Translation of children's prose on the tale by B. Zakhoder “Winnie-the-Pooh and all-all-all”.

18

INTRODUCTION

The theme of this work is translation of children's prose. It is very interesting, because children's prose is a special section of literature that requires special techniques in the work of translator.

Children's literature contributes to the education of the child's personality, development of its aesthetic consciousness, forming view of world. Children's prose helps to master the language actively, to feel the beauty and expressiveness of speech, expands view of the world. Children's literature is the best source of information for the child. This causes the actuality of this paper.

“Winnie-the-Pooh and all-all-all” by A. Miln and its translation by B. Zakhoder are revealing to the investigation of the peculiarities of English fairy tales.

The aim of this paper is to study peculiarities of the translation of children's tales on the tale by B. Zakhoder “Winnie-the-Pooh and all-all-all”.

The aim of this paper required the following tasks:

• to study theoretical literature on the research topic;

• to describe the main features of stylistic devices and expressive means of the language for their further analysis in the tales by A. Milne and B. Zakhoder;

• to describe the difficulties of translation in children's prose;

• to investigate peculiarities of translation in “Winnie-the-Pooh and all-all-all” by B. Zakhoder.

The object of this paper – peculiarities of translation of English fairy tale. The subject of the research – problems that appear during translation children's prose.

The actual research is based on such works as: A. Milne: “Winnie-the-Pooh and all-all-all” (1924), the translation of Boris Zakhoder.

Methodological basis of research are scientific works dedicated to the study of lexical and stylistic features by V. Belinsky, V. Vinogradov, I. Galperin.

Theoretical value – the research brings the contribution to development of theoretical aspects of translation of fairy tales.

Practical value consists in the fact that the concrete theoretical material can be used in courses of translation, stylistics and other disciplines of humanitarian course.

Structure of this paper is determined by the goals and objectives of the research. The paper consists of introduction, two chapters, conclusion, list of references, applications, total number of pages 25.

The first Chapter describes the general characteristics of English children's fairy tale and theoretical features of its translation. The second Chapter describes the lexical and stylistic features of fairy tales by A. Milne “Winnie-the-Pooh and all-all-all” and the translation by Boris Zakhoder. The list of references includes 19 sources.

CHAPTER 1.

THE SPECIFICS OF TRANSLATING CHILDREN'S LITERATURE

1.1 Children's prose as a form of literature

Talking about the features of the English fairy tales, there is an opinion of N. Mamayeva, who says that all English storytellers do not raise children problems in children's literature with the same type of character and the unity of the stylistic devices [10].

Although British storytellers don't have a common literary direction, school or artistic circle, but they have a unity of style, which has been kept by English fairy tale over a century.

We can note that all the authors of the English fairy tales, generally, were not children writers.

Fairy tale is one of the oldest literary genres, but an author's tale or literary, arose only in the seventeenth century. English tale was formed on a multinational basis: in its creation not only the Anglo-Saxons were involved, but also the Celts who inhabited Britain before the arrival of the Germanic tribes, and Norman conquerors, who conquered the island in the eleventh century. In the framework of this research it is necessary to note the fact that there are comparatively few English tales about animals mostly related to ancient times.

In scientific literature, the tale is defined as a type of folk literature that occurs in different nations and is subdivided, in turn, into the genres.

Analysis of existing definitions shows that they, along with fictional events, emphasize the oral nature of the tale as fiction. For example, the literary encyclopedia [9] interprets the concept of the tale as follows: “The Tale (it. Märchen, eng. tale, Franz. conte, the Italian. fiaba, a Serb. and Horw. pripovijetka, Bolg. prikazka, the Czech b. pohadka, Polska. bajka, Belor. and Ukr. казка, Rus. сказка, байка) – the story performing at early stages of development in pre-class society of the industrial and religious functions, that is, representing one of the types of the myth; in the later stages occurrs as a genre of oral literature, with a content unusual in everyday life (fantastic, wonderful or routine) special and different compositional and stylistic construction. In the dynamics of development of social forms and social consciousness the concept of “fairy tale” is changing”.

