The lexical pecularities of Belarusian and English fairy tales

CHAPTER 1.THEORETICAL AND METHODOLOGICAL BASES FOR ANALYSING THE LINGUISTIC AND STYLISTIC FEATURES OF FAIRY TALE TEXTS

1.1 Fairy tales as a linguistic and cultural phenomenon

Folk tales are one of the oldest genres of literature, originating in ancient times. As centuries of experience of virtually all peoples and civilizations show, tales recount extremely important events and phenomena of a particular people. At the same time, their main value lies in the opportunity they provide to learn about the culture of the people who created them. In a light and easygoing manner, fairy tales reflect the customs, culture, mentality, and peculiarities of a people’s way of life.

Historically speaking, fairy tales are a relatively late phenomenon. The prerequisite for their creation in each nation was the decomposition of the primitive communal system and the decline of the mythological worldview.

A fairy tale is an epic text, usually realized in a narrative form, belonging to oral or written folk art, based on fiction, reflecting the national identity of a people through a specially structured system of linguistic means, symbols, characters, and semantic spaces. The main properties, features, and characteristics of the mythical and religious texts of the Russian and German peoples are realized in a certain way in fairy tales, which are one of the most important linguistic, cultural, and mythopoeic phenomena in this regard.

As a text, fairy tales have a number of specific compositional and stylistic features that are unique to this type of text, “as it has developed historically and been determined by the oral form of dissemination and existence of fairy tales” . Among the unique and distinctive features are the use of traditional stylistic tropes, standard beginnings and endings, and the repetition of episodes. One of the features of the fairy tale as a text is its language, which, in turn, has a number of specific features depending on whether it is the speech of a positive or negative character and how it reflects the thinking of the Russian or German storyteller. There is a certain difference in the characters of the heroes in the texts of Russian and German fairy tales; the author, accordingly, endows the hero with his own thoughts, and the national mentality undoubtedly had a certain influence here. The mentality of a nation is inevitably reflected in the thinking and outlook on life of its direct representative.

For many years, literary scholars and linguists have been studying fairy tales as a literary genre, and their works have formed the theoretical and methodological basis for research in this field.

The study of fairy tales is closely linked to the emergence of folklore studies as an academic discipline. In the 19th and 20th centuries, fairy tale studies developed within various scientific fields. In Germany, the works of the Brothers Grimm, T. Benfey, and I. Bolte made a great contribution. In Russia, A. N. Afanasiev, A. N. Veselovsky, V. Ya. Propp, and others had a significant influence.

A. A. Aarne made an important contribution to the systematization of fairy-tale types, publishing his Index of Fairy Tale Types in 1910. Based on this, S. Thompson created a multinational Index of Fairy Tale Types in 1928, and in 1929, N. P. Andreev compiled a Russian Index of Fairy Tale Plots According to the Aarne System. The Aarne-Thompson system served as the basis for the 1979 publication of the Comparative Index of Plots of East Slavic Fairy Tales by L. G. Baraga, I. P. Berezovsky, K. P. Kabashnikov, and N. V. Novikov.

Despite the apparent familiarity of fairy tales, there is no single definition of this literary genre.

According to the Great Russian Encyclopedia, a fairy tale is a genre of folklore or fiction. It is an epic, predominantly prose work with a magical, heroic, or everyday plot, characterized by a lack of historical accuracy and an undisguised fictional plot .

Russian educator Svetlana Belokurova writes that “a fairy tale is an epic genre of folk art, a prose oral story about fictional events. The peculiarity of a fairy tale is that its plot is based on fiction, unlike such genres of folklore as epics, myths, and legends” .

According to the Dictionary of Linguistic Terms, edited by O. E. Akhmanova, a fairy tale is “… one of the main genres of folk prose, which is characterized by fiction and is known to all peoples” .

According to researchers, the basis of fairy tales is the contrast between dreams and reality. The plot of a fairy tale is strictly sequential and linear, developing around the main character, whose victory is inevitable. Fairy tales consist of recurring motifs. The characters in fairy tales are static archetypes who are completely dependent on their role in the plot and are clearly divided into good and evil .

