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George Bernard SHAW - Pygmalion: a romance in five acts.
PREFACE TO PYGMALION - A PROFESSOR OF PHONETICS
AS WILL BE SEEN later on, Pygmalion needs, not a preface,
but a
sequel, which I have supplied in its due place. The English
have no
respect for their language, and will not teach their
children to speak
it. They cannot spell it so abominably that no man can teach
himself
what it sounds like. It is impossible for an Englishman to
open his
mouth without making some other Englishman hate or despise
him. German
and Spanish are accessible to foreigners: English is not
accessible
even to Englishmen. The reformer England needs today is an
energetic
phonetic enthusiast: that is why I have made such a one the
hero of
a popular play. They have been heroes of that kind crying in
the
wilderness for many years past. When I became interested in
the
subject towards the end of the eighteen-seventies, the
illustrious
Alexander Melville Bell, the inventor of Visible Speech, had
emigrated
to Canada, where his son invented the telephone; but
Alexander J.
Ellis was still a London patriarch, with an impressive head
always
covered by a velvet skull cap, for which he would apologize
to
public meetings in a very courtly manner. He and Tito
Pagliardini,
another phonetic veteran, were men whom it was impossible
to
dislike. Henry Sweet, then a young man, lacked their
sweetness of
character: he was about as conciliatory to conventional
mortals as
Ibsen or Samuel Butler. His great ability as a phonetician
(he was,
I think, the best of them all at his job) would have
entitled him to
high official recognition, and perhaps enabled him to
popularize his
subject, but for his Satanic contempt for all academic
dignitaries and
persons in general who thought more of Greek than of
phonetics.
Once, in the days when the Imperial Institute rose in
South
Kensington, and Joseph Chamberlain was booming the Empire, I
induced
the editor of a leading monthly review to commission an
article from
Sweet on the imperial importance of his subject. When it
arrived, it
contained nothing but a savagely derisive attack on a
professor of
language and literature whose chair Sweet regarded as proper
to a
phonetic expert only. The article, being libellous, had to
be returned
as impossible; and I had to renounce my dream of dragging
its author
into the limelight. When I met him afterwards, for the first
time
for many years, I found to my astonishment that he, who had
been a
quite tolerably presentable young man, had actually managed
by sheer
scorn to alter his personal appearance until he had become a
sort of
walking repudiation of Oxford and all its traditions. It
must have
been largely in his own despite that he was squeezed into
something
called a Readership of phonetics there. The future of
phonetics
rests probably with his pupils, who all swore by him; but
nothing
could bring the man himself into any sort of compliance with
the
university to which he nevertheless clung by divine right in
an
intensely Oxonian way. I daresay his papers, if he has left
any,
include some satires that may be published without too
destructive
results fifty years hence. He was, I believe, not in the
least an
illnatured man: very much the opposite, I should say; but he
would not
suffer fools
gladly.
Those who knew him will recognize in my third act the
allusion to
the patent shorthand in which he used to write postcards,
and which
may be acquired from a four and sixpenny manual published by
the
Clarendon Press. The postcards which Mrs Higgins describes
are such as
I have received from Sweet. I would decipher a sound which a
cockney
would represent by zerr, * and a Frenchman by seu, and
then write
demanding with some heat what on earth it meant. Sweet, with
boundless
contempt for my stupidity, would reply that it not only
meant but
obviously was the word Result, as no other word containing
that sound,
and capable of making sense with the context, existed in
any
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Язык и перевод (Вопросы общей и частной теории перевода)
Теория и практика перевода с английского языка на русский
Теория перевода (лингвистические аспекты)
Слово живое и мертвое: от "Маленького принца" до "Корабля дураков"
Основы теории и практики перевода с русского языка на английский
Теодор ДРАЙЗЕР - Сестра Керри. Часть 2
Теодор ДРАЙЗЕР - Сестра Керри. Часть 1
Theodore DREISER - Sister Carrie. Chapter 2
Theodore DREISER - Sister Carrie. Chapter 1
Оскар УАЙЛЬД - Портрет Дориана Грея
Oscar WILDE - The Picture of Dorian Gray
Оскар УАЙЛЬД - Саломея
Oscar WILDE - Salome
Оскар УАЙЛЬД - Веер леди Уиндермир
Oscar WILDE - Lady Windermere's fan
Оскар УАЙЛЬД - Женщина не стоящая внимания
Oscar WILDE - A woman of no importace
Марк ТВЕН - Приключения Тома Сойера
Mark TWAIN - The Adventures of Tom Sawyer
Mark TWAIN - The Adventures of Huckleberry Finn
Джейн ОСТЕН - Чувство и Чувствительность
Jane AUSTEN - Sense and Sensibility
Джейн ОСТЕН - Гордость и Предубеждение
Jane AUSTEN - Pride and Prejudice
Джек ЛОНДОН - Белый Клык
Jack LONDON - White fang
Джек ЛОНДОН - Железная пята
Jack LONDON - The iron heel
Джек ЛОНДОН - Морской волк
Jack LONDON - The Sea wolf
Джек ЛОНДОН - Зов предков
Jack LONDON - The Call of the Wild
Марк ТВЕН - Приключения Гекльберри Финна
Бернард ШОУ - Пигмалион: роман в пяти действиях.
George Bernard SHAW - Pygmalion: a romance in five acts.
Долговременная и кратковременная фоновая информация
Диахронический аспект гипотезы Сепира-Уорфа
История переводческой деятельности в России
Лингвистические и переводческие лексические сопоставления
О природе и опасности буквального перевода
Политическая корректность, или языковой такт
Модели процесса перевода
Предмет, задачи и методы теории перевода
Начало глобализации английского языка
История происхождения английского языка
Восприятие и воссоздание текста как этапы переводческой деятельности
Вариантные соответствия
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