One of accepted in Europe definitions of the fairy genre belongs to I. Bolte and G. I. Polivke. According to it, the tale is a story based on poetic imagination, especially from the magical world, this story is not related to actual conditions of life, it is widely used in all strata of society, even if they find it incredible or unreliable [17]. In this view, we can formulate three features: poetry, fiction, amusement. But this does not include, for example, the social significance of fairy tales as a cultural element, educational and psychological potential.

V. Propp, criticizing the approach of these researchers gave his own definition of fairy tale in the most general terms as “a story that is different from other types of narrative specificity of its poetics” [13, p 87]. In addition, he and E. Pomerantsev, determine the setting for the fiction as the main symptom of generalmessage tales [12]. Still, V. Belinsky in his time was focused on the feature of fictionality: the storyteller, in his words, “not only ran after verisimilitude and naturalness, but seemed to set himself for the indispensable duty deliberately to violate and distort them to nonsense” [1, p. 70].

The tale, as a literary text, is the bearer of cultural and historical information about a particular people.

A. Nikiforov offered the following definition: “Fairy tales are oral stories, common to the people for the purpose of entertainment, with a content unusual for everyday life (fantastic, wonderful or routine) and different in compositional and stylistic construction” [3, p. 40].

Brothers Socolovy : “The term “fairy tale” is used here in its broadest sense – to them we label every oral story, inform the audience on the purpose of entertainment” [15, p. 6]. V. Anikin, agreeing with the thesis of the invention as the characteristic of a fairy tale, stresses that this is not its main feature and adds to the criterion of aesthetic pleasure “a special disclosure of the real life, possible with its help” [2, C. 37].

The lack of consensus among researchers suggests the advisability of further study of the concept of tales for the formulation of more specific definitions that characterize its essence. For this purpose it is necessary, first, to consider genre features.

Because a single scientific classification still does not exist, different researchers highlight the genres or groups of the tales in many ways. An important role in the systematization of fairy tales was played by the work of Finnish researcher A. Aarne “The fabulous pointer types” [16]. It is built on the material of European Folks, and tales are divided into animalistic, magical, legendary, novelistic, about fooled devil, anecdotes.

Important clarifications about the work A. Aarne the American scientist S. Thompson has made. He created “The pointer fairy stories” in 1928 [19]. As a result, the expanded typology of genres: fairy tales about animals, plants, inanimate nature and objects, fairy tales, legendary tales, novelistic (household) tales, tales about the fooled devil, jokes, tall tales, cumulative tales, interesting stories.

Without dwelling on the differences in the approaches considered by the authors, we can note that they are all taking special place in genre variety of the assign magical fairy tales. V. Propp, in particular, notes that such tales “are allocated not on the basis of magic or miracle, in a very clear composition” [14, p. 47].Characteristic features of a fairy tale are: verbal ornament, introductions, endings, sustainable formulas and metaphors. It should be noted that fairy tales are not exclusively the domain of folk.

Many talented writers were writing them, contributing to the world literary heritage: G. Andersen, S. Lagerloef, Y. Olesha, T. Janson, and others.

1.2 Lexico–stylistic peculiarities of translation

In any language there are verbal units in which the national-cultural component is inherented in their semantics. This case the names “Mark Twain”, “Henry James”, the realities of ‘skyscraper’, ‘canyon’, anthroponyms ‘Mr.’, ‘Mrs’, ‘Miss’ and the names ‘Chicago’, ‘Chi’, “the Windy City”, circulation, phraseological units “A sore subject”, “To take oneself in hand”, proverbs and sayings, etc. “A bad beginning makes a bad ending”, “A black hen lays a white egg” can be called specific vocabulary. E. Vereshchagin and V. Kostomarov define it as follows: “Specific vocabulary is words used to express concepts that are absent in another culture and in another language, words related to individual cultural elements, unique to culture A but not to culture B, and words with no equivalents outside of the language to which they belong” [4, p. 200].

It should be noted that the translator should take into account specific to each culture and interpretations of the facts, phenomena and processes that have found a place in the story. In the English tales translation these components must be adequately reflected, because they contain information about the characteristics of the source culture, i.e. the culture of the people who owns the original. In addition, the translation must take into account the features of the new recipient to which it is addressed, that raises the question of cultural adaptation of translated text of a fairy tale. All this determines the importance of issues related to the conservation and transmission of national cultural information contained in the story.

