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The Master and Margarita

Фамилия автора: Булгаков
Имя автора: Михаил
Исполнитель: Julian Rhind-Tutt
Год выпуска: 2009 г.
Язык: Английский
Жанр: Роман
Издательство: Naxos Audiobooks
Время звучания: 16:59:00
Описание: The Devil comes to Moscow, but he isn’t all bad; Pontius Pilate sentences a charismatic leader to his death, but yearns for redemption; and a writer tries to destroy his greatest tale, but discovers that manuscripts don’t burn. Multi-layered and entrancing, blending sharp satire with glorious fantasy, The Master and Margarita is ceaselessly inventive and profoundly moving. In its imaginative freedom and raising of eternal human concerns, it is one of the world’s great novels.

ABOUT The Master and Margarita

The Master and Margarita is a novel that could not have been published when the author was alive; indeed it was pretty remarkable that it got published when it did, some 26 years after his death. In its energy, inventiveness, fantastic imagery, spirituality and belief in the capacity of the human spirit, it was a dangerously liberating book, and liberating books were not going to be published in the USSR of the 1920s and 30s. It was a world of overwhelming fear and suspicion, where the repressive State machinery made any opposition – real or imagined – punishable by death or imprisonment. This dark brutality infected every aspect of life; and the strict bureaucracy that enforced the State’s decrees led to profound social stagnation, quite apart from numbing inefficiency in even the most straightforward of transactions. In this world, art of any form was a dangerous currency, and the State did everything it could to ensure that only those works of which it approved were published. The Master and Margarita would not have been approved.
For a start, it is a satire, and people holding absolute power are rarely amused by being mocked. It pokes fun at the catastrophic absurdity of the system, uncovering the vanity and duplicity of those who operated within it. It makes a point of sending up the pompous literary establishment of the time, which would hardly endear it to publishers. More dangerously, it is also sympathetic to the figure of Christ (if not quite the orthodox one), an attitude the atheistic State would again have been ready and keen to punish. For today’s readers, these satirical elements would make the book worth attention. But what elevates it beyond its time, makes it more than a significant period-piece, is its dizzying, dazzling invention, its vivid fantasy, its complex, ambivalent morality, its humanity and its breadth of humour. It is Solzhenitsyn written by Lewis Carroll, Dostoevsky by Vonnegut.
Mikhail Bulgakov was born in Kiev in 1891, a son of a professor at a theological academy. He went on to study medicine, but after the turmoil of the Civil War (in which he served as a doctor) he turned to the area he had always loved – theatre and literature. One day in 1919 while on a train, he had written a story and when the train stopped, he sold it to the first paper he could find. It was never going to be that easy for him again. Over the next ten years, he wrote sketches, stories, novellas and plays which gradually displayed a more critical attitude to the Soviet system. As a result his works began to be banned and were viciously attacked in the press. Deeply frustrated by this official interference, he wrote a letter asking for permission to go abroad. In an irony that Thomas Hardy might have enjoyed, Bulgakov was telephoned by Stalin himself, who asked if he really wanted to go. The author, quite possibly fearing for his life, rescinded his request, claiming that a writer could not work outside his homeland; and the dictator arranged for him to work at the Moscow Art Theatre adapting Gogol’s work for the stage. But even here, his work continued to be banned, as it was later when he was at the Bolshoi Opera House as a librettist. In this atmosphere, The Master and Margarita had to be written in secret. He started it in 1928, and it took, in its various forms, twelve years; and nearly never got written at all.
