used at the first, rough stage of working on the text, because it helps to understand the structure and difficult places of the original. Then, however, if there are constructions that are alien to the Russian language, the literal translation must necessarily be processed and replaced with a literary version.

The transfer of lexical units during translation can be carried out in three ways:

Using equivalents, i.e. direct matches independent of context;

Using analogues, i.e. synonymous words that are most appropriate to the context;

By descriptive translation, i.e. free transfer of the semantic content of the translated word or phrase.

3. Literary or artistic translation consists in choosing a way of transmitting source information that leads to a translated text with an adequate initial impact on the recipient. The main object with this method of translation is not so much the linguistic composition of the source text, but its content and emotional and aesthetic meaning. Moreover, such a translation does not allow for any abbreviations or simplifications of the source material.

Since the syntactic structures of the Russian and English languages ​​diverge significantly, it is very difficult and almost impossible to completely convey the original.

Moreover, in the interests of accurate transmission of meaning, it is often necessary when translating to resort to changing the structure of the translated sentence in accordance with the norms of the Russian language, i.e. rearrange or even replace individual words and expressions.

Let us take, for clarity, an example of the translation into English of the title of the work “At the Bottom” - “The Lower Depths”.

From the point of view of conveying the form, the translation has departed far from the Russian original, but it accurately conveys the emotional content of the title, which would be lost with a formally accurate literal translation: “On the Bottom”.

Thus, we see that the accurate transmission of the meaning of the original is often associated with the need to abandon literalness, and attempt to closely convey the form of the original.

The translator, therefore, if necessary, not only can, but must also swap parts of the sentence, making the order of words more natural for the Russian language; he can change the construction of the sentence or omit or replace words.

When choosing one or another translation method, the translator, in addition to all other circumstances, is also guided by the consideration that in its pure form any of the methods rarely works in the real translation process: as a rule, most complex texts are translated using various methods, but one of them is the leader and determines the nature of the relationship between the source and target text as a whole, dictating the conditions for dividing the source text, the definition of translation units, as well as the choice of translation techniques with the help of which the source text is directly transformed into the target text.

Scientists define every translation, including literary translation, as a recreation of a work created in one language using the means of another language. In this case, literary translation oscillates between two extreme principles: a word-for-word accurate, but artistically inferior translation and an artistically complete, but far from the original, free translation. These two principles are reflected in two main points of view: the definition of translation from a linguistic and literary perspective.

The linguistic principle of translation, first of all, involves recreating the formal structure of the original. But with full adherence to the linguistic principle, we can come to a literal, linguistically accurate, but artistically weak translation, when forms and constructions alien to the target language are literally translated, stylization occurs according to the laws of a foreign language. A literally accurate translation does not always reproduce the emotional effect of the original; therefore, literal accuracy and artistry are in constant conflict with each other. It is indisputable that translation is based on linguistic material, that without the translation of words and phrases, literary translation cannot exist, and the translation process itself must also be based on knowledge of the laws of both languages ​​and on an understanding of the laws of their relationship. Compliance with language laws is mandatory for both the original and the translation. But literary translation is not only about linguistic relationships.

Researchers define language as the material of a work of art, but understanding literary translation as just a comparison of linguistic means means ignoring its aesthetic side. From the point of view of the criterion of correspondence between the artistry of the translation and the artistry of the original, linguistic correspondence serves only artistic correspondence. Consequently, to determine the quality of a literary translation, the general criterion of linguistic conformity alone is not applicable, and usefulness may not require the same degree of verbal proximity to the original throughout the translation.

Others believe that literary translation should be considered from a literary point of view.

According to this theory, the main driving force of the translator should be the idea inspired by the original, which forces him to look for adequate linguistic means to reflect thought in words, that is, literary translation is an adequate correspondence to the original not in a linguistic, but in an aesthetic sense. It serves to transmit source texts of high socio-cultural significance, the detailed content of which is intended for the mass recipient.

