Masaryk University

Faculty of Arts

Department of English
and American Studies

English Language and Literature

Kateina Admkov

Translation of Modified Idioms in J. K. Rowlings Harry Potter

Bachelors Diploma Thesis

Supervisor: PhDr. Simona Kalov

2016
 I declare that I have worked on this thesis independently,
using only the primary and secondary sources listed in the bibliography.

..

Authors signature
 Acknowledgement

I would like to thank especially my supervisor PhDr. Simona Kalov, for her endless
patience,
valuable advice, help and feedback, and for her kind attitude; to Mgr. Filip Krajnk, Ph.D.
for
lending me a number of useful books, to my dear friend Joel for leading a desperate me out
of the
maze of two thorny idioms, my schoolmate Daniel for providing me devotedly all citation
pages in
Slovak translations, my mum for making me what I am now, and last but not least my
partner Josef,
who stayed by my side despite all difficulties.

Table of Contents

Introduction. 1

1. Idioms. 3

1.1. Idiom Definitions on the Internet 4

1.2. Idiom Definitions in Etymological Dictionaries. 5

1.3. Idiom Definitions in Dictionaries of Idioms and in Books. 6

1.4. The History of Language and Idioms. 8

1.5. The Word Origins. 11

1.6. Idioms Origins. 12

1.7. Idiom Features and Structure. 13

2. Translation Theory. 15

2.1. Translating for children. 25

2.2. Translating Idioms. 26

3. Research Methodology. 28

3.1. Modified Idioms. 29

3.2. Exclamations and Proverbs. 51

4. Conclusion. 54

Bibliography. 57

Resum. 62

Resum. 63

Introduction

This paper explores the ways in which a group of idioms are modified by J. K. Rowling in her
heptalogy about a young wizard, namely Harry Potter and the Philosophers Stone, Harry
Potter and
the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the
Goblet of
Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and
Harry
Potter and the Deathly Hallows. The thesis also addresses how these modified idioms are
converted
into the target language in two translations of this series, where the first target language is
represented by the Czech language, and the second by the Slovak language. The Czech
translation was
performed by brothers Vladimr Medek (from the first to the fourth part) and Pavel Medek
(the third
part in collaboration with his brother and himself from the fifth to the seventh part), the
Slovak
version was translated by Jana Petrikoviov (the first and the second parts) and Oga
Kraloviov
(from the third to the seventh part).

The aim is to find and establish the changes the author made in the idioms she used, to
examine
their function in the context of the books, to assess their value and impact on the reader.
Further
on to evaluate the way the translators dealt with them while creating the target languages
versions
and to compare the two translations of those phrases.

The study opens with theoretical part, where various definitions on a linguistic phenomenon
called
idiom are provided, taken from the Internet dictionaries, etymological dictionaries, idiom
dictionaries, books devoted to idiom history, structure and classification, and linguistic books
written by a range of authors.

Then several short chapters devoted to the history of the English language and the origins of
the
idioms follow, together with examples of the sources of the creation of the idioms. The study
continues with a chapter focused on the usage, grammar and structure of idioms, and a
passage
dedicated to the theory of translation, based on thoughts and quotations of several authors.
The second part of this paper introduces used methodology and collected data, their analysis
and
ends with a conclusion.

1. Idioms

The first chapter is concerned with varied definitions of the figure of speech called idiom.
The
definitions are taken from several dictionaries (both printed and online) and books concerned
with
idiomaticity and linguistics.

It is necessary to clarify here what exactly is meant by an idiom. A generally accepted

definition of an idiom is lacking, since there is a degree of uncertainty in framing and
summarizing all the features and requirements.

A considerably huge number of linguists and philologists interested in these fixed expressions
could be listed. Apparently, this great interest has led to a wide range of literary sources
containing not only idioms enumeration and classification, but also their grammar, meaning,
origin,
history and cultural background.

As noted by Harold C. Whitford and Robert J. Dixson in the preface of their Handbook of
American
Idioms and Idiomatic Usage published in 1953, [e]ven those well trained in English are often
puzzled by the idiomatic structure of the language. However, since they deem the idioms to
rejuvenate and invigorate the English language, people speaking it should not steer clear of
idiomatic usage because without it the language seems to create formal and stilted
impression
(p. i). Alongside, Kufnerov et al. (1994) compares idioms to spice of language (p. 88), and
similarly, Jennifer Seidl (1978) argues in English Idioms and How to Use Them that to omit
idioms
when speaking English is not facile and even [a]n English native speaker is very often not
aware
that he is using an idiom; perhaps he does not even realise that an idiom which he uses is
grammatically incorrect (p. 4). Sears and Bolinger (1981) add that the unique structure of
idioms
is nothing to be disturbed by for native speakers since they are accustomed to them (p. 255).
In
A Dictionary of Confusable Phrases published in 2010, Yuri Dolgopolov points out that an
English
language learner comes into contact not only with grammar and words but also a
reasonably large
vocabulary of recurrent collocations, idioms, and metaphorical expressions that reflect the
environment, history, and culture of the native speakers and form an essential part of their
common
language. Without them, he writes, their language would lack certain color, dimension and
vibrancy (p. 1).

Henry Cecil Wyld (1956) also questions the diversity of the colloquial speech, for conceding
that a
great variety of fixed phrases exists in one period of time, many times more may be expected
when
comparing different ages (p. 360). Each individual experiences different influences and
expressions
in different recurrent situations, of course, so the perception of given collocations and idioms
varies (Sears & Bolinger, 1981, p 55).

Various idiom definitions, both from the Internet and printed sources are listed and a number
of
authors of linguistic books, idiom dictionaries and works focused on grammar of idioms and
characteristics are cited in the following chapter.

1.1. Idiom Definitions on the Internet

In broad terms, the idiom can be defined as provided in the following paragraphs devoted to
the
demarcation of an idiom in the Internet dictionaries:

The Free Dictionary specifies idiom as typical features for the respective language, i.e. [a]
speech form or an expression of a given language that is peculiar to itself grammatically or
cannot
be understood from the individual meanings of its elements. Besides linguistic
characteristics,
however, it takes into account also interpretations referring to regional aspects, and a complex
of
vocabulary, alternatively an artistic style connected to both one individual and a group of
people.

The regional and artistic interpretations barely differ throughout other Internet dictionaries,
which also stress certain specificity in expression, using such words as the style () typical
of
a particular period, person or group in the Cambridge Dictionary and a form of language
() that
uses () its own words, grammar, and pronunciations in the Merriam-Webster.

As regards the linguistic approach, the fact that it is not possible to divide the idiom into
individual words, translate them and estimate the meaning of the whole phrase based on these
translations, stated in The Free Dictionary, repeats in various modifications in the Macmillan
Dictionary, Cambridge Dictionary and Merriam-Webster as well (Idiom, n.d.).

However, throughout this bachelor thesis only the linguistic sense is relevant. The rest of the
definitions are not essential for this study therefore no deeper examination is dedicated to
these
aspects.

1.2. Idiom Definitions in Etymological Dictionaries

As for the printed dictionaries, the definitions are briefer and more condense than in the
Internet
sources, due to the limited space of the book. The entries are combined with information
about the
word origin that is to be discussed below.

MacDonald (1967) identifies in his etymology dictionary the idiom as: a mode of expression
peculiar to a language or dialect; an expression characteristic of a language not logically or
grammatically explicable; a characteristic mode of expression (p. 307), and more than thirty
years
later Ji Rejzek (2001) provides within the entry idiom the following explanation: set,
usually
untranslatable phrase of a certain language (p. 233).

In comparison to the Internet dictionaries, the brevity of the definitions is evident at first
sight; nonetheless, they suffice for basic cognizance of the term.

1.3. Idiom Definitions in Dictionaries of Idioms and in Books

In this subchapter, a range of authors, whose field of study covers idioms to a certain extent,
is
listed and their definitions of and comments on this linguistic phenomenon are provided.

Bolinger and Sears in their book Aspects of Language (1981), namely the fourth chapter
Words and
Their Make-up, provide a definition of idioms supported by the fact that a child learns
whole,
lexical and grammatical chunks of language, and word and utterance are one, an undivided
word
representing a total context. After a time, however, humans are able to discern individual
words
of the group we connect with a situation. Nonetheless, even then the word groups in our heads
persist as coded units, so called idioms. In their words idioms are groups of words with set
meanings that cannot be calculated by adding up the separate meanings of the parts (p. 53),
which
may be divided on the basis of diverse attributes into a lot of groups (families) (p. 54).

The definition stated by Bolinger and Sears (1981) appears close to that used by a team of
lexicographers in their book Longman Dictionary of English Idioms (1979). For the authors,
an idiom
means a fixed group of words with a special different meaning from the meanings of the
separate
words (n.p.). Further on, this proposition is broadened to include the fact idioms are in a
very
broad sense, metaphorical rather than literal. This definition takes into account that, unlike
literal expressions, the interpretation of a certain idiom cannot be achieved by identifying the
constituent words, and also the predominant invariability in word choice and grammar
practically
prevents the idioms from being changed (p. viii).

According to a definition provided by Rosalind Fergusson in Cassells Dictionary of English

Idioms,
an idiom can be defined as a phrase whose meaning cannot be readily understood from its
component
parts and continues with terming them as colourful phrases, whose use and misuse forms a
daily
part of the English language (2003, p. viii).

In the same manner Seidl (1978) provides yet another definition of the term as follows: an
idiom
is a number of words which, taken together, mean something different from the individual
words of
the idiom when they stand alone (p. 4). In addition, she considers idioms not to be a
separate
part of the language which one can choose either to use or to omit; on the contrary, she states
they form an essential part of the general vocabulary of English (p. 1).
Yuri Dolgopolov (2010) concludes that the meanings of idiomatic expressions proper often
appear
unmotivated and cannot be deduced from the meanings of their constituents. In addition, he
remarks
them to be generally more or less invariable in form or order and do not admit of the usual
grammatical operations which their literal counterparts will permit (p. 5).

In Idioms and Grammar (1961) idioms are identified as a form of expression, grammatical
construction or phrase adopted by usage, which has meaning other than its grammatical or
apparent
one, and the fact is highlighted that it fills a considerable part of the speech (p. 3).

One of the most thorough definitions is offered by David Crystal (1994) in An Encyclopedic
Dictionary of Language and Languages according to him an idiom is [a] sequence of
words which is
semantically and often syntactically restricted, so that it functions as a single unit. The
meanings of the individual words cannot be combined to produce the meaning of the
idiomatic
expression as a whole (p. 180).