The novel contains several incidents taken from Bulgakov’s life. He was married three times, and the figure of Margarita is probably based on his third wife; Pilate’s faithful and brave dog is called Banga, the nickname of Bulgakov’s second wife. Bulgakov knew what it was like to be rejected and publicly humiliated by the literary establishment, for example – something the Master has to endure. There are also plenty of references to real people (in disguised form) in the characters. But in perhaps the most significant autobiographical incident, Bulgakov had been so alarmed by the potential threat if his novel was discovered that he had burned the manuscript. When he later decided to carry on, his wife asked how he would manage without all his notes. And just as the Master does, he said he could remember it all. ‘Manuscripts don’t burn’ became something of a catchphrase in the USSR when the book was eventually published, and this personal reflection of the author was recognised as a statement about the indomitable nature of human invention. This incident and its implications echoes through the whole book, as does the expression ‘Cowardice is the worst of sins’. It relates to Bulgakov’s own fear about the novel and his own attitude to the Stalinist regime; and by extension to everyone else who suffered under it.
He had lost his faith for a while, but regained it in later life, finding comfort in his belief in God. This might also have made him a target for the authorities, since the State enforced atheism. But again, the capacity of some humans to follow their own convictions despite the threats of the all-powerful State demonstrated a tenacious capacity for individualism. And in the end, even Stalin failed to eradicate faith in the USSR, just as Caesar had failed to eliminate Christianity two thousand years before – the two periods reflected in the book.
The book weaves three separate strands together in its narrative. The first is 1920s and 30s Moscow, visited by the Devil in the form of Professor Woland and his crew of bizarre assistants (including a talking, shooting, bipedal cat). They set about destroying the comfortable pretensions of the jobsworths who superintend apartments or run theatres, and in particular the smug literary world, through displays of impossible, wild, unpredictable, cruel, bloody and sometimes fatal magic. The second is set in Jerusalem (named Yershalaim in the book), where Pontius Pilate is about to sentence a charismatic leader accused of inciting the population against their Roman overlords. Again, the name is altered, shifted from Jesus to Yeshua; and the characters are different, too. Pilate is tortured by the problem of goodness and obedience, while Yeshua dismisses some of the claims made for him by his followers but remains powerfully, luminously strong yet tender. The third strand binds the
se two together, and features the Master and Margarita themselves. He wrote the story of Pilate; but dispirited by its rejection by the establishment, he despairs of his work and himself, burning the former and committing the latter to an asylum. Margarita never loses faith in him or the book, and enters into a Faustian pact to save them all.
These interweaving plot lines are told either with extraordinary brio or brilliant control. In the Moscow sequences, the appearance of supernatural characters naturally allows for fantastic imaginings and events, creating an impossible, magic world inside the repressive reality of Moscow. Meanwhile, the discussions with Yeshua are told with a powerfully contrasting directness and simplicity. In both cases, Bulgakov examines the ideas of goodness, of obedience, of creativity, of courage and of freedom, but never reaches an easy moral conclusion. Woland may be the Devil – but his actions are sometimes beneficial. The Master has created a great work of art, but he is not granted simple or complete absolution. The system is mocked, but not directly. Pontius Pilate is made a human, sympathetic character; while innocents are sometimes punished. Margarita sides with Woland, but there is no retribution.
The Master and Margarita was eventually published in 1966. This was strange in itself – the Communist Party was still very strongly in power. The book came out in serial form, slightly censored and – equally strangely – in a rather conservative magazine. Whatever prompted the publication, it was greeted with a kind of rapturous joy. The boldness of its writing, the breadth and freshness of its imagining, the spirited and vivid characters, the courage to refer to the dire shortcomings of the system so fearlessly and with such humour – these were all inspirational and offered moral and intellectual hope. Since then, interest has if anything increased. The novel is filled with literary and musical references, especially Faust and the opera Eugene Onegin, allowing almost infinite academic speculation about its symbolic and thematic intentions, all fully justified by the text’s unobtrusive complexity. But whatever these close studies reveal, the magical depth of the book makes it as endlessly rewarding as it is immediately accessible.