E. H. Harris, in defining fairy tales, identifies their polarity as their main feature. According to the researcher, fairy tales, most often folkloric, are always categorically polarized. As a rule, throughout the narrative, good remains good, and evil remains evil (the “stepmother-stepdaughter” situation).

The gradation of the hero’s emotional state and the absence of the realities of the outside world in the fairy tale are also distinctive features of the fairy tale. The latter feature is quite paradoxical, since the more the fairy-tale world differs from the real world, the closer it is to it.

According to V. Ya. Propp, “… a fairy tale is essentially an untrue story. Fairy tales that have entered literature take on the character of novellas, i.e., narratives that are attributed a certain degree of authenticity. They acquire a precise chronological and topographical setting, their characters are given personal names, types are transformed into characters, personal experiences begin to play a major role, the setting is described in detail, and events are presented as a causal chain”.

1.2 Classification of fairy tales

In modern linguistics, there is no single classification of fairy tales, but researchers most often use the classification proposed by V.Y. Propp:

• animal tales;
• • everyday tales;
• • magic tales.

CHAPTER 2

COMPARATIVE ANALYSIS OF ENGLISH AND BELARUSIAN FOLK TALES

2.1 Linguistic analysis of English folk tales

During the study, 20 English folk tales were analyzed. Using the continuous sampling method, we selected all lexical means characteristic of English fairy tales.

In the course of analyzing the fairy tales, numerous techniques used to create a “fairytale” effect were identified: epithets, comparisons, meaningful names, repetitions, etc.

Among the lexical stylistic devices used in the fairy tales about animals, epithets are the most common, allowing for a more accurate description of the characters in the tale. For example, “a cunning beast”, “a terrible beast”, “a stupid wolf”, “an old wolf”, “scary wolf”, “angry and hungry wolf”, “toothy mouth”, “thin tails”, “skinny piglets”, “Sly Fox”, “Little Red Hen”. A characteristic feature of English fairy tales is the predominance of emotional and evaluative epithets.

The analysis of magic fairy tales also revealed a large number of epithets used to create their special magical atmosphere. For example, we find “little room in the attic”, “a funny-looking old man”, “a beautiful flower”, “a mysterious forest”, “a cryptic garden”, “wonderful sound”.

The analysis revealed that emotionally evaluative epithets predominate in English fairy tales. While studying English fairy tales, we found that practicality, bravery, and the desire to preserve moral values are important qualities in the plot of fairy tales, which is why most emotionally evaluative epithets refer to these character traits: “hardworking boy,” “sly fox,” “heartless hunter.”

One of the characteristic features of English folk tales is the “talking” names of fairy-tale characters. For example, Chicken Licken, Henny Penny, Cocky Locky, Ducky Lucky, Drakey Lakey, Goosey Loosey, Turkey Lurkey, Foxy Loxy. As is well known, descriptive names allow fairy tale characters to be characterized more accurately, emphasizing their most striking features. It should be emphasized that most “talking “proper names are rhymed.

Quite often, English fairy tales use synonyms to diversify the vocabulary used. For example, pigs — hogs, swine; straw — hay, stalks; chimney — flue, vent; Wolf — Grey Monster.

The opposite of synonymy is antonymy, which allows fairy tale characters to be described briefly and vividly. For example, weak — strong, powerful; safe — dangerous, risky; sturdy — weak, fragile; succeed — fail, lose; friend — enemy, foe.

Since folk tales were created several centuries ago, they are often full of archaisms. For example, thou — you, hither — there, ere — before, art — are, wilt — will.

Metaphors are often used to create a special magical atmosphere in fairy tales. For example, “The Yellow Brick Road wound its way through the countryside like a ribbon, leading Dorothy and her companions closer to their goal”. In this example, we can talk not only about a metaphor, but also about a meaningful title and even the symbolism of the title.