Interestingly, there is an unambiguous relationship between the idiom definition and a

definition
of another type of expression collocation. By way of illustration, Elizabeth Walter and
Kate
Woodford (2010) expound in their self-study book Using Collocations for Natural English
collocation
as the words that go together, often in ways that we do not expect () more than they would
by
chance: they belong together (p. 6). Not any differently, Seidl (1978) points out that
[c]ertain
verbs are followed automatically by certain nouns and the meaning of the verb may change
depending
on the collocation given (p. 68), and in the same vein, Newmark (1988) borrows Crystals
words to
define collocations as the habitual co-occurrence of individual lexical terms (p. 212).
Bolinger
and Sears (1981), however, state that American and British linguists perceive collocations and
idioms differently, and the latter hold the view there is a considerable contrast between a
collocation and an idiom. They state that unlike the idiom knowing the parts [of the
collocation], one can deduce the meaning
(p. 5455).

All of the definitions have the same sum and substance; however, as it is indicated above,
they
vary slightly. While a variety of definitions of the term idiom have been suggested, this
paper
will use the definition suggested by David Crystal (1994), who saw it as [a] sequence of
words
which is semantically and often syntactically restricted, so that it functions as a single unit.
The meanings of the individual words cannot be combined to produce the meaning of the
idiomatic
expression as a whole (p. 180).

1.4. The History of Language and Idioms

Chapter two introduces shortly the history of the part of language connected to idioms, as well
as
origins of the word itself. The question of language development and word creation is open.

A book named Word Origins: A Classic Exploration of Words and Language (2008) by
Wilfred Funk
begins with the following words:

Every word was once a poem. Each began as a picture. ()

Sometimes the pictures can be rediscovered and restored so that their beauty will once more
be
seen. At other times the attrition of the ages has worn the images away and obliterated them
so
that no trace is left.

It cant surprise us that our language began with metaphors. Words are being made today
under our
own eyes in precisely the same fashion. (p. 1)

The speech and the choice of vocabulary has always varied according to the age, class,
education,
and habits of the speaker and reflected [h]is social experience, tradition and general
background, his ordinary tastes and pursuits, his intellectual and moral cultivation. All these
factors, including, of course, a receiver of the speech, affect also the occurrence of
metaphorical
expressions and similes, and a sentence structure in ones speech (Wyld, 1956, p. 359).
Furthermore, difficulties in being able to lead eligibly even the simplest conversation, should
one
be forced to it several centuries ago, are suggested. Even if one understood the expressions
required, they would probably not occur to them immediately when needed (p. 360).

Even such every-day moments as greetings, Wyld (1956) writes, differ considerably through
the ages
compare after evynsonge, Agnes Ball com to me to my closett and bad me good evyn (p.
377) from
the fifteenth century, your Grace is most heartily welcome unto me (p. 378) from the
sixteenth
century, then perhaps God keepe thee, God you saue and see, God continue your
Lordship
(p. 378) up to [a] happy day to you, Madam, I am everlastingly your humble servant (p.
378) in
the seventeenth century, and [y]our Ladyships everlasting creature (p. 379) in the
eighteenth
century. Moreover, a speaker of current English might find exclamations (by cocks precious
potstick, a plague on thee, cock and pie, Gods precious soles, [b]urn me if (p. 388
389),
compliments ([g]allantry to the last degree (p. 392)), approvals (youll half kill yourselves
with laughing (p. 393)) and disapprovals (mortifying spectacle (p. 393)) used hundreds of
years
ago rather peculiar.

English is, together with other languages, growing and changing, along with its vocabulary,
which
grows continually with new developments in knowledge. Names for new subjects and
situations need
to be created all the time (Seidl, 1978, p. 1). Sears and Bolinger (1981) liken this process to a
situation when [a] supermarket that once stocked eight thousand items and today carries
some
fifteen thousand is one ripple in a tide of growth that carries our vocabulary along with it
(p. 61). Additionally, words which were used only in non-standard speech frequently become
sufficient in the course of time (Seidl, 1978, p. 3).

Also words that already exist can become new ones by the shift of their meanings or simply
by
changing a verbal phrase into a noun () or by changing a noun into a verb (Seidl, 1978, p.
12),
(a check up, a hand out versus to pilot, to Xerox (p. 2)). Adjectives can be changed into verbs
(to
soundproof) (p. 2), endings and prefixes may be added or two words can be portmanteau
(smog smoke
and fog) (p. 3). Furthermore, loan words from foreign languages (French, Latin) may occur,
either
just one word or a whole phrase (Francis, 2006, p. S6). Seidl (1978) assumes this is possible
because English is a flexible language and thus [w]hen the function is changed, it is not
necessary to change the form (p. 2).

According to her, some words with a certain meaning exist only in idioms in present-day
English
(Seidl, 1978, p. 5), which is supported by Bernard Francis (2006) comment that
long-standing usage
of idioms caused them to contain words that are no longer used elsewhere but in these
idioms. In
addition, some words have never been used in other than idiomatic context, whereas meaning
of some
other words has only shifted over time (p. S6). In general, language may contain words which
refer
to a reality that no longer exists (Lefevere, 1992, p. 17).

As regards English, it ranks among languages very rich in idiomatic expressions, which
have been
fixed by long usage (Seidl, 1978, p. 4). Francis (2006) offers a statement that an idiom
generally begins as a phrase with a literal meaning which then starts to be used in a
figurative
or an idiomatic way (p. S2). Thus, once typical activities have remained only in idioms,
which
whereby reflect the history and way of life of the people who have spoken English over the
ages
(p. S2). Seidl (1978) believes that the reason why idioms are popular reside in their quicker
and
more convenient utilization (p. 2).

To collect everything interrelating with English colloquial idiom phenomenon approximates

impossibility, for all possible idiom sources from all centuries would have to be examined and
classified (Wyld, 1956, p. 361). This view is supported by a statement in Idioms and
Grammar, that
[t]o compile a complete list of the idiomatic expressions of the English tongue in any single
work
would be an almost impossible task (1961, p. 4).

1.5. The Word Origins

The origins of the word idiom can be gained from etymological dictionaries, represented in
this
bachelor thesis by:
 Rejzeks Eytmologick slovnk: from Greek idma oddness from dios odd,
peculiar and
later in Latin and Middle Latin also particular language, dialect (2001, p. 233),

MacDonalds Chambers Etymological English Dictionary: from Greek idma

peculiarity,
from idos ones own (1967, p. 307), and

Skeats A Concise Etymological Dictionary of the English Language: from French

idiome,
Latin idma and Greek an idiom, peculiarity of language, which comes from
I make
my own, and own (1936, p. 253).

Apparently, the origin of the term dates back to ancient Greek and mediaeval Latin and has
developed from expressions related to peculiarity and specificity. In the following
subchapter,
origins of idioms as a linguistic phenomenon are presented.

1.6. Idioms Origins

This chapter explores the ways in which various idioms are created. Idioms have originated
from
aspects of everyday life and mirror all spheres of human activity (Idioms and Grammar,
1961,
p. 4). Thus, they began as a certain experience or situation and have become absorbed into
everyday speech (p. 4). Phraseology creates appellation for objects, phenomena and
situations to
which it uses items of more words, furthermore, it represents subjective evaluation
(Kufnerov et
al., 1994, p. 87).
On the basis of idiom components, Kufnerov et al. (1994) suggests dividing idioms into:
somatic
(body parts), faunic (animals), professional, numeric, nationality, and proper names (p. 88
89).

By way of illustration, Seidl (1978) gives some examples of idioms sources as follows: every-
day
(home) life (to hit the nail on the head), food and cooking (out of the frying pan into the fire),
agricultural life (to go to seed), nautical and military life (to be in the same boat as someone),
parts of the body, animals, colours, the Bible (the apple of ones eye). She suggests that
knowing
the origin makes them easier to comprehend (p. 5).

Francis (2006) broadens the list of possible origins to include also such activities as: farming
(ploughing, sowing seeds, harvesting crops, threshing, hay making, farm animals, blacksmiths
and
millers), transport (horses and carts, ships and sailing, trains, steam, track and rails, cars and
planes), science and technology (chemistry, physics, psychology, machines, electronic
machinery),
sports (golf, cricket, baseball, boxing, football, rugby, basketball, pool), games (cards, dice),
entertainment (theatre, music and opera, magic, radio, journalism, cinema), fables and fairy
tales
(Aesops fables, Hans Christian Andersen, English fairy tales, 1001 Arabian Nights), the
classical
world (Greek and Roman history, ancient myths, ancient history, Julius Caesar, Alexander the
Great), Shakespeare and the Bible (King James Bible), famous quotations (books, poems,
Alexander
Pope, Henry Wadsworth Longfellow, George Orwell), historical figures (Richard Nixon,
Napoleon,
Oliver Cromwell). There also exist idioms referring to the body, feelings and emotions,
colours,
animals, food and many other categories (p. S2S5, S8S12).

The examples reported here illustrate indisputably that an idiom creation happens unwillingly,
at
any time and in all possible conditions.

1.7. Idiom Features and Structure

In the first chapter, Definition of Idioms, a question of metaphoricity is introduced. This

chapter focuses on how the level of metaphoricity and structure influences (the use of)
idioms.

Idioms can be detected within everyday speech (Idioms and Grammar, 1961, p. 3), and are
frequently
endowed with odd, illogical or even grammatically incorrect structure (Seidl, 1978, p 4).
They
belong to dynamic phraseological field and their number has been on the increase ceaselessly
(Kufnerov et al., 1994, p. 86). Long (1979) rates idioms among slang expressions (p. viii).
Therefore, Seidl (1978) writes, it is difficult for English learners to identify the appropriate
moment for using idioms and also to recognize which of the large idiom family is the most
suitable
for the situation given. She also advices not to attempt to translate idioms from ones mother
tongue into English, since they rarely overlap in used vocabulary or structure (p 7-8).

The metaphorical meaning of idioms, which is related to the limited variability of word
choice and
grammar, takes precedence over their literal meaning, and [i]dioms vary a great deal in how
metaphorical or invariable they are (Long, 1979, p. viii). Sears and Bolinger (1981) call the
same
phenomenon of differences between levels of idiomaticity tightness (p. 54).

This fact does not necessarily mean all of these figurative constructions are bereft of any
literal
meaning; on the contrary, many of the phrases (idioms) possess actual meaning according to
the
words they are comprised of (Long, 1979, p. viii), such as let the cat out of the bag (p. 49),
slip through someones fingers (p. 113), hit the hay/sack (p. 152), tell that/it to the
marines! (p. 212), and many more. Belonging to the group of idiomatic expressions,
however, they
usually need to remain in the settled form and to be perceived as their accustomed
metaphorical
sense requires. In other words, according to Long, idiomaticity (this term can be defined as
the
quality of being idiomatic (p. viii)) shifts the meaning of the phrases mentioned above as to
make known something that was a secret (p. 49), to pass from someones reach of control,
especially about an opportunity, money and the like (p. 113), to lie down to sleep (p. 152)
and
dont expect me to believe that! (p. 212). Consequently, any changes in the word order, or
substitutions (even pronouns or passive voice) are seldom acceptable; such a modification
would
alter the meaning into a literal one (p. viii).