V.N. Komissarov gives the following definition of translation transformations: these are transformations with the help of which it is possible to make a transition from original units to translation units in the specified sense; they are of a formal semantic nature, transforming both the form and the meaning of the original units. L.S.

Komissarov V.N.’s concept comes down to such types of transformations as lexical and grammatical, as well as complex.

Let's start by looking at lexical transformations. The main types of lexical transformations used in the translation process with the participation of various FLs and TLs include the following translation techniques: translation transcription and transliteration, tracing and lexical-semantic replacements (specification, generalization, modulation).

Transcription and transliteration are methods of translating a lexical unit of the original by recreating its form using the letters of the TL. When transcribing, the sound form of a foreign language word is reproduced, and when transliterating its graphic form (letter composition). Since the phonetic and graphic systems of languages ​​differ significantly from each other, the transmission of the form of a foreign language word in the target language is always somewhat conditional and approximate. For each pair of languages, rules for transmitting the sound composition of a foreign language word are developed, cases of preservation of transliteration elements and traditional exceptions to the currently accepted rules are indicated. In English-Russian translations, the most frequently encountered transliteration elements during transcription are mainly the transliteration of some unpronounceable consonants and reduced vowels, the transfer of double consonants between vowels and at the end of words after vowels, and the preservation of some features of the spelling of the word, which make it possible to approximate the sound of the word in translation to already known samples. It is also important to note that proper names, geographical names and addresses are also translated using the transliteration/transcription method.

Tracing is a method of translating a lexical unit of the original by replacing its constituent parts - morphemes or words (in the case of set phrases) with their lexical equivalents in the TL. The essence of tracing is to create a new word or stable combination. In some cases, the use of tracing techniques is accompanied by a change in the order of tracing elements. Often, during the translation process, transcription and tracing are used simultaneously.

Concretization is the replacement of a FL word or phrase with a broader subject-logical meaning with a TL word or phrase with a narrower meaning. Specification can be linguistic and contextual (speech). During linguistic specification, the replacement of a word with a broad meaning with a word with a narrower meaning is determined by differences in the structure of the two languages ​​- either by the absence in the TL of a lexical unit that has the same broad meaning as the transmitted FL unit, or by differences in their stylistic characteristics, or by the requirements of grammatical order .

Generalization is the replacement of a FL unit with a narrower meaning with a TL unit with a broader meaning, that is, a transformation inverse to specification. A more general designation may be preferred for stylistic reasons. Sometimes the translator has the opportunity to choose between a more specific and a more general version of the translation and prefers the latter. When translating from English into Russian, this technique is used much less frequently than specification. This is due to the peculiarity of English vocabulary.

Modulation or semantic development is the replacement of a word or phrase in a foreign language with a TL unit, the meaning of which is logically derived from the meaning of the original unit. When using the modulation method, cause-and-effect relationships are often broader in nature, but the logical connection between the two names is always preserved.

As for grammatical transformations, these include: syntactic assimilation (literal translation), division of sentences, combination of sentences, grammatical substitutions. All types of grammatical transformations during translation can be reduced to the following main categories:

1. Changing the order of words.

2. Changing the structure of the sentence (full and partial).

3. Replacement of parts of speech and members of sentences.

4. Adding words.

5. Omission of words.

Syntactic assimilation (literal translation) is a translation method in which the syntactic structure of the original is transformed into a similar structure of the TL. Syntactic assimilation can lead to complete correspondence of the number of linguistic units and the order of their arrangement in the original and translation. As a rule, the use of syntactic assimilation is accompanied by some changes in structural components. When translating from English into Russian, for example, articles, linking verbs, and other auxiliary elements may be omitted, as well as changes in morphological forms and some lexical units. All these changes do not affect the basic structure of the sentence. Syntactic simile is widely used in English-Russian translations. The change in sentence structure during translation is explained only by the impossibility of ensuring translation equivalence through literal translation.

Sentence division is a method of translation in which the syntactic structure of a sentence in the original is transformed into two or more predicative structures of the TL.