The analysis of the texts of English fairy tales has revealed another characteristic feature: the special flavor of magical tales is created by the use of a large number of idioms. Fairy tales use many idioms that denote good luck in profitable ventures and are associated with enrichment in a general sense: “a big chest with bags of gold,” “a golden harp,” “a hen that lays golden eggs” .

A quantitative analysis of selected lexical units characteristic of English fairy tales leads to the conclusion that the most striking lexical features of English fairy tales are rhymed “talking” names, adjectives used as epithets, and archaisms.

2.2 Linguistic analysis of Belarusian fairy tales

An analysis of Belarusian folk tales reveals certain lexical features. One of the many techniques used in Belarusian tales is the use of epithets, which are often archaic. Moreover, the same epithets are often used in different tales, which may indicate the linguistic tradition of the Belarusian people. It is worth noting that most of the epithets used in Belarusian fairy tales are emotional and evaluative. For example, галодны пан, чалавечае iмя,чарадзейная шапка, напалоханыя людзi, гадкi пан, смачная яда, недалiкаватны сын, надакучлiвыя госцi , блакітныя вочкі, пяшчотнае сонейка, пухнатыя птушаняткі .

In Belarusian fairy tales, epithets are often used to highlight the main characteristic feature of a character or object, reflecting the people’s desire to give an emotionally charged description of the phenomenon they are observing:

«Жыў на свеце адзін добры чалавек».

«Слухай мяне, сынку: у зялёных лугах, на шаўковых мурагах пасецца конь сівай масці, з залатою грываю».

In Belarusian fairy tales, epithets are often used to highlight the main characteristic feature of a character or object, reflecting the people’s desire to give an emotionally charged description of the phenomenon they are observing: «Жыў на свеце адзін добры чалавек». «Слухай мяне, сынку: у зялёных лугах, на шаўковых мурагах пасецца конь сівай масці, з залатою грываю».

In Belarusian fairy tales, epithets are used not only to describe human characters, but also the beauty of Belarusian nature. This fact may indicate that Belarusians are proud of their homeland, the place where they were born and live.

One of the main lexical devices most frequently used in Belarusian folk tales is hyperbole. Hyperbole, a traditional stylistic device involving the exaggeration of characteristics, objects, and actions, fits very harmoniously into the fairy-tale context, as the unusual nature of its images naturally combines with the emotion of excess and exaggeration. Hyperbolic descriptions and formulas are distinguished by their vivid imagery and spectacular nature. Hyperbole, by exaggerating a property, quality, or action, contributes to the strengthening of the artistic impression: «За трыдзевяць зямель», «у трыдзесятым царстве», «трыццаць гадоў і яшчэ тры гады», «расце не па днях, а па гадзінах».

«Вырас тут лес, дрымучы ды высокі: карані ў дрэў на тры сажні пад зямлю сыходзяць, вяршыні аблокі падпіраюць».

In Belarusian fairy tales, animals usually play a secondary role — they are usually companions to the main character. However, there is almost always a respectful attitude towards animals, and in most fairy tales, a horse is man’s best friend: it helps, rescues, gives wise advice to the hero, and together they overcome all difficulties. Perhaps this is why in Belarusian fairy tales, horses are often affectionately referred to as «Конік».

This name reveals another striking lexical feature of Belarusian fairy tales — the use of a large number of diminutives. The diminutive-affectionate form is associated with the diminutive form, i.e. a word or form of words that convey a subjective evaluative meaning of small size, volume, and so on. However, diminutives also have both a diminutive-affectionate form («кошечка, домик, ключик»), and a diminutive-derogatory form («людишки, царьки, народишко»). A characteristic feature of Belarusian folk tales is the use of the first group of diminutives:

«Мілая ваверочка, раніца вечара мудранее, кладзіся спаць».

«Даражэнькая мая, схадзі набяры вады ў калодзежы».

«Дзетачка, ідзі паглядзі за канем».

The analysis of 20 fairy tales revealed more than 80 unique diminutives. For example, вослік, лапушка, душачка, кумачка, пушысцік, галінка, птушанятка, вожык, бусляняты, лісічкі, пухнацікі и др.