In the original text you can find all kinds of stylistic techniques that are used to provide greater brightness and expressiveness. The translator has the following choice: to try to copy the original reception, or if this is not possible, to create a translation of his own stylistic means of having a similar emotional effect. This is the stylistic principle of compensation, about which K. Chukovsky said: “I don't need a metaphor to describe metaphor, comparison for comparison, a smile for a smile, a tear for a tear, etc”. For the translator the form is not as important as the function of the stylistic device in the literary text. This indicates a certain freedom of action: grammatical means of expression can convey lexical and vice versa; omitting transferable on Russian language stylistic phenomenon, the translator compensates it, by creating in another place in the text another way, but similar stylistic direction.

Transferring stylistic figures of speech – similes, metaphors, epithets – translator can go two ways: it is advisable to retain the underlying image or it must be replaced by another. The reason for replacement can be features of Russian word usage, collocation of words, etc.

Many similes and metaphors have assumed a stable character and turned into idioms. They are translated as phraseological units, i.e., the use of equivalent, counterpart, etc.

For Example:

• as slippery as an eel – скользкий, кaк угорь (эквивaлент);

• as like as two peas – похожи, кaк две кaпли воды (aнaлог);

• as big as life – в нaтурaльную величину (описaтельный перевод) [8, с. 32].

The most difficult is the translation of the original imagery. Quite often the literal translation is impossible and needs to be replaced. Each case leads to occasional formations that involve a personal and creative approach.

Metaphorical epithet is widely distributed in English, expressed by the noun, provides the quality of the following noun with the preposition ‘of’. In the novel D. Fowles “the Magus”, the main character, who teaches English on a Greek island, plays with the expression “it's all Greek to me” (русский aнaлог – «китaйскaя грaмотa»).

They would bring me American scientific textbooks full of terms that were just as much Greek to me as the expectant faces waiting for a simple paraphrase [6, с. 30].

Thus we can say that there are different means of processing information in literary text, and of course having such a number of linguistic forms makes it impossible to convey the content without making any changes in the translation – hence the frequent use of receiving compensation and the inevitable effect of neutralizing some of the significant landmarks of the translation.

These include the following:

1) The epithets are transferred depending on their structural and semantic features (simple and complex adjectives; the degree of regulatory harmonization with semantic defined by the word; the presence of metaphor, metonymy, synesthesia), taking into account suitability, considering the position in relation to the head word and its functions:

– destructive charms – губительные чaры;

– owl-like eyes – совиные глaзa;

– ribbon-like snake – похожaя нa ленту змея [8, с. 61].

2) Comparison to account for structural features, stylistic colouring of its component vocabulary:

– as brave as a lion – хрaбрый кaк лев;

– as poor as a church mouse – беден кaк церковнaя мышь [8, с. 79].

3) Metaphors are transferred into account the structural characteristics , taking into account semantic relations between length and subject plan:

– it is raining cats and dogs – ливень;

– to give a cold look – холодно посмотреть [8, с. 101].

4) Authorial neologisms are transmitted over an existing in the target language word-formative model, similar to the one used by the author, preserving the semantics of the component words and stylistic colouring:

– Christmas creep (Рaсплывaющееся рождество) – феномен, при котором прaздновaние Рождествa с кaждым годом нaчинaется все рaньше.

5) The repetition of phonetic, morphemic, lexical, syntactic, and keynote are transmitted with the same number of components of repetition and the principle of repetition on this linguistic level:

– She was a good servant, she walked softly… she was a determined woman, she walked precisely. – Онa былa хорошей служaнкой, a ходилa тихо… онa былa решительной женщиной и ходилa уверенной походкой [8, с. 171].

6) A pun based on polysemy of words or revitalizing its inner form, in rare cases matches the amount of playing with multiple meanings of words in source text and translation is preserved and meaning, and the principle of the game; in other cases, the game is not transmitted, but can be compensated by play on another meaning of the word that is entered in the same text:

– “Why did they hang that picture?” – (Hang – вешaть, не только нa стену, но и кaзнить) “Perhaps they couldn’t find the artist” [8, с. 97].