Sentence fusion is a method of translation in which the syntactic structure in the original is transformed by combining two simple sentences into one complex one.

Grammatical substitutions are a translation method in which a grammatical unit in the original is transformed into a TL unit with a different grammatical meaning. Grammatical replacement as a special method of translation implies not just the use of TL forms in translation, but the refusal to use TL forms similar to the original ones, the replacement of such forms with others that differ from them in the expressed content (grammatical meaning). During the translation process, grammatical units can be replaced - word forms, parts of speech, sentence parts, types of syntactic connections, and so on. A very common type of grammatical replacement in the translation process is the replacement of a part of speech.

Considering lexico-grammatical transformations, we can talk about antonymic translation, explication and compensation.

Antonymic translation is a lexico-grammatical transformation in which the replacement of an affirmative form in the original with a negative form in the translation or, conversely, a negative with an affirmative one is accompanied by the replacement of a lexical unit of a foreign language with a unit of the TL with the opposite meaning. Very often, the use of antonymic translation is combined with the use of other lexical or grammatical transformations.

Explication or descriptive translation is a lexical-grammatical transformation in which a lexical unit of a foreign language is replaced by a phrase that explicates its meaning, i.e. giving a more or less complete explanation or definition of this meaning in PL. Using explication, you can convey the meaning of any non-equivalent word in the original. The disadvantage of descriptive translation is its cumbersome and verbose nature.

The method of compensation is used in cases where certain elements of a text in a foreign language, for one reason or another, do not have equivalents in the TL and cannot be transmitted by its means; in these cases, in order to make up for ("compensate") the semantic loss caused by the fact that one or another unit of the language remained untranslated or not fully translated (not in its entirety of meaning), the translator conveys the same information by some other means, and not necessarily in the same place in the text as in the original.

There are cases when a translator needs not only knowledge, but also special skill. The writer often plays with words, and this game can be difficult to recreate. Some cases of it cannot be translated and force the translator to resort to footnotes. For example, the Russian version of the title of O. Wilde’s play “The Importance of Being Earnest” does not convey the play on words contained in it, based on the homonymy of the English name Ernest and the adjective earnest - serious. However, the translator can find a correspondence in the Russian language for most cases of puns, although this requires both knowledge of various types of puns, which require different approaches, and linguistic resourcefulness.

Often the play on words is based on the polysemy of a word or phrase. At the same time, the situation seems to allow for a double interpretation, due to which a humorous effect arises.

Another type of play on words is zeugma, based on the combination of a polysemantic word with several others in different semantic and syntactic plans, i.e. with one it forms a free phrase, with the other - a phraseological unit, etc. The humorous effect of zeugma is based on the contradiction between the similarity of the syntactic structure of the combinations thus formed and their semantic heterogeneity. The approach to translating zeugma is due to the fact that in the Russian language, unlike in English, zeugma is a sharp violation of the literary norm and is extremely rare. Therefore, the stylistic effect of zeugma, as a rule, is conveyed by the general context of the utterance and stylistically marked vocabulary.

At noon Mrs. Terpin would get out of bed and humor, put on kimono, airs, and the water to boil for coffee (O. Henry). - At noon Mrs. Turpin rose from her bed in a foul mood, threw on a kimono, put on an air of importance and put the kettle on the stove.

Finally, the third - the most common and most difficult type of wordplay to translate - is based on the use of full or partial homonyms. In modern English, this type is often used in the titles of books, films, magazine articles, etc., making their translation a real pain for the translator.

"Two Much" is the title of a film in which the main character decides to deceive two girls he likes by telling them that he has a twin brother. Thus, he gets the opportunity to care for both, but this turns into a lot of trouble for him. In the title, the first element of the expression too much (too much) is replaced by the homophone two, hinting at the plot of the film. In translation, it is unlikely that it will be possible to come up with anything other than a descriptive version - “Two is too much.”