Similarly, Rosalind Fergusson (2003) suggests that the level of idiomaticity within these
phrases
can vary greatly (p. viii) and classifies the idioms into three main groups; proverbial idioms
(metaphorical), idioms combining both idiomatic and unidiomatic components and phrasal
verbs.

As noted by Seidl (1978), idioms may be classified on the basis of their tolerance to changes
into
fixed idioms (no changes permitted), idioms fixed in some of their parts but not in others,
and
those having certain flexible parts and allowing limited changes in either word choice or
grammar, or both (p. 6). Sears and Bolinger (1981) agree with this fact, admitting existence of
unchangeable idioms, and idioms that allow a limited amount of manipulation (i.e. person,
time)
(p. 53).

Seidl (1978) also divides idioms into groups according to their structure and meaning: those
with
irregular structure, clear meaning (I am good friends with him), regular form, not clear
meaning
(To have a bee in ones bonnet), both form and meaning are irregular (to be at large), where
most
of them pertain to the second group (p. 5).

Francis (2006) also deals with the idioms grammar slightly he highlights its abnormality,
which
means adjectives, verbs, conjunctions and prepositions can behave as nouns, countable nouns
can
behave as uncountable and the other way round, or simply outdated or not usual verb forms
occur.
These phrases can also work with rhyme and repetition (p. S7). Therefore, an idiom should
always be
perceived as a whole phrase (Seidl, 1978, p. 4).

2. Translation Theory

This chapter is concerned with the process of translation and provides statements and theories
from
many authors. It focuses on translating for children and translating idioms as well.

Ji Lev (1998) states that each translator should know these three basic fields 1. a
language
he translates from, 2. a language he translates into, 3. factual content of a translated text
(p. 17). He states three steps of the process of translation as follows: understanding of the
source text, construction of the source text and rewording the source text (p. 53).

Andr Lefevere (1992) proposes, that [w]riters are born into a certain culture at a certain
time.
They inherit that cultures language, its literary traditions (), its material and conceptual
characteristics (p. 86), and the language had existed long before they were born into it with
all
its rules and conventions (p. 16). Nonetheless, [t]ranslators, too, are constrained by the
times
in which they live, the literary traditions they try to reconcile, and the features of the
languages they work with (p. 6). Moreover, by using another language you are pretending
to be
someone you are not (Newmark, 1988, p. 5).

In Writing and Translating for Children, published in 2010, Giovanni et.al. uses Gillian
Lane-Merciers words to describe translation as

a violent, decision-oriented, culturally determined discourse activity that compels the

translator
to take a position with respect to the source text and author, the source culture, the target
culture and the target reader, thus engaging over and above socially imposed norms and
values, the
translators agency together with his or her responsibility in the production of meaning. (p.
127)

In the same book, Giovanni et.al. (2010) defines translation as reading and rewriting for
target-language audiences, which makes translations uniquely different from their originals
(p. 35).

Additionally, Newmark (1988) identifies translation as rendering the meaning of a text into
another language in the way that the author intended the text (p. 5).

As stated by Zlata Kufnerov (2009), a discipline named translatology, which focuses on

the
process and theory of translation, emerged in the twentieth century, although translating as
such
has been known since biblical times. The process of translating may be considered either as
art or
as craft. Not only has a translator to master the source language (a foreign language of the
original text), but also (and primarily) the target language (predominantly the first language)
which the original text is translated into (p. 7). Yet, the translators are constantly being
enriched by the literature they translate (p. 8), and influenced by the authors of original texts
(p. 7). They serve as mediators between languages and cultures and go through the same
creative
process in literary translation as the authors who created the original works (Giovanni et.al.,
2010, p 161).

In Childrens Literature in Translation published in 2006, contrarily, translators are not

perceived as some mediators, but as intrinsic part of the negotiating dialogue itself, holding a
fragile, unstable middle between the social forces that act upon them (), their own
interpretation
of the source text and their assessment of the target audience, thereby they create the final
impression their translation make on the target readers (p. v). Also Andr Lefevere (1992)
advices
translators to make the original accessible to the audience for whom they are translating, to
mediate between their audience and their text, where the target reader, not the source text
should
be given preference (p. 19), and designates translators as artisans of compromise (p. 6) and
image makers (p. 7).

Yet, it is worth quoting Peter Newmarks (1988) following statement: knowing a foreign
language
and your subject is not as important as being sensitive to language and being competent to
write
your own language dexterously, clearly, economically and resourcefully (p. 3), in other
words, to
know which words to use when and how
(p. 34).

Lefevere (1992) claims that [t]ranslators do not just translate words; they also translate a
universe of discourse, a poetics, and an ideology (p 94), they endeavour to fit it [the source
text] into the target culture (p. 95) and in a way the target audience finds easy to
understand
(p. 16).
Kufnerov (2009) lists some reasons which translators meet on their way from the source text
to the
target text. These are wordplay, portraying language material, creations and experimenting,
searching through forgotten levels of the first language, and proving what possibilities and
opportunities a mother tongue offers in comparison with other languages, exactly and
peculiarly[1]
(p. 9) (in the case of this bachelor thesis and Zlata Kufnerovs book the mother tongue
means the
Czech language).

These factors relate, according to Kufnerov (2009), to a term functional equivalence

(expression of an optimal relation between a translation and its original^2 (p. 29)). This
term
refers to relativity of any equivalence^3 of a translation (p. 29). This relativity can be
divided into two types: an objective relativity which is based on specific features of both
languages (source and target) and their relation, and a subjective relativity ascribed to the fact
that each individual () has different language awareness, diverse aesthetic sentiment,
disparate
general knowledge and different life experience^4 (p. 30).

In the same vein, Giovanni et.al. (2010) mentions a translation is conditioned not only by the
authors subjective nuances in creating an original work, but also by further subjective
nuances in
the reader-translator work of creating another text (p 161).

Kufnerov (2009) further highlights that vocabulary of two languages rarely overlap within
the
semantic meaning, therefore the translator should not rely on his or her own language
knowledge; on
the contrary, miscellaneous synonyms ought to be considered and monolingual dictionaries
rather
than bilingual ones used (p. 33), although [c]ompilers of dictionaries cannot possibly foresee
all
the contexts in which a word they define will be used (Lefevere, 1992, p 18). Moreover, he
is
persuaded a sentence is always somewhat more than a string of equivalent words, and a
text is
always somewhat more than a string of equivalent sentences (p. 8).

Hrdlika & Gromov (2004) support this presenting Mathesius statement that each language
is
endowed with only a limited number of means of expression[2] and [a]bsolutely faithful
translation between two languages is utterly impossible^2 (p 156). They also borrow the
thought of
Werner Winter to express, that each language creates a system, and since each of them is
composed
of different units, the systems (languages) differ as well. Thus, languages can be similar
though
never precisely equal^3 (p. 157).

Likewise, Hrdlika & Gromov (2004) suggest that there are never two perfect equivalents of
two
languages (p 256) and Andr Lefevere (1992) states that [g]rammatical rules and
conventions may
differ widely between languages, and even more widely between linguistic families (p. 16).
Moreover, [t]ranslation does not develop in isolated situations, so the historical and social
context must be included (Giovanni et.al., 2010, p 162).

Lefevere (1992) claims that the process of translation is taking place not in a vacuum in
which
two languages meet, but, rather, in the context of all the traditions of the two literatures. It
serves as a meeting place for an author and a translator of her/his text as well (p. 6).

In connection with functional equivalence Kufnerov (2009) classifies three stages of the
translation process: identification, interpretation and translation, where she relates the
identification to language knowledge and accuracy (acribia) and the other two phases,
interpretation and translation, to creativity (p. 4344). These terms are further explained
below.
She elaborates on this with a statement that the identification embodies translation of
grammatical, lexical and phraseological elements; interpretation and translation incorporate
i.e.
formal, semantic and communicative equivalence (p. 65).

Acribia

As one of the aspects related to the process of translation, Kufnerov (2009) mentions so
called
acribia. Defining acribia as scientific accuracy and thoroughness[3] (p. 35) she considers
its
interconnection with language creativity and inventiveness, referring to the Czech translator
Otokar Fischer and the Russian translation theorist Jefim Etkind. According to Fischer, she
writes,
both intuition and acribia are needed for a quality translation, consequently, a translator is
supposed to be educated and knowledgeable to understand all components of the source text
and
decide whether or not they ought to be examined in more detail. In the same vein, Etkind
notes that
a good translator not only has to treat words in an artistic way, but also be a scientist a
historian, art theoretician, a critic, an ethnographer, a linguist and the like^2 (Kufnerov,
p 35).

On following pages the situations are listed, where acribia should take place in preference to
creativity (p. 3643):

a) quoting another pieces of work and their titles a translator can

a. find already existing target text translation

b. translate the passage again (especially in the case of disagreement with already existing
target text translation)

c. on the occasion of the original work the quote is taken from being in a third language,
find the passage in the original and translate it into the target language, alternatively, search
for another translator educated in the third language required

b) translating facts (toponyms, feasts and holidays, facts in a third language)

c) functional equivalence non-fiction, popular science and encyclopedias should be

translated appropriately to the target language culture

d) explanatory notes both brackets and footnotes can be used if a translator decides an
expression, a fact and a paraphrase requires further explanation

e) factual errors in the source text may be solved by:

a. an agreement with the author

b. footnotes and explanatory notes at the end of the book

c. correcting minor mistakes

f) text abridgement and expanding the extreme example of an abridgement is

represented by
excluding whole paragraph caused either by inattentiveness or attempt to avoid a problematic
part;
contrarily, expanding the text occurs deliberately and requires certain inventiveness

Creativity

According to a definition provided by Zlata Kufnerov (2009), an inseparable facet of

translation
creativity means a process during which translators incessantly investigate, contemplate,
compare, select, (), search for so called functional equivalent[4] (p. 65). In fact, although
translators voice () is inevitable and necessary, making her/him visible and showing
her/his
power (Giovanni et.al., 2010, p 161), each translation of a literary text combines two types of
creativity authors and translators, and the relationship between the original and the
translated text depends on the translator, who should preserve authors style as much as
possible,
and where the languages do not overlap, find an appropriate equivalent (Kufnerov, 2009, p.
66).
Giovanni et.al. (2010) believes it is necessary to re-invent authors text, using the
target-language, without removing his ideas^2 (p. 165).

Likewise, Giovanni et.al. (2010) claims [t]he translator draws conclusions on the basis of
how the
other creators have depicted the story and its characters, and then recreates them in the
target-language ( p. 149) and adds that he or she must be careful to preserve the story and
characters believable (p. 151), to be more precise to pay attention to the characters way of
speaking and acting, her/his attitudes, manners and looks (p. 151).

