TRANSLATION ASSESSMENT AND CRITICISM OF THE TRANSLATION OF THE MAN OF PROPERTY, BOOK ONE OF THE FORSYTE SAGA, TRANSLATED

BY VEDAT KOKONA
By Erjona Pica A Thesis Submitted in Fulfillment of the Requirements for the Degree of Master of Science In Translation and Conference Interpreting At University of Tirana Faculty of Foreign Languages English Department 2010-2012

Acknowledgements

I would like to acknowledge and extend my heartfelt gratitude to Professor Viktor Ristani, for the constant encouragement, support and much needed motivation during the academic years, and also for assisting me in writing this thesis. Special thanks to the following professors who taught us and shared their personal experiences with us: R. Xhillari, O. Hakani, Sh. Rira, R. Cincotta, etc. Most especially, a huge THANKS to my family, for all the sacrifices and support during all these academic years; and for all their attention, love, support and encouragement during my life. Also I would like to thank the librarian of Durrs Library for her help in finding books and the necessary materials and informations.

By: Erjona Pica

Mentor: Viktor Ristani

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Abstract .. 5

Chapter 1
1.1 John Galsworthys life and education 7 1.2 Career as a dramatic writer and as one of the three Eminent Edwardian Novelists8 1.3 Literary works and Importance of his works.10 1.4 Criticism and contributions to the Modern Drama11

Chapter 2
2.1 2.2 2.3 Vedat Kokonas life and education 12 Career as a translator and his translations 13 Contributions to the Albanian Literature and criticism ..14

Chapter 3
3.1 The social, economic and historical background of England during the time the book was written .15 3.2 History of the first book of The Forsyte Saga, Book 1, The Man of Property. .16 3.3 Authors style 18

Chapter 4
4.1 Translation Assessment of The Forsyte Saga, The Man of Property..20 - Preservation of the authors style - Omissions and additions

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- Stylemes, key words, exposition and dialogue (Colloquialisms) - Epithets and metaphors 4.2 Nature in The Forsyte Saga and Parallel Constructions 36 4.3 Paganism in the novel .41 4.4 Allusions, idioms and similies .50

Chapter 5
5.1 Principles of Correspondence..............................................................................................56 5.2 Translation as the Trial of the foreign.58 Conslusions .61

Bibliography

63

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ABSTRACT TRANSLATION ASSESSMENT AND CRITICISM OF THE TRANSLATION OF THE MAN OF PROPERTY, BOOK ONE OF THE FORSYTE SAGA, TRANSLATED BY VEDAT KOKONA
By

Erjona Pica Faculty of Foreign Languages, English Department, 2012 Under the Supervision of Professor Viktor Ristani

Sufficient unto this Earth is the beauty and the meaning thereof.1 (John Galsworthy)

The translation of a novel can and must communicate the basic elements of narrative form that structure the foreign-language text, but it is still not true that these elements are not free from variation. Our country nowadays lacks translations of a good quality, lacks good translators but also lacks a literary criticism on the translated works. One of the critical issues of translation assessment is a lack of systematic criteria that can be used universally to assess translations. This presents an enormous challenge in assessing a translation and providing a constructive, detailed feedback, for the area of translation assessment has been under-research and regarded as a problematic area primarily due to its subjective nature.

John Galsworthy, The Great Tree, in Forsytes, Pendyces and Others, New York, Scribners, 1936, p. 332.

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In this thesis I have made a thorough analysis, an assessment of the translated version of The man of Property, which is the Book 1 of The Forsyte Saga. In the first chapter we will be introduced to John Galsworthys life and education, will know more about his literary works, his contributions to the Modern drama, criticism and the importance of his works. In the second chapter I talked about the translator, about his life, education and career, and his translations, the books he wrote and his contributions. The third chapter includes the social, economic and historic background of England during the period the book was written. In order to understand the plot, the characters, their inner feelings and their reactions in different situations was important to know about Englands social background, but also about the books history. Analysing the Authors style, on chapter 3, was very helpful in understanding how was the novel is constructed, how the characters are depicted, etc. it was necessary for the next step. What I was concerned with was the way the translator had translated the novel; how faithfully he rendered the message of the novel; whether he preserved the authors style; if the reader of the target text has been offered a translation that would make it possible to perceive the novel same as the reader of the source text, without loosing the chance of reading a translation that would totally grasp their attention same as the original had the source text readers attention; if we encounter embellishment in the translated version or impoverishment, or neither of the two if the translator was as good as to translate it masterfully. In the following chapter all the figures of speech are taken into consideration. It is made a thorough analysis to synonyms, metaphors, epithets, allusions, repetitions, idioms, etc. Beside all these figures of speech and stylistic devices usend in the source text, I put their version of the target text, in order to see the differences and similarities. Not only did I analyze how the translation was performed, but also there are provided many examples and arguments for to ecplain the conclusions I draw from the study of those stylistic devices. In the last chapter I preferred to discuss about the principles of correspondence and about translation in general as the trial of the foreign. Translating a work of art is not an easy task; the translator always encounters uncountable difficulties, but the ability to obercome these difficulties and to find a solution always depends upon the translator.
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Chapter 1
1.1 John Galsworthys life and education Galsworthy was born on a family estate in Kingston Hill, Surrey, near London. His mother was a descendant of provincial squires, while his father was of Devonshire yeoman stock. His father was a successful solicitor who had financial interests in mining companies in Canada and Russia, and who later served as the model for Old Jolyon Forsyte in The Forsyte Saga. At the age of nine, Galsworthy was sent to a boarding school and later to the prestigious Harrow School in London, where he excelled in athletics and gained fame as a cricket and football player. In 1886 he enrolled at Oxford to study law, graduating with second degree honors in 1889. The following year he was admitted to the bar. He left for Canada in 1891 to inspect his familys mining interests and travelled extensively thereafter. In 1893, Galsworthy met the writer Joseph Conrad while on a South Sea voyage, aboard the Torrens, which he made in part to study maritime law. In a letter he noted: : "The first mate is a Pole called Conrad, and is a capital chap though queer to look at; he is a man of travel and experience in many parts of the world, and has a fund of yarns on which I draw freely." This meeting convinced Galsworthy to give up law and devote himself entirely to writing. Years later Galsworthy helped Conrad financially. After his fathers death in 1904, Galsworthy became financially independent and could devote himself for a period to the sports of shooting and racing. I gave up shooting because it got on my nerves, Galsworthy later said. In 1905 he married Ada Person Cooper. Galsworthy had lived in secret with her for ten years, because he did not want to cause distress to his father, who would not approve the relationship. Ada Person inspired many of Galsworthys female characters. Her previous unhappy marriage with Galsworthys cousin formed the basis for the novel The Man of Property (1906), which began the novel sequence to be known as The Forsyte Saga and established Galsworthys reputation as a major British writer.

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1.2 Career as a dramatic writer and as one of the three eminent Edwardian Novelists The literary career of John Galsworthy may be said to have had its beginning in front of the railway bookstall at the Paris Gare du Nord in the Easter week of 1895. For it was there, in the course of a conversation with the lady who was later to become his wife, that she suggested to him that he ought to write, since he had all the makings of a literary artist2 . John Galsworthy was twenty-eight at the time he began to think of writing, and until then had led the ordinary normal life of a young man coming from a sound upper middle-class family. Ha had been at Harrow and Oxford, and had done all the correct things in the way of games and sport that correct young men of the upper, middle-class English families usually do. He had been an eminently satisfactory student, a little serious-minded perhaps, and with a high sense of responsibility3, but there had been no marked brilliancy to single him out among his fellows and to give rise to uneasy qualms in the minds of his superiors. Galsworthy was a dramatist of considerable technical skill. Galsworthy's favorite authors were Thackeray, Dickens, and Melville, his favorite composer was Beethoven. He is one of the three eminent Edwardian Novelists, the others being H.G.Wells and Arnold Bennet. They grew up when socialism was gaining ground among the elite and when the Russian writers with leftist orientation were the most dominant influence. Although sympathetic to his characters, he highlights their insular, snobbish, and acquisitive attitudes and their suffocating moral codes. He is viewed as one of the first writers of the Edwardian Era who challenged some of the ideals of society depicted in the preceding literature of the Victorian England. Through his writings he campaigned for a variety of causes, including prison reform, womens rights, animal welfare, and the opposition of censorship.

See Marrot; The Life and Letters of John Galsworthy(p.101): It was at the Gare du Nord in Easter Week 1895, before a bookstall, where he was seeing Ada and her mother off, Ada asked Why dont you write? Youre just the person. 3 Marrot, having described the days at Harrow (p.37-47), proceeds to draw a portrait of Galsworthy as an Oxford student (pp.59-67), silent reserved, rather superior, even slightly cynical, the man of a small circle, gifted with a sense of humor; in fact (pp.59-60) : succinctly outlined in the opening lines of A Sad Affair : An amiable youth of fair scholarship and athletic attainments, and more susceptible to emotions, aesthetic and otherwise, than most young barbarians, he went up a little intoxicated on the novels of Whyte Melville. From continually reading about whiskered dandies, garbed to perfection and imperturbably stoical in the trying circumstances of debt and discomfiture, he had come to the conclusion that to be whiskered and unmoved by fortune was quite the ultimate hope of existence. There was something not altogether ignoble at the back of this creed.

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The speed with which John Galsworthy climbed from the vale of obscurity to the heights of fame is more than a tribute to his ability; it is a proof that popular taste is better than those who form it seem to think. His novels and his plays have no tricks; the deserts of his tragedies have no springs of laughter; even on stage he usually appeals more to reason than to sentiment; his vitality is the vitality of the mind rather of the passions; he seems to think that the drama is an art, not a trade. Nor was his reputation made by one novel, or one play, or one lucky hit. It was made by a rapid succession of masterpieces. Although his rise from obscurity to fame was rapid, he spent sixteen yearsfrom the age of twenty-three to the age of thirty-ninein more or less unconscious preparation for his career. John Galsworthy has written that: A Drama must be shaped so as to have a spire of meaning. Every grouping of life and character has its inherent moral; and the business of the dramatist is so to pose the group as to bring that moral poignantly to the light of day. . . . The art of writing true dramatic dialogue is an austere art, denying itself all license, grudging every sentence devoted to the mere machinery of the play, suppressing all jokes and epigrams severed from character, relying for fun and pathos on the fun and tears of life. From start to finish good dialogue is hand-made, like good lace; clear, of fine texture, furthering with each thread the harmony and strength of a design to which all must be subordinated . . . the question of naturalistic technique will bear, indeed, much more study than has yet been given it. The aim of the dramatist employing it is evidently to create such an illusion of actual life passing on the stage as to compel the spectator to pass through an experience of his own, to think and talk and move with the people he sees thinking, talking and moving in front of himA good plot is that sure edifice which rises out of the interplay of circumstances on temperament or of temperament on circumstance, within the enclosing atmosphere of an idea. In later years his own advice to aspiring authors was emphatically that they should not begin to write too young live first, then write4.

In 1924, Galsworthy having reviewed, in The Triad, the years of his life from 1895 to 1905, concludes that even at twenty-eight he was too young to begin writing: To begin young is a mistake. Live first, write afterwards. Again and again insisted upon it. John Galsworthy; le Romancier , by Ed. Guyot (Paris, 1933), pp 162 and following.

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1.3 Literary works and Importance of his works His plays often took up specific social grievances such as the double standard of justice as applied to the upper and lower classes in The Silver Box (1906) and the confrontation of capital and labour in Strife (1909). Galsworthys first for books were published at his own expense under the pseudonym John Signjohn, the first being a collection of short stories, From the Four Winds (1897). After reading Maupassant and Turgenev, Galsworthy published Villa Rubein (1900), in which he started to find his own voice. These early efforts, written under the influence of Klipping and Russian novelists, he later labeled as heavy and exaggerated. The Island Pharisees (1904) was the first book which came out under his own name. Galsworthy wrote it originally in the first person, then in the third, and revised it again. Its final version was not finished until 1908. Galsworthy also gained recognition as a dramatist with his plays, which dealt directly with the unequal division of the wealth and the unfair treatment of the poor people. The Silver Box (1906) stated that there is one law for the rich and another for the poor, Strife (prod. in 1909), depicted a mining strike, and Justice (prod. In 1910) encouraged the Home Secretary, Winston Churchill, in his program for prison reform. Later plays include The Skin Game (1920), filmed by Alfred Hitchcock in 1931, Loyalties(1922), dealing with the theme of anti-Semitism, and Escape (1926), filmed for the second time in 1948 by 20th Century-Fox, starring Rex Harrison. In all of Galsworthy's plays, as Mr. Eaton said of Justice, the Audience is the Villain. The unpardonable sin is indifference. The protagonists in his drama and his prose fiction generally typify particular viewpoints or beliefs. Explaining his method of characterization, he wrote, "In the greatest fiction the characters, or some of them, should sum up and symbolize whole streaks of human nature in a way that our friends, however well known to us, do not. Within their belts are cinctured not only individuals but sections of mankind." He also stated that his aim was to create a fictional world that was richer than life itself. With The Man of Property in 1906 Galsworthy was definitely established in the front rank of contemporary English novelists, and the same year saw the writing and production of The Silver Box.