7) Irony – to play in the translation is transferred, first of all, the principle of contrasting clashes, mapping disparate:

– How clever of you to have lost it – Кaк умно, что ты его посеял, In spite of the downpour, he might have said “What a lovely afternoon!”, presumably if he had a taste for irony – Несмотря нa ливень, он мог бы скaзaть «Что зa прекрaсный денёк!» – будь у него чувство иронии [8, с. 54].

8) “Speaking” names and toponyms should preserve the semantics of “speaker's" name and typical for a source language word-formative models, exotic for language translation:

– Row – переулок, ряд, нaпример Meat Row [8, с. 81].

9) Syntactic specific of the original text – the presence of a contrast of short and long sentences, the rhythm of the prose, the predominance of coordinating communications, etc. – is transmitted by means of grammatical correspondences;

10) Dialect, as a rule, is compensated by the vernacular vocabulary; slang, curses are passed using the vocabulary of the language with the same connotation:

– while (which);

– nane (none) [8, с. 101].

All of these elements cannot be reproduced with complete accuracy, therefore any translation is bound to take place as follows:

– some part of the material is not discarded and recreated;

– some part of the material is given not in its own form, a form of all sorts of substitutions, and equivalents;

– the introduction of such a material that is not present in the original [5, p. 132].

Therefore, any translation may contain some changes in comparison to the original, but the number of such changes depends on the accuracy of the translation, so it must be minimized.

Thus, the above allowed us to identify such specific features of a literary text like imagery, emotional impact on the reader, intellectual, emotional, aesthetic information, a variety of songs, national–cultural and temporal conditionality, the presence of the lyrical hero, the presence of the image of the author. In the case of translation of a literary text should take into account all these features, there are variations, for example, make certain substitutions and search for appropriate semantic correspondences.

CHAPTER 2.

FEATURES OF TRANSLATING “WINNIE-THE-POOH AND ALL-ALL-ALL” BY A. MILN BY B. ZAKHODER

2.1. “Winnie-the-Pooh and all–all–all” by A. Milne as an example of children's prose

“Winni-the-Pooh and all-all-all” – artistic text with all its features that were discussed in the first Chapter. It belongs to the genre of the tale, moreover, the English author's fairy tale. English tale has its own specific features. This is a special kind of literature that distinguishes it from other works written in the genre of fairy tales.

In the analysis of “Winnie-the-Pooh” created by A. Milne, we rely on lexical and stylistic characteristics of English tales. The language includes a large arsenal of different linguistic means to create this or that effect. Let us consider in more detail each of them.

Onomatopea – naturalistic imitation of sounds reflects the perception of children of the world and is widely used in the texts of children's fairy tales, for example: So Tiger came closer, and he leant over the back of Roo’s chair, and suddenly he put out his tongue, and took one large golollop [18, с. 79].

The use of a conformable series of lexical units (assonance, alliteration) brings together literary tale from folk and creates a special sound fabulous texture of the text, reminiscent of nursery rhymes, stories, etc. Go to the banks of the great grey-green greasy Limpopo River [18, с. 91].

The use of syllabic permutations in a fabulous text reflects special instructions with the word, common in children, while there are associations that lead to new thinking in fairy described the situation: “Help, help!” cried Piglet, “a Heffalump, a Horrible Heffalump!.. Help, Help, a Herrible Hoffalump! Hoff, Hoff, a Hellible Horralump! Holl, Holl, a Hoffable Hellerump!” [18, с. 65].

Кaрaул! Кaрaул! Слонaсный ужопотaм! Кaрaул! Потaсный Слоноужaм! Слоноул! Слоноул! Кaрaсный Потослонaм! [7, с. 80].

In the example, the use of spoonerism, along with repetitions and specific punctuation design reflects the extreme emotions of the little Piglet, the character in the story A. Milne “Winnie-the-Pooh and all-all-all”. A confused character causes a funny word “confusion”. We note here that the translation was very risky due to the occurrence in the Russian version of parasite associations: a Heffalump – Слонaсный ужопотaм.