Furthermore, Kufnerov (2009) classifies translation methods connected to language

creativity:
transformation, substitution, deformation and stylization. Among deformation translation of
neologisms, wordplay and anagrams are counted, stylization encompasses compensation as
well. All
these methods blend together in the process of translation (p. 66) and are analysed on pages
6781:

a) transformation depends on the context as well as on translators style and source text
interpretation, since he needs to choose appropriate sentence structure and, lexical and
phraseological expressions in order to create a text that reads naturally and smoothly in the
target language (p. 67); the process of transformation includes also a word choice due to
different
vocabulary of each language

b) substitution represents a replacement of one word with another where a translator sees
fit to mediate authors intent via domestic analogy to a reader (p. 70); substitution occurs
most
frequently in:

a. proper names (characters, places, objects) examples are given of:

i.
Chevalliers Zvonokosy (originally Clochemerle) translated by Jaroslav Zaorlek, who played
in his
translation with place and character names and found suitable Czech equivalents for the
purpose of
keeping the comic of the story and characters natures the names embodies (p. 70)

ii. J. K.
Rowlings Harry Potter heptalogy and its Czech version by Pavel Medek (which this thesis is
concerned with), who inventively translates names (Luna Lovegood - Lenka Lskordov),
nicknames
(Mad-Eye Pouk), animal names (Crookshanks Kivonoka), object names (Qauffle
Camrl), place
names (Hogwarts Bradavice) and many more; he also creates series of neologisms to
maintain
authors spirit (p. 70-71)

b. phraseologisms and proverbs Kufnerov et al. (1994) considers proverbs to be a

hypernym to
idioms (p. 85)

c. grammatical gender (sometimes a word has different grammatical gender in the source
language and the target language)
d. euphony for instance aliteration

e. wordplay

c) deformation

a. neologisms e.g. calque (literal translation (undarling nemilek))

b. simulation of bad language knowledge

i. bad
foreign language knowledge (adults)

ii. bad
mother tongue knowledge (children)

iii. bad
mother tongue knowledge (adults), primitivism

d) stylization the target text ought to be translated in the same style the source text is
written, including neologisms, deformations, slang, dialect, social class etc., so stylization is a
method of choosing certain characteristic language features and attributes

Moreover, regarding the names, Giovanni et.al. (2010) statement is quoted in Writing and
Translating for Children as follows: [n]ames can be maintained as such, or they may be
substituted
or deleted altogether and translator may also add elements to names to create appropriate
impression (p. 152).

Concerning stylization, she suggests that a character is also made unique and identified by
her/his own speech and actions and gives an example of making a boy grow older simply
by letting
him speak in long complicated words and sentences (Giovanni et.al., 2010, p. 152). She also
provides an example of manipulating the text by stating that [t]he Spanish publishers of
the
Harry Potter series, for example, do not allow any rude word into the translation, nor do they
accept the kind of low register used by Hagrid (p. 163). She admits the literature for children
should be didactic and educative to some extent, yet considers the text forced manipulation
unacceptable (p. 163) when done for moral, political or religious reasons (p. 168).
Similarly,
Elena Di Giovanni (2010) wonders at shifts made during the process of translation in good
faith
that children have to be exposed to formal, correct and not-too-colloquial language for
seemingly educational purposes (p. 309).

Interference

A phenomenon called interference (mutual infiltrating, permeation and intersecting[5]

(Kufnerov, 2009, p. 45)) constitutes another term related to translation to be focused on and
occurs rather frequently, most noticeably in vocabulary and phraseology (p. 45). It is
necessary
here to clarify exactly what is meant by the interference, since Kufnerov (2009) claims the
same
term is also used in other fields of activity (linguistics, physics, genetics, virology,
psychology
and pedagogy). In her words, the interference within the meaning of translation embodies the
influence of the source language on the target language^2 (p. 45) and depends on whether
the
source language bears any similarity to the target language, and also on translators
experience,
knowledge and ability to resist the influence of the source language (p. 45). Either a translator
can be influenced by the grammar of the source language, or by the source text itself
(Kufnerov et
al., 1994, p. 78). Hrdlika & Gromov (2004) writes that the more two languages differ and
the
longer text is translated, the more also the source text and the target text differ (p. 157).

To better understand the mechanism of the interference phenomena, Kufnerov (2009)

describes two
types of this language intersection; firstly, adoption of phrases and expressions in spite of
existing in the target text (in this bachelor thesis represented by the Czech language), possess
different stylistic force or frequency[6], and, secondly, those that do not exist in the target
text whatsoever^2 (p. 46).

Furthermore, she lists examples of interference (p. 46-50):

a) sentence structure, word order (incorrect rheme position, incorrect position of

subject/object represented by a noun, excessive sentence segmentation)

b) erroneous translation of sequence of tenses

c) grammatical and lexical borderland

d) lexical and phraseological levels wrong prepositions, literal translation in place of

appropriate semantic expression, passive voice instead of active voice, possessive pronouns
overuse, discounting Czech diminutives, set phrases and idioms deformation caused by literal
translation, internationalisms

2.1. Translating for children

Analogously to the process of translating for adults, also translating for children contains,
according to Coillie et.al.s (2006) words based on Zohar Shavit in Childrens Literature in
Translation, adapting the context of the original; aligning it with models in the target culture
(); omitting text or adding explanations (p. 2).
Nevertheless, when translating for children, a translator should always proceed from his
knowledge
of children and his own childhood memories, also take their experiences, abilities and
expectations into consideration (Giovanni et.al., 2010, p 174). Moreover, translating for
children
is equally demanding as translating for adults, or even more, since the creative, playful use
of
language offers an additional challenge in that it requires a special empathy with the
imaginative
world of the child (Coillie et.al., 2006, p vvi). She also exemplifies some differences
between
books for adults and for children: the latter are often illustrated, meant to be read aloud
and
have dual audience, children and adults (p. 35). Thus, focusing the translation on the target
reader is of great importance, because it influences translators attitude to the source text
(Milan Hrdlika ml., 2004, p 168), although this technique has some limits and extreme focus
on the
reader without any compromise results in unfaithful translation (p. 169).

As regards (especially folk) fairy tales, the difficulty relates rather to how the source and
target cultures differ, than to language distinction (Kufnerov, 2009, p. 145).

Allowing characters to be reborn in the target culture, helps children, in words of Coillie et.al.
(2006), to see themselves in the story and understand it better (p. 157158) (e.g. tsar in the
original Russian text translated into krl (a king) in the Czech source text (Kufnerov, 2009,
p 146)). Occasionally, a new name for a character typical of the source culture, though
unknown in
the target culture, must be created (p 147).

2.2. Translating Idioms

This chapter introduces shortly the methods and difficulties of a translation of idioms.
Idioms cannot be transferred into the target language by a word-for-word translation and its
innate meaning must be clearly grasped by the mind independently of its outward form
(Idioms and
Grammar, 1961, p. 4). Translating phraseology requires substitution rather than translation.
The
most appropriate phrase in the target language needs to be found (situational equivalence),
occasionally, it is even better to rephrase the idiom rather than to substitute it with the one
from the target text (Kufnerov, 2009, p. 8586). Because of many factors (i.e. historical,
cultural) the idioms may differ or not overlap in individual languages. A translator has to
choose
an equivalent does there exist any or to use a paraphrase, a compensation, to put the
finishing
touches to the expression etc.[7] (Kufnerov, 2009, p 8788).

Rosalind Fergusson (2003) describes idioms simply as untranslatable (p. viii). Conversely,
Newmark (1988) maintains that everything without exception is translatable; the translator
cannot
afford the luxury of saying that something cannot be translated (p. 6).

Lefevere (1992) claims that a language is the expression of a culture, therefore many of
the
words () are inextricably bound up with that culture, which results in inconveniences
while
translating them into another language (p. 17).

Yuri Dolgopolov (2010) divides phraseological interference errors made in the process of
working
with idioms into two groups: interlingual, where they are predetermined by the students first
language and mostly occur when learners pattern phrases in the target language after the
models of
their own language, and intralingual, which result from erroneous identification within the
framework of the target language of semantically unrelated phraseological units with
conceptually
related components (p. 3).

3. Research Methodology

In this part of the thesis methodology and workflow of the research will be presented and the
examined data with comments provided. The chapter is concluded with data evaluation and
results
analysis.

In the pages that follow, this paper focuses on idioms in Joanne K. Rowlings heptalogy about
a
young wizard named Harry Potter, namely those idioms the author modified in order to
accomplish the
image of the wizarding world she developed with all its features and aspects.

Each book was read and searched thoroughly for the phrases containing the characteristics of
the
idiom and at the same time encompassing certain modification, such as replacing the original
word
with a word related to the wizarding world.

All the idioms found were recorded, the English idioms that originated them were estimated
and
their meanings acquired from monolingual phraseological dictionaries. Thereafter, translation
solutions in Czech and Slovak versions of Rowlings heptalogy were identified and their
equivalents
(or meanings) in Czech and Slovak languages were collected from bilingual phraseological
dictionaries (Czech-English, Slovak-English).

The author of this thesis attempts to show how the idioms are modified, what equivalents and
translations the Czech and Slovak translators found to transfer the text into their target
languages, and if the quantity of idioms throughout all seven books increases, decreases or
stagnates.
The practical part is proposed to deal with the subject in the following manner the idioms,
their
translations and meanings are presented below:

Chapter, characters name

JKRE: modified idiom from J. K. Rowlings book with a quotation

EN: English idiom and its meaning with a quotation

JKRC: Czech translation with a quotation

CZ: Czech equivalent and/or its meaning with a quotation

JKRS: Slovak translation with a quotation

SK: Slovak equivalent and its meaning with a quotation

3.1. Modified Idioms

Harry Potter and the Goblet of Fire

Czech Translator: Vladimr Medek

Slovak Translator: Oga Kraloviov

Chapter, six, Amos Diggory

JKRE: wouldn't miss it for a sackful of Galleons (Rowling, 2000,p 68)

EN: not (do sth) for (all) the world = used to say that you would never do sth (Francis,
2006,
p. 455)

JKRC: bych si nedal ujt ani za cel vek galeon (Rowling, 2000/2002, p. 61)

CZ: ani za nic, ani za cel svt (Kroulk & Kroulkov, 1993, p. 200)

JKRS: by som si nenechal ujs ani za vrece gallenov (Rowling, 2000/2001, p. 78)

SK: ani za svet, za ni na svete (Kvetko, 1991, p. 591)

The character claims that he would never miss the World Cup they are heading to, because it
is of
immense importance to him. The author uses here the name of the wizarding currency she
invented,
Galleons, instead of simple for the world to measure the excitement about the event in
words
suitable for the world she created.

Vladimr Medek and Oga Kraloviov both keep this expression, their solutions are almost
identical. They merely transcribed the English expression of the currency Galleon to
galeon in
Czech and gallen in Slovak, so that is corresponded with their cultures and languages,
although
the double l in gallen is disputable.

Chapter seven, Ludo Bagman

JKRE: [p]oor old Bertha... memory like a leaky cauldron (Rowling, 2000, p. 82).