But this type of play on words cannot be considered completely untranslatable. You can try to find a couple of homonyms in the Russian language that are more or less suitable for the context. Overcoming the difficulties associated with conveying puns once again confirms the thesis about the creative nature of translation activity and the possibility of constantly improving translation.

Here is an English joke based on a pun. A man comes to a funeral and asks: I'm late? And in response he hears: Not you, sir. She is. The English word late means both “late” and “deceased.” The hero asks: Am I late? And they answer him: No, It’s not you, sir, but she. What to do? The game doesn’t work in Russian. But the translator got out of the situation: It’s already over? - Not for you, sir.

And this is far from the only trap that can await a translator. It can be very difficult to convey the speech patterns of characters. Everything is quite simple if a noble gentleman with manners or an uneducated girl speaks, because it is not at all difficult to imagine how their speech would sound in Russian. It is much more difficult to convey the speech of an Irish peasant in Russian or Odessa jargon in English. Here losses are inevitable, and the bright coloring of speech inevitably has to be muted. Therefore, folklore, dialect and slang elements of the language are very often considered completely untranslatable.

The translation technique does not recognize text modernizations, based on the simple logic of equality of impressions: the perception of the work by a modern reader of the original should be similar to a modern reader of the translation. A modern translation informs the reader that the text is not modern and, using special techniques, tries to show how ancient it is.

Literary translation, in principle, like any other, is intended to reproduce by means of the translating language everything that is said in the source language. The features and specificity of the problems that arise are determined by the specifics of the literary text itself, which were discussed in the previous paragraph. Here I would like to quote the words of G. Gachechiladze: “As history shows, literary translation oscillates between two extreme principles: a word-for-word accurate, but artistically inferior translation, and an artistically complete, but far from the original translation. Theoretically, there is nothing easier than to synthesize these two principles and declare as an ideal a translation that accurately reproduces the original and is artistically complete. But in practice, such a principle is impossible: in different languages ​​they use completely different means to express the same idea. Literal accuracy and artistry are in constant contradiction."

The quality of translation largely depends on what goal the translator sets for himself. Theoretically, there are three purposes for translating literary texts. Firstly, to introduce readers to the work of a writer whose works they themselves cannot read due to ignorance of the language in which he writes. Introduce him to his works, his creative manner, style, etc. Secondly, to acquaint readers with the peculiarities of the culture of another people, to show the originality of this culture. Thirdly, simply introduce the reader to the contents of the book.

Thus, we can conclude that when translating a literary text, the translator needs to take into account all the features of the literary work, not limit himself to just one task, but synthesize all available techniques to obtain a high-quality translation.

We can also highlight the problem of national-cultural adaptation of a literary text during translation. This problem can be viewed from different aspects.

As we have already mentioned, each language reflects the characteristics of the national culture, history, and mentality of the people who speak it, and each literary text is created within the framework of a certain culture. Elements of this culture may be completely unfamiliar and incomprehensible to speakers of other languages. However, no theoretical problem specific to literary translation arises. In this case, we are talking about the problem of conveying realities, common to all types of translation.

To create a national atmosphere, as O.V. Petrova believes, personal names, geographical names and other proper names, names of plants and animals that the reader associates with the country being described are enough - i.e. units that do not need explanation and do not thereby distract the reader. If the psychology, characters, motives of their actions, etc. are correctly conveyed, then the reader will associate the text being read with a text of foreign language and foreign cultural origin.

For our research, we chose the works of Oscar Wilde.

The originality of the style of Wilde's fairy tales is manifested in their vocabulary and style. An excellent connoisseur of language (as befits a decent esthete), he was precise not only in choosing the word he needed, but also in the intonation structure of the phrase. The construction of the phrase is extremely simple and is one of the classic examples of English prose. At the same time, the influence of decadent mannerism forces the writer to evade the laconicism of the narrative every now and then and saturate his story with all sorts of exoticism such as “pink ibises standing in a long phalanx along the Nile bank” or “black as ebony, the king of the lunar mountains, worshiping a large piece of crystal ".