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На рассылке переводчиков возник спор о том, какой из переводов лучше (есть ещё два перевода кроме этих - Мирры Гинзбург и "Diana Burgin and Katherine O"Connor", о них речь пока не заходила). Я посмотрел немного, любопытства ради. Оба перевода оставляют желать лучшего, но всё же Glenny явно лучше P&V, по той простой причине, что в переводе P&V совершенно ужасный, искусственный, зачастую даже корявый английский язык.

Например, название первой главы ("Никогда не разговаривайте с неизвестными") переведено в P&V как "Never talk with strangers" - брр, ужас какой. У Glenny - нормальное "Never talk to strangers".

В общем и целом у P&V видно больше внимания к нюансам русского оригинала, чем у Glenny, но корявость языка перевода совершенно это внимание нивелирует и перекрывает. Мне неприятно думать о том, что многие англоязычные читатели наверняка читают этот перевод и думают, что в этой корявости и странности заключена глубокая правда, что это, дескать, отличное представление по-английски сложного стиля Булгакова... эх!

Вот ещё несколько примеров, как из обсуждения на рассылке, так и найденных мной:

• - Дайте нарзану, - попросил Берлиоз.
  Glenny: "A glass of lemonade, please," said Berlioz.
  P&V: "Give us seltzer," Berlioz asked.

  Выбор P&V здесь мне нравится больше, чем Glenny. "Seltzer" аналогично "нарзану" сразу в нескольких аспектах: тоже минеральная вода, тоже названа по имени источника, тоже использовалась не только для вод этого источника, но в общем значении минеральной воды, тоже звучит более или менее архаично в современном языке. С другой стороны, если равняться на время написания романа, то, возможно, лучше просто "mineral water" или "Narzan water".

• Тут приключилась вторая странность, касающаяся одного Берлиоза.
  Glenny: Then occurred the second oddness, which affected Berlioz alone.
  P&V: Here the second oddity occurred, touching Berlioz alone.

  И так практически везде: где у Булгакова "тут" в значении "тогда, в этот момент", у P&V это ужасное "here".

• На темном фоне фотографической бумаги отчетливо выделялись черные
  писаные строки:
  "Доказательство мой почерк моя подпись молнируйте подтверждение
  установите секретное наблюдение Воландом Лиходеев".
  Glenny: On a dark sheet of photographic paper the following lines were clearly visible:
  "As proof herewith specimen my handwriting and signature wire confirmation my identity. Have Woland secretly followed. Likhodeyev."
  P&L: On a dark background of photographic paper, some black handwritten lines were barely discernible:
  "Proof my handwriting my signature wire urgendy confirmation place secret watch Woland Likhodeev."

  Здесь P&V, вопреки их обычному вниманию к нюнсам текста, переворачивают смысл Булгакова с ног на голову. "Отчётливо выделялись" становится "barely discernible". What were they thinking??

  "Clearly visible" Glenny, конечно, лучше, но тоже не очень подходит к "выделялись". И оба переводчика, на мой взгляд, бездумно перевели "на фоне", используя "on", вместо более точного "against".

  Мой вариант (критические замечание и другие варианты приветствуются):

  Against the dark background of photographic paper the following lines in black handwriting stood out clearly:

  "Proof my handwriting my signature wire confirmation immediately have Woland secretly followed Likhodeev"

А вообще-то, судя по отзывам разных людей в сети и ньюсгруппах, лучше всех - перевод Burgin и O"Connor, но его в сети нет, так что сравнить сейчас не могу. Надо будет посмотреть в библиотеке, если найду время на это. Кто-нибудь видел его вообще, пробовал читать?

Давно хотелось выкроить время, чтобы попредседательствовать в жюри конкурса на лучший перевод "Мастера и Маргариты". И когда же еще это сделать, если не в насильно навязанные праздные дни?

Но сначала, на берегу, нужно договориться о критериях. Как определить, какой перевод лучше? Чем конкретно хороший отличается от плохого? За что набавлять или снижать очки?

Поскольку нельзя объять необъятного, и невозможно (и бессмысленно!) сравнивать разные переводы каждой отдельной фразы, выставляя за них баллы, а потом суммировать и сравнить суммы, я бы предложил критерий верной передачи стиля.

Смею надеяться, что для вас, как и для меня, главный шарм романа - не в событиях и приключениях действующих лиц или перипетиях сюжета, а в его мягком юморе, который - весь - построен на контрасте стилей, типа:

Если я не ослышался, вы изволили говорить, что Иисуса не былонасвете? - спросилиностранец...

..."А какого черта ему надо?" - подумал Бездомный и нахмурился.

"Стиль - это человек", - сказал Бюффон. ИМХО "Мастер и Маргарита" - это стиль. Попробуйте заменить, например, вот в этом отрывке:

"И тут знойный воздух сгустился перед ним,и соткался из этого воздуха прозрачный гражданин престранного вида.На маленькой головке жокейский картузик,клетчатый кургузый воздушный же пиджачок... Гражданин ростом в сажень, но в плечах узок, худ неимоверно, и физиономия, прошу заметить, глумливая..."