One more striking feature of Belarusian fairy tales is that animals have names, for example, Михайло Потапыч, Михаил Иванович (медведь — Михаил). However, English-speaking readers may not see the connection between the name Mikhail and the bear.

The analysis revealed that Belarusian fairy tales often use “talking” names, for example, Крапіўніца, Марскі Бягун, Вусач, Вадапой, Пражора, Мароз, Пакацігароша, Муха-пяюха, Ваверка-па-ветках-паскакуха, Зайчык-праз-дарогу-скок, Мышка-па-палiцах-скрабатуха, Жаба-па-балотах-рагатуха.

«Таму, дачушка, што ты ў нас адна: няма ў цябе ні братоў, ні сясцёр. Расцеш, як тая крапіва пры плоце. Таму і завуць цябе Крапіўніцай».

Belarusian fairy tales are full of idioms. Moreover, fairy tales are characterized by a certain excessiveness of idioms, expressed in the “stringing together” of idioms. For example,

«Ляпнуў Янка па цымбалах як лапцем па балоце і пайшлі ўсе скакаць. Толькі пан скрывіўся як серада на пятніцу».

«Было ў яго дзяцей як гароху мал мала меньш».

In addition to idioms, Belarusian fairy tales often use proverbs and sayings, which enrich the speech of the characters or are used to express the moral of the story: «Да пары збан ваду носiць», «Без хлеба — i мяса не яда». «Цi доўга чакалi, цi нядоўга, раптам бачаць». «Як пад’едзеш да сталіцы, каня пускай, а сам ідзі да студні і скажы, што ты адзін бярэшся льва паіць. А калі цар нойме цябе, дык не спі ў шапку».

«Начуйце сабе на здароўе», — кажа бабуля. «Той, хто па дарогах ходзіць, хаты з сабою не носіць».

As a result of analyzing the texts of Belarusian folk tales, we have found that the dominant lexical means of creating a fairy-tale atmosphere and the image of a fairy-tale character are epithets (27%), metaphors (20%), archaisms (17%), diminutives (31%), and hyperboles (23%).

2.3 Difficulties of Translating Belarusian Fairy Tales

A comparative analysis of English and Belarusian fairy tales revealed certain translation difficulties, which can be divided into several main categories.

The greatest difficulty is presented by lexical units represented by non-equivalent vocabulary and phraseological units, since they have no analogues in English.

For example, it is quite difficult to find the perfect translation for the expression «сястра-багацейка The only possible lexical variant in English is «a reach sister», which does not fully convey the negative connotation of the Belarusian word. By using this translation, we lose a certain emotionality.

We encounter exactly the same difficulty when translating the phrase «хоць рот зашывай», for which a functional equivalent must be found. At first glance, the English idiom «Hungry bellies have no ears» can be applied. However, this phrase corresponds to the Russian idiom «у голодного брюха нет уха», which means — «на голодный желудок человек не может думать ни о чем, кроме еды». In the context of the fairy tale «Беднаму заўсёды цяжка, а ў галодны год — хоць рот зашывай», The most appropriate functional equivalent of the phrase «хоць рот зашывай» is the English saying “Hope is the poor man’s bread», which allows us to preserve the emotional tone of the Belarusian text. The result is as follows: «Poor man’s life is always very difficult, but in a lean year only hope is poor man’s bread».

Phrases such as «як мядзведзь ў берлозе» are quite common in Belarusian fairy tales. Analysis of English idioms does not reveal any authentic equivalents, so the only correct solution is to use a calque «like a bear in his den».

A fairly large group of words that are difficult to translate are diminutives, i.e., words with diminutive suffixes, such as “вожык,” “бусляняты,” “лісічкі,” “пухнацікі,” etc., which are characteristic of the Belarusian language but are almost completely absent in English due to the peculiarities of the morphological composition of words. This is because, as is well known, there are practically no diminutive suffixes in English. As a result of our analysis, we find a number of lexical correspondences in the languages under study. First of all, these are words with the suffix -let-: карэнчык (корешок) — rootlet, галінка (веточка) — branchlet. However, quite often this suffix is used to give a word a negative connotation: kinglet — царёк, princelet — князёк . Words with the suffix -y- are also examples of diminutives in English: doggy — собачка, fuzzy — пушистик, sonny — сынок, froggy — лягушечка.