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Although The Silver Box was his first completed drama, it was not quite the authors first use of the dramatic medium. As far back as 1901 he had begun work on a play to be called The Civilised, but the project had to be abandoned, for the field he was attempting to cover was too cast for the restricted limits of a drama. 1.4 Criticism and contributions to the Modern Drama Galsworthys sympathy for the underdog was transparent, in spite of his efforts to hold his sense and sensibility in balance in his dramas like: The Strife (1909), Justice (1910) and The Skin Game (1920). However, better artistry in his novels and his subconscious sympathy with the Forsytes resulted in the obscurity of vision. It led to the virulent attacks by the younger critics like Virginia Woolf and D. H. Lawrence. He has never been accorded the depth of study he deserved as a novelist. Even critics, who admired him, appreciated him for his large scale pictures of the professional and aristocratic classes and for his graceful and suave literary style. John Galsworthy produced 20 novels, 27 plays, 3 collections of poetry, 173 short stories, 5 collections of essays, 700 letter, and many sketches and miscellaneous works. Galsworthys socially committed work was attacked by D. H. Lawrence and Virginia Wolf, who said in her essay Mr. Bennet and Mrs. Brown, that the Edwardian writers developed a technique of novel writing which suits their purposeBut those tools are not our tools, and that business is not our business. The younger generation of writers accused Galsworthy of being thoroughly embodying the values he was supposed to be criticizing. According to some biographers, Galsworthy, a decent chap of his times, was dominated by his wife who was atrocious and hypochondriac. On the other hand, his influence is seen in the works of Thomas Mann, and he was widely read in France and Russia. The Forsyte Saga gained a huge popular success as a BBC television series in 1967. He was elected as the first president of the International PEN literary club in 1921, was appointed to the Order of Merit in 1929after earlier turning down a knighthoodand was awarded the Nobel Prize in 1932. In 2007, Kingston University, London opened a new building named in recognition of his local birth.The most prolific English dramatist, John Galsworthy, is at the same time a great artist whose dramatic quality can be compared with that of only one other living writer, namely,

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Gerhart Hauptmann. Galsworthy, even as Hauptmann, is neither a propagandist nor a moralist. His background is life, "that palpitating life," which is the root of all sorrow and joy. His attitude toward dramatic art is given in the following words: "I look upon the stage as the great beacon light of civilization, but the drama should lead the social thought of the time and not direct or dictate it." "The great duty of the dramatist is to present life as it really is. A true story, if told sincerely, is the strongest moral argument that can be put on the stage. It is the business of the dramatist so to present the characters in his picture of life that the inherent moral is brought to light without any lecturing on his part." "Moral codes in themselves are, after all, not lasting, but a true picture of life is. A man may preach a strong lesson in a play which may exist for a day, but if he succeeds in presenting real life itself in such a manner as to carry with it a certain moral inspiration, the force of the message need never be lost, for a new interpretation to fit the spirit of the time can renew its vigor and power." John Galsworthy has undoubtedly succeeded in presenting real life. It is this that makes him so thoroughly human and universal.

Chapter 2
2.1 Vedat Kokonas life and education Vedat Kokona was born on August 8th, 1983, in Izmir, Turkey, in an Albanian family. His family was from Gjirokastra, and his father, Elmaz, was a layer. After his family came back in Albania in 1920, he followed the primary school in Tirana, finished high school in 1935 in Korca, and then studied law in Paris. After finishing his studies, he was appointed to the Civil Court of Kruja, an office that he did not accept. In 1949 he was appointed as an editor and translator in the publishing-house Naim Frashri and as a professor of French language at the University of Tirana, where he taught French until he retired. He won the first prize for his novel Lutja e fundit; a prize which gave

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him the opportunity to go on pilgrimage and later on to write a very famous autobiography book titled Nga Tirana n Stokholm, in 1935. 2.2 Career as a translator and his translations Vedat Kokona is a well known Abanian translator, writer and lexicologist of the 20th century. The renowned poet, writer, translator and lexicographer represents a personality of the Albanian culture. He is well known for his bilingual dictionaries, English-Albanian and French-Albanian, and his contributions in the Albanian lexicology and lexicography. He gave a major contribution in the vast number of translations since when he was young. Some of the works he translated are: Ana Karenina by Lev N. Tolstoj; Lamtumir arm by Ernest Hemingway; Dhe ky Friuli do m kndoj n zemr prngaher by Enzo Driussi; Sonete by William Shakespeare; Fabula t zgjedhura by Jean de La Fontain; Horaci by Pierre Corneille; Plaku dhe Deti by Ernest Hemingway; David Koperfildi by Charles Dickens; etc. For his precious work, Vedat Kokona, was awarded the honorary titles: Doktor Honoris Causa by the Ministry of Education, Republic of Albania, Chevalier de lOrdre des Arts et Lettres by the Ministry of Culture, Republic of France, Officier des Palmes Academiques by the Ministry of Education, Republic of France

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Vedat Kokona, the short story writer and poet, was also one of the leading figures of precommunist literature, known for the originality of his ideas and his elegant language modeled on the French classics. He had published a few poems to pay his toll to communism.5 2.3 Contributions to the Albanian Literature and criticism Professor Vedat Kokonas translations include 20 000 verses and 100 volumes in prose from the works of Voltaire, Balzac, Victor Hugo, Alfred de Musset, Dante, Jean de La Fontaine, Pierre Corneille, Hemingway, Shakespeare, Pushkin, Tolstoy, Gorki, etc. Some of his translations and dictionaries are enlisted below: French-Albanian Dictionary, published by Rilindja, in 1990. Albanian-French Dictionary, by Vedat Kokona, Raul Lilo, Kornelja Sima, published by Toena,in 1998 Thrrime me mjalt: Albanian Grammar, published by Eureka, in 1995. ndrra e nj nate vere, by William Shakespeare, translated by Vedat Kokona, published by Naim Frasheri, in 1968. Tregime Amerikane, Translated from russian by Vedat Kokona, published by Naim Frasheri, in 1955. Saga e Forsajtve by John Galsworthy, translated by Vedat Kokona, published by Naim Frasheri, in 1969. Etc. He also has cooperated with other well known translators, such as: Edmond Tupja (they wrote Dictionnaire albanais-francais; 35000 words); Kornelja Sima(together translated many books, like Stuhi n Gang, Endur n tisin e kohs, Letra e nj t panjohure, David Koperfild etc); Loredan Bubani (Ana Karenina, Saga e Forsajtve etc),

Pipa,Arshi. Comunism and Albanian Writers, published in the exile journal Shqiptari I lire, New York, 1959

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Astrit Kasimati (Bankierietc), Anton Pashku (Yje t kputuretc), Irena Toci, Arian Leka, Moisi Zaloshnja, Llazar Taci, Flora Koka, Sokrat Sheperi, Kornelja Sima, Raul Lilo, Nelson Qirjako etc.

Chapter 3

3.1 The social, economic and historical background of England during the time the book was written During World War I Galsworthy tried to enlist in the army, but he was rejected due to his shortsightedness. In France he worked for the Red Cross, and helped refugees in Belgium. Galsworthy refused knighthood in 1917 in the belief that writers should not accept titles. He also gave away at least half of his income to humanitarian causes. In 1924 Galsworthy founded PEN, the international organization of writers, with Catherine Dawson Scott. Its trust fund was financed by his Nobel Prize money. The organization was named PEN when someone pointed out at the first meeting that the initial letters on poet, essayist and novelist were the same in most European languages. During the war, when we all knew that many persons in Europe were starving and babies dying for the lack of milk, it seemed abominable to many American women to consider thoughtfully what they should select from the grocer for the household dinner; but what was to be done? Go without eating because others were forced to do so? Eat with such remorse as to ensure indigestion? Become hardhearted and eventually callous? All these may seem to be absurdly far from the consideration of the plays of John Galsworthy; but it is out of such interior conflicts that the plays have come into being. Galsworthy is an aristocrat in blood and intellect. But unfortunately for his peace of mind, he has all annoyingly importunate conscience. He is not a socialist, but his sympathy with the poor is so strong that he cannot enjoy himself. There are many people living in poverty who think it an

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outrage that they should suffer from the lack of necessities when so many have a superfluity of luxuries; but John Galsworthy, while it is impossible that he should share their condition, actually shares their rage. When he wakes up in the morning in pleasant surroundings and sits down to an excellent breakfast, his pleasure in it is poisoned by the fact that so many persons of equally estimable character are condemned to hardship. This is the kind of thing that ultimately drove Tolstoi into madness; but Galsworthy will be saved from extremes by his inheritance of English common sense. To be a penniless communist is mentally comfortable, as it is to be a radical without any responsibility; to be a selfish plutocrat is both physically and mentally comfortable; but to be an unselfish aristocrat with burning sympathy for the lower classes and yet to realize ones impotence to change social conditions, is not to have an ideally happy state of mind. When those two champions, Theory and Practice, engage in a daily duel on the stage of ones brain, the result is an intolerable situation from which there is no way out. It ought not to continue, yet it can neither cease nor change.

3.2 History of the first book of The Forsyte Saga The authors life is closely related to the story of the trilogy. The first manuscript of The Forsyte Saga is merely a Note on The Man of Property to the effect that the original typed manuscripts of this novel were destroyed by the author in shame and despair at their chaotic and illegible condition. Incidentally, he also gives certain facts which serve to illustrate the influence of locality and mood upon literary creation. The book, according to the note, was begun in May of 1903 at his sisters, Mabel Reynolds house, Torrington Gardens, Campden Hill, and was finished at Levanto on the Italian Riviera on February 20th, 1905. It was written, he concludes, in restlessness circumstances and on all sorts of paper and was terribly cut about. Nevertheless I much regret the moody destruction of those sheets. He doubtless foresaw that the absence of the manuscript of the first novel would prevent the complete tracing of the development of his technique as evidenced in the originals.

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The Forsyte Saga was the title originally destined for the part of it which is called The Man of Property "; and to adopt it for the collected chronicles of the Forsyte family has indulged the Forsytean tenacity that is in all of us. It is significant that the title was intended to be used for The Man of Property, and entertained, so he had informed, no prospect of writing sequels of the novels. The word Saga might be objected to on the ground that it connotes the heroic and that there is little heroism in these pages. But it is used with a suitable irony; and, after all, this long tale, though it may deal with folk in frock coats, furbelows, and a gilt-edged period, is not devoid of the essential heat of conflict. Discounting for the gigantic stature and blood-thirstiness of old days, as they have come down to us in fairy-tale and legend, the folk of the old Sagas were Forsytes, assuredly, in their possessive instincts, and as little proof against the inroads of beauty and passion as Swithin, Soames, or even Young Jolyon. And if heroic figures, in days that never were, seem to startle out from their surroundings in fashion unbecoming to a Forsyte of the Victorian era, we may be sure that tribal instinct was even then the prime force, and that "family" and the sense of home and property counted as they do to this day, for all the recent efforts to "talk them out." The Man of Property is the first of the three novels in The Forsyte Saga. It chronicles the vicissitudes of the leading member of an upper-middle-class British family, Soames Forsyte. Only a few generations removed from their ancestors, the Forsytes are keenly aware of their status as noveau rich. He sees himself as a man of property in quest of an all exclusive preoccupation in accumulating wealth. This novel has three parts. The first part proceeds from the engagement of June Forsyte, the granddaughter of Old Jolyon, the patriarch of the Forsyte family to Philip Bosinney, an architect without much fortune. It continues with an account of Old Jolyons visit to the Opera, a dinner party at Swithins, a plan to build a country house by Somes Forsyte, to the death of Aunt Ann. The eldest of the Forsyte. The second part deals with the progress of the country house at Robin Hill and the credibility Bosinney as architect tries to establish with Soames Forsyte. He is even ready to cancel the contract as the interference of Soames in each and every matter increases. This second part also traces the growing love of Irene for the architect, Philip Bosinney, Soames Forsyte reacts to it
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violently. He treats Irene as a mere property and not as a wife, made clear by the behavior of Soames Forsyte on different occasions in the novel. The third part of the novel has a trial scene where Soames sues Bosinney for a breach of promise case. Here the argument in court goes in favor of Soames. Soames decision to go to the country house, in Robin Hill, is a major incident in this part. The death of Bosinney due to an omnibus accident and the Young Jolions visit to Robin Hill to meet Irene lays seeds for future development of the story in the sequence of the novels.

3.3 Authors style John Galsworthy set about fitting himself for a writers career with singular steadfastness. In the after years he gave it as his opinion that writing was a profession which almost anyone could master in time, providing he had sufficient perseverance to stick at it for long enough6. Doubtless in Galsworthy the predisposition and talent were already there, though latent, when he set himself with so much earnestness to attain the mastery of his art. From the beginning until the end of his career, his unflagging industry and painstaking scrupulousness of detail never relaxed; his manuscripts were revised again and again, not once but many times. For instance, The Island Pharisees was written three times over. By the end of 1911, the eleventh revision of The Fugitive and the seventh revision of The Pigeon were completed7. His whole correspondence is a proof of his professional consciousness. Galsworthy was fortunate in having excellent friends, enlightened, ungrudging and lucid. Their criticisms must have proved invaluable to him; how much did he owe to such correspondents as Edward Garnett and Professor Gilbert Murray who spared no trouble in discussing his work with him, and winning him over to their view if they deemed he had been mistaken in some incident of a plot or in some piece of dialogue. He himself was almost amenable to such advice, and, for his own part neglected no detail, however trifling. His writing of Justice was preceded by numerous
6

He even went as far as denying the importance of all technique. In the above-mentioned summary of past years (see preceding note) he also wrote: Some writers at least are not born He who is determined to write and has the grit to see the job through can get there in time In a discussion with James Boyd, he declared that he considered too much attention was paid by young authors to technique (Marrot, p. 565). 7 Marrot, p.310.

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visits to prisons and careful studying of the problem of solitary confinement (Marrot, pp.218251). When proposing to end The Fugitive with Clares suicide, he consulted his doctor as to the uses and effects of certain poisons (Marrot, p. 370). In a letter written in April, 1910, he gratefully acknowledged some technical inaccuracies in Justice to a correspondent who had written to him about it, assuring him that Distrusting my own knowledge.. I put my second

act before a lawyer with great knowledge; unfortunately he omitted to call my attention to those points. I shall go down this very morning and remedy the first and third of your points (Marrot, p.263) . On June 11, 1921, he sent a letter to Rve. John Hedley, and, not without a touch of gentle irony, promises to change the name of Confucius to Chinese dog in the rest of the White Monkey serial, lest this irreverent naming of Fleur Monts pekinese might hurt the feelings of some Chinese reader (Marrot, p. 517). It was easy to recognize in him something of a belated romantic writer. He had a leaning towards the sentimental, which was apparent enough under the artistic discipline that he imposed upon himself in his prose fiction. He was extremely sensitive to some forms of evil, which he felt in his heart more than he analyzed them with his brain.8 Galsworthy maintains himself as the narrative point. But repeatedly he focalizes through the various characters. The technique of narration and the co-texts clarify that he is neither a strong champion of the dominant ideology of the period, nor a pleader for reform. However, he criticizes without offending the dominant ideology of non-interference as a state policy and competition, whose other name is possession as the only ideal for the individual. The promotion of the awareness of nature proves more effective than an activist plan pleading for about social changebecause the change will be from within and more lasting. In technique Turgenev is one of his teachers. As in the charming Russian narrator, we find in Galsworthy a definite musical charm catching and keeping the hidden feelings. His intuition is so infallible that he can content himself with a slight allusion and a broken hint. But then there is Galsworthys irony, such a singular instrument that even the tone separates him from any other writer. There are many different kinds of irony. One principal kind is negative and can be compared to the hoar-frost of the windows in a house where there is no fire, where the hearth has grown cold long ago. But there is also an irony friendly to life, springing from warmth, interest,
8

V.Dupont, John Galsworthy: The Dramatic Artist, p.28-29, France, 1942.

