A translation quality assessment of the vietnamese version of chapter 6 in the novel lady chatterleys lover using j houses model

LIST OF ABBREVIATIONS SL: Source Language TL: Target Language ST: Source Language Text TT: Target Language Text TQA: Translation Quality Assessment... House‟s revised translation quality

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

CAO HUYỀN TRANG

A TRANSLATION QUALITY ASSESSMENT OF THE

VIETNAMESE VERSION OF CHAPTER 6 IN THE NOVEL

“LADY CHATTERLEY’S LOVER” USING J HOUSE’S MODEL

( ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH TIẾNG VIỆT CHƯƠNG 6 TIỂU THUYẾT NGƯỜI TÌNH PHU NHÂN CHATTERLEY DỰA TRÊN MÔ

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

CAO HUYỀN TRANG

A TRANSLATION QUALITY ASSESSMENT OF THE

VIETNAMESE VERSION OF CHAPTER 6 IN THE NOVEL

“LADY CHATTERLEY’S LOVER” USING J HOUSE’S MODEL

(ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH TIẾNG VIỆT CHƯƠNG 6 TIỂU THUYẾT NGƯỜI TÌNH PHU NHÂN CHATTERLEY DỰA TRÊN MÔ

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DECLARATION

I, Cao Huyen Trang, hereby declare that this thesis, which is entitled “A translation

quality assessment of the Vietnamese version of Chapter 6 in the novel "Lady Chatterley's lover" using J House's model", has not been submitted as an exercise

for a degree at this or any other university and it is entirely my own work as the result of my own original research All materials used as references in this thesis are quoted clearly with their sources while data collection and results were

comprehensively done by me

Signature

CAO HUYỀN TRANG

This thesis would not have been possible without the guidance and the help

of several individuals around me, to only some of whom it is possible to give particular mention here

First and foremost, I would like to express my utmost gratitude to my advisor Assoc Prof Dr Lê Hùng Tiến for his motivation, enthusiasm, and immense knowledge From the early stage, it was his fascinating lectures on translation studies that inspired me to conduct this thesis During the process this thesis was conducted, I have received his valuable guidance, insightful comments and sincere encouragement that I would never forget My sincerest thanks go to my tremendous mentor for encouraging my research and for allowing me to grow as a research scientist

I would like to express my deepest gratitude toward my whole family and my friends for their kind support and great encouragement which urges me in completing this thesis

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ABSTRACT

The field of translation has never witnesses a strongly increase in the requirement for literary translation before Thanks to good translations, readers over the world are offered a chance to access and enjoy many timeless works This field, however, involves various challenges Therefore, this minor thesis aims at discovering many factors causing to these difficulties and suggesting several recommendations to improve the quality of translation More specifically, the thesis attempts to evaluate the quality of the Vietnamese version of Chapter 6 in the novel

"Lady Chatterley's lover" using J House's model Based on the analysis of this text, some major findings and suggestion of phonological and cultural problems might be drawn as well Furthermore, the study shows that the application of covert translation and abuse of some Vietnamese colloquial expressions tend to lower the true value of the source text so that readers are likely to experience a “sloppy translation” with pornographic rather than erotic scenes due to its preference of physical element to spiritual one

LIST OF ABBREVIATIONS

SL: Source Language

TL: Target Language

ST: Source Language Text

TT: Target Language Text

TQA: Translation Quality Assessment

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LIST OF FIGURES AND CHARTS

Figure 1.A model for translation quality assessment by House (1977)

Figure 2: A Scheme for Analyzing and Comparing Original and Translation Text in

by House (1997)

TABLE OF CONTENTS

DECLARATION i

ACKNOWLEDGEMENT ii

ABSTRACT iii

LIST OF ABBREVIATIONS iv

LIST OF FIGURES v

PART A: INTRODUCTION 1

1 Rationale 1

2 Aims of the study 2

3 Scope of the study 2

4 Methodology of the study 3

5 Design of the study 3

PART B: DEVELOPMENT 4

Chapter 1 LITERATURE REVIEW 4

1.1 Literary translation 4

1.1.1 Definition of literary translation 4

1.1.2 Difficulties of literary translation 5

1.1.2.1 Cultural translation problems 6

1.2.2.2 Stylistic translation problems 7

1.2.2.3 Linguistic translation problems 7

1.2.2.4 Text specific translation problems 7

1.2 Translation quality assessment 8

1.2.1 The role of translation quality assessment 8

1.2.2 Approaches towards translation quality assessment 9

1.2.3 Previous models for translation quality assessment 11

1.2.3.1 Nida‟s response-based approach 11

1.2.3.2 Koller‟s text-based approach 11

1.2.3.3 Peter Newmark‟s comprehensive criticism approach 12

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1.3 House‟s model of translation quality assessment 13