However, the word hedgehoggy, formed according to this word-formation model, is no longer a noun but an adjective meaning «ежиный», although in modern fairy tales it is still possible to find it used as a noun meaning «ёжик».

It is important to note that quite often the suffix -y- gives words a diminutive or derogatory character.

To give the words an emotional connotation, while emphasizing a reduction in size, the suffix -ling- is used in English: catling — котёнок, manling — человечек, oakling — дубок, duckling — утенок, gosling — гусёнок.

It should be noted that this suffix must be used very carefully, as it can give the word a derogatory connotation: “snakeling (snake cub)” — «змееныш». Taking into account the dual meaning of diminutive suffixes in English, While translating fairy tales it is necessary to be very attentive with the translation of diminutives. Quite often, the only way to translate diminutives is by adding a suffix.

The translator’s task is to use the English language to convey the author’s warm attitude towards the characters described. Unfortunately, here we can only add words such as “little”, “young”, “tiny”, and the like. To convey the emotionality of the fairy tale, we believe it is possible to add epithets that will give the text a certain flavor. For example, «пухнацікі» can be translated as “little floofs” or “little fluffs”. The word «вожык» can be translated as “little hedgehog”. In the process of translation, we find the following correspondences: «паненка» — “a young girl” (complete transformation), «ягадка» — “a small berry” (addition technique), «травінка» — “a grass blade” (or the obsolete and rarely used “herblet”, which in our opinion is more suitable in this case), «карэньчык» — “rootlet”, «лыжачка» — “spoonful” (dictionary equivalent).

The translation of phytonyms, words denoting the names of plants, presents another problem in translating Belarusian fairy tales into English. For example, the phytonym «зязюлiны слёзы» (cuckoo’s tears) is called “Job’s tears” in English (the tears of Jacob, the biblical prophet). However, this name cannot be used, as it completely distorts the meaning of the fairy tale. The most acceptable translation is “cookoo’s tears,” followed by a descriptive translation in parentheses: “in Britain this beautiful flower is called Job’s tears”.

When translating the names of fairy tale characters (Михаил Потапыч, Лиса Патривеевна), which do not evoke any associations for English-speaking readers, unlike Belarusian readers (Михаил — медведь), a holistic transformation can be applied: simply call the Bear, writing it as a name with a capital letter. A similar technique is used in the case of «пеунiк Пеця» («Петя-петушок»). Since the connection between the word cock (rooster) and the name Peter is not obvious to English-speaking readers, a complete transformation can be applied by using the word Cock. However, it is possible to use a calque, as in the case of the fairy tale «Коцik Петрык i мышка» (Peter the Cat and the Mouse). Since in this case there is no connection between the word «коцік» (kitten) and his name, it is possible to use the following option: “catling Peter” or “catling Peter by name”. In Belarusian fairy tales, diminutive and affectionate variants are often used instead of full names, so transliteration and transcription techniques can be used to convey the names of the main characters in Belarusian fairy tales, since these names do not exist in English: Янка — Yanka, Клiмка — Klimka, Алёнка — Alyonka.

In household fairy tales, so-called “talking names” are quite common, for example, Крапіўніца, Марскі Бягун, Вусач, Вадапой, Пражора, Мароз, Пакацігарошак.

Translation of such names is particularly difficult, as it is necessary to preserve their pragmatic potential in the translation process. The translator needs to convey not so much the sound image of the names as their additional connotation. In our opinion, the most acceptable way to translate them is through semantic development.

Additional complexity in translation is presented by such “speaking” names as Муха-пяюха, Ваверка па ветках паскакуха, Зайчык праз дарогу скок, Мышка па палiцах скрабатуха, Жаба па балотах рагатуха.