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and humanity; such is Galsworthys. His is an irony that, in the presence of tragicomic evil, seems to question why it must be so, why it is necessary, and whether there is nothing to remedy it. Sometimes Galsworthy makes nature herself take part in that ironic play about human beings, to underline the bitterness or sweetness of the incidents with the help of winds, clouds, fragrances, and bird cries.

Chapter 4

4.1Translation Assessment of The Forsyte Saga

4.1.1 Preservation of the authors style

The translation of a literary work can not only be received with curiosity by the readers, but it can also become part of the literature into which the work is translated, by carrying out the same functions as the original literary work. Apart from this, the translated literary work informs the reader about the foreign culture and at the same time advances and enriches the readers general knowledge and culture. The translator through a translated literary work, depending on historical circumstances, can have an impact on inciting and expanding the friendship and cultural relationship between different nations, on the one hand, and on the other hand the translated literary works can also have an impact on the development advancement of different literary kinds and genres. If a translation is to meet the four basic requirements of (1) making sense, (2) conveying the spirit and the manner of the original, (3) having a natural and easy form of expression, and (4) producing a similar response, it is obvious that at certain points conflict between content and form (or meaning and manner) will be acute, and that one or the other must give way. Ingeneral translators have agreed that, when there is no happy compromise, meaning must have priority over style. What one must attempt, however is an effective blend of matter and manner, for these two aspects of any message are inseparably united. Galsworthys style is very complex; he uses many stylistic devices, many figures of speech, but as we will see throughout the trasnlatin assessment, Kokona has done a wonderful job, not only
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in preserving his style, but also in rendering the same meaning. In a few words has done a masterful blend of matter and manner, and this is what we will study thoroughly.

4.1.2

Stylemes, key words, exposition, omissions, additions and dialogue (colloquialisms)

Many stylistic elements, such as stylemes and metaphors and epithets, even omissions and additions are very interesting elements to be taken into consideration in the translation assessment. Stylemes are those part of a piece of work which enrich it and make it interesting and also somehow unique, since every translator has his own intelligence and thus everyone may come up with his/her individual version of translation of the same paragraph. The following stylemes are taken from the paragraph mentioned later on in Paganism in the Forsyte Saga: The English Original Version he wanted company wanted a pretty face to look at People treated the old as if they wanted nothing Ones never had enough! With a foot in the grave onell want something, I shouldnt be surprised! away from the exigencies of affairs Grandchildren , most religiously responsive nowadays Nature actually made him ache The Albanian Translated Version ia donte zemra t kishte nj njeri pran ia kish nda t shikonte nj fytyr t bukur Njerzia ven me mendje se plaku ska nevoj pr asgj Ne sknaqemi kurr me at q kemi! Edhe ather kur je me nj kmb n varr dshiron dika larg andrrallave t jets, fmijt e fmijs e kish ndier pothuaj me gjith shpirt e ndiente kaq shum natyrn sa ajo i shkaktonte si nj smbim n zmr. We see how all these stylemes give life to the translated version. Instead of translating he wanted company as donte shoqri or kishte nevoj pr shoqri, Kokona translates it as ia donte zemra t kishte nj njeri pran, making us understand that it was a deeply felt need.

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The Forsytes have a very noticeable character; all they value the most is property and wealth. Their character is revealed since in the first sentence of the book:

Those privileged to be present at a family festival of the Forsytes have seen that charming and instructive insightan upper middle class family in full plumage. But whosoever of these favoured persons has possessed the gift of psychological analysis (a talent without monetary value and properly ignored by the Forsytes), has witnessed a spectacle, not only delightful in itself, but illustrative of an obscure human problem.

T gjith ata q kan pasur fatin t ndodhen n nj fest familjare n shtpin e Forsajtve, kan par dika t bukur, nga e cila kan msuar mjaft: nj familje t borgjezis s lart n tr madhshtin e saj. Por cilido nga ata t privilegjuarit, q ka pasur dhuntin e analizs psicologjike (dhurat q nuk ka vler si monedh dhe q, pr kt arsye, nuk ngre pesh pr Forsajtt), ka qen dshmitar i nj shfaqjeje, jo vetm t kndshme n vetvete, po edhe q shrben pr t ndritur nj problem t errt t njerzve.

We can easily understand that money comes first for the Forsytes. The very first key word that we encounter in the novel is the word sniff, which firstly introduces us with the Forsytes, their behavior and mentality, and of course their sense of superiority and property. The habitual sniff on the face of Soames Forsyte had spread through their ranks; they were on their guard. The subconscious offensiveness of their attitude has constituted old Jolyon's 'home' the psychological moment of the family history, made it the prelude of their drama. The Forsytes were resentful of something, not individually, but as a family; this resentment expressed itself in an added perfection of Ngrdheshja, q vihej re zakonisht n fytyrn e Soms Forsajtit, dukej tani edhe n fytyrat e tyre; kishte prshtypjen sikur prgjonin nj armik. Qndrimi i tyre armiqsor, - nj qndrim q ishte krejt i pavetdijshm, - bnte kt fest n shtpin e plakut Xholion nj cast psikologjik n historin e familjes, preludin e drams s tyre. Forsajtt ishin zemruar me dika jo secili ve e ve por si nj familje; kt zemrim ata e

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raiment, an exuberance of family cordiality, an exaggeration of family importance, and--the sniff. Danger--so indispensable in bringing out the fundamental quality of any society, group, or individual--was what the Forsytes scented; the premonition of danger put a burnish on their armour. For the first time, as a family, they appeared to have an instinct of being in contact, with some strange and unsafe thing.

shprehnin me nj spitullim t prkryer dhe t tepruar, me shfaqjen e nj przemrsie familjare, me nj tepri t rndsis s familjes dhe nuhatja e Rrezikut, q sht kaq e domosdoshme ose q v n dukje cilsin kryesore t do shoqrie, grupi ose njeriu, ishte ajo q ndjenin Forsajtt; parandjenja e rrezikut i kishte br ata q t ishin gati pr luft. Pr her t par, si familje, dukeshin sikur e kuptonin instinktivisht se kishin rn n kontakt me dika t huaj dhe t rrezikshme.

We are introduced with Soames and the whole familys reaction towards the smallest trifle they notice. The sniff is something which had spread in all their faces and they got a subconscious offensive attitude. Stylemes are an important element in Kokonas translation style; the sniff is translated as ngrdheshja and then as nuhatja; raiment is rendered as spitullim. The translator has used addition and repetition too: The subconscious offensiveness of their attitude was translated as Qndrimi i tyre armiqsor, - nj qndrim q ishte krejt i pavetdijshm.

All the Forsytes had sniffed the danger of being in contact with something strange and unsafe; and all were on their guard. This instinct of being in danger and the offensive attitude, which seemed as if they were in defiance of something, was triggered from a trifle detail,- a trifle that for the Forsytes was significant, a detail in which was embedded the meaning of the whole matter. The Forsytes had instinctive precautions and resented encroachments on their property; and this trifle showed to them that Bosinney had no property and wealth, and that would mean to accept a non-wealthy person in their perfect world of numbers and figures and properties.

This is when the author introduces the other important key word that we encounter since in the beginning of the saga, the word Hat. When Bosinney enters the room in the Forsytes house, the first thing the Forsytes notice is his hat. His hat becomes a joke for everyone, but the strange thing is that each of the Forsytes
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noticed it, and thinks that they would never put such a hat if they were him. The hat is one of the first key words purposely used to make us understand how superficial the Forsytes are. Such a significant trifle as a hat, is predicted to reveal the whole character, in terms of their ideal,namely, money and money values. They all cry in one voice against such a visit in such a hat, and the narrators tone of exaggeration reveals his irony: They could not have explained the origin of a misgiving obscured by the mist of family gossip. A story was undoubtedly told that he had paid his duty call to Aunts Ann, Juley, and Hester, in a soft grey hat--a soft grey hat, not even a new one--a dusty thing with a shapeless crown. "So, extraordinary, my dear--so odd," Aunt Hester, passing through the little, dark hall (she was rather short-sighted), had tried to 'shoo' it off a chair, taking it for a strange, disreputable cat--Tommy had such disgraceful friends! She was disturbed when it did not move. Ata nuk mund t shpjegonin se ku e kishte burimin ai mosbesim q e kishin errsuar thashethemet familjare. Sidoqoft, thuhej dhe pr kt skishte asnj dyshim se ai kishte vajtur pr vizit te tezet Eni, Xhuli dhe Hesteri me nj kapel t but ngjyr hiri nj kapel e but ngjyr hiri q nuk kishte as e re tr pluhur dhe pa form. Nj gj shum e uditshme, besa, sa t merrte gazi kur e shihje! Teze Hesteri, duke kaluar nga salloni i vogl dhe i errt (ishte pak dritshkurtr) kishte pandehur se mos ishte ndonj mace e huaj rrugae. Tomi kish ca shok q t turpronin! dhe kishte dashur ta dbonte nga karrigia. Kish mbetur shum e habitur kur macja nuk kishte lvizur nga vendi!

It seems so extraordinary to the Forsytes that Bosinney came in such a hat, that this trifle becomes a source of misgiving for them, a trifle that seems to be unveil something dangerous for them. We notice how Kokona has translated these paragraphs trying to make them come as simply and smoothly as it is in the source text; and also we notice how the tone of exaggeration raises: the Forsytes had fastened by intuition on this Forsajtt ishin kapur fort pas ksaj kapele; kjo hat; it was their significant trifle, the detail in ishte pr ta ajo voglsi kuptimplot, hollsia n

which was embedded the meaning of the whole t ciln qe fshehur kuptimi i gjith shtjes;
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matter; for each had asked himself: "Come, now, should I have paid that visit in that hat?" and each had answered "No!" and some, with more imagination than others, had added: "It would never have come into my head!"

sepse secili nga ata i kishte br vetes kt pyetje: A do t kisha vajtur pr vizit un me nj kapel t till? dhe secili qe prgjigjur: Jo! dhe disa, q e kishin prfytyrimin m t zhvilluar se t tjert, kishin shtuar: Kjo gj sdo t m shkonte kurr ndr mend!

In this paragraph we notice that the translator omitted the word intuition and the colloquial expression come now, and just has translated the sentences as : ishin kapur fort pas ksaj kapele and A do t kisha vajtur pr vizit un me nj kapel t till?. They keep giving much attention to that trifle, which then becomes the reason for which they start joking about Bosinney and even called him as the Buccaneer, a mot that was bandied form mouth to mouth, till it became the favorite mode of alluding to Bosinney. Among the most frequent landscape set of the Forsyte Saga the greatest attention is paid to the image of fog. The fog becomes a key word as it plays a very important role in the figurative system of the novel The Man of Property. The most dramatic events in characters life are connected with the image of London fog. So, a scene of Irene leaving Soames is accompanied with the following landscape image: ..the fog of late November wrapping the town as in some monstrous blanket till the trees of the Square even were barely visible from the dining-room window.. Mjegulla e nntorit po e mbulonte qytetin si me nj batanije shum t madhe, aq sa edhe drurt e Skuerit mezi dukeshin nga dritarja e dhoms s buks.

When James comes to know about the possible scandal of the love between Irene and Bosinney and that Irene left Soames, the author uses the key word fog to tell how it feels: Now, however, that such a thing--or rather the rumour, the breath of it--had come near him personally, he felt as in a fog, which filled his mouth full of a bad, thick flavour, and Por tani nj gj e till ose m mir t themi pshpritja, fryma e saj e kishte prekur personalisht, atij i dukej sikur ndodhej n mes t nj mjegulle q ia mbushte gojn, me nj
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made it difficult to draw breath.

amz t keqe e t rnd q nuk e linte t merrte frym lirisht.

And it suddenly sprang into James's mind that he ought to go and see for himself. In the midst

Dhe, papritmas, Xhejmsit i krceu trilli t ngrihej e t vinte pr t par se si qndronte

of that fog of uneasiness in which his mind was puna. N mes t asaj mjegulle, q i kishte enveloped the notion that he could go and look at the house afforded him inexplicable satisfaction. pshtjell mendjen, mendimi se mund t vente e ta shihte vet shtpin ia mbushi shpirtin me nj knaqsi t thell.

The next key word that we encounter is the word scandal: A scandal! A possible scandal! Nj skandal! Si qe e mundur t ndodhte nj skandal! To repeat this word to himself thus was the only way in which he could focus or make it thinkable. He had forgotten the sensations necessary for understanding the progress, fate, or meaning of any such business; he simply could no longer grasp the possibilities of Mnyra e vetme pr t prqndruar gjith vmendjen e e tij t ishte q t prsriste shum her kt fjal. Ai i kish harruar ndjesit q ishin t nevojshme pr t kuptuar prparimin, fatin ose pr t rrokur kuptimin e nj shtjeje t till; ai thjesht nuk arrinte t

people running any risk for the sake of passion. kuptonte se si mund t rrezikonte njeriu pr hir t dashuris. The way A possible scandal! is translated as Si qe e mundur t ndodhte nj skandal! once more illustrates how good a translator Kokona is, he is a poet in himself. The Forsytes simply cannot understand how can people take any risk for the sake of passion, for the sake of love. Passion! He seemed, indeed, to have heard of it, and rules such as 'A young man and a young Dashuria! I dukej me t vrtet sikur kish dgjuar t flitej pr t; dhe rregullat si nj

woman ought never to be trusted together' were burr i ri dhe nj grua e re nuk duhen ln fixed in his mind as the parallels of latitude are fixed on a map (for all Forsytes, when it comes kurr vetm qen ngulitur n mendjen e tij si ato paralelet e meridianet q shnohen n

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to 'bed-rock' matters of fact, have quite a fine taste in realism); but as to anything else--well, he could only appreciate it at all through the catch-word 'scandal.'

hartat gjeografike, (sepse t gjith Forsajtt, kan nj shije t holl pr realizmin, kur i kan punt pisk n jet); por, sa pr t tjerat, ai shihte vetm hijet e zymta t fjals skandal.