соткался - возник , появился

престранного - очень странного

кургузый - короткий

в плечах узок, худ - узкоплечий и худой

неимоверно - очень

физиономия - лицо

глумливая - насмешливая

"И тут перед ним сгустился горячий воздух, и из этого воздуха возник прозрачный гражданин очень странного вида: узкоплечий, высокий и худой, с насмешливым выражением лица., одетый в клетчатый короткий прозрачный пиджак. На его маленькой голове была жокейская кепка".

Вот и все. И - нет великого романа!

И еще. Слышал как-то по радио чтение отрывков из романа современного американского писателя о фокуснике Гудзини. Затем, интервью автора, где он учит, как правильно писать роман. Среди прочих рекомендаций запомнились "в пояснениях к прямой речи и диалогам использовать только глагол "сказал, сказала", ни в коем случае не "отозвался", "прошептала", "воскликнул", "промолвила" и т.д. Исключить любые описания лица или внешности действующих лиц".

Сам того не сознавая, этот романист давал рекомендации по написанию киносценария, а не романа. Население у них читает мало, поэтому прожить за счет литературных гонораров не может даже самый знаменитый писатель. Мечта любого из них, чтобы на его роман обратили внимание в Голливуде. Вот тогда - да!

Чтобы далеко не листать, Cf:

Дайте нарзану, - попросил Берлиоз.

Нарзану нету,- ответила женщина в будочке и почему-то обиделась.

Фу ты черт! - воскликнул редактор

"Ну-с,итак..." - повел речь, прерванную питьем абрикосовой.

Извините меня, пожалуйста, - заговорил подошедший с иностранным акцентом

Иностранецоткинулсянаспинкускамейки и спросил, даже

привизгнув от любопытства:

Вы атеисты?!

См. также описание внешности выше.

Это я всё к тому, что американские переводчики, кажется мне, неосознанно следуют подобным правилам, выхолащивая, тем самым, текст.

Ну, к делу!

Directory / Указатель

Оригинал	перевод Richard Pevear and Larissa Volokhonsky, 1999
перевод Diana Burgin & Katherine Tiernan O"Connor, 1995	перевод Michael Glenny, 1967

1.

Возникает вопрос, уж не в милицию ли спешил Максимилиан Андреевич жаловаться на разбойников, учинивших над ним дикое насилие среди бела дня?	The question arises whether it might have been the police that Maximilian Andreevich was hastening to, to complain about the bandits who had perpetrated savage violence upon him in broad daylight?
The question arises: did Maximilian Andreyevich rush off to the police station to lodge a complaint against the thugs who had brutalized him so savagely in broad daylight.	You may ask whether Maximilian Andreyevich hurried to the police to complain about the ruffians who had handled him with such violence in broad daylight.

2.

Ваше присутствие на похоронах отменяется, - продолжал кот официальным голосом. - Потрудитесь уехать к месту жительства.	"Your presence at the funeral is cancelled," the cat continued in an official voice. "Kindly return to your place of residence."
"Permission to attend the funeral is hereby revoked," the cat continued in an official-sounding voice." Be so kind as to return to your place of residence."	"You may not attend the funeral," went on the cat in an official voice. " Kindly go home at once.

Какое разрешение?

3.

Кот же шевельнулся, прыгнул со стула, стал на задние лапы, подбоченился, раскрыл пасть и сказал:- Ну, я дал телеграмму! Дальше что ?	The cat then stirred, jumped off the chair, stood on his hind legs, front legs akimbo, opened his maw and said: "Well, so I sent the telegram. What of it?"
The cat stirred, jumped down from the chair, stood on its hind legs, spread its forepaws, opened its jaws and said: "Well, I sent the telegram. Now what?	The cat jumped down from the chair, stood up on its hind legs, put its forelegs akimbo, opened its mouth and said: "I sent the telegram. So what?

4.

Вы кто такой будете, гражданин? - испуганно спросил Никанор Иванович. - Ба! Никанор Иванович, - заорал дребезжащим тенором неожиданный гражданин и, вскочив, приветствовал председателя насильственным и внезапным рукопожатием. Приветствие это ничуть не обрадовало Никанора Ивановича. Я извиняюсь, - заговорил он подозрительно, - вы кто такой будете? Вы - лицо официальное? Эх, Никанор Иванович! - задушевно воскликнул неизвестный. Что такое официальное лицо или неофициальное? Все это зависит от того, с какой точки зрения смотреть на предмет, все это, Никанор Иванович, условно и зыбко. Сегодня я неофициальное лицо, а завтра, глядишь, официальное! А бывает и наоборот, Никанор Иванович. И еще как бывает! Рассуждение это ни в какой степени не удовлетворило председателя домоуправления. Будучи по природе вообще подозрительным человеком, он заключил, что разглагольствующий перед ним гражданин - лицо именно не официальное, а пожалуй, и праздное.