The name «Лісічкі-сястрычкі» often appears in Belarusian fairy tales. In our opinion, there is a play on words here. During our research, we analyzed dictionaries and English-language sources, which allowed us to find analogues of the expression «Лісічкі-сястрычкі» such as “foxy sisters,” “foxy-woxy,” and “little fox sisters”. In our opinion, “foxy sisters” is the most appropriate in the context of Belarusian fairy tales.

A serious problem when translating from Belarusian into English is national realities, i.e., words denoting everyday objects, etc., characteristic of Belarusian culture. In our opinion, the most correct approach would be to combine calquing with descriptive translation. For example, Belarusian fairy tales often contain words such as «харомы», «хата», «лапці», «кафтан», etc., which have no equivalents in English. The typical everyday reality of «базар» can be replaced in translation with the word “market”, which is understandable to foreigners. When translating the word скарбница, the word “treasure”, which is the dictionary equivalent of the Russian word «сокровище», does not quite convey the original meaning in this context. In our opinion, the most appropriate word here is “jewelry” — «сокровище». The word “skarbnica”, which comes from Polish, means “treasury” and is replaced in translation with “the treasury” — «казна, казначейство, сокровищница». When translating the legend, it is necessary to provide some translation comments and be sure to use the transcription/transliteration “skarbnitsa”, because without it, the text becomes too simplified and loses its Belarusian flavor.

The word «убранне» in a statement «Цудоўная прынцэса ў прыгожым убранні», a rather lofty, literary term, is quite common in Belarusian fairy tales. In our opinion, the somewhat archaic and elevated term “apparel” should be used here. In this case, the style of the text remains unchanged, and the lofty and poetic nature inherent in the Russian text is preserved — “A wonderful princess in a beautiful apparel”. When translating such a concept as «покои» into English, the rather refined and slightly outdated word “chamber” can be used.

CONCLUSION

Language is the “mirror of culture” of a people, a repository and means of intergenerational transmission of cultural values, and the most important tool for understanding reality. It is language that sets the parameters of a person’s perception of the world, stereotypes of everyday behavior, and participates in the formation of conceptual structures of personal consciousness.

Fairy tales are an important part of any nation’s cultural heritage, passed down from generation to generation, preserving the uniqueness of language and culture.

During the study, Belarusian and English folk tales were selected and analyzed for lexical features that reflect the mentality and culture of the people.

Based on the research conducted, it can be concluded that fairy tales are a reflection of the culture of the people who created them. Belarusian and English fairy tales have certain lexical features. For example, a characteristic feature of Belarusian fairy tales is the use of a large number of diminutives (words with diminutive and affectionate suffixes), which reflects the Belarusian people’s attitude towards children. There are practically no diminutives in English fairy tales, which reflects one of the main characteristics of the English linguistic picture of the world.

The study also revealed that both Belarusian and English fairy tales use a large number of proverbs, sayings, and idiomatic expressions. However, since the mentalities of the two peoples differ significantly, these devices present certain difficulties when translating fairy tales.

Therefore, when choosing translation techniques that help preserve the uniqueness of Belarusian fairy tales, it is necessary, first of all, to proceed from the lexical features of the fairy tale text, as well as from the characteristics of the mentality of the people who composed the fairy tale.

During our research, we encountered the following difficulties in translating Belarusian fairy tales, which can be divided into several main categories:

1. non-equivalent vocabulary and phraseological units, as they have no analogues in English;

2. diminutives, since there are no diminutive suffixes in English, and the translator’s task is to use the means of the English language to convey the author’s warm attitude towards the characters described;

3. phytonyms denoting plants growing in a particular area.

As a result of a multifactorial analysis, it can be concluded that most lexical units are translated using equivalent expressions, transcription, and transliteration with explanations. In order to preserve the national flavor, the translation of fairy tales includes several techniques: transliteration, selection of equivalent expressions, descriptive method, and semantic development method. These methods can be used separately or in combination.

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