As we see, the Forsytes seemed to have heard of passion, they use only fact and figures in their life, for them the relationship and love has rules which are fixed as the parallels of latitude on a map; which means that is not possible to change their way of thinking no matter what happens; and when it comes to bed-rock matters of fact, they have quite a fine taste in realism. All these are rendered masterfully in the target text, especially when it comes to 'bed-rock' matters of fact translated as kur i kan punt pisk n jet and catch-word scandal translated as hijet e zymta t fjals skandal; the translator adds or omits where it is necessary for to convey the message.

And then again we encounter the fog. Soames is going through the fog searching for Irene. Bosinney perishes in a fog, powerless to struggle with the world of proprietors. Soames used the underground again in going home. The fog was worse than ever at Sloane Square station. And these shadowy figures, wrapped each in his own little shroud of fog, took no notice of each other. In the great warren, each rabbit for himself, especially those clothed in the more expensive fur, who, afraid of carriages on foggy days, are driven underground. Somsi i hipi prap trenit t nndheshm pr tu kthyer n shtpi. N Sloun Skuer Stejshn mjegulla ishte br edhe m e dendur. Dhe t gjitha kto hije, t pshtjella secila me qefinin e vet t vogl prej mjegulle, nuk vshtronin njra-tjetrn. N kt vend t madh t lepujve do lepur kujdesej pr veten e tij, sidomos ata q kishin veshur nj qyrk t shtrenjt, ata q kan frik ti hipin karrocs kur sht koha me mjegull dhe udhtojn me But the waiting lover (if lover he were) was used to policemen's scrutiny, or too absorbed in his anxiety, for he never flinched. A hardened case, accustomed to long trysts, to trenin e nndheshm. Por ky dashnor q priste (n qoft se ishte dashnor) qe msuar, me sa dukej, q polict ta vshtronin me vmendje n mendimet e tij,

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anxiety, and fog, and cold, if only his mistress came at last. Foolish lover! Fogs last until the spring; there is also snow and rain, no comfort anywhere; gnawing fear if you bring her out, gnawing fear if you bid her stay at home!

sepse as q donte tia dinte. Ai qe msuar t priste shum kur i linin takim, e duronte edhe ankthin, edhe mjergulln, edhe t ftohtt, mjaft q e dashura t vinte m n fund! Dashnor i marr! Mjegulla mban gjer n pranver; pa sht edhe bora, shiu dhe sgjen rehat gjkundi. Frik e tmerrshme po ta nxjerrsh t dashurn nga shtpia, frik e tmerrshme po ti thuash t rrij n shtpi!

The scene of Bosinneys death in the London fog which was becoming more and more dense, symbolizes young architects sufferings and misfortune. Also the author says that after the fog there is also snow and rain, but that Bosinney is accustomed to long trysts, to anxiety, cold and fog; he would do any sacrifice required for his passion; which is totally the contrary to the Forsytes, who are depicted same as rabbits, they care for no one else than themselves, do not risk anything about anyone, do not know what is love and sacrifice for it, and who would rather travel safe in the journey of life, in the underground, rather than have to take a path that is unsafe and unknown, that of love. When property is involved, men tend to objectify about it and in the course of things they tend to lose their sense of humanity. Some more stylemes created by the translator are illustrated as followed: ..Old Jolyon passed into his study and out into the burning afternoon. disturbed when it did not move. ... plaku Xholion, , hyri n studio dhe andej doli jasht. Sa vap q bnte at pasdreke!

Tommy had such disgraceful friends! She was Tomi kish ca shok q t turpronin! dhe kishte dashur ta dbonte nga karrigia. Kish mbetur shum e habitur kur macja nuk kishte lvizur nga vendi! nowadays Nature actually made him ache e ndiente kaq shum natyrn sa ajo i shkaktonte si nj smbim n zmr Come, now, should I have paid that visit in that A do t kisha vajtur pr vizit un me nj hat kapel t till

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So, extraordinary, my dear--so odd

Nj gj shum e uditshme, besa, sa t merrte gazi kur e shihje!

had tried to 'shoo' it off a chair, , taking it for a strange, disreputable cat

kishte pandehur se mos ishte ndonj mace e huaj rrugae dhe kishte dashur ta dbonte nga karrigia.

Dangerous--ah, dangerous!

Ishte nj gj e dyshimt, po, shum e dyshimt!

afforded him inexplicable satisfaction.

ia mbushi shpirtin me nj knaqsi t thell

4.1.3

Epithets and Metaphors

In order to express the feelings of Mr. Jolyon, to demonstrate those views one never would have noticed, Galsworthy makes use of certain stylistic devices assisting him to convey the gorgeousness of the situation. He makes use of such neat epithets like: Old Jolyon passed into his study and out into the burning afternoon plaku Xholion, , hyri n studio dhe andej doli jasht. Sa vap q bnte at pasdreke!

Most of the epithets are used in describing the Forsytes, their apparence, their character, etc. especially in the exposition, when we are introduces with the characters, and then of course throughout the entire novel.

Among the younger generation, in the tall,

N mes t Forsajtve t brezit t ri, te Xhorxhi

bull-like George, in pallid strenuous Archibald, i bshm, q ishte si dem, tek Aribaldi i in young Nicholas with his sweet and tentative obstinacy, in the grave and foppishly determined Eustace, there was this same stamp--less meaningful perhaps, but zbht dhe energjik, te Nikolla i ri, q ishte i mbl, i kujdesshm dhe kokfort, te Justejsi hijernd e i vendosur, por mendjemadh, do ta vije re kt karakteristik ndoshta m pak t

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unmistakable--a sign of something ineradicable theksuar, por t pagabuar q ishte di shenja e in the family soul. dikaje q nuk mund t rrnjosej nga shpirti i familjes.

It is obvious that the author used a vivid imagination in the description of things, places and persons in the novel, pointing out to the reader some properties or features of the objects with the aim of giving an individual perception and evaluation of the features or properties and these are called Epithets. Let us take some epithets into consideration: gold-mounted umbrella ombrella me kokw tw praruar

This epithet is classified as a reverse one, which is composed of two nouns linked by an of phrase. If we were going to make it an ordinary phrase it would be umbrella mounted with gold. However it could be a compound epithet as well. Other epithets are illustrated as follows: was rather short-sighted And symbolizing Bosinney's name 'the big one,' with his great stature and bulk, his thick white hair, his puffy immovable shaven face, he looked more primeval than ever in the highly upholstered room. ishte pak drit shkurtr Dhe, si pr t simbolizuar emrin trashaluqi q i kishte ngjitur Bosini, me at trup t gjat e t bshm, me ata flok t dedur e t bardh, me at fytyr t mbufatur e t rruar mir, dukej m i lasht se hert e tjera n at sallon t mbushur me mobilie.

One of the most interesting parts is that one of the personification of nature, the passage is full of epithets, similies, metaphors, repetition and parallel constructions, untying in front of the reader the situation presiding upon everyone, the way they felt in front of the new danger, having no desire to spread the scandal, or to be ill-natured. Everyone felt uneasy, every Forsyte felt the danger, but to outsiders no word was breathed, unwritten law kept them silent.

There are moments when Nature reveals the passion hidden beneath the careless calm of

Ka aste kur natyra zbulon pasionin e fshehur nn qetsin e shkujdesur t

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her ordinary moods--violent spring flashing white on almond-blossom through the purple clouds; a snowy, moonlit peak, with its single star, soaring up to the passionate blue; or against the flames of sunset, an old yew-tree standing dark guardian of some fiery secret.

gjendjeve t saj t zakonshme; pranvera e harlisur zbardhllen te bajamet e lulzuara prmes reve t purpurta; nj maj mali bormbuluar e hnndritur, me yllin vetmitar prsipr, ngrihet prpjet n mes t nats s qet e t bukur; ose nj dllinj e mome qndron n sfondin e prflakur t perndimit si

There are moments, too, when in a picturegallery, a work, noted by the casual spectator as '......Titian--remarkably fine,' breaks through the defences of some Forsyte better lunched perhaps than his fellows, and holds him spellbound in a kind of ecstasy. There are things, he feels--there are things here which-well, which are things. Something unreasoning, unreasonable, is upon him; when he tries to define it with the precision of a practical man, it eludes him, slips away, as the glow of the wine he has drunk is slipping away, leaving him cross, and conscious of his liver. He feels that he has been extravagant, prodigal of something; virtue has gone out of him. He did not desire this glimpse of what lay under the three stars of his catalogue. God forbid that he should know anything about the forces of Nature! God forbid that he should admit for a moment that there are such things! Once admit that, and where was he? One paid a shilling for entrance, and another for the programme.

roj e nj t fshehte t zjarrt. Ka gjithashtu caste kur nj tablo n nj galeri pikturash q i bie n sy nj vizitori t rastit si nj vepr shum e bukur e Ticianit, shpon pancirin e nj Forsajti q mund t ket ngrn nj drek m t mir se t tjert at dit dhe e mban t mahnitur si n nj gjendje ekstaze. Ka gjra, ndien ai ather, - ka disa gjra ktu qq jan gjra; ka dika q nuk kuptohet, q nuk e kap arsyeja; dhe kur ai prpiqet ta prcaktoj kt dika me saktsin e nj njeriu praktik, kjo dika i rrshqet, i ikn, si ai afshi i vers q ka pir dhe q, si avullohet, e l t zymt e t penduar, se e di q i ka br keq mlis. Ai e ndien se e ka tepruar, se ka qen dorlshuar dhe se ka humbur virtytin. Ai nuk donte aspak q ti zbulohej ajo q fshihej prapa tri yjeve t vogla q ishin vn n katalog, Mos e dhnt zoti q ti njoh, qoft edhe pak, forcat e Natyrs! Zoti mos dhnt q t pranoj qoft edhe pr nj ast, se ka n bot t tilla gjra! Sa t pranoje kt kush e di si e kishe fundin! Paguaje nj shiling pr t hyr dhe nj tjetr pr katalogun.
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The look which June had seen, which other Forsytes had seen, was like the sudden flashing of a candle through a hole in some imaginary canvas, behind which it was being moved--the sudden flaming-out of a vague, erratic glow, shadowy and enticing.

Vshtrimi q kishte par Xhuni, q e kishin par edhe Forsajtt e tjer, ishte si vezullimi i befasishm i flaks s nj qiriu pr mes vrims s nj perdeje t prfytyruar, prapa s cils levizte ajo,- shkreptima e befasishme e nj drit t mart dhe endacake, mahnitse dhe t mistershme.

The translation of metaphor has always been a source of discussion and conflict. In prescriptive approaches, translation theorists tend to present lists of advisable translation procedures for each type of metaphor (see Nida & Taber 1982, Newmark 1988a, etc.). However, Descriptive Translation Studies (DTS) have introduced a more realistic study of metaphor translation, covering cases penalized a priori by traditional studies for being anomalous or incorrect equivalences. Cognitive Linguistics claims that metaphors permeate and pervade both language and thought. This theory defines metaphors as essential cognitive tools which consist as a structural mapping from a source conceptual domain on to a target conceptual domain. The term metaphor; is generally used as an equivalent of conceptual metaphor (the major basis of out conceptual system), whereas the expressions linguistic metaphor or metaphorical expression mean the linguistic items chosen to realize a particular conceptual metaphor. According to Dagut (1987:77), metaphor presets a particularly searching test of the translators ability. Anyway, the translation of metaphor is problematic, no matter which approach to metaphor is chosen. Some theoreticians have attempted at a classification of the degree of translatability of metaphors. There is a rather wide range of positions found in translation studies on the translatability of metaphors; they can however be reduced in to four basic standpoints: Metaphors are untranslatable. Nida (1964), Vinay and Dalbernet (1958) and Dagut (1976 and 1987) believe that any translation process of a particular metaphor would in effect bring about a different metaphor. Metaphors would then be based on an isomorphism, unpredictability and thus their translation solutions cannot possibly be accounted for;
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Metaphors are fully translatable. For some authors, metaphors would not pose any special translation problems. This is the view adopted by Kloepfer (1981), Reiss (1971) and Mason (1982). For them, there cannot be a theory of the translation of the metaphor, which is after all one more translational peculiarity; there can only be a theory of the translation as applied to metaphor; thus, each metaphor would be, as to say, translated as new;

Metaphors are translatable but pose a considerable degree of interlinguistic inequivalence. Toury (1985 and 1995) and Newmark (1988a, 1988b) believe that metaphors present very particular translational peculiarities;

Conciliatory approach. Is represented by Snell-Hornby (1988), who claims that the range of renderings will depend on the type of text we are dealing with and on ad hoc factors.

There are a few researchers who have posited generalizations about what Dagut called gradient of translatability in 1987; unfortunately, most of these proposals are prescriptive, but this does not mean they are void of interest. Invariably, they use the degree of lexicalization as classifying feature. For Dagut, the translatability of any given source language metaphor depends on both the particular cultural experiences and semantic associations exploited by the figure and the extent to which these can be reproduced non-anomalously in the target language, depending on the degree of overlap. Thus, any single generalization about the translatability of metaphor is inadequate by nature, since it fails to do justice to the complexity of the factors determining the ontology of metaphors. Newmark (1988a:48-49) seems to be convinced that dead metaphors are the most translatable ones; stock and original metaphors would show a degree of translatability proportional to the proximity of the two polysystems involved. the ghoulish cries mingled and jangled with the sound of those church bells britmat e tyre t jerra prziheshin dhe zhangllonin me kumbimin e kmbanave t kishs She had come back like an animal wounded to death, not knowing where to turn, not knowing Ajo qe kthyer si nj kafsh q sht plagosur pr vdekje, se sdinte ku t vente, se sdinte

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what she was doing. The sight of her figure, huddled in the fur, was enough.

t bnte. Mjaftonte ta shihje ashtu t tulitur n qyrkun e saj pr ti kuptuar t gjitha.