EN: have a mind/memory like a sieve = used to describe a very forgetful person (Francis,
2006,
p. 356)

JKRC: [c]hudk star Berta pam m jako drav kotlk (Rowling, 2000/2002, p. 74)

CZ: bt velmi zapomntliv; mt dravou hlavu (Hrch, 1998, p. 151)

JKRS: [c]huderka Berta, pam m ako derav kotlk (Rowling, 2000/2001, p. 96).

SK: ma derav pam [hlavu] (Kvetko, 1991, p. 345)

The word sieve in the idiom is replaced with leaky cauldron, which refers to the name of
the
wizarding inn in London, which occupies an important position in all the books, and also
primarily
represents the impression of the process of losing something through a hole/holes. Cauldron is
a
tool used by wizards to potion making, thus to puncture it would cause to leak its contents
out.

Czech and Slovak equivalents of this English idiom correspond (see above), nonetheless, to
keep the
word cauldron in, both translators follow Rowlings pattern to have a memory like
something,
since Czech and Slovak versions contain an adjective and it would not be possible to preserve
the
modification.

Chapter twelve, Ronald Weasley

JKRE: I could eat a Hippogriff (Rowling, 2000, p. 156)

EN: I could eat a horse! = I am extremely hungry (Long, 1979, p. 94)

JKRC: [z] hladu bych sndl celho hipogryfa (Rowling, 2000/2002, p. 142)

CZ: mm hlad jako vlk (Bonkov & Kalina, 2007, p. 69)

JKRS: zjedol by som aj hipogrifa. (Rowling, 2000/2001, p. 180)

SK: [s]om hladn ako vlk (Horse, n.d.)

The author replaces a horse with a hippogriff, a legendary creature she borrowed from the
classical literature as a typical representative of Harry Potter magical fauna, half of an eagle
and half of a horse, the meaning of the idiom does not change it expresses one is ravenous.

Medek expands the sentence by adding several words to make it sound smoother in Czech. In
addition,
a Czech reader (especially a child) might not understand why Ronald Weasley desires to eat a
horse,
since the idiom is not as widely used as in English, and also not strictly connected with the
animal horse. On that account he adds z hladu (caused by hunger).

Kraloviov keeps the pattern as it stands, adding only the word aj (even).

Neither of the translators used Czech/Slovak equivalents mentioned above, as the horse
hippogriff
modification would disappear.

Chapter fourteen, Ronald Weasley

JKRE: We've been working like house-elves here! (Rowling, 2000, p. 197)

EN: work like a horse/dog/slave/Trojan, work like a black/nigger = to work very hard
(Long,
1979, p. 374)
JKRC: Deli jsme se cel veer jako domc sktkov!(Rowling, 2000/2002, p. 179)

CZ: dt jako kat/mezek, pracovat do moru (Bonkov & Kalina, 2007, p. 262)

JKRS: Dreli sme tu horie ako domci kriatkovia! (Rowling, 2000/2001, p. 227)

SK: drie ako mulica (Dog, n.d.)

House-elves in J. K. Rowlings imaginary world have rather low social status, not unlike
slaves or
black people in the Anglo-Saxon society once had. They are regarded as less important than a
dog
for most of the wizarding community. Thus, in English generally, one who works hard, works
besides
other things like a dog, a slave or a black, in Czech like kat (executioner/hangman) or
mezek
(hinny), in Slovak like mulica (mule), and in Rowlings wizarding world like a house-elf.

Since the idiom pattern in all three languages is to work like something, the translators keep
it, although Vladimr Medek adds cel veer (the whole evening), probably to compensate
for the
English present perfect tense. Oga Kraloviov changes the sentence slightly by making
Ronald
Weasley say they worked harder than house-elves, for an unknown reason.

Chapter twenty-four, Harry Potter

JKRE: I wouldnt come near you with a ten-foot broomstick (Rowling, 2000, p. 391)

EN: wouldn't/wont touch with a ten-foot-pole, also with a bargepole = would/will avoid
(something or someone that one distrust or strongly dislikes) in every possible way (Long,
1979,
p. 16)

JKRC: [k] vm ani na tmetrovm kotti (Rowling, 2000/2002, p. 355)

CZ: nechtt mt s km nic spolenho; vyhbat se emu jako ert ki (Hrch, 1998, p. 24)

JKRS: [o]d vs radej o najalej (Rowling, 2000/2001, p. 443)

SK: nedotkn sa ani za ni (na svete), nechcie ma ni spolon (Kvetko, 1991, p. 36)

This is what the main character Harry Potter replies when a journalist he hates invites him to
her
table.

Rowling uses a ten-foot broomstick instead of a ten-foot pole, since a broomstick handle
is
actually a pole as well. Nevertheless, a broomstick is used for flying in her stories, so it
completes the wizarding setting.

Medek converts ten feet to three metres to make it more imaginable for a Czech reader, he
also
omits the information about motion represented by words come near, probably because
he found it
unnecessary to repeat the information already contained in the journalists invitation.

Kraloviov simplifies the idiom only in a plain statement that the main character expresses
his
wish to stay as far as possible from the journalist.

Chapter twenty-six, narrator

JKRE: Where There's a Wand, There's a Way (Rowling, 2000, p. 425)

EN: where theres a will theres a way = anything can be achieved with determination
(Fergusson, 2003, p. 383)

JKRC: S hlkou jde vechno (Rowling, 2000/2002, p. 385)

CZ: [k]dy se chce, vechno jde (Kroulk & Kroulkov, 1993, p. 192)

JKRS: Tam, kde je prtik, je aj rieenie (Rowling, 2000/2001, p. 481)

SK: dobr vla vetko zdol; vla cestu njde, o v ry svet pjde; kto chce, vetko zme
(Kvetko, 1991, 577)

Where Theres a Wand, Theres a Way is the name of a book the main character reads. The
title of
the book is a modification of an English proverb, achieved by exchanging words wand (a
tool for
performing magic) and will.

Pavel Medek uses the Czech equivalent (see above), into which he adds the word wand, and
adjusts
it to an easily read and compelling book title.

Oga Kraloviov simply translated the title into Slovak. The author of this thesis would
suggest
solutions based on Slovak equivalents (see above): dobr prtik vetko zdol, sprvny
prtik
vetko zdol, prtik cestu njde and kto chce, s prtikom vetko zme.

Chapter thirty-seven, George Weasley

JKRE: [h]asn't got two Galleons to rub together (Rowling, 2000, p. 634)
EN: not to have two brain cells, pennies etc. to rub together = be very stupid, have no
money
etc. (Francis, 2006, p. 426)

JKRC: ned dohromady ani dva galeony (Rowling, 2000/2002, p. 569)

CZ: nem ani vindru (Bonkov & Kalina, 2007, p. 175)

JKRS: neostali mu ani dva galleny na zatrnganie (Rowling, 2000/2001, p. 709)

SK: nema ani korunu, smrdie korunou (Penny, n.d.)

One of the main characters, George Weasley, points out that another character has no money
left.

Rowling uses an English idiom to express this, she only replaces pennies with wizarding
currency
she invented (Galleons) to maintain the image of the magical world, although, interestingly, a
penny corresponds rather with Knuts or Sickles (wizarding small change).

Vladimr Medek applies the Czech expression for the lack of money, using wizarding
currency in its
Czech version adjusted by him.

Oga Kraloviov translated the phrase into Slovak without using any suitable Slovak idiom,
however, she translates rub as zatrnganie to evoke the sound two coins would make, and
just
like Medek, converts the word Galleon into gallen to make it more natural for the target
reader.

Harry Potter and the Order of the Phoenix

Czech Translator: Pavel Medek

Slovak Translator: Oga Kraloviov

Chapter two, Arabella Figg

JKRE: a batch of cauldrons that fell off the back of a broom (Rowling, 2003, p. 24)

EN: off the back of a lorry = probably stolen (Francis, 2006, p. 228)

JKRC: ohledn njak hromady kotlk, ke kterm pili bhvjakm zpsobem (Rowling,
2003/2003,
p. 25)

CZ: [j]e to kraden/za pt prst (Lorry, n.d.)

JKRS: () hromadu kotlkov. Vraj spadli z metly! (Rowling, 2003/2003, p. 25)

SK: kradnut, kpen za p prstov (Lorry, n.d.)

The character named Mrs Figg wants to express the unreliability of another character, namely
the
fact he wants to buy cauldrons with doubtful origins. People rarely use cars in her magical
world,
so the author modified the idiom by replacing the motor vehicle with a means of transport
common
for wizards a broomstick (or its shortened version broom).

Pavel Medek decided to translate only the meaning of the idiom, regardless of the means of
transport used, since there is no suitable phrase in Czech to preserve the structure of this
modified idiom.
Oga Kraloviov most likely did not notice this sentence was an idiom and the solution she
offers
is a word-for-word translation.

Chapter two, Arabella Figg

JKRE: we might as well be hanged for a dragon as an egg (Rowling, 2003, p. 25)

EN: (you, etc.) may/might as well be hanged/hung for a sheep as (for) a lamb = if you are
going
to be punished for doing sth wrong, whether it is a big or small thing, you may as well do the
big
thing (Francis, 2006, p. 443)

JKRC: take je pln jedno, jestli ns povs za jednu vradu nebo za deset (Rowling,
2003/2003,
p. 26)

CZ: kdy je trest stejn, je jedno, za co vis, je tedy vhodnj spchat zloin vt; kdy
u,
tak u (Kroulk & Kroulkov, 1993, p. 155)

JKRS: take je to jedno. (Rowling, 2003/2003, p. 26)

SK: ke u m visie pre jaha, preo by si nevzal aj ovcu, ke u riskova, tak poriadne;
kad
zomrie len raz (Kvetko, 1991, p. 465)

The same character as in the previous examined idiom claims that whatever happens, she
expects
trouble. In the original idiom, one can be hanged no matter whether a sheep or a lamb
situation
comes. Rowling uses one of the magical creatures that appears in her heptalogy, moreover,
she uses
the one which has a set and obvious name for its progeny a dragon and its egg.

Medek is forced here to omit all animal vocabulary to keep the meaning of the idiom, so he
reaches
for the Czech equivalent as it is used in dictionaries, and adjusts it slightly to make it smooth
and fluent.

Kraloviov simplifies the idiom here to a large extent into it makes no difference.

Chapter two, Arabella Figg

JKRE: its no good crying over spilled potion (Rowling, 2003, p. 27)

EN: its no good/use crying over spilt milk = it is a waste of time worrying, complaining or
feeling sad about something which is done and cannot be changed (Francis, 2006, p. 78)

JKRC: nem smysl plakat nad rozlitm lektvarem (Rowling, 2003/2003, p. 28)

CZ: nem smysl plakat nad rozlitm mlkem, co se stalo, stalo se (Bonkov & Kalina,
2007,
p. 161)

JKRS: u je asi zbyton plaka nad rozliatym elixrom (Rowling, 2003/2003, p. 28)

SK: plaka nad rozliatym mliekom, plaka za niem stratenm [za niem, o sa u nevrti],
nadarmo narieka (Kvetko, 1991, p. 346)

This idiom and its modification are relatively uncomplicated. The author changed the word
milk
into the most common liquid related to wizards (not only) in her stories a potion.
Since Czech and Slovak equivalents correspond with the original idiom, both translators
simply
transfer the sentence in the target languages.