"And who might you be, citizen?" Nikanor Ivanovich asked fearfully. "Hah! Nikanor Ivanovich!" the unexpected citizen yelled in a rattling tenor and, jumping up, greeted the chairman with a forced and sudden handshake. This greeting by no means gladdened Nikanor Ivanovich. "Excuse me," he said suspiciously, "but who might you be? Are you an official person?" "Eh, Nikanor Ivanovich!" the unknown man exclaimed soulfully. "What are official and unofficial persons? It all depends on your point of view on the subject. It"s all fluctuating and relative, Nikanor Ivanovich. Today I"m an unofficial person, and tomorrow, lo and behold, I"m an official one! And it also happens the other way round - oh, how it does!" This argument in no way satisfied the chairman of the house management. Being a generally suspicious person by nature, he concluded that the man holding forth in front of him was precisely an unofficial person, and perhaps even an idle one.

"And who might you be, citizen?" asked Nikanor Ivanovich in a frightened voice. "Hullo! Nikanor Ivanovich!" the unexpected citizen called out in a quavering tenor and, leaping to his feet, he greeted the chairman with an abrupt and forceful handshake. Nikanor Ivanovich was hardly enthralled by this welcome."Excuse me," he began suspiciously, "but who exactly are you? Are you here in an official capacity?" "Ah, Nikanor Ivanovich!" the stranger exclaimed confidingly. "How do you define official and unofficial? All that depends on your point of view. All that is arbitrary and relative. Today I"m unofficial, but tomorrow I might be official. And vice versa, of cose, or even something worse. "This kind of reasoning gave no satisfaction whatsoever to the chairman of the house committee. A suspicious person by nature, he decided that the bombastic citizen was certainly unofficial, and maybe even superfluous.

"And who might you be, citizen? " asked Nikanor Ivanovich. "Nikanor Ivanovich!" cried the mysterious stranger in a quavering tenor. He leaped up and greeted the chairman with an unexpectedly powerful handshake which Nikanor Ivanovich found extremely painful. "Pardon me," he said suspiciously, " but who are you? Are you somebody official? " "Ah, Nikanor Ivanovich! " said the stranger in a man-to-man voice. " Who is official and who is unofficial these days? It all depends on your point of view. It"s all so vague and changeable, Nikanor Ivanovich. Today I"m unofficial, tomorrow, hey presto! I"m official! Or maybe vice-versa--who knows? "None of this satisfied the chairman. By nature a suspicious man, he decided that this voluble individual was not only unofficial but had no business to be there.

Есть разница между "Вы кто?", "Вы кто такой?" и "Вы кто такой будете?". В школьной литературе это называлось "Речевой характеристикой персонажа".

5.

Вчера вы изволили фокусы делать...- Я? - воскликнул в изумлении маг, - помилосердствуйте. Мне это даже как-то не к лицу! - Виноват, - сказал опешивший буфетчик, - давать сеанс черной магии...	"Yesterday you were so good as to do some conjuring tricks ...""I?" the magician exclaimed in amazement. "Good gracious, it"s somehow even unbecoming to me!" "I"m sorry," said the barman, taken aback. "I mean the séance of black magic..."
"Yesterday you had occasion to perform some tricks..." "I?" the magician exclaimed in amazement. "I beg your pardon. That isn"t my sort of thing!" "Sorry," said the bartender, taken aback. "But what about the performance of black magic..."	"Yesterday you did some tricks . . .""I did? Tricks?" exclaimed the magician indignantly. "I beg your pardon! What a rude suggestion! ""I"m sorry," said the barman in consternation. "I mean . . . black magic ... at the theatre."

I beg your pardon = помилосердствуйте ?

6.