When Soames gets that Irene has left him, the author uses many stylistic devices in order to emphasize the inner sufferings of Soames and the key words and sentences that describe those feelings are: the tears rushed up in his eyes, the inner significance of her act, she loathed him, people living in different worlds, she was to be pitied, he betrayed the Forsyte, the pure ether of the selfless and unpractical''. The fact that his wife had taken none of his gifts to her, revealed to Soames the inner significance of Irene's act, all his hopes were destroyed in one moment. Now he understood that all the time that they had been married she had loathed him and that they had been living in different worlds: his was the world of property and hers was the world of emotions. Among the lexical stylistic devices used to make the reader understand the depth of Soames inner crisis the author employs these metaphors: He looked at the clasps and bracelets of diamonds and pearls, at the little flat gold watch with a great diamond set in sapphires, at the chains and rings, each in its nest, and the tears rushed up in his eyes and dropped upon them. In that moment of emotion he betrayed the Forsyte in himforgot himself, his interests, his property--was capable of almost anything; was lifted into the pure ether of the selfless and unpractical. Somsi vshtroi karficat dhe gjerdant me xhevahire e inxhi, sahatin e vogl e t art petashuq me nj gur t madh xhevahiri dhe me safir, qostekt dhe unazat; t gjitha ishin n vendet e tyre. Syt iu mbushn me lot dhe pastaj lott u rrokullisn e ran mbi xhevahiret. Ashtu i mallngjyer si qe tradhtoi frymn e Forsajtit q jetonte n shpirtin e tijharroi vetveten, interest e tij, pasurin e tij; kuptoi se qe i zoti t bnte do gj: iu duk sikur u ngrit lart n eterin e kulluar t vetmohimit dhe t jets jopraktike. The metaphors the tears rushed up in his eyes and dropped upon them, he betrayed the Forsyte in him and was lifted into the pure ether of the selfless and unpractical, show

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Soames moment of weakness as a Forsyte would call it, or the moment of natural human suffering because of the loss of a beloved person. They make the reader involuntarily compare Soames tears with the precious stones in Irenes jewels and describe his complete understanding of his wifes deserting him. That is why this very verb is repeated several times: For the moment, perhaps, he understood nearly all there was to understand understood that she had loathed him, that she loathed him for years, that for all intents and purposes they were like people living in different worlds Aty pr aty, ndoshta, Somsi kuptoi pothuaj tt gjitha ato q mund t kuptonte; kuptoi se ajo e urrente, se e kishte urryer prej shum vjetsh, se n t vrtet ata kishin qen krejt t huaj pr njri-tjetrin, si njerz q jetojn n bot t ndryshme

And that reiteration is immediately followed by the syntacticall parallelism combined with another case of reiteration of the verb to loathe (e urrente); that she had loathed him for years, that for all intents and purposes, even that she had suffered-that she had to be pitied and in the same sentence there is a comparison: they were like people living in different worlds. Very often the nature comparison and metaphors are sarcastically pronounced. "A Forsyte," replied young Jolyon, "is not an uncommon animal. There are hundreds among the members of this Club. Hundreds out there in the streets; you meet them wherever you go!" In the great warren, each rabbit for himself, especially those clothed in the more expensive fur, who, afraid of carriages on foggy days, are driven underground N kt vend t madh t lepujve do lepur kujdesej pr veten e tij, sidomos ata q kishin veshur nj qyrk t shtrenjt, ata q kan frik ti hipin karrocs kur sht koha me mjegull dhe udhtojn me trenin e nndheshm. -Nj Forsajt, - u prgjigj Xholioni i ri, nuk sht nj kafsh e rrall. Ka me qindra n mes t antarve t ktij klubi. Ka me qindra jasht n rrug. Ju dalin prpara ngado q veni!

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The Forsytes are sarcastically depicted as rabbits, as rabbits of a great warren that think only about themselves, especially those that were very wealthy. 4.2 Nature in The Forsyte Saga and Parallel Constructions

We will see how nature is used in The Forsyte Saga, and how it is depicted in every chapter and how masterfully it is translated in Albanian by Vedat Kokona. Galsworthy uses nature for various purposes, for example as a patron of love; in first place the natural force which opposes Forsytism is love, a feeling which cannot be comprehended by the Forsytes, who recognize only facts and figures. Galsworthy just like a painter displays unique pictures of the nature in his works; he depicts even the smallest shades of a landscape, and for him, nature, is anything but an impartial observer of the proceedings. It is an element of the universe which opposes the lack of love, the inhumanity of the world of property. The society of the Forsytes, their ethics and morals are unnatural, and they contradict nature and life, and for this reason they are condemned to destruction. Galsworthy opposes life and nature to the system, to the outdated traditions and beliefs; and he is on the side of nature. Landscape in the Forsyte chronicle is functionally complex, structurally and figuratively rich and various by its coloring. The events in the novel are closely connected with seasons summer, autumn, winter and spring. Nature in the novel also acts as an effective tool to intensify sensual-aesthetic orientation of the whole work; a feature that can be attributed to all five novels that constitute the saga. All this work displays the constant artistic skill of Galsworthy, to transform landscape and natural image to the social event or psychological experience, by means of full or partial parallelism. Parallel syntactic structures appear, mainly, in those parts of authors speech which sound either lyrical or pathetic. For example: Love is no hot-house flower, but a wild plant, born of a wet night, born of an hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A wild plant that, when it blooms by chance within the hedge of our gardens, we call a flower; and
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when it blooms outside we call a weed; but, flower or weed, whose scent and colour are always, wild! Dashuria nuk sht nj lule sere, por nj bim e egr q lind n nj nat plot

lagshtir, ose n nj or plot diell, q lind nj far e egr, t ciln e merr me vete udhve nj er e egr. Nj bim e egr q, kur mbin rastsisht n kopshtet tona, e

quajm lule dhe, kur mbin jasht gardhit t kopshtit ton, e quajm bar i keq; por lule ose bar i keq qoft, aroma dhe ngjyra e saj jan gjithmon t egra.

In this phrasal unity is the basic material to create the image of love and at the same time to emphasize its social essence, it is quite interesting to see how the binary opposition used in the source language text is rendered masterfully in the target language text:

hot-house flower vs wild plant

lule sere vs bim e egr nat plot lagshtir vs or plot diell lind nj far e egr vs e merr me vete udhve nj er e egr

wet night vs hour of sunshine sprung from wild seed vs blown by a wild wind

flower or weed vs are always, wild

lule ose bar i keq qoft vs jan gjithmon t egra

The word wild (e egr) is used repeatedly in order to make the reader understand unconsciously or not, that love is not something that is under the control of the Forsytes, as it is wild, it is not like the property; it cannot either be bought or sold. Nature is not only a description of joyful or sullen landscape, but an element of the universe, opposed to inhumanity of property. Since the Forsyte societys ethics and foundations are implacably represented as unnatural and absonant to nature and life, theyre doomed to degradation. Galsworthy is an enthusiastic admirer of represented nature, especially the nature in the time of its flowering. But from him, thus slumbering, his jealous Forsyte spirit travelled far, into God-knowswhat jungle of fancies; with those two young people, to see what they were doing down there in the copse--in the copse where the Por jasht trupit t tij, q kish rn n gjum, shpirti i tij ziliqar prej Forsajti po udhtonte larg, npr kush e di se far xhungle fantazish; udhtonte bashk me ata dy t rinjt q shihte se bnin atje posht n

spring was running riot with the scent of sap korije, --n korije ku pranvera qe harlisur
37

and bursting buds, the song of birds

me kundrmimin e lngut t drurve dhe me

innumerable, a carpet of bluebells and sweet shprthimin e mugujve, me kngn e zogjve growing things, and the sun caught like gold in the tops of the trees; to see what they were doing, walking along there so close together on the path that was too narrow; walking along there so close that they were always touching; t panumrt, me nj qelim zymbylash e gjrash t mbla q po rriteshin dhe me diellin q dukej si flori i dredhur maj pemve; q t shihte se po bnin duke ecur ngjitur njri me tjetrin npr at shteg shum t

to watch Irene's eyes, like dark thieves, stealing ngusht, duke ecur aq ngjitur sa nj e dy dhe e the heart out of the spring. And a great unseen chaperon, his spirit was there, stopping with them to look at the little furry corpse of a mole, not dead an hour, with his mushroom-and-silver coat untouched by the rain or dew; watching over Irene's bent head, and the soft look of her pitying eyes; and over that young man's head, gazing at her so hard, so strangely. Walking on with them, too, across the open space where a wood-cutter had been at work, where the bluebells were trampled down, and a trunk had swayed and staggered down from its gashed stump. Climbing it with them, over, and on to the very edge of the copse, whence there stretched an undiscovered country, from far away in which came the sounds, 'Cuckoo-cuckoo!' iknin njri-tjetrin; q t shihte syt e Irens, si hajdut t zinj, tek vidhnin zemrn e pranvers. Si nj roj shum e kujdesshme dhe e padukshme, shpirti i Swithinit ishte atje, me ta; ai u ndal, si ata t dy, pr t par kufomn e nj urithi tr qime, q kishte ngordhur nja dy or m par, q as shiu dh as vesa nuk ia kishin prishur ende petkun e tij ngjyr krpudhe si prej ergjendi; ai pa se si e uli kokn Irena me at vshtrim t mbl e prdllimtar, ndrsa djali i ri i kishte ngulur at shikim t thell e t uditshm. Ai shkoi me ta bashk prmes zabelit, ku kishte qen nj druvar pr t br dru, ku zymbylat qen shkelur me kmb dhe ku nj trung druri qe rrzuar dhe kishte zn udhn. Ai u ngjit me ta mbi kt trung, e kaprceu dhe vajti gjer n skajin e kories, ku shtrihej nj vend i panjohur dhe nga vinte nj tingull andej thell: Kuku, kuku!

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Translation Shifts
his jealous Forsyte spirit travelled far shpirti i tij ziliqar prej Forsajti po udhtonte larg into God-knows-what jungle of fancies the copse where the spring was running riot with the scent of sap and bursting buds npr kush e di se far xhungle fantazish korije ku pranvera qe harlisur me kundrmimin e lngut t drurve dhe me shprthimin e mugujve the song of birds innumerable a carpet of bluebells and sweet growing things me kngn e zogjve t panumrt, me nj qelim zymbylash e gjrash t mbla q po rriteshin and the sun caught like gold in the tops of the trees Irene's eyes, like dark thieves, stealing the heart out of the spring And a great unseen chaperon, his spirit was there, with his mushroom-and-silver coat untouched by the rain or dew the soft look of her pitying eyes gazing at her so hard, so strangely dhe me diellin q dukej si flori i dredhur maj pemve syt e Irens, si hajdut t zinj, tek vidhnin zemrn e pranvers Si nj roj shum e kujdesshme dhe e padukshme, shpirti i Swithinit ishte atje, me ta as shiu dh as vesa nuk ia kishin prishur ende petkun e tij ngjyr krpudhe si prej ergjendi me at vshtrim t mbl e prdllimtar i kishte ngulur at shikim t thell e t uditshm across the open space where a wood-cutter had been at work where the bluebells were trampled down and staggered down from its gashed stump prmes zabelit, ku kishte qen nj druvar pr t br dru, ku zymbylat qen shkelur me kmb dhe ku nj trung druri qe rrzuar dhe kishte zn udhn whence there stretched an undiscovered country, from far away in which came the sounds, 'Cuckoo-cuckoo! ku shtrihej nj vend i panjohur dhe nga vinte nj tingull andej thell: Kuku, kuku!

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The translation shifts do illustrate how much Kokona is faithful to the source text, sometimes adding in order to render the same meaning clearly , such as in the case: his soul was there vs shpirti i Swithinit ishte atje, me ta; or scent of sap and bursting buds vs e lngut t drurve dhe me shprthimin e mugujve. Kokona is not only faithful to the source text, but also gives a smooth literary touch to the translated target text, making it as interesting as the source text. A harmonious texture of a landscape and social events is one of the most characteristic artistic, aesthetic and stylistic attributes of the novel. The description of nature in this passage gives ur an image of the love between Irene and Bosinney. Same as this nature seems as a paradise, same their love is supposed to be; but same as there is a trunk had swayed and staggered down from its gashed stump, same their love has its obstacles, and its future is unknown and undiscovered, same as there stretched an undiscovered country at the very edge of the copse. The leading role is ascribed to the images of the air, wind, light, space, motion and sounds, which in most cases symbolize the concepts of Change and Transformation; stones, which symbolize the Changelessness, Stagnations or Past; trees and earth as symbols of Rebirth and Revival; also a special role in the novel belongs to the natural phenomena of wind and water, which are raised to the status of the implicit symbols of Change. Nature as a whole, natural phenomena, plants and animals are used to expose different images that describe heroes characters and appearances: metaphors, epithets, similes, etc, which contribute greatly to the development of the general imagery structure of the work. The doubled case of exciting reversed parallel construction, chiasmus, even rouses the readers sympathy to the personage of Old Jolyon: They were excited--busy, as his heart was busy and excited. Drowsy, too, drowsy and drugged on honey and happiness; as his heart was drugged and drowsy. Summer--summer--they seemed saying; great bees and little bees, and the flies too! Ato punonin plot shqetsim ashtu si rrihte plot shqetsim edhe zemra e tij. Ato ishin si t prgjumura e t dehura nga mjalti dhe lumturia, si ishte e dehur dhe e prgjumur zemra e tij. VerVer dukeshin sikur thoshin blett e mdha dhe blett e vogla, edhe mizat!

The parallel construction underlines his sudden emotions and observations:

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What a revel of bright minutes! What a hum of insects, and cooing of pigeons! It was the quintessence of a summer day. Lovely!

dit e bukur plot drit! Insektet zhuzhullinin dhe pllumbat guguronin. Kto ishin astet m t bukura t nj dite vere! Mrekulli!