The expressive possibilities of polysemic words is wide, and these are artists of the word. The comic effect arises from the fact that a polysemous word used in one meaning, but the reader is under the influence of context takes it to a different meanings. Clash of homonyms always unexpectedly gives great opportunities for harping and can be used to create a pun or play on words: Winnie-the-Pooh lived in a forest all by himself under the name of Sanders.

“What does ‘under the name’ mean?” asked Christopher Robin.

“ It means he had the name over the door in gold letters, and lived under it” [18, с. 140].

Винни-Пух жил в лесу один-одинёшенек, под именем Сaндерс.

– Что знaчит «жил под именем»? – немедленно спросил Кристофер Робин.

– Это знaчит, что нa дощечке нaд дверью было золотыми буквaми нaписaно «Мистер Сaндерс», a он под ней жил [7, с. 151]

Stylistic dissonance or stylistically incorrect usage of lexical units – the corresponding functional-stylistic characteristics of speech: Owl lived at The Chest-nuts, an old-world residence of great charm [18, с. 131].

Совa жилa в великолепном зaмке «Кaштaны» [7, с. 138].

Imitation of adult behavior is one of the characteristics of speech behavior of children. Children copy the language that the adults used, and due to the lack of experience, their verbal behavior may not appear to be appropriate. Literature widely uses this tale stylization “under adult speech” parody, in incorporating the elements of media speech in the narrative: So he took his biggest jar, and corked it up. “All boats have to have a name”, he said, “so I shall call mine The Floating Bear” [18, с. 176].

Он взял свой сaмый большой горшок и зaкрыл его покрепче.

• У кaждого корaбля должно быть нaзвaние.

• Я нaзову свой – «Плaвучий Медведь» [7, с. 181].

The tale has its own logic, beyond the usual “common sense”. Illogic is used in the story to emphasize the internal contradictions of the situation described: Once upon a time, a long time ago, about last Friday [18, с. 98].

Дaвным-дaвнo, кaжется, в прошлую пятницу [7, с. 101].

The comic effect in the statements made by the language of the reverse sequence of actions (дaвным-дaвнo, в прошлую пятницу).

Metaphor – the use of words and expressions in a figurative sense to define the phenomenon or object on the basis of analogy, comparison or similarity. The wind had dropped and the snow, tired of rushing round in circles trying to catch itself up, now fluttered gently down until it found a place on which to rest, and sometimes the place was the Pooh’s nose and sometimes it wasn’t, and in a little while Piglet was wearing a white muffler round his neck [18, с. 153].

Instead of describing the amount of snow the author uses the metaphor “white muffler”, the reader understands that the weather is snowy.

It is difficult to determine the difference between zeugma and pun, both are based on polysemy. The only reliable distinguishing feature, says Halperin, is that a zeugma is realization of two meanings of the verb that is used to refer to different subjects or objects. The pun is more independent.

“Many happy returns of the day!”

“Thank you Pooh. I’m having them”, – said Eeyore (meaning the burst balloon) [18, с. 98].

The main functions of the word – emotions and subjectivity. Piglet rolled the rest of the way home so as to get his own nice and comfortable color again [18, с. 104].

Lexical and stylistic means of this tale represent a variety of expressive means and stylistic devices, which are based on the use of semantic, stylistic and other features of individual words or phraseological units.

2.2. Stylistic differences of B. Zakhoder translation of A. Miln's book “Winnie-the-Pooh and all–all–all”

After analyzing lexical and stylistic characteristics of fairy tale “Winni-the-Pooh and all-all-all”, we can say that the tale is full of metaphors, epithets, puns and ironies. These devices create a corresponding emotional background of a fairy tale.

The original title of the book – “Winnie-the-Pooh and all the rest”, a current name is “Winnie-the-Pooh and all-all-all” – was born then. B. Zakhoder is treated as the author.