Chapter two, Arabella Figg

JKRE: the cats among the pixies (Rowling, 2003, p. 27)

EN: to put/set the cat among the pigeons = to stir up trouble (Fergusson, 2003, p. 47)

JKRC: ale rarach je u rozhodn z pytle venku (Rowling, 2003/2003, p. 28)

CZ: it was like putting the cat among the pigeons = rozprchli se jako kdy stel do
vrabc
(Bonkov & Kalina, 2007, p. 38)

JKRS: u sme vypustili piadimukov (Rowling, 2003/2003, p. 28)

SK: pusti maku medzi holubov, vyvola rozruch [ok, hnev, zmtok, senzciu] (Kvetko,
1991,
p. 89)

The English idiom to put/set the cat among the pigeons expresses the situation where stir
and
commotion are caused. The author chooses relatively annoying flying creatures pixies
to
substitute the pigeons, either because pigeons can be considered annoying and there are
usually
more of them in one place, or for identical beginning letters of both words (pi).

The Czech translator uses one of the possible translations of the word pixie (rarach),
although
no explanation of this choice of translation were contrived to find, i.e. why the pixie is z
pytle venku (out of the bag).

The Slovak translator ignores the word cat and works only with the pixies, translating the
sentence as u sme vypustili piadimukov (the pixies have been released), although no
obvious
connection between to stir up trouble and releasing pixies is to be found, unless the
translator wants to refer to the second book of Rowlings heptalogy, which this thesis is not
concerned with.

Surprisingly, the word pixie is translated into Slovak as kriatok, elf (Pixie, n.d.), and
piadimuk into English as dwarf, gnome, and sprite (Piadimuk, n.d.), so the
question
is if there had not been a mistake made in translation.

Chapter four, Fred Weasley

JKRE: [t]ime is Galleons (Rowling, 2003, p. 66)

EN: time is money = time is valuable, and should not be wasted (Francis, 2006, p. 413)

JKRC: []as jsou galeony (Rowling, 2003/2003, p. 69)

CZ: as jsou penze (Time, n.d.)

JKRS: []as s galleny (Rowling, 2003/2003, p. 72)

SK: as s peniaze, as je drah (Kvetko, 1991, p. 533)

The character, Fred Weasley, claims that saving time saves money as well. For further
explanation
of the modification of the currency and its translation, see above, p. 3233.
Chapter five, Sirius Black

JKRE: the Ministrys put a ten-thousand-Galleon price on my head (Rowling, 2003, p. 89)

EN: put/set a price on someones head = to offer a reward or cause a reward to be offered
for
someones capture, ruin, or defeat (Long, 1979, p. 263)

JKRC: ministerstvo za moje dopaden vypsalo odmnu deset tisc galeon (Rowling,
2003/2003,
p. 93)

CZ: a price has been put on his head = na jeho hlavu byla vypsna odmna (Odmna,
n.d.)

JKRS: ministerstvo vypsalo na moju hlavu odmenu desatisc gallenov (Rowling,

2003/2003, p. 97)

SK: N/A

The author uses wizarding currency here. For further explanation of the modification of the
currency and its translation, see above, p. 3233.

Chapter twelve, Ronald Weasley

JKRE: [p]oisonous toadstools don't change their spots (Rowling, 2003, p. 212)

EN: a leopard cannot change its spots = a persons basic nature or character never
changes
(Fergusson, 2003, p. 194)
JKRC: [z] nejedl houby se nestane jedl (Rowling, 2003/, p. 220)

CZ: Lidsk pirozenost se nezape. Sm sebe nezape (Bonkov & Kalina, 2007, p. 296).

JKRS: [j]edovat muchotrvky nemenia svoje miesto (Rowling, 2003, p. 231)

SK: hrbatho len hrob narovn; nebude zo psa slanina; zdeden vlastnosti [charakter] sa
nezmenia
(Kvetko, 1991, p. 307)

Referring to ones inability and unwillingness to change them, the author plays with the
English
idiom, substituting the word leopard with poisonous toadstool (both of them have spots,
furthermore, a toadstool may evoke potion making) and changing the grammar structure to
some
extent.

Pavel Medek managed to maintain the mushroom in the phrase, and, at the same time, to
preserve the
meaning. He translated the phrase as a statement that an inedible mushroom can never
become an
edible one.

Oga Kraloviov manifestly did not understand the idiom (did not recognize it) and thus was
mistaken about the word spot, which she translates here as miesto (location). As a
consequence,
what was an inventive idiomatic expression in the original becomes a mere literal translation
in
her version.

Chapter twenty, Rubeus Hagrid

JKRE: [h]old yer hippogriffs (Rowling, 2003, p. 382)

EN: hold your horses = used for asking sb to stop for a moment, speak more slowly, etc.
(Francis, 2006, p. 186)

JKRC: [p]okej pece, brzdi (Rowling, 2003, p. 401)

CZ: ne tak zhurta (Bonkov & Kalina, 2007, p. 128), Neukvapuj se! (Kroulk &
Kroulkov,
1993, p. 93)

JKRS: [v]ydr (Rowling, 2003, p. 418)

SK: kroti sa, mierni sa, upokoji sa; nie tak zhurta (Kvetko, 1991, p. 276)

* Note that yer (your) is part of Hagrids idiolect.

Once again, a hippogriff serves as a substitution for a horse in the idiom a character
Rubeus
Hagrid uses to cease someones questions and conclusions before he finishes his storytelling.

Since no similar idiom occurs in Czech or Slovak, both translators use only the translation of
the
meaning. Medeks, though, is slightly more flowery.

Chapter twenty, Rubeus Hagrid

JKRE: Wasn room ter swing a kneazle (Rowling, 2003, 383)

EN: no room to swing a cat = very little or not enough space (Fergusson, 2003, p. 283)

JKRC: [n]eveel by se tam u ani magur (Rowling, 2003/, p. 402)

CZ: prostor, kde se ned pohnout (Kroulk & Kroulkov, 1993, p. 142), velmi mlo
msta (Hrch,
1993, p. 43)

JKRS: [u] ani knzl by sa tam nevopchal (Rowling, 2003/, p. 419)

SK: jablko by tam neprepadlo, niet sa kde [ned sa] ani pohn, ledva sa tu d obrti
(Kvetko,
1991, p. 442)

*Note that the origin of this idiom considers a cat to be a type of whip, not an animal, on
that
account one can swing it. It would be peculiar to imagine swinging with a live cat. (No room
to
swing a cat, n.d.)

This idiom is used to express a constricted space, a cave. The author replaces the cat with
another creature she invented for her wizarding world. No description of this creature is given
in
any book of the heptalogy, though.

It is worth noticing that while Oga Kraloviov only adjusted the word for Slovak readers,
Pavel
Medek created a neologism to translate this word (its origin is not a subject matter of this
thesis).

Harry Potter and the Half-Blood Prince

Czech Translator: Pavel Medek

Slovak Translator: Oga Kraloviov

Chapter four, Albus Dumbledore

JKRE: [d]ont count your owls before they are delivered (Rowling, 2005, p. 79)

EN: to count ones chickens (before they are hatched) = to make plans that depend on
something
uncertain (Fergusson, 2003, p. 67)

JKRC: [n]edlej si dn plny, dokud nem vsledky zkouek v ruce (Rowling,

2005/2005, p. 71)

CZ: chvlit dne ped veerem (Hrch, 1993, p. 44), Nechval dne ped veerem. Nekej
hop, dokud
nepesko (Bonkov & Kalina, 2007, p. 277).

JKRS: [n]ehd flintu do ita, km sovy nepriletia (Rowling, 2005/2005, p. 73)

SK: nechv da pred veerom; nekri hop, km nepresko (Kvetko, 1991, p. 95)

* note that this idiom is usually negative, in the meaning of being overconfident in ones
success
or victory prior to the result being certain (Francis, 2006, p. 72), (Long, 1979, p. 53)

Dumbledore encourages Potter that he should not give up on his dream related to his future
employment until certain exam results are received.

The word chickens is replaced with other birds, owls, because firstly owls are used across
Rowlings magical world for postal deliveries, secondly, they refer to this scene containing a
dialogue about delivering exam results. Once the word owls is used, it is only natural to
write
delivered instead of hatched, since delivering letters pertains to owls better.

It almost seems that Pavel Medek employs Fergussons definition of the English idiom. He
translates
the idiom very freely, writing about not making any plans, omitting the owls altogether and
making them into having exam results in main characters hand, especially because
Rowling used it
in its positive variant. Thus, the meaning is fully retained, while the sentence does not sound
erroneous, as it probably would, had he tried to apply one of the Czech equivalents, i.e.
nekej
hop, dokud sovy nepilet and nekej hop, kdy sovy jsou jet daleko.

The solution of the Slovak translator appears rather inadequate, since the modified idiom
should
mirror the wizarding world. She translates the first part as neha flintu do ita, which is
relatively frequent in Czech and Slovak languages, but contains the word rifle, not really
pertaining to the wizarding community the original author created. It would also be more
comprehensible to be more specific about why the owls should come.

Chapter five, Ronald Weasley

JKRE: [t]heyre raking in the Galleons (Rowling, 2005, p. 95)

EN: to rake in = to accumulate (usu. money) (Fergusson, 2003, p. 271)

JKRC: [g]aleony se jim jen sypou (Rowling, 2005/2005, p. 84)

CZ: hrabat penze (Bonkov & Kalina, 2007, p. 190)

JKRS: [g]aleny naberaj lopatami (Rowling, 2005/2005, p. 87)

SK: rake in = zhrabn, nahraba si, (na)masti si vrecko, prs si na o (vek peniaze)
(Rake in, n.d.)

Ronald Weasley refers to his brothers success in business and claims that they are making
plenty
of money. For further explanation of the modification of the currency and its translation, see
above, p. 3233.

It depends on the dictionary, whether the idiom is given as rake in or rake in the money,
but
even in the first case the money is presented as an example collocating with this verb.

Pavel Medek plays here with Czech equivalents, choosing one with the same meaning, but
different,
and in his opinion perhaps more natural, vocabulary. He could translate the phrase as koupou
se v
galeonech, galeony pehrabuj vidlemi etc., nonetheless, these equivalents might evoke a
slightly negative undertone. Medeks solution reads smoothly in the Czech and displays
Weasley twin
brothers success.

Oga Kraloviov, on the contrary, adds the word lopata (a shovel) to depict the amount of
money
the brothers earned. Interestingly, she does not use the suggested translation with the word
hrabat, so that a solution she uses evokes greediness rather than achievement.