We notice that thte parallel construction What a revel of bright minutes! What a hum of insects, and cooing of pigeons lost in the translated versionsince the way the sentences are constructed is not same as in the source text. What we understand is that the elements of Nature are an essential part of the novel, and Natures frame is a complex cognitive structure, where every element of nature, be them animate or inanimate, is associated with Human Emotions (positive and negative) and Human Features (character and appearance).

4.3 Paganism in the novel

How deeply Galsworthy was attached to his father is known by the fact that modeled after him, too, Old Jolyon, that fascinatingly depicted octogenarian in The Man of Property and The Indian Summer of a Forsyte. It was from his devotion to his father that Galsworthy put off his marriage seven years till after his fathers death, the marriage which promised to be as happy as any marital tie in the world. It is because the author believed in the moral kinship between father and son so far as Galsworthy case is concerned, and that, when Galsworthy delineates his father in his works, the son in him is outpouring through his father. It is said that Galsworthy was extremely reticent about himself, but it is also believed that he never tells of anything but himself in his works. So it might not be too daring to try to seek in his works a clue for knowing his personality and the way this personality is transmitted to us through Vedat Kokonas distinguishable translation. In his eighties, Old Jolyon, appreciates nature more than ever. When he watches flowers and leaves, or listens to birds singing under the sunlit sky, nature almost makes his heart ache from sheer love of it. He feels the beauty of nature slip away from him. As he knows he doesnt have many years ahead now to appreciate it, he becomes restless to think how little it will be that he

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can enjoy the world and its beauty before he closes his eyes to it for good, without having exhausted all his power to love it. There is no way of becoming fresh and young again but yet he wishes if he could be young again even though just for a day. And Old Jolyon thought: Eighty-five! I dont feel itexcept when I get that pain. Dhe plaku Xholion thoshte me vete: Tetdhjet e pes vje! Dhe as q i ndiej fare vitet, ve kur m smbon ktu!

It looks as if there were something wrong with the power presiding over all life, or something in the nature of justice torturing his soul. His implicit protest against the feeling of common people is that they see no reason why an old man craves for a pretty face to look at and love. The Forsytes are not aware that even in a decrepit body might linger a yearning soul all the more sensitive to beauty as it approaches to the end of its lifes journey. What the Forsytes think of is only money and property, but with the passing of years this changed in Old Jolyon. The gloomy little study, with windows of stained glass to exclude the view, was full of dark green velvet and the heavily-carved mahoganya suite of which Old Jolyon was wont to say: Shouldnt wonder if it made a bit price someday! It was pleasant to think that in the after life he could get more for things that he had given. In the rich brown atmosphere peculiar to back rooms in the mansion of a Forsyte, the Rembrandtesque effect of his great head, with its white hair, against the cushion of his highbacked seat, was spoiled by the moustache, which imparted a somewhat military look to Studioja e vogl dhe e errt, me dritaret q i kishin xhamat ngjyra-ngjyra dhe st linin t shikoje tej pr tej, ishte plot me mobilie prej druri t kuq, t rnd e t gdhendur, veshur me kadife t gjelbr t mbyllt. Plaku Xholion thoshte pr kto mobilie: Nuk sht pr tu habitur n qoft se nj dit kto do t kushtojn shum! I vinte mir kur mendonte se n t ardhmen mund ti shiste plakat m shtrenjt se i kish bler. N nj atmosfer t ngroht e t errt, q sht karakteristike pr t gjitha dhomat e shtpive t Forsajtve, efekti rembrandtesk i koks s tij t madhe me leshra t thinjura, kundrejt jastkut
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his face.

t karriges me shpinz t lart, prishej nga mustaqet q i jepnin fytyrs s plakut nj pamje prej ushtaraku.

The gloomy study and the stained glass windows show us not only how a Forsytes house is, but also their inner side, they dont even want to see the natures beauty, all they see is the money value their properties have: Shouldnt wonder if it made a bit price someday! It was pleasant to think that in the after life he could get more for things that he had given. We notice that the way it is translated gives us a great hint on the Forsytes point of view about life, since after life is translated as n t ardhmen; for a Forsyte death was not taken into account, as if it didnt even exist. When a Forsyte was engaged, married, or born, the Forsytes were present: when a Forsyte diedbut no Forsyte had as yet died; they did not die; death being contrary to their principles, they took precautions against it, the instinctive precautions of highly vitalized persons who resent encroachments on their property Kur nj Forsajt fejohej, martohej ose lindte, t gjith Forsajtt ndodheshin n ngjarjen e familjes; kur vdiste ndonj Forsajtpor asnj Forsajt nuk kishte vdekur ende; Forsajtt nuk vdisnin: vdekja ishte n kundrshtim me parimet e tyre dhe, pr kt arsye, ata merrnin masa kundr saj, masat instinctive t njerzve plot jet e gjallri, q nuk pranojn tu shptoj nga dora e tyre. As we go on reading the story, we understand that even life from the Forsytes is considered as a property. When their Aunt Ann, the oldest of the Forsytes, died, the Forsytes were resentful of something, as a family, they had an instinct of being in contact with something strange and unsafe thing, something which was beyond their power and command. Aunt Ann was there; her inflexible back and the dignity of her calm old face personifying the rigid possessiveness of the family idea.
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Edhe teze Eni ishte aty; kurrizi i paprkulur dhe pamja plot dinjitet e fytyrs s saj t

qet e t plakur mishronin frymn e

rrept t prons n kt familje.

The way Galsworthy describes Aunt Ann also underlines the fact that the Forsytes are obsessed with the idea of the property, the inflexible back and dignity of her calm old face personify the rigid possessiveness, and this is rendered in Albanian as frymn e rrept t prons so accurately as to make the reader understand what is implied by rigid possessiveness. And all the unnumbered generations of his yeoman ancestors, wont of a Sunday to stand akimbo surveying their little plots of land, their grey unmoving eyes hiding their instinct with its hidden roots of violence, their instinct for

Dhe t gjith brezat e panumrt t strgjyshrve t tij fshatar, q e kishin zakon t rrinin t dielave me duart n ije duke soditur ngastrat e vogla t tokave t tyre, me ata sy t prhim e t palvizur q fshihnin

possession to the exclusion of all the world thell instiktin e tyre t dhuns, instiktin e all these unnumbered generations seemed to sit there with him on the top of the rise. zotrimit, q nuk qaste asnj ndrhyrje nga ana e bots s jashtme t gjith kta breza t panumrt dukeshin sikur ishin ulur dhe po rrinin me Suithinin maj asaj kodrine.

What the author tells us in this passage is the other hint of showing the instinct of possession of all the Forsytes, not only of the young generation, but even of their ancestors. An instinct with hidden roots of violence which excluded the entire world, nothing else comes first for them except their property. Old Jolyon is not an emotional type of a man who can accomplish nothing in life but simply waste what energy he has in sensual pleasures of life. A remarkable thing about him is that, despite his nature susceptible to beautiful effects in nature, the impression he gives is that of equanimity and sanity. There is nothing of weak-heartedness in him. He is a man of shrewd practical sense, possessing a full share of the sense of property. He has never been influenced by any opinion but his own, though he does not think otherwise than most people so often as to look strange. Since that day he set up as a solicitor very early in his life, he has been dependent solely upon his own exertions. Money can he not think of slightly. It is to him one of the most essential factors which will make a well-ordered, delightful life possible for a man and his family. Thus not only has he never been hard pressed for money, but amassed a considerable wealth.
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Young people slave to gather possessions only to regret in old age that they have traded so much of life away to gain them and must undergo the painful rigors of its redistribution through wills after death. He is different from the common snob in that with his sense of property is happily combined his sensibility to the spiritual and aesthetic elements in life. As a successful tea merchant he really worked in his manhood, worked harder than any of the young pups of his later years. We see this in these paragraphs:

He had worked at that business! Men did work in those days! These young pups hardly knew the meaning of the word. He had gone into every detail, known everything that went on, sometimes sat up all night over it. And he had always chosen his agents himself, prided himself on it. His eye for men, he used to say, had been the secret of his success, and the exercise of this masterful power of selection had been the only part of it all that he had really liked. Not a career for a man of his ability.

Ai kishte punuar shum n at shoqri. Njerzit punonin n ato koh, jo shaka! Jo si kta axhamit e sotm q sia din as kuptimin fjals pun! Ai hynte n t gjitha hollsit, ishte n dijeni t do gjje dhe, nganjher, kur e donte puna, rrinte gjith natn zgjuar. Vet i kishte zgjedhur gjithmon agjentt e vet dhe pr kt mburrej. Mprehtsia e syrit t tij pr t zgjedhur njerzit, si thoshte, kishte qen sekreti i suksesit t tij dhe ushtrimi i ksaj fuqie t madhe t zgjedhjes kishte qen i vetmi burim knaqsie pr t. Kjo nuk ishte nj karrier pr nj njeri me aftsi t till.

The way Kokona has translated the paragraph comes in Albanian so smoothly as if it were actually written in Albanian, not translated. What we notice at first sight is that Kokona does not make use very often of the word for word translation; instead he prefers to translate using naturalization, harmonizing the sentences in the text and by using addition and stylemes. For instance, Men did work in those days was translated as Njerzit punonin n ato koh, jo shaka! the added part jo shaka renders to the Albanian reader a clearer message of what the author meant to say.

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These young pups hardly knew the meaning of the word. was rendered in Albanian as Jo si kta axhamit e sotm q sia din as kuptimin fjals pun! we notice that in English this sentence is an indicative one, whilst in Albanian it is transformed into an exclamatory one, and the epithet young pups is masterfully translated as axhamit e sotm, which is quite an interesting example since an inexperienced translator might even have translated it as t rinjt e sotm. The word axhami gives to the Albanian reader not only the idea of them being young, but also inexperienced and not used to work. He survived his tea trade, and sat for the directors board of several companies, of which he has not yet given up all. The impression he gives is that of the typically Victorian type of businessman, who has sought a fortune all his life and never been seriously concerned with the spiritual side of human life. But, during more than half a century of his independent life, he has learned and unlearned, put on himself and given up, so many things beyond material value. Same as whiskers were outmoded; the robe of the orthodoxy was shed off his soul a long time ago. Now that he is so well off and no longer chained to any material needs of the world, there remain only three things to which he cannot but pay his homagethe sense of property, uprightness and beauty. Of these three, the last tends to conquer his soul more and more nowadays. The sense of property and uprightness hold far less power over him now, though they are by no means forsaken idols for him yet. The upright conduct is the last testimony of the moral strength after all the conventional doctrines have lost their prestige for him. The sense of property is related to the most primeval of human instincts the instinct of self-preservation, for the latter encourages a man not only to fight for his own life but also to do his utmost in securing as comfortable living conditions as possible for himself and his family. But having lived for more than half century upon those two principles, he doesnt need them anymore, as he is like a traveler reluctant to part with wayside flowers, and birds, streams and clouds, and the golden shine upon them all. Somehow, to-day, he wanted company wanted a pretty face to look at. People treated the old as if they wanted nothing. And with the un-Forsytean philosophy which ever intruded on his soul, he thought: Ones never had enough! With a foot in the grave onell want Pr udi, at dit ia donte zemra t kishte nj njeri pran, ia kish nda t shikonte nj fytyr t bukur. Njerzia ven me mendje se plaku ska nevoj pr asgj. Dhe, me at filozofin jo prej Forsajti, q ishte gjithmon n shpirtin e tij, ai mendonte: Ne sknaqemi kurr me at
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something, I shouldnt be surprised! Down

q kemi! Edhe ather kur je me nj kmb n

hereaway from the exigencies of affairshis varr dshiron dika. Ktu, larg qytetit, larg grandchildren, and the flowers, trees, birds of his little domain, to say nothing of sun and moon and stars above them, said, Open, sesame, to him day and night. And sesame openedhow much, perhaps, he did not know. He had always been responsive to what they had begun to call Nature, genuinely, most religiously responsive, though he had never lost his habit of calling a sunset a sunset and a view a view, however deeply they might move him. But nowadays Nature actually made him ache, he appreciated it so. andrrallave t jets, fmijt e fmijs, lulet, drurt, zogjt e prons s tij t vogl dhe sidomos dielli, hna dhe yjet sipr tyre, thoshin: Hapu Sezam! do dit e do nat. Dhe Sezami qe hapurpo se sa qe hapur, at plaku Xholion nuk e dinte. Ai e kishte ndier gjithmon n shpirtin e tij oshtimn e asaj q tani e quanin natyr, sinqerisht e kish ndier pothuaj me gjith shpirt, ndonse e kishte quajtur gjithmon perndimin e diellit perndim dielli dhe panoramn panoram, sado thell q mund ta kishin tronditur. Por sot ai e ndiente kaq shum natyrn sa ajo i shkaktonte si nj smbim n zmr.

It is quite understandable that Old Jolyon does not find pleasure on property anymore. And he thinks that people treated the old as it they wanted nothing, Ne sknaqemi kurr me at q kemi! Edhe ather kur je me nj kmb n varr dshiron dika also adding this way that though he is old and maybe with a foot in the grave, there will always be something that he will need, hell never have enough. One day he met Irene, wife of his brothers precious son Soames, or the man of property, as Old Jolyon himself called him. She had left her husbands house time before, after her lovers tragic death on a London street. The lover had been the fianc of Old Jolyons beloved niece, June, before he fell in love with Irene. So the woman now standing in front of him and smiling with her head a little at one side had ruined the happiness of his grandchild. But the fact did not prevent him from thinking on the instant: How pretty she is! . Sa e bukur q sht!