When translating an author's fairy tale, the main problem is the choice of the most adequate translation transformation, which allows making the most adequate translation. Next, let's look at examples of translations of Oscar Wilde's fairy tales "The Happy Prince" by K. Chukovsky, "The Nightingale and the Rose" by M. Blagoveshchenskaya and V. Chukhno, "The Wonderful Rocket" by T. Ozerskaya, Z. Zhuravskaya and P. Sergeev.

A literary text is a text that is based on a figurative reflection of the world and exists for the complex transmission of different types of information - intellectual, emotional, aesthetic - and also has the function of having an emotional impact on the reader. With the help of stylistic means, the impact on the reader is enhanced. Such means include: epithets, comparisons, metaphors, copyright, phonetic repetitions, morphemic, lexical, syntactic, wordplay, irony, speaking names and toponyms, dialectisms.

We have identified the differences between folk tales and the author's.

A fairy tale is an epic genre of written and oral folk art: a prosaic oral story about fictional events in the folklore of different peoples. A type of narrative, mostly prosaic folklore (fairy-tale prose), which includes works of different genres, the texts of which are based on fiction.

Author's fairy tale A fairy tale is an epic genre: a fiction-oriented work, closely related to a folk tale, but, unlike it, belongs to a specific author, did not exist in oral form before publication and had no variants.

Chapter I highlights the following genre characteristics of the English author's fairy tale:

Fairy tales are addressed to adults and children;

Fairy tales were composed of oral stories told to the children of the authors;

The presence of puns, nonsense, phraseological units, reversals, humor;

The hero of the fairy tale is a child;

The hero of a fairy tale is always placed in difficult circumstances, from which he must find a way out himself;

Mythological basis;

The end of a fairy tale is always good, but sad.

Translation transformations are used to translate fairy tales.

V.N. Komissarov gives the following definition of translation transformations: these are transformations with the help of which it is possible to make a transition from original units to translation units in the specified sense; they are of a formal semantic nature, transforming both the form and the meaning of the original units. Komissarov V.N.’s concept comes down to such types of transformations as lexical and grammatical, as well as complex. The main types of lexical transformations include the following translation techniques: translation transcription and transliteration, tracing and lexical-semantic replacements (specification, generalization, modulation).

As for grammatical transformations, these include: syntactic assimilation (literal translation), division of sentences, combination of sentences, grammatical substitutions. Considering lexico-grammatical transformations, we can talk about antonymic translation, explication and compensation.

At the end of the chapter, the problems of translation and comparative analysis of translations of Oscar Wilde's fairy tales by different authors are posed.

→ Translations and translators

Random excerpt from the text: Rainer Maria Rilke. Letters to a young poet
... Someday (even now, especially in the northern countries, reliable evidence speaks of this), someday a woman and a girl will be born into the world, whose femininity will mean not only the opposite of masculinity, but something that no longer needs any no boundaries, no care, but grows only from life and being: a woman is a person. ... Full text

Translations and translators

Since the works of H.K. Andersen's works immediately gained great popularity both in Denmark and in other countries, and they were widely translated from Danish into other languages. Now in the world, there are probably very few languages ​​into which the works of H.K. have not been translated. Andersen.

To Russian Some of Andersen's works were translated during the writer's lifetime; he speaks about this in his autobiography, “The Tale of My Life.” The first, most complete edition of Andersen in Russian was the edition made by A. and P. Hansen in 1894. Here, on the Heavenly Art website, this edition is presented almost completely.

A brief overview of Andersen's translations at the time of publication of this edition is of some interest. It was included in this edition under the title - Bibliographic information

. More than 100 years have passed since then, and of course the quantity and quality of translations has increased. It is interesting to note the fact that although many of Andersen’s works were translated into Russian as early as 1894, in Russia he is known practically only as the author of fairy tales for children.