Both translators use transcribed versions of the currency suitable for each of the target
languages.

Chapter twenty-eight, Rubeus Hagrid

JKRE: [t]heyllve bin burnt ter twigs (Rowling, 2005, p. 565)

EN: burn sth to a cinder/crisp = cook sth for too long or with too much heat, so that it
becomes
badly burnt (Francis, 2006, p. 45)

JKRC: shoeli tam vevnit na kvarek (Rowling, 2005/2005, p. 497)

CZ: shoet na troud (Cinder, n.d.)

JKRS: zhoreli asi do poslednej vetviky (Rowling, 2005/2005, p. 509)

SK: zhorie do tla, zhorie na popol (Kvetko, 1991, p. 25)

The author uses the word twigs here, because the creatures this quotation is about resemble
little twigs, so she modified it in order to improve the image of the situation.

Medek omits this wordplay and uses ordinary Czech phrase shoet na troud, contrarily,
Kraloviov
keeps the twigs in her translation and adjusts it to sound smoothly in the target language.

Harry Potter and the Deathly Hallows

Czech translator: Pavel Medek

Slovak translator: Oga Karloviov

Chapter two, Rita Skeeter

JKRE: can get off his high Hippogriff (Rowling, 2007, p. 27)

EN: come/get (down) off ones high horse = to stop being offended (Long, 1979, p. 169),
on
ones high horse = behaving arrogantly or affecting superiority (Fergusson, 2003, p. 163)

JKRC: si ale ty sv poven komente me odpustit (Rowling, 2007/2008, p. 28)

CZ: be on ones high horse = dlat dleitho (Bonkov & Kalina, 2007, p. 128)
JKRS: me presta s hrou na dleitho (Rowling, 2007/2008, p. 29)

SK: sedie na vysokom koni, vysoko dvha hlavu [nos], pozra sa zvysoka, sprva sa
povenecky,
by [robi sa] (povenecky) urazenm (Kvetko, 1991, p. 276)

These are the words of a rather impudent tabloid press journalist, at this point eager to
blemish
Dumbledore. The journalist presents some of her evidence and reacts to one of
Dumbledores
friends outrage. Again, Rowling replaces a horse with a hippogriff (see above, p. 33).

Both Medek and Kraloviov translate the phrase given without the word hippogriff,
referring only
to the meaning of the original English idiom to be arrogant and lofty, although each of them
chooses different vocabulary. Medek writes about lofty comments, Kraloviov about
playing
importance.

Interestingly, being arrogant is connected to the phrase on ones high horse that animal,
however, dismounting from it means rather not to be insulted any more. The question stands,
whether
the original authors intention was not to express the second option.

Chapter two, Rita Skeeter

JKRE: is just the tip of the dungheap (Rowling, 2007, p. 28)

EN: tip of the iceberg = the small and most obvious part of a difficulty, problem etc. that is
much larger (Fergusson, 2003, p. 354)

JKRC: je jen na vrcholu t hromady hnoje (Rowling, 2007/2008, p. 28)

CZ: pika ledovce (Bonkov & Kalina, 2007, p. 240)

JKRS: je iba vrchol kopy hnoja (Rowling, 2007/2008, p. 29)

SK: pika (2. p., adovca) (Tip of the iceberg, n.d.)

The same journalist behaves in an offensive way one more time, referring to another
character. She
wants to express he is only an insignificant issue in the whole scandal she is prepared to
unearth.

The author substitutes the word dungheap for iceberg, either to support the impression of
dirt
and slur, or to use a word more suitable for the wizarding world (dragon dung is used as a
fertiliser).

Both translators translated the phrase almost literally, which is not amiss in this case.

Chapter four, Fred Weasley

JKRE: Im only yanking your wand (Rowling, 2007, p. 49)

EN: yank sbs chain = tell sb sth which is not true, as a joke (Francis, 2006, p. 460)

JKRC: [j]en t tahm za hlku (Rowling, 2007/2008, p. 51)

CZ: jerk/yank sbs chain = buzerovat koho; ikanovat koho (Hrch, 1998, p. 43)

JKRS: [i]ba si z vs uahujem (Rowling, 2007/2008, p. 51)

SK: N/A
Rowling uses the idiom meaning trifling with somebody, but in her modified version Fred
Weasley is
yanking other characters wand (magic wand) instead of a chain.

In the Czech translation, Medek uses another English idiom to pull someones leg, the
meaning of
which corresponds with the idiom used in its modified version in Rowlings novel - to hoax
or make
a fool of someone (Fergusson, 2003, p. 193), whereby he creates tahat za hlku (pull sbs
wand),
in Czech originally tahat za nos (pull sbs nose).

Kraloviov only simplifies the sentence into utahova si z niekoho (making fun of
someone).

Chapter twelve, Hermione Granger

JKRE: hes got a ten thousand Galleon price on his head (Rowling, 2007, p. 190)

EN: put/set a price on someones head = to offer a reward or cause a reward to be offered
for
someones capture, ruin, or defeat (Long, 1979, p. 263)

JKRC: na jeho hlavu je vypsan odmna odmna deset tisc galeon (Rowling, 2007/2008,
p. 200)

CZ: a price has been put on his head = na jeho hlavu byla vypsna odmna

(Odmna, n.d.)

JKRS: na ktorho hlavu je vypsan odmena desatisc galenov (Rowling, 2007/2008, p.

197)
SK: N/A

The author uses wizarding currency here (see above). For further explanation of the
modification of
the currency and its translation, see above, p. 3233.

Chapter sixteen, narrator

JKRE: that there was a ten thousand Galleon price on his head (Rowling, 2007, p. 258)

EN: put/set a price on someones head = to offer a reward or cause a reward to be offered
for
someones capture, ruin, or defeat (Long, 1979, p. 263)

JKRC: e je na jeho hlavu vypsan odmna deseti tisc galeon (Rowling, 2007/2008, p.
270)

CZ: a price has been put on his head = na jeho hlavu byla vypsna odmna (Odmna,
n.d.)

JKRS: a na jeho hlavu je vypsan odmena desatisc galenov (Rowling, 2007/2008, p.

266)

SK: N/A

The author uses wizarding currency here (see above). For further explanation of the
modification of
the currency and its translation, see above, p. 3233.

Chapther Eighteen, Ivor Dillonsby

JKRE: [t]he fires lit, but the cauldrons empty (Rowling, 2007, p. 290)
EN: the lights are on but nobody's home = used to describe sb who is stupid, not thinking
clearly or not paying attention (Francis, 2006, p. 220)

JKRC: [o]he stle ho, ale kotlk je przdn (Rowling, 2007/2008, p. 304)

CZ: N/A

JKRS: [o]he hor, ale v kotlku je przdno (Rowling, 2007/2008, p. 298)

SK: N/A

The author plays with the idiom describing someone not being in his/her right mind. Again,
she uses
the word cauldron, a tool frequently used for potion making in the wizarding world. Thus,
she
exchanged lights and empty house with fire and empty cauldron to make the phrase
logical and
compact.

Medek and Kraloviov both translated the modified idiom word for word, since there is no
equivalent to be found in any of the target languages.

Chapter eighteen, Bathilda Bagshot

JKRE: they got on like a cauldron on fire (Rowling, 2007, p. 291)

EN: get on like a house on fire = quickly develop a very friendly relationship with sb
(Francis, 2006, p. 188)

JKRC: jiskilo to mezi nimi jako pod kotlkem (Rowling, 2007/2008, p. 305)
CZ: vborn si s nkm rozumt (Bonkov & Kalina, 2007, p. 129)

JKRS: vrelo to v nich ako v kotlku na ohni (Rowling, 2007/2008, p. 299)

SK: raz-dva [rchlo, ahko] sa spriateli; zhodn sa (Kvetko, 1991, p. 279)

The author writes about two boys, who become friends the moment they meet and uses the
English
idiom containing house on fire. Since she wanted to modify it and a cauldron is
connected with
fire, she interchanged it with a house.

Pavel Medek found a convenient Czech equivalent jiskit mezi nkm, and since the word
jiskit
(sparkle) relates to fire, he changed it from the cauldron on fire into sparkles beneath the
cauldron.

Oga Kraloviov also tries to maintain the wordplay on cauldron, therefore she translated
the
idiom applying the phrase vrie v niekom. Nevertheless, the word vrie (to boil) usually
evokes
hatred rather than passion in Slovak, Czech and English as well. Perhaps a solution in the
manner
of spaovala ich ve horca ako erav uhlky v pahrebe pod kotlkom, suggested by the
author
of this thesis, would express the thought better.

Chapter twenty-one, Ronald Weasley

JKRE: theyre not exactly ten a Knut (Rowling, 2007, p. 338)

EN: ten/two a penny = having little value because very common (Fergusson, 2003, p.
249)
JKRC: neseenete jich prv tucet za svrek (Rowling, 2007/2008, p. 354)

CZ: je jich spousta; dalo by se jimi dldit (Hrch, 1998, p. 127)

JKRS: e ich nie je na kad prst jeden (Rowling, 2007/2008, p. 348)

SK: N/A

Ronald Weasley declares, that a certain thing is very valuable, for which the author uses the
English idiom she modified with another simple change of the currency names a penny
represents a
small change and so does a Knut.

Pavel Medek changes ten into a dozen, probably to make the phrase more onomatopoetic.
Also he
creates a translation of the word Knut, in order to make it more convenient for the target
reader.

Oga Kraloviov invented her own phrase, since no proper equivalent in the Slovak language
exists.

Chapter twenty-eight, Aberforth Dumbledore

JKRE: theyll be on to you like Bowtruckles on Doxy eggs (Rowling, 2007, p. 452)

EN: like white on rice = right on top of something; as close as something can get (Like
white
on rice, n.d.)

JKRC: hned po vs pjdou jako krolezov po vajkch bhnic (Rowling, 2007/2008, p.

471).
CZ: N/A

JKRS: vrhn sa na vs ako stromostrcovia na vajka iernoienok (Rowling, 2007/2008,

p. 465)

SK: N/A

This modified idiom originates in a rather uncommon English idiom like white on rice. The
author
uses it to express the persistence of chasers of the three main characters in a certain situation.
She changes the words white and rice with creatures she invented (Bowtruckles live on
eggs of
an insect called Doxies).

There are no Czech or Slovak equivalents to be found, nevertheless, since the author uses her
neologisms, word-for-word translation is possible in both cases.

3.2. Exclamations and Proverbs

Apart from modified idioms, Rowling invented also several wizarding exclamations and
proverbs. This
subchapter analysis them in order to complete the modifications she made in her novels.