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The Forsytean philosophy decreeds that one should not love beauty more than reason, should have ones own way more than ones own health. But the pleasure he derived from beauty now was too alluring to him to keep himself away from it. But the pleasure derived from beauty, for him was too alluring to keep him away from it. He invited her for dinner, and then the next week they took a stroll in Kensington Garden, where they had a conversation in the park about love: Did you ever love very deeply, Uncle Jolyon? If I had met you when I was young, I I might have made a fool of myself, perhaps. And a longing to escape in generalities beset him. Loves a queer thing, he said, fatal thing often. It was the Greekswasnt it?made love into a goddess; they were right, I dare say, but they lived in the Golden Age. Phil adored them. Ah! There was a bit of the sculptor in him, I fancy. Yes. He loved balance and symmetry; he loved the wholehearted way the Greeks gave themselves to art. . Youre of the Golden used to say: But I can never tell him that. I admire him. Keni dashuruar ndonjher me gjith shpirt, xha Xholion? Sikur tju takoja kur isha i ri, unun do t kisha br ndoshta nj marrzi. At cast deshi t fliste pr gjra t prgjithshme. -Dashuria sht nj gj e uditshme, -tha ai. Shpesh dika fatale. A sishin grekt ata q e bn dashurin perndesh? Them se kishin t drejt, por ata jetonin n shekullin e art. -Fili i adhuronte ata. -Besoj se kishte edhe pak talent skulptori. -Kishte. I plqente ekuilibri dhe simetria. Ai i donte grekt sepse ata i kushtoheshin artit me mish e me shpirt. ....-Edhe ju jeni i shekullit t art, xha Xholion. . Ashtu mendonte Fili. them q m plqen shum.

Age, too, Uncle Jolyon. . Phil thought so. He Ai thoshte gjithmon: nuk sht e mundur ti

Old Jolyon remembered the chap had no balance at all; and the queer eyes of his, and high cheek-bonesthere was no symmetry in him. Irenes lover the architect and Old Jolyon! One was so ardently devoted to the ideal of balance and symmetry that he had lost the last bit of that quality from his appearance, while the other was so balanced but never conscious of the ideal embodied in himself. What an irony of human nature!
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Old Jolyon had never loved to desperation, had always kept his balance and his sense of symmetry. And asleep, a sentinel on the--top of the rise, he appeared to rule over this prospect-remarkable--like some image blocked out by the special artist, of primeval Forsytes in pagan days, to record the domination of mind over matter! Dhe, ashtu n gjum si ishte, si nj roj maj kodrins, dukej sikur sundonte mbi gjith vendin rreth e rrotull, mbi kt panoram t mrekullueshme, si nj figur e skalitur n gur nga nj artist pagan i Forsajtve t qmotshm, q do t prjetsonte eprsin e mendjes mbi materien!

All Forsytes wanted to rule over everything, even over nature, and as the author says they wanted to dominate over the matter, and paganism is mentioned too. But the power to admire beauty, which had been inherent to him, was now overpowering him. The balance in him was endangered before the beauty of a woman. As a Forsyte, he had never loved anything so desperately as Bosinney, Irenes dead lover, did. He had always kept a balance of life, never lost his sense of symmetry. If the Forsytean way of life more or less stood for the Victorian tendency, it was only natural that he should have impressed a casual observer as a typical Victorian rather than anything else. But anyway he has not to fall under the category of the common type Victorian character, because of his power to frequently see things all round as they were through an unprejudiced eye; which enabled him to rise above his personal interest and from time to time to meditate upon the deep meanings of life. What we notice is that his sense of beauty was never influenced by any traditional idea of beauty; it was not awakened in him for the first time only after so many years of his long career; had existed in him inherently, but had been counterbalanced by other qualities as strongly inherent in him. His love of young life and beautiful form and color, was what made him different from the other Forsytes. In the last days of his life, he even allowed his passion for beauty to supersede his sense of property and to threaten to injure his sense of family tie. He could liberate himself from all the conventionalisms of the age, and sometimes he could think and feel almost as freely and naively as a man of the Gold Age.

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Thus, as a conclusion, he was not affected by any of the contemporary ideas permeated by the Christian ideologies. He was essentially a pagan. We see this pagan feature in him in his freedom from all the social conventions and religious doctrines, something which marks Galsworthys works also.

4.4 Allusions, idioms and similes Culturally oriented translation studies emphasize the communicative nature of translation. The source text (ST) and the target text (TT0 are not simply language; both occur in a given situation in a given culture in the world, and each has a specific function. Allusions and idioms so common in English are a case in point. Allusions, idioms and similes are some of the most frequently stylistic devices used from the author in depicting the characters. One of the first allusions we encounter is the quilpish look: the tall George, son of the fifth Forsyte, Roger, had a Quilpish look on his fleshy face, pondering one of his sardonic jests Xhorxhi i gjat, djali i Forsajtit t pest, Roxherit, nga shprehja e ironis q pasqyrohej n fytyrn e tij t mbushur, dukej sikur e bluante nj nga ato shakat e tij sardonike. [] Quilpish look on his fleshy face [] is translated as [] shprehja e ironis q pasqyrohej n fytyrn e tij t mbushur [] the allusion Quilpish look, taken from a character in The Old Curiosity Shop(1841) by Charles Dickes, is lost when it is translated in albanian. The character, Daniel Quilp, is a money lender who cheats people and is cruel to his wife; while these characteristics are given through the allusion quilpish look, in Albanian it is simply given as shprehja e ironis. With these kinds of allusions we encounter the problem of untranslatability. Same happens with Dundreary whiskers, which is translated as basetat, prer, sipas modes Dndriri; this is a cultural element which cannot be translated simply like that, because the Albanian readership wouldnt understand it for sure, either it needs a footnote, explaining how do dundreary whiskers look, or needs to be translated not just as a noun but as a clause, where the translator would give a description of dundreary whiskers.
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his cheeks, thinned by two parallel folds, and a long, clean-shaven upper lip, were framed within Dundreary whiskers.

faqet e tij, tw prera nga dy rrudha paralele dhe buza e sipwrme, e gjatw dhe e rruar, ishin tw rrethuara nga basetat, prerw, sipas modws Dwndriri.

Another interesting allusion is that of Buccaneer: George, on hearing the story, grinned. The hat had obviously been worn as a practical joke! He himself was a connoisseur of such. "Very haughty!" he said, "the wild Buccaneer." Xhorxhi, kur e kishte dgjuar kt histori, kishte br buzn n gaz me tallje. Me sa dukej, fillip Bosini kish vn at kapet pr tu tallur! Atij vet i plqenin shaka t tilla. -Si shum fodull Bukanieri i egr! kish And this mot, the 'Buccaneer,' was bandied from mouth to mouth, till it became the favourite mode of alluding to Bosinney. thn ai. Dhe fjala Bukanieri kaloi goj m goj gjersa t gjith zun ta prdornin kur e kishin fjaln pr Bosinin.

Being a very interesting allusion, and also an important one, the translator has chosen not to translate it, and has added a footnote explaining that Buccaneer is pirat. Another cultural element is the word dandy: "Er--how are you?" he said in his dandified way, aspirating the 'h' strongly (this difficult letter was almost absolutely safe in his keeping)--"how are you?" In order to preserve the dandified way of talking, the translator translated it as me nj ton prej dendi, also including a footnote for to explain it, Dandy (angl) njeri sqimatar, spitullak. Idioms are also very important in The Forsyte Saga, because they are frequently used by different characters. Personally, idioms are my favorite figures of speech in this nvel, since they are very frequent, and because their translation in Albanian is so impressive and interesting. -Hmsi vete? Tha ai me nj ton prej dendi, duke theksuar fort grmn s -Si vete?

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 I made him bring every penny into settlement, - lucky thing, too- theyd hahad nothing by this time! I couldnt help Irenes having no money. Soames was in such a hurry; he got quite thin dancing attendance on her. This isn't real old Worcester. I s'pose Jolyon's told you something about the young man. From all I can learn, he's got no business, no income, and no connection worth speaking of; but then, I know nothing--nobody tells me anything. "Thinner? I'm in good case," he said, leaning a little forward, "not one of your threadpapers like you!" I'm very well in myself," proceeded James, "but my nerves are out of order. The least thing worries me to death.

Kurun e msova burrin e saj ti shtinte n pun t hollat, gjer te qindarka dhe qe nj fat I madh, sepse tani do kishin mbetur n diell! edhe Irena nuk kishte para, po ti bja un? Somsit si pritej sa ta merrte; u tret si qiriri duke pritur q t vendoste ajo. -Nuk sht Vuster i vrtet. Besoj se Xholioni do tju ket thn dika pr djalin e ri. Me kam marr vesh, ai sht pa pun, t ardhura ska, ska as far, as fis pr t qn, por un sdi asgj, se asnjri sm thot ndonj gj.

-T dobsohem? Jam shum mir kshtu, tha ai duke u prkulur pak prpara. Sjam skorr si ju! -Jam shum mir kshtu si jam, - vazhdoi Xhejmsi, - por me nervat nuk jam mir. Pr gjn m t vogl mrzitem e bhem helm e pik.

"You're all alike: you won't be satisfied till you've got what you want. If you must come to grief, you must; I wash my hands of it." So, he had washed his hands of it, making the condition that they should not marry until Bosinney had at least four hundred a year.

-Q t gjith njlloj jeni: knaqeni vetm ather kur keni at q doni. N do t marrsh veten n qaf, mere! Un i laj duart pr hesapin tim. Edhe kshtu ai i kishte lar duart dhe kishte vn si kusht q ata nuk do t martoheshin gjersa Bosini t fitonte t paktn katrqind strlina n vit.

A bad business! He had no notion of giving her a lot of money to enable a fellow he knew nothing about to live on in idleness. He had seen that sort of thing before; no good ever came of it. Worst of all, he had no hope of

Pun e keqe! Ai nuk kishte aspak ndrmend ti jepte asaj nj prik t madhe duke i dhn rast kshtu nj djali t bots, pr t cilin sdinte asgj, q ta kalonte kohn duke br pall. Dika t till e kishte par edhe m par dhe e
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shaking her resolution; she was as obstinate as a mule, always had been from a child. He didn't see where it was to end. They must cut their coat according to their cloth. He would not give way till he saw young Bosinney with an income of his own. That June would have trouble with the fellow was as plain as a pikestaff; he had no more idea of money than a cow. As to this rushing down to Wales to visit the young man's aunts, he fully expected they were old cats.

dinte q sqe gj e mir. M e keqja qe se ai skishte shpres tia mbushte mendjen Xhunit q t hiqte dor nga vendimi q kishte marr; ajo qe kokfort si mushka, ashtu kishte qen q n vogli. As ai se dinte si do t prfundonte kjo pun! Ata duhej t shtrinin kmbt sa kishin jorganin. Ai do t dorzohej vetm at her kur t shihte se Bosini kishte t ardhurat e veta. Q Xhuni do t kishte avaze me at djal skishte pik dyshimi: m sa merr vesh lopa nga parat aq merrte vesh edhe ai! Sa pr kt udhtimt rrmbyer pr n Uells pr t vizituar tezet e t fejuarit, Plaku Xholion ishte shum i bindur se ato do t shin ca mace t plakura e asgj tjetr. udi, ku i kish vajtur n mendje Xhejmsit ti

The idea of supposing that young cub

Soames could give him advice! He had always thoshte se Somsi, ende klysh, munt ti jepte been a cub, with his nose in the air! He would be setting up as a man of property next, with a place in the country! A man of property! H'mph! The fellow was sharper than he had thought, and better-looking than he had hoped. He had a--a 'don't care' appearance that James, to whom risk was the most intolerable thing in life, did not appreciate; a peculiar smile, too, coming when least expected; and very queer eyes. kshill. Klysh kishte qen ai gjithmon, me at hund prpjet! Pastaj do t hiqej si pronar me nj vil jasht qytetit! Si pronar! Posi! Djali i ri qe m mendjeholl se kish pandehur ai dhe m i pashm se ia merrte mendja. Kishte pamjen e nj njeriu q thot ku rrafsha mos u vrafsha, pamje q si plqnte aspak Xhejmsit, i cili do gj mund t duronte n jet, prve rrezikut. Xhejmsit nuk i plqeu gjithashtu as ajo nnqeshja e tij e veant q shfaqej pikrisht ather kur nuk e prisje aspak. He would, however, let Timothy have a bit of his mind, and see if he would go on dropping Sidoqoft, do t vente te Timothi, q ti thoshte se mendonte e t shihte a do t hiqte dor ai
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hints! And he would not let the grass grow under his feet either, he would go there at once, and take very good care that he didn't have to go again on the same errand.

nga ato fjal q hidhte her pas here! Dhe nuk do ta shtynte kt pun me sot me nesr, por do t vente atje menjher, dhe do t kishte kujdes q t mos qe nevoja t shkonte pr s dytu pr t njjtn gj.

Similies are very frequent in the novel and most of the times the author compares the characters with animals and uses nature in order to create similies. Then he caught sight of her face, so white and motionless that it seemed as though the blood must have stopped flowing in her veins; and her eyes, that looked enormous, like the great, wide, startled brown eyes of an owl. Huddled in her grey fur against the sofa cushions, she had a strange resemblance to a Pastaj i vshtroi fytyrn, q ishte aq e bardh dhe si e ngrir sa dukej sikur gjaku nuk lvrinte m n rrembat e saj; i vshtroi edhe syt q dukeshin shum t mdhenj si syt e zgurdulluar e t lebetitur t nj kukuvajke. E tulitur n pelien e saj ngjyr hiri te jastkt e kanapes, Irena i shmbllente pr udi me

captive owl, bunched in its soft feathers against nj kukuvajk me tufa puplash t buta t the wires of a cage. The supple erectness of her figure was gone, as though she had been broken by cruel exercise; as though there were no longer any reason for being beautiful, and supple, and erect. She had come back like an animal wounded to death, not knowing where to turn, not knowing what she was doing. Again he looked at her, huddled like a bird that is shot and dying, whose poor breast you see panting as the air is taken from it, whose poor eyes look at you who have shot it, with a slow, soft, unseeing look, taking farewell of all pshtetur pas telave t kuvlis. Trupi i saj, sikur qe thyer nga nj ushtrim mizor, e kishte humbur zhdrvjelltsin e bukurin e dikurshme, sikur t mos kish m asnj arsye pr t qn i bukur, i zhdrvjellt dhe i drejt. Ajo qe kthyer si nj kafsh q sht plagosur pr vdekje, se sdinte ku t vente, se sdinte t bnte. Ai e vshtroi prap Irenn, t tulitur si nj zog i plagosur, q sht duke dhn shpirt, me at kraharor t shkret q ulet e ngrihet ndrsa merr frym me gulim, q vshtron me ata sy t pernduar at q e ka vrar, me nj shikim t

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that is good--of the sun, and the air, and its mate.

qet e t mbl q i l lamtumirn do gjje t mir n kt bot: diellit, ajrit dhe shoqes s tij.