Вот-с, каков проныра, а вы изволите толковать про пятое измерение.	A real slicker, you see, ma"am, and you keep talking about the fifth dimension!
Now there"s an operator for you, and you were pleased to talk of the fifth dimension!	There"s a sharp operator for you - and you talk of the fifth dimension!

7.

Артиста Воланда можно попросить? - сладко спросил Варенуха. Они заняты, - ответила трубка дребезжащим голосом, - а кто спрашивает? Администратор варьете Варенуха. Иван Савельевич? - радостно вскричала трубка, - страшно рад слышать ваш голос! Как ваше здоровье? - Мерси, - изумленно ответил Варенуха, - а с кем я говорю? Помощник, помощник его и переводчик Коровьев, - трещала трубка, - весь к вашим услугам, милейший Иван Савельевич! Распоряжайтесь мной как вам будет угодно. Итак?- Простите, что, Степана Богдановича Лиходеева сейчас нету дома? Увы, нету! Нету! - кричала трубка, - уехал.

"May I speak with the artiste Woland?" Varenukha asked sweetly. `Mister"s busy," the receiver answered in a rattling voice, "who"s calling? ""The administrator of the Variety, Varenukha. "`Ivan Savelyevich?" the receiver cried out joyfully. Terribly glad to hear your voice! How"re you doing? ""Merci," Varenukha replied in amazement, "and with whom am I speaking? ""His assistant, his assistant and interpreter, Koroviev!" crackled the receiver. "I"m entirely at your service, my dearest Ivan Savelyevich! Order me around as you like. And so?" `Excuse me, but ... what, is Stepan Bogdanovich Likhodeev not at home now?""Alas, no! No!" the receiver shouted. "He left!"

"May I speak to the artist Woland?" Varenukha asked sweetly. "They"re busy," a crackling voice replied. ""Who may I say is calling? "The manager of the Variety Theatre, Varenukha. ""Ivan Savelyevich?" the receiver exclaimed joyously." I"m terribly happy to hear your voice! How"s your health?" "Merci," the astonished Varenukha replied. "And who am I speaking to?" "The assistant, his assistant and interpreter, Korovyov" crackled the receiver. "I"m at your service, my dear Ivan Savelyevich! Tell me how I can be of help to you. Well? ""Excuse me, but is Stepan Bogdanovich Likhodeyev at home?" "Alas, no! He"s not" shouted the receiver. "He"s gone."

"May I speak to Monsieur Woland, please?" asked Varenukha sweetly. "He"s busy," answered the receiver in a quavering voice. " Who wants him?" "Varenukha, house manager of the Variety Theatre." "Ivan Savyelich?" squeaked the earpiece delightedly." How very nice to hear your voice! How are you?" "Merci," replied Varenukha in some consternation. " Who"s speaking?" "This is Koroviev, his assistant and interpreter," trilled the receiver. "At your service, my dear Ivan Savyelich! Just tell me what I can do for you. What is it?" "I"m sorry ... is Stepan Bogdanovich Likhodeyev at home?" "Alas, no, he isn"t," cried the telephone. "He"s gone out."

8.

Буфетчик вымолвил:- покорнейше благодарю, - и опустился на скамеечку.	The barman managed to say: "I humbly thank you," and lowered himself on to the stool.
"Thank you very much," said the bartender, lowering himself onto the stool...	The barman said: "Thank you very much," and sat down on the stool.

Спасибо, сказал буфетчик и сел на скамеечку.

Это перевод на Basic English .

9.

Изволите ли видеть, в числе прочего бумажки слетели с потолка, - буфетчик понизил голос и конфузливо оглянулся, - ну, их все и похватали.	"If you please, you see, among other things there were banknotes flying down from the ceiling..." The barman lowered his voice and looked around abashedly. So they snatched them all up.
"If you recall, among other things, paper money flew down from the ceiling..." the bartender lowered his voice and looked around in embarrassment. "Well, everybody started grabbing the bills.	"During your act you made bank-notes float down from the ceiling..." The barman lowered his voice and looked round in embarrassment. " Well, all the audience picked them up

Итого:

	Richard Pevear , Larissa Volokhonsky
Diana Burgin, Katherine Tiernan O"Connor		Not awarded

Michael Glenny - disqualified, though, Diana Burgin"s translation seems to be a slightly corrected Glenny"s.

Продолжение следует.