• During Soviet times, new translations of fairy tales were made. I am collecting information about these translations and translators and will be grateful if you send new information - it will be published on the site. Translation of works by H.K. Andersen, made by A.V. and P.G. Hansen is a classic. Although some of the names they used are outdated - such as Lizok-a-vershok, not Thumbelina - their translation is characterized by a deep insight into the sound, style, and essence of the Danish language. They not only translated the texts, carefully preserving all the details of the original, but also conveyed all the magic, all the subtleties and nuances of fairy tales in Danish. Here on the site, a lot of materials have been collected about this outstanding family - A.V. and P.G.

• Hansen.

Andersen was translated into English by Jean Hersholt (1886-1956), a Danish actor who emigrated to America. His translations of Andersen into English are considered the standard and are rated as the best. Brief biography of Gene Hersholt.

Vasily Petrovich

Translations and translators from Danish by the storyteller H.K. Andersen Works by H.K. Andersen immediately gained great popularity both in Denmark and in other countries, so they were widely translated from Danish to others. There are probably very few languages ​​in the world today that don't have translations from Danish

works by H.K. Andersen. Works by H.K. Andersen immediately gained great popularity both in Denmark and in other countries, so they were widely translated Some of Andersen's works were translated into Russian to others. There are probably very few languages ​​in the world today that don't have even during the writer’s lifetime, he himself speaks about this in his autobiography - “The Tale of My Life.” The first, most complete edition of Andersen in Russian was the edition made by A. and P. Hansen in 1894. A brief overview is of particular interest Andersen at the time of publication of this publication. It was included in this publication under the title - Bibliographical Information. More than 100 years have passed since then and, of course, the quantity and quality translations from Danish grew into Russian. It is interesting to note the fact that although in Russian translation from Danish

Many of Andersen's works were written as early as 1894; in Russia he is known almost exclusively as the author of fairy tales for children. During Soviet times, new translations from Danish his fairy tales. But, for example, few people know that complete translation from Danish

The name "Ole-Lukoje" sounds like "Ole Close Your Eyes". In English Andersen is read thanks to translations from Danish Gene Hersholt (1886-1956). This is a Danish actor who emigrated to America in 1913 and made a career in Hollywood. His translations Andersen into English
are considered the standard and are rated as the best. Works by H.K. Andersen immediately gained great popularity both in Denmark and in other countries, so they were widely translated fairy tales and stories of Hans Christian Andersen, published in the magnificent collection “The Complete Works of Andersen” (6 volumes, New York, 1949).

Danish the actor felt deeply connected to the world of Andersen's fairy tales, and tried to do translations into English as close to the original as possible. Hersholt wrote several articles about him and also edited the book “The Correspondence of H.C. Andersen with Horace Elisha Scudder" in 1948

“The Complete Works of Andersen” includes several published for the first time, i.e. never seen the light before in Danish, Andersen's works translation into English, fairy tales: “Folks say...”, “The Poor Woman and the little Canary Bird” and “Urbanus”, as well as “The Pigs” (The Pigs) from travel notes on “Across Sweden”, the full text of “Picture Book without Pictures”, which is usually included in Andersen’s travel notes, and the novel “Lucky Peer”, which has all the rights to be called fairy tale novel. Usually “Lucky Peer” is considered a novel.

List of Andersen's works that were published thanks to Andersen is read thanks to Hersholt, consists of 156 works. Among them are those published during Andersen’s lifetime, as well as fairy tales later found in papers Danish translator: The Court Cards, Croak!, Danish Popular Legends, God can never die, The Penman, "The Talisman", and This Fable is Intended for You."

-	Translation of technical texts
-	Translation of the site into English, Russian
-	Legal translation
-	English simultaneous interpreter
-	Is translation into English possible for everyone?
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Completed by Daria Aleksandrovna Nikitina, teacher of English and German, Ulyanovsk, MAOU multidisciplinary lyceum No. 20

From Danish to Russian: translators of H. C. Andersen.
Difficulties of translation and features of translated texts.

Works by H.K. Andersen's works immediately gained great popularity both in Denmark and in other countries, so they were widely translated from Danish into other languages. Now there are probably very few languages ​​in the world that do not have translations from Danish of the works of H.K. Andersen.