Many times the author uses similes to compare the Forsytes with an artist, or animals: Like an artist for ever seeking to discover the significant trifle which embodies the whole character of a scene, or place, or person, so those unconscious artists--the Forsytes had fastened by intuition on this hat; it was their significant trifle, the detail in which was embedded the meaning of the whole matter they had taken arms against a common peril. Like cattle when a dog comes into the field, they stood head to head and shoulder to shoulder, prepared to run upon and trample the invader to death.
with his nose, like the nose of a sheep, fastened to the pasture on which he browsed

Si nj artist q krkon gjithmon t zbuloj nj voglsi kuptimplot q do t mishroj gjith karakterin e nj skene, ose t nj vendi, ose t nj njeriu, ashtu edhe Forsajtt, q ishin artist pa e ditur, ishin kapur fort pas ksaj kapele; kjo ishte pr ta ajo voglsi kuptimplot, hollsia n t ciln q fshehur kuptimi i gjith shtjes ...ata ishin armatosur at dit kundr rrezikut t prbashkt. Si ato bagtit, kur nj qen hyn n vath, edhe ata rrinin kok m kok dhe sup m sup, gati pr tiu versulur armikut dhe pr ta shkelur me kmb gjersa t jepte shpirt. hunda e tij, si ajo e deleve, qe lidhur atje ku kulloste.

It is so interesting to read the novel in Albanian since every idiom, allusion, simile and every other figure of speech is rendered with a corresponding figure of speech in such a way that there are no losses in the target text.

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Chapter 5
5.1 Principles of Correspondence Whoever takes upon himself to translate contracts a debt; to discharge it, he must pay it with the same money, but the same sum (Costance B.West)

Since no two languages are identical, either in the meanings given to corresponding symbols or in the ways in which such symbols are arranged in phrases and sentences, it stands to reason that there can be no absolute correspondence between languages. Hence there can be no fully exact translations. The total impact of a translation may be reasonably close to the original, but there can be no identity in detail. Constance B.West (1932:344) clearly states the problem: Whoever takes upon himself to translate contracts a debt; to discharge it; he must pay not with the same money, but the same sum. One must not imagine that the process of translation can avoid a certain degree of interpretation by the translator. In fact, as D.G.Rossetti stated in 1874 (Fang 1953), A translation remains perhaps the most direct form of commentary. No statement of the principles of correspondence in translating can be complete without recognizing the many different types of translations (Herbert P.Phillips 1959). Traditionally, we have tended to think in terms of free or paraphrastic translations as contrasted with close or literal ones, but there are many more grades of translating than these extremes imply. There are such translations which involve highly concordant relationships, e.g. the same source-language word is always translated by oneand only onereceptor-language word.

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Others may be quite devoid of artificial restrictions in form, but nevertheless may be over traditional and even archaizing. Some translations aim at very close formal and semantic correspondence, but are generously supplied with notes and commentary. Many are not so much concerned with giving information as with creating in the reader something of the same mood as was conveyed by the original. Differences in translations can generally be accounted for thee basic factors in translating: (a) the nature of the message, (b) the purpose of the author, by proxy, of the translator, and (c) the type of audience. The purposes of the translator are the primary ones to be considered in studying the types of translation which result, the principal purposes that underlie the choice of one or another way to render a particular message are important. The primary purpose of the translator may be information as to both content and form; one intended type of response towards such an informative type of translation might be largeky cognitive, but alse a largely informative translation may be designed to elicit an emotional response to pleasure from the reader or listener. A trasnlators purposes may involve much more than information. He may, for example, want to suggest a particular behavior by means of translation. So he may adapt the target text in order to aim a meaningful translation. A greater degree of adaptation is likely to occur in a translation which has an imperative purpose. Here the translator feels constrained not merely to suggest a possible line of behavior, but to make such an action explicit and compelling. He is not content to translate in such a way that the people are likely to understand; rather he insists thar the translation must be so clear that no one can possible misunderstand. An easy and natural style in translating, despite the extreme difficulties producing itespecially when translating an original of high qualityis nevertheless essential to producing in the ultimate receptors a response similar to that of the original receptors. In one way or another this principle of similar response has been widely held and effectively stated by a number of specialists in the field of translating.
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A translation should affect us in the same way as the original may be supposed to have affected its first hearers.9 Despite Arnolds objection to some of the freer translations done by others, he was at least strongly opposed to the literalist views of such persons as F.W.Newman (1861). Jowett (1891), on the other hand, comes somewhat closer to the present-day conception of similar response in stating that: an English translation ought to be idiomatic and interesting, nto only to the scholar, but to the learned reader. The translator seeks to produce on his reader an impression similar or nearly to that produced by the original.

5.2 Translation as the Trial of the foreign

A Translator is severely criticized if he makes a mistake, but only faintly praised when he succeeds (Nida 1964: 155)

Translation is the trial of the foreign (preuve de ltranger)10; in a double sense. In the first place, it establishes a relationship between the Self-Same (Propre) and the Foreign by aiming to open up the foreign work to us in its utter foreignness. In the second place, translation is a trial for the Foreign as well, since the foreign work is uprooted from its own language-ground. And this trial, often an exile, can also exhibit the most singular power of the translating act: to reveal the foreign works most original kernel, its most deeply buried, most self-same, but equally the most distant from itself. Alain addressed the topic of translation in one of his remarks on literature: I have this idea that one can always translate a poetEnglish, Latin, or Greekexactly word for word, without adding anything, preserving the very order of the words, until at last you find the meter, even the rhymes. I have rarely pushed the experiment that far; it takes time, I mean, a few months, plus uncommon patience. The first draft
9

10

Arnold, Matthew, quoted in Savory, 1957 Berman, Antoine, Translation and the Trials of the Foreign, translated by Lawrence Venuti.

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resembles a mosaic of barbarisms; the bits are badly joined; they are cemented together, but not in harmony. A forcefulness, a flash, a certain violence remains, no doubt more than necessary. Its more English than the English text, more Greek than the Greek, more Latin than the Latin []

(Alain 1934:567) Thanks to such translation, the language of the original shakes with all its liberated might the translating language. In an article devoted to Pierre Klossowskis translation of the Aeneid, Michel Foucault distinguishes between two methods of translation: It is quite necessary to admit that two kinds of translations exist; they do not have the same function or the same nature. In one, something (meaning, aesthetic value) must remain identical, and it is given passage into another language; these translations are good when they go from like to same [] And then there are translations that hurl one language against another [] taking the original text for a projectile and treating the translating language like a target. Their task is not to lead a meaning back to itself or anywhere else; but to use the translated language to derail the translating language.

(Foucault 1969:30) Doesnt this distinction simply correspond to the great split that divides the entire field of translation, separating so-called literary translations (in the broad sense) from non literary translations (technical, scientific, advertising, etc.)? Whereas the latter perform only a semantic transfer and deal with texts that entertain a relation of exteriority or instrumentality to their language, the former are concerned with works, that is to say texts so bound to their language that the translating act inevitably becomes a manipulation of signifiers, where two languages enter into various forms of collision and somehow couple.

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Readers often perceive the end-product of translation (i.e target text,TT) as the only material available for scrutiny. This tendency to ignore the process of the decision making lies behind the lack of objectivity in translation assessment. Thus, any attempt to evaluate translations by analytic comparison of source text (ST) and target text (TT) is bound to divert away from accuracy without considering the procedures undertaken by the translator to resolve the problems (Hatim and Mason 1990: 3). The ST writer selects lexical items and syntactic arrangement to suit his communicative aims. The translator works at recovering those aims, something that we will discuss about on the following part. But this process is fraught with subjective interpretation of ST. After all, every reading of a text is unique in its own right and is bound to evoke different responses.

As we see , the wheel of experience better illustrates the process of translation and makes us understand how a text is unique and is perceived differently from every translator. Based on their own intuition, instinct, creativity, their experience in reading, studies, travelling, and all the other specific elements mentioned below, the translators create their own experience, their own way of perceiving things, of understanding the text, elaborating it and then rendering the same meaning in the translated version.

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All translations could have been better than they are, most could have been worse11 (John Sturrock) As House (1981:64) describes it, it seems unlikely that translation quality assessment can even be objectified in the manner of natural science. As there is neither a definitive reading of a text, nor a perfect rendering which achieves the goals of ST, translation assessment and criticism could go on forever. Indeed, Robinson wrote: A non-translator (especially a monolingual reader in the target language who directly or indirectly pays for the translation a client, a book-buyer) thinks and talks about the translation from outside the process, not knowing how it is done, but knowing a good translation when s/he sees one. A translator thinks and talks about translation from inside the process, knowing how its done, possessing a practical real-world sense of the problems, and the limitations on those solutions.
12

11 12

Sturrock, John. The translators Handbook, edited by Catriona Picken, p.75, 1989. Robinson, Douglas. Becoming a Translator: An Accelerated Course, London and New York: Routledge, 1997.

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Conclusions A great age of literature is perhaps always a great age of translations. Ezra Pound 1885-1972, American Poet, Critic In order for the reader to have in his hands a high quality translated work of art, the translator has to do not only a professional work in it, but also should devote all hir/her passion into it. Assessing this piece of work I would say was a great pleasure. John Galsworthy spent a lot of time to write The Man of Property and devoted all his heart to it. In the beginning, in the exposition of the novel, he uses a wide variety of epithets and metaphors, similes, allusions, repetition, inversion, etc., in describing the characters. I analysed the way all these devices and figures of speech were rendered in Albanian, whether there was a loss of them of it they were translated faithfully. What Kokona has implied not a word for word translation, many times he takes upon himself the risk to change the whole sentences form for to render the same meaning, such as in this case: He had a--a 'don't care' appearance Kishte pamjen e nj njeriu q thot ku rrafsha mos u vrafsha

So, extraordinary, my dear--so odd

Nj gj shum e uditshme, besa, sa t merrte gazi kur e shihje!

We find in Galsworthy a definite musical charm catching and keeping the hidden feelings. His intuition is so infallible that he can content himself with a slight allusion and a broken hint. But then there is Galsworthys irony, such a singular instrument that even the tone separates him from any other writer. Sometimes Galsworthy makes nature herself take part in that ironic play about human beings, to underline the bitterness or sweetness of the incidents with the help of winds, clouds, fragrances, and bird cries. Vedat Kokona has translated the entire book so masterfully, and in such a natural way that it seems as if it were originally written in Albanian. All the epithets and metaphors and every other stylistic device was carefully chosen, not only for to render the same meaning or for to be faithful to the source text, but also was chosen so

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carefully for not to be repetitive when it was not necessary, for to make the translation be more interesting, having many stylemes. The aim of this translation assessment was not to find flaws in the translated version but rather to analyze the methods Kokona has used in translating, to study the target text as a whole, understand how the translator reasons while translation such a great work of art. It is true that everyone can read a book, but not everyone can understand it sometimes. And that is the case with understanding and analysing the work that the translator had to do for to reach in this final product. For to be a good translator, I think we shall analyse and study the great works of arts such as The Forsyte Saga is, as who better than another translator can understand the tiring but also rewarding work of a translator. As I stated in the beginning of this thesis, our country lacks high quality translated books nowadays, so what we can do, at least, is try to read as much as possible, to enter in the translators mind and understand how he/she overcame all the difficulties in translating, and of course to learn from them. And since every translation also depends upon the trasnlators experience, the best we can do is to try to profit from translators such as Vedat Kokona for to lern from their experiences, and later on why not to start retranslating the great pieces of art of the great foreign authors, and why not try to create a new approach towards translation assessment and its benefits.

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Bibliography

1. Al-Qinai, Jamal. Translation Quality Assessment. Strategies, Parametres and Procedures, Journal des Traducteurs, URL: http://id.erudit.org/iderudit/001878ar 2. Amos, Flora Ross. Early Theories of Translation, New York, 1973. 3. Coates. H.R. John Galsworthy as a Dramatic Artist New York, 1926. 4. Davies, S.H, M.A. Galsworthy the Craftsman/ Studies in the Original Manuscripts of the Forsyte Chronicles. 5. Dupont, V. John Galsworthy : The dramatic Artist, Paris, 1942. 6. Follett, Helen Thomas and Wilson. Some Modern Novelists: Appreciations and Estimations, New York, 1918. 7. Galsworthy, John. The Forsyte Saga 1, The Man of Property, Heineman: London, 1922. 8. Garnett, Edward. Letters from John Galsworthy 1900-1932, London, 1934. 9. Goldman,Emma. The social Significance of the Modern Drama, Boston, 1914. 10. Imazawa, Masao. Paganism in John Galsworthy 11. Kokona, Luan and Kotoni, Kastriot. Vedat Kokona, intelektuali q solli n Shqipri ern e Francs, 2010. 12. Kokona, Vedat. Saga e Forsajtve written by John Galsworthy, Tiran, 1987 13. Krasneer, David. A companion to twentieth-century American drama, Blackwell, UK, 2005. 14. Ladd, Barbara. Faulkner and Translation, The Faulkner Journal; Fall 2008 15. Main Trends in Modern British Drama, an optional course in English literature for 3rd year students in English), Galati, 2009. 16. Marrot, Harold Vincent. The Life and Letters of John Galsworthy, London, 1935. 17. Mootram, R.H. John Galsworthy, Longmans, Green & Co. INC, London, 1953. 18. Nida, Eugene A. Theories of Translation, 1991, URL: http://id.erudit.org/iderudit/037079ar 19. Norton, Thomas. The preface entitled The Translator to the Reader, in the translation of Institution of the Christian Religion written by Calvin,1578.

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20. Ristani,V. Kontribut n Studimet Prkthimore gjat viteve 90, Tiran 2010. 21. Romanyshyn, N.I. Nature in John Galsworthys Novel The Forsyte Saga An Attempt of Frame Analysis, 2009. 22. Varadharajan, T.S and Krishnamurthy, B. A New Historicist Approach to John Galsworthys The Forsyte Saga, SASTRA University, India, (Winter) 2010. 23. Venuti, Laurence. The Translation Studies Reader, London and New York, 2000.

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