JKRE

JKRC

JKRS

Harry Potter and the Philosophers Stone

 (Rowling, 1997)

(Rowling, 1997/2002)

(Rowling, 1997/2000)

[g]allopin Gorgons (p. 43)

Rubeus Hagrid

[u] vech straidel (p. 54)

maria (p. 56)

[g]ulpin gargoyles (p. 45)

Rubeus Hagrid

[u] vech hejkal (p. 56)

mria (p. 58)

Harry Potter and the Goblet of Fire

(Rowling, 2000)

(Rowling, 2000/2002)

(Rowling, 2000/2001)
Merlins beard (p. 68)

Amos Diggory

[p]i brad kouzelnka Merlina (p. 61)

[p]ri Merlinovej brade (p. 78)

gulping gargoyles (p. 119)

Ludo Pytloun

[u] vech chrli (p. 109)

sto prer hromovch (p. 136)

Merlins beard (p. 412)

Alastor Moody

[p]i Merlinovch vousech (p. 374)

[p]ri Merlinovej brade (p. 467)

Harry Potter and the Order of the Phoenix

(Rowling, 2003)

(Rowling, 2003/2004)
 (Rowling, 2003/2003)

Merlins beard (p. 123) Arthur Weasley

[u] Merlinovch vous (p. 129)

[p]ri Merlinovej brade (p. 134)

Merlins beard (p. 139) Arthur Weasley

[u] Merlinovch vous (p. 145)

[p]ri Merlinovej brade (p. 151)

in the name of Merlin

(p. 230) Ronald Weasley

[u] Merlinovch vous (p. 238)

[p]ri Merlinovi (p. 251)

in the name of Merlin

(p. 322) Ronald Weasley

pi Merlinov vousu (p. 337)

[p]re Merlina (p. 352)

Merlins beard (p. 373) Rubeus Hagrid

[u] Merlinovejch fous (p. 391)

[p]ri Merlinovej brade (p. 408)

Merlins beard (p. 460) Arthur Weasley

[u] Merlinovy brady (p. 482)

[p]ri Merlinovej brade (p. 502)

galloping gargoyles (p. 540) Cornelius Fudge

u vech skkavch chrli (p. 564)

tristo trollov (p. 586)

Merlins beard (p. 547) Albus Dumbledore

[u] Merlinovch vous (p. 572)

[p]ri Merlinovej brade (p. 595)

[g]alloping gargoyles (p. 636) prof. Tofty

[u] vech chroptcch chrli (p. 665)

tristo trollov (p. )

Merlins beard (p. 720) Cornelius Fudge

[u] Merlinovy brady (p. 748)

[p]ri Merlinovej brade (p. 781)

Harry Potter and the Half-Blood Prince

(Rowling, 2005)

(Rowling, 2005/2005)

(Rowling, 2005/2005)

Merlins beard (p. 17,449, 466)

Cornelius Fudge, Horace Slughorn

[u] Merlinovy brady (p. 15, 395, 410)

[p]ri Merlinovej brade (p. 15, 407, 422)

Harry Potter and the Deathly Hallows

(Rowling, 2007)

(Rowling, 2007/2008)

(Rowling, 2007/2008)
in the name of Merlins saggy left (p. 81)

Ronald Weasley

ve jmnu Merlinovy kiv lev (p. 83)

pre Merlinov ovisnut av (p. 84)

in the name of Merlins pants (p. 88)

Ronald Weasley

ve jmnu Merlinovch kalhot (p. 90)

pre Merlinove gate (p. 91)

Merlins beard (p. 118)

Aunt Muriel

[u] Merlinovy brady (p. 123)

[p]ri Merlinovej brade (p. 123)

Merlins pants (p. 186)

Hermione Granger

[u] Merlinovch kalhot (p. 195)

[p]ri Merlinovch gatiach (p. 193)

in the name of Merlins most baggy Y-fronts (p. 187) Ronald Weasley

ve jmnu nejpinavjch Merlinovch slip (p. 196)

pre Merlinove najvyahanejie gate (p. 194)

[m]ay-born witches will marry Muggles (p. 186)

Ronald Weasley

[]arodjky narozen v kvtnu se provdaj za mudly (p. 352)

[] arodejnice naroden v mji, sa vydaj za muklov (p. 346)

[j]inx by twilight, undone by midnight (p. 186)

Ronald Weasley

[c]o za soumraku vyaruje, o plnoci ztrat (p. 352)

[z]aklnadlo uvrhnut za smraku po polnoci strca moc (p. 346)

[w]and of elder, never prosper (p. 186)

Ronald Weasley

[b]ezov hlka, chudoby plka (p. 352)

[b]azov prtik ti nikdy neprinesie prospech (p. 346)

4. Conclusion

The aim of this bachelor thesis was to find modified idioms in J. K. Rowlings heptalogy for
children, find their common English equivalents and elaborate on their word choice. The
purpose of
this study was also to assess both Czech and Slovak translations of the idioms modified in the
original and draw a comparison between them.

Interestingly, no modified idioms were found until the fourth book, except for two
exclamations in
Harry Potter and the Philosophers Stone, probably because the author had gained certain
self-confidence as a writer in the course of the time. Moreover, the larger the world she had
created became, the more features and vocabulary she invented, so that she could use them to
modify
already existing English idioms. Rowlings characters develop throughout the series and their
speech grows more ornate and specific with each of them.

The most used modification found is related to magical animals and creatures, namely a
hippogriff
(3), a dragon (and his egg) (1), pixies (1), a kneazle (1), a house-elf (1), bowtruckles with
doxy
eggs, and a twig used in relation to bowtruckles (2), from non-magical creatures it is an owl
(1).
Taken together, the total count of animals is ten occurrences.

The second most frequently used magical words in Rowlings modification are words related
to
wizarding currency, more precisely Galleons (7) and Knuts (1), which altogether occurred
eight
times.
Additionally, typical wizarding tools are used to modify the idiom, such as a cauldron (2), a
broom(stick) (2), a wand (2) and a potion (1). Also the author uses a dungheap (1) and a
toadstool
(1) with a meaning different from the common English usage.

Two types of popular wizarding exclamations are those related to the wizard Merlin (15), and
those
containing Gorgons (1) and gargoyles (4).

Furthermore, three proverbs appear in the seventh book.

The most frequent users of modified idioms and wizarding exclamations are definitely the
Weasleys,
with Ronald (12), Fred (2), George (1) and Arthur (3). Rubeus Hagrid uses one of them six
times and
Mrs Figg five times.

As for the Czech translators, Vladimr Medek and Pavel Medek appear to be more inventive
in regard
to translating Rowlings neologisms (e.g. galeon, magur, krolez etc.) They convert and
adjust the
text, so that it was more convenient for the Czech readers, namely children. They are able to
transfer most of the idioms into the target language without losing either the vocabulary or the
meaning (e.g. z nejedl houby se nestane jedl) and their solutions seem sophisticated. They
are
also creative and inventive in providing more flowery equivalents of wizarding exclamations.

The Slovak translator, Oga Kraloviov (translations of Jana Petrikoviov are used only in
two
exclamations in this paper), does not translate most of Rowlings neologisms, although it
improves
throughout the series. What is rather inappropriate is shortening and simplifying some idioms
in
order to make their translation easier. She also seems to misunderstand the idiom altogether in
two
cases and translates them word for word, missing their meaning. To a certain extent, this
might be
caused by the fact that proper dictionaries of Slovak idiomatology are lacking and not all of
the
English idioms have functional equivalents in the Slovak language.

To sum up, the author succeeds in completing the image of the magical world with modifying
the
idioms using her neologisms and words related to wizards. The Czech translation reads
smoothly and
is well adjusted to the child target reader, including units of measurements, names and
neologisms.
The Slovak translation is not as effective as the Czech one, however, having not the
comparison, it
might be considered satisfactory as well.

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Resum

This thesis is a study of modified idioms in a heptalogy written by J. K. Rowling, namely

Harry
Potter and the Philosophers Stone, Harry Potter and the Chamber of Secrets, Harry Potter and
the
Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the
Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows.

It analyses the idioms the author changed using some of her neologisms or words related to
the
magical world she created, in order to complete the image of the wizarding world. Further on,
it
examines both Czech and Slovak translations of the modified phrases, where the Czech
translation
was performed by Vladimr Medek and Pavel Medek, and the Slovak translation was
performed by Jana
Petrikoviov and Oga Kraloviov.

In the first part, various definitions of idioms are stated, both from electronic and printed
sources, namely dictionaries and linguistic works. The history of the English language and the
origin of the word idiom are presented and a range of idiom origins suggested.
Additionally,
idioms structure and forms are discussed.

The following chapters are dedicated to a theory of translation, some methods and difficulties
are
listed, and then translation for children and also translation of idioms is addressed.

In the second part, the modified idioms and related common English equivalents of the
modified
idioms found are listed, as well as Czech and Slovak translations of the modified phrases, and
meanings or equivalents of the common English idioms.

The ways in which the idioms were modified are examined and the translations compared on
the basis
of their faithfulness and the level of adjustment of the text in order to make it more
convenient
for the target reader.

Resum

Tato prce se zabv modifikovanmi idiomy v heptalogii autorky J. K. Rowlingov,

konkrtn Harry
Potter a kmen mudrc, Harry Potter a tajemn komnata, Harry Potter a vze z Azkabanu,
Harry
Potter a Ohniv pohr, Harry Potter a Fnixv d, Harry Potter a princ dvoj krve a Harry
Potter a
relikvie smrti.

Analyzuje idiomy, kter autorka za pouit nkterch svch neologism i slov souvisejcch
s
kouzelnickm svtem, kter vytvoila, zmnila za elem dotvoen obrazu svta kouzel.
Prce dle
zkoum esk i slovensk peklad modifikovanch frz, piem do etiny knihy peloili
Vladimr
Medek a Pavel Medek a do sloventiny Jana Petrikoviov a Oga Kraloviov.

V prvn sti jsou uvedeny rozlin definice idiom, a to jak z elektronickch, tak z titnch
zdroj, konkrtn slovnk a lingvistickch dl. Zmiuje se historie anglickho jazyka a
pvod
slova idiom, dle kapitola pedkld nkter zdroje pvodu idiom. Tak je otevena otzka
struktury a formy idiom.

Nsledujc kapitoly se vnuj teorii pekladu, jmenuj nkter obte a nkter skal, a pot
se
zabvaj pekladu pro dti a pekladu idiom.

Ve druh sti je uveden seznam upravench idiom a jejich protjk v bn anglitin, a

zrove
tak esk a slovensk peklady upravench frz a ekvivalenty i vysvtlen k frzm bn
anglitiny.

Zpsob, jakm byly idiomy upraveny, je podroben zkoumn, dle kapitola porovnv oba
peklady na
zklad vrnosti a rovn jejich pizpsoben pro clovho, tedy eskho i slovenskho
tene.
________________________________
1, 2, 3, 4 Authors translation.

1, 2, 3 Authors translation

1, 2 Authors translation.

1, 2 Authors translation

1, 2 Authors translation

1, 2 Authors translation

[7] Authors translation