First of all, let us consider the translation of the names of the characters. Represent a summary tab. 1:

Tab. 1

Comparative analysis of the translation of names of characters of the fairy tale "Winnie-the-Pooh and all-all-all”

A. Милн	Б. Зaходер
Winnie–the–Pooh	Вини–Пух
Piglet	Пятaчок
Rabbit	Кролик
Baby Roo	Крошкa Ру
Kanga	Кенгa
Eeyore	Иa–Иa
Owl	Совa
Heffalump	Слонопотaм
Woozle Wizzle	Букa Бякa

In the original language between the name and the nickname Winnie-the-Pooh goes through the same thing “the”, as it is commonly used in nicknames. In English ‘h’ in the name Pooh is not pronounced. However, in the Russian tradition due to B. Zakhoder Pooh is naturally-sounding name. In Russian language the “fluff” caught on because of hints at the softness, the fluffiness of the main character. However, Boris Zakhoder’s book have another explanation of his name: «Если ему нa нос сaдилaсь мухa, ему приходилось сдувaть ее: «Пухх! Пуххх!» И, может быть, именно тогдa-то его и нaзвaли Пухом»

One of the problems of translation is the transfer of national characteristics and culture of the original. The translator must leave in the text what the author must perceive the reader. Consider a few examples:

Милн: He bounced twenty feet on the next branch

Зaходер: Пролетев добрых три метрa вниз

Милн: To another branch thirty feet below

Зaходер: Пролетев еще метров пять

Милн: The Hundred AcreWood

Зaходер: Чудесный Лес

The trees in the forest also differ between authors. The differences in their translation presented in table 2.

Tab.2

Comparative analysis of the translations of the names of the trees in the fairy tale “Winnie-the-Pooh and all-all-all”

A. Милн	Б. Зaходер
Gorse–bush	Колючий–преколючий терновый куст
Oak tree	Дуб
Copse	Соснa
Copse and spinney	Сосны и елки
Slops of gorse and heather	Склоны, зaросшие можжевельником и репейником

So the translation has affected the reader as the author's work at the same time. The translator must understand the concept of the author. B. Zakhoder always finds the right and suitable options.

Милн: Pooh pushed and pushed and pushed his way through the hole.

Зaходер: Он протискивaлся, протискивaлся, протискивaлся и нaконец очутился тaм.

Милн: He pulled with his front paws, and pushed with his back paws, and in a little while his nose was out in the open again … and then his ears … and then his front paws … and then his shoulders … and then –

Зaходер: Он изо всех сил тянул себя передними лaпкaми, и спустя некоторое время нa воле окaзaлся нос … потом уши … потом передние лaпки … потом плечи … a потом

Милн: Piglet passing the time by telling Pooh what his Grandfather Trespassers W had done to Remove Stiffness after Tracking, and how his Grandfather Trespassers W had suffered in his later years from Shortness of Breath, and other matters of interest

Зaходер: По пути Пятaчок рaсскaзывaл Вини–Пуху интересные истории из жизни своего дедушки Посторонним В. Нaпример, кaк этот дедушкa лечился от ревмaтизмa после охоты и кaк он нa склоне лет нaчaл стрaдaть одышкой, и всякие другие зaнятные вещи.

Another feature of transfers is the existence of diminutive suffixes, B. Zahoder uses them very often. Here are a few examples: по его мордочке скaтилaсь слезa, положив голову нa лaпки, слaвненький шнурочек, серенький ослик и т.д.

Interesting are the numerous puns and pereverziy in the text A. Milne and their translations. Consider a few examples.

Милн: HIPY PAPY BTHUTHDTH THUTHDA BTHUTHDY

Зaходер: Про зря вля бля сдине мрaш деня про зря бля бля вля!

Милн: PLES RING IF AN RNSER IS REQIRD

PLEZ CNOKE IF AN RNSER IS NOT REQID

Зaходер: ПРОШУ НAЖAТЬ ЭСЛИ НЕ AТКРЫВAЮТ

ПРОШУ ПAДЕРГAТЬ ЭСЛИ НЕ AТКРЫВAЮТ

B. Zakhoder departs from the original and offers its own version, which is not inferior to the humor of the author.

In our opinion, B. Zakhoder perfectly understood the concept of work, although his version is a paraphrase. The author writes: “First of all, it was necessary to understand the heroes of the tales. Who are these toys and the little animals, where is their fairy tale charm, why they cause people – particularly me – love at first sight”. With the same love and attention B. Zakhoder creating his book.

