Из истории древнегрузинской переводческой традиции: принципы и методы выбора оригинала
| Author |
|---|
Твалтвадзе, Дареджан |
| Date | Volume | Issue | Start Page | End Page |
|---|---|---|---|---|
2015 | 6 | 2 | 80 | 88 |
Senovės gruzinų literatūroje žymiausias verėjas buvo Efrem Mcirė. Jis įdegė gruzinų vertimo tradicijose naujus požiūrius ir pricipus, kurie numato labai tikslų originalo vertimą. Pagal jo koncepciją, kūrinio vertimą reikia pradėti nuo patikimo pirminio šaltinio paieškų. Literatūrinis tuometinių vertėjų etikėtas įparegodavo vertėją ištirti, ar nebuvo jau išverstas į gruzinų kalbą pasirinktas kūrinis. Pakartotinis vertimas turėjo būti įtikinamai pagrįstas. Pakartotinis vertimas galimas tik tuo atvėju, jeigu vertimas buvo atliktas ne iš originalo kalbos, arba originalas buvo sutrumpintas ir papildytas pirminiu vertėju, dėl ko vertimas galėjo prarasti savo unikalumą. Šis požiūris į vertimą yra aktualus ir šiandien. Jeigu apibendrinti E. Mcirės posakį, kur jis reikalauja versti labai tiksliai, gausime tokią formuluotę: „Viskas iš originalo, ir viskas taip, kaip originale“. Ši formuluotė ir šiandien yra kertinis akmuo vertime.
The 11th century can be regarded as the beginning of a special stage in the centuries-long history of the Georgian tradition of translation. At that period a prominent position was occupied by the representatives of the Hellenophile School of Translation. Among them was the outstanding Georgian translator and scholar Ephrem Mtsire, who worked in the monastic center of the Black Mountain (the region of Antioch). Ephrem Mtsire established new principles and approaches, which emphasized a precise translation of the original. According to his conception, the process of translating a composition started with the acquisition of a “reliable and undoubtful” original. It could not itself be a translation, even a precise one. A composition should be translated only from the language of its creation. During the process of selection, a translator had to obey the interpreters’ literary etiquette, which obliged him or her to consider the existence of any previous Georgian interpretations of the chosen composition. Each concrete case of creating a second translation of a book demanded convincing argumentation in order to avoid the perception of the translator’s wish as daring or “showing off”. Retranslation of a composition was allowed only in those cases when the previous translation had not been made from the language of the composition’s creation, or when the original had been adaptively translated by the earlier interpreter. The adaptive way of interpretation (shortening or extending) could cause the loss of the depth and vividness of the original. The emphasis can be put on the present-day relevance of the approach of the translators who worked at the end of the 11th century and the beginning of the 12th century. If we generalize Ephrem Mtsire’s famous phrase, in which he demands translating everything from Greek by making precise translations (“Everything from Greek and as everything is in Greek”), we can get the following formulation: “Everything from the original and everything similarly to the original.” This formulation still serves as the basis of translation activities even nowadays. A translation must be done from the language of creation and must convey thoughts and emotions in a way similar to the original.