To Russian Some of Andersen’s works were translated from Danish during the writer’s lifetime; he himself speaks about this in his autobiography, “The Tale of My Life.” The first, most complete edition of Andersen in Russian was the edition made by A. and P. Hansen in 1894.

It is interesting to note the fact that although many of Andersen’s works were translated into Russian from Danish back in 1894, in Russia he is known practically only as the author of fairy tales for children.

As noted by D.M. Sharypkin in his work “Scandinavian Literature in Russia”, Andersen’s first publications in Russian remained unnoticed. Thus, the translation of “The Improviser” by J. Grim from Swedish in 1844 caused a negative response from Belinsky. The first translations of fairy tales “were not noticed at all by critics.” “The Russian reader perceived The Improviser, and then Andersen’s fairy tales, as “belatedly” romantic works.”

In Soviet times, new translations of his tales were made from Danish. But, for example, few people know that the full translation from Danish of the name “Ole-Lukoje” is “Ole Close Your Eyes.”

The name "Ole-Lukoje" sounds like "Ole Close Your Eyes". Andersen is read through translations from Danish by Jean Hersholt (1886-1956). This is a Danish actor who emigrated to America in 1913 and made a career in Hollywood. His translations of Andersen into English are considered the standard and are rated as the best.

The Danish actor felt deeply connected to the world of Andersen's fairy tales, and tried to make translations into English as close as possible to the original. Hersholt wrote several articles about him and also edited the book “The Correspondence of H.C. Andersen with Horace Elisha Scudder" in 1948

The list of Andersen's works, which were published thanks to translations from Danish by Hersholt, amounts to 156 works. Among them are those published during Andersen’s lifetime, as well as fairy tales later found in the papers of the Danish translator: The Court Cards, Croak!, Danish Popular Legends, God can never die, The Penman, The Talisman, and This Fable is Intended for You."

As with any language, the biggest challenge for translators is choosing the correct meaning of a word. All meanings are united by a fairly extensive general scheme, which the translator must understand intuitively rather than at the level of memorized dictionary meanings. Of course, if a work of fiction is being translated, then it is necessary to preserve the style of the text and such a translator, as a rule, has literary talent and perfect knowledge of the language.

In dissertation research"X. K. Anderson in Russian literature of the late 19th - early 20th centuries: perception, translations, influence” Gayane Koryunovna Orlova provides research on translations of fairy tale titles from Danish into Russian. In her work she uses Russian texts by B.D. Pozorovskaya, Anna Ganzen, A. Borisov, I. Vvedensky and others.

So,the fairy tale “Den grimme ailing” entered the Russian tradition under the name “The Ugly Duckling”, despite the fact that the adjective grim would be more accurately translated as ugly or ugly, and although this lexeme can mean “vile”, “disgusting”, in the fairy tale there is no doubt We are talking about physical ugliness, rather even an ugly, in the opinion of others, appearance without traces of ugliness. In the four-volume collection of A. and P. Hansen, as well as in the six-volume Illustrated Tales of B.D. Porozovskaya, the fairy tale is called “The Ugly Duckling”, but later, in Soviet times, in translations by Anna Ganzen the epithet “ugly” was used.

M.A. Lyalina translated the title of the tale as “The Ugly Duckling,” which, in our opinion, suggests a greater degree of ugliness than that supposedly implied in the original title. However, one should take into account the fact that the semantic field of the lexeme grim [ugly, ugly, ugly, vile, disgusting] is very wide and intersects with its synonymous lexemes styg (ugly, bad, disgusting, nasty), feel (ugly, ugly, unpleasant, nasty ), zekeї (disgusting, disgusting), heeslig (ugly, ugly, ugly), vaemmelig (disgusting, disgusting, unpleasant, repulsive), slem (bad, nasty). Thus, there is room for different interpretations here. However, as stated above, in our opinion, the most adequate translation, taking into account the entire text of the fairy tale, is “The Ugly Duckling”.