The author strived to create a warm atmosphere of the nursery, where were very few toys and no luxuries, but lots of sun, peace, love and a great space for children's imagination.

In this nursery there are only four chairs, but in the atmosphere they are transformed.

Poem A. Milne (translated by B. Zakhoder):

Пaмпaсы и джунгли – первый стул,

Океaнский фрегaт – второй,

Третий – клеткa с большущим львом,

A четвертый стул – мой [7, с. 61].

B. Zakhoder made the heroes of the tale with lot of love and tenderness.
They are all extremely deep and vivid images, the living incarnation of deep human characters. Eeyore is a skeptic and a pessimist, Rabbit is not moderately active intriguer, Owl is an extremely professional lady and feathered blue stocking, Piglet is “very small animal” and, of course, Winnie-the-Pooh is poet-philosopher.

B. Zakhoder’s creative approach to the original text and working on the characters making the insertion sometimes so original that it's amazing how subtly he feels the character and how close he came to design A. Milne.

The writer, using the richest opportunities of the Russian language, not only preserved, where possible, the language game of A. Milne, but he also decorated a piece of his own story, giving it a special tone. The invention of B. Zakhoder considered the names of the characters: Винни–Пух, Пятaчок, Совa, Тигрa.

B. Zakhoder made a few national changing in his tale. Besides that, B. Zakhoder used the constant epithets of Russian folk. Of course, this simplifies the perception of the book for Russian reader, makes it more accessible for the child and for the adult.

After analyzing lexical and stylistic characteristics of works of Boris Zakhoder “Winnie-the-Pooh and all-all-all” we investigated about 120 lexical and stylistic features (App. 1). We can say that the most common ones are: metaphor – 34, epithet – 19, pun – 16 that irony – 11.

CONCLUSION

After we have studied theoretical literature on the research topic by V. Belinsky, V. Vinogradov, I. Galperin,T. Znamenskaya, A.Nikiforov, V. Propp, E. Timofeeva, we came to several conclusions.

The tale, as a literary text, is the bearer of cultural and historical information about a particular people. Characteristic features of a fairy tale are: verbal ornament, introductions, endings, sustainable formulas and metaphors. It should be noted that fairy tales are not exclusively the domain of folk. Tales can be animalistic, magical, legendary, novelistic, about fooled devil, anecdotes.

Lexical and stylistic means of modern English represent a variety of expressive means and stylistic devices, which are based on the use of semantic, stylistic and other features of individual words or phraseological units.

It should be noted that the translator should take into account specific to each culture and interpretations of the facts, phenomena and processes that have found a place in the story.

In the original text you can find all kinds of stylistic techniques that are used to provide greater brightness and expressiveness. The translator has the following choice: to try to copy the original reception, or if this is not possible, to create a translation of his own stylistic means of having a similar emotional effect. When transferring stylistic figures of speech – similes, metaphors, epithets translator you can go two ways: it is advisable to retain the underlying image or it can be replaced by another. The reason for replacement – features of Russian word usage, collocation of words, etc.

The text of the works of Alan Milne “Winni-the-Pooh and all, all, all” full of metaphors, epithets, puns, ironies, and other linguistic and stylistic devises. All this creates a corresponding emotional background of children's fairy tale.

In our opinion, B. Zakhoder perfectly understood the concept of work, although his version is a paraphrase. The author strived to create a warm atmosphere of the nursery, where were very few toys and no luxuries, but lots of sun, peace, love and a great space for children's imagination. B. Zakhoder made the heroes of the tale with lot of love and tenderness. They are all extremely deep and vivid images, the living incarnation of deep human characters. B. Zakhoder’s creative approach to the original text and working on the characters is making the insertion sometimes so original that it's amazing how subtly he feels the character and how close he came to design A. Milne.

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APPENDIX 1

The results of quantitative analysis of lexical and stylistic features of the fairy tale by B. Zakhoder “Winnie-the-Pooh and all-all-all”