1.3.1 House‟ original model 13

1.3.2 House‟s revised translation quality assessment model 16

1.4 Summary 17

Chapter 2 RESULTS AND DISCUSSIONS 18

2.1 Source Language Text Analysis 18

2.1.1 Source Language Text Background 18

2.1.2 Analysis of ST in accordance with House's model 19

2.1.3 Statement of function 28

2.2 ST and TT comparison and Statement of Quality 29

2.2.1 ST and TT comparison for mismatches 29

2.2.2 Statement of Quality 36

PART C CONCLUSION 38

3.1 Recapitulation 38

3.2 Concluding remarks 38

3.3 Recommendations 40

REFERENCES 41

Appendix A The Dialects used in the source text I Appendix B Comparison between Source Language Text and Target

Language Text IV

PART A: INTRODUCTION

1 Rationale for the study

The field of translation, especially literary translation has undergone many shifts and trends over the last few decades with wide-range arguments Numerous approaches have come and gone in a hope to define “a good literary translation” which satisfies all the requirements of literary translation To resolve these issues, many theories have been proposed and applied in an attempt to assess the quality of

a translation This would be of great benefit for both translators and readers in Vietnam nowadays after some mishaps in literary translation It is obvious that there have been many literary translations so far such as Harry Porter, Twilight, The Miserables, The call of the wild, Woman in love, Lady Chatterley‟s lover, etc However, the quality of these translations still involves countless arguments because of conflicting theories Thus, it is vital to address an appropriate theory for evaluating translation quality Among them, Juliane House with her well-known model for assessing translation quality is widely accepted Despite of its unavoidable limitations, J House‟s model, based mainly on the theory of functional grammar by K Halliday, is chosen by most researchers thanks to its best applicability

Feeling interested in D.H.Lawrence‟s novels, especially Lady Chatterley‟s Lover, the researcher tries to conduct this minor thesis with a hope that it would be

of help for translators, readers and other of concern With its four-letter words and its explicit descriptions of sexual intercourse, Lady Chatterley‟s Lover is the novel with which D.H Lawrence is most often associated First published privately in Florence in 1928, it attracted countless controversies due to the reputation of being

a sordid book Also, its present Vietnamese version by Ho Anh Quang is still a matter of criticism Among other chapters, chapter 6 is an interesting one with Connie‟s new awareness of the self and sexuality through a beauty revelation featured with erotic scenes

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2 Aims of the study

The overall aim of the study was to apply J.House‟s TQA model in order to evaluate the quality of the Vietnamese version of Chapter 6 in the novel "Lady Chatterley's lover translated by Ho Anh Quang Specifically, the research tries to analyze the source text and target text using House‟s model, in the light of M.A.K Halliday‟s theory to assess the quality of the translation, find out some mismatches between the two texts and draw a conclusion of what type of translation is employed The thesis also suggests some implications for a better edition of this novel

To achieve this aim, the two research questions are generated as follows:

- How good is the quality of translation text in the light of House‟s model?

- What need to be done to improve the quality of the translation?

3 Scope of the study

Within the scope of a minor thesis, it is impossible to analyze the entire novel “Lady Chatterley‟s Lover” with 19 chapters Therefore, the thesis will focus only on analyzing Chapter 6 which raises Connie‟s new awareness of the self and sexuality and appraises Lawrence‟s bitter indictment of modern industrial society and explicitly describe sexual intercourse between man and woman This chapter consists of 13 pages, from page 46 to page 58, published in 2005 by Wordworth Editions Limited As mentioned above, with this controversial novel, D.H Lawrence took a different view of the relationship between the two sexes than was generally mentioned before Thus, it is unsurprising that this novel was considered

as a pornographic rather than erotic work until 1960 Like its original text, Vietnamese version also attracts countless attention from translators, readers and literary critics Therefore, this thesis is conducted in hope to present a comprehensive analysis of this literary translation as well as seek the true value of the novel

4 Methodology of the study

This thesis is conducted to investigate the translation quality of Chapter 6 in the novel “Lady Chatterley‟s Lover‟ by D.H Lawrence, applying Julian House‟s model, which is set up on the basis of functional pragmatic theories of language use

To conduct this research, qualitative analysis is employed to study an individual text closely More specific, the chapter 6 of the novel Lady Chatterley‟s Lover‟ was selected for assessment based on J House‟s model (1977) with eight

dimensions of language use and language user Also, the analysis makes a strong

comparison between ST and TT in order to find out mismatches on each dimension and declares the quality of translation Descriptive and comparative techniques are also used to evaluate the translation text The data for this study is collected through

the procedure of critical analyzing, based on House‟s model

5 Design of the study

This research is presented in three chapters as bellow:

 Part A: Introduction - gives an overview of the rationale, aim, scope, methodology and design of the study

 Part B: Development

- Chapter 1: Literature Review – presents an overview of some related

concepts of translation theory and some typical models of translation quality assessment

- Chapter 2: Results and discussion – analyzes the source text, the

target text as well as compare the two texts based on the framework provided

in chapter 1

 Part C: Conclusion - summarizes the results of the research and suggests some recommendations for a better translation

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PART B

DEVELOPMENT

CHAPTER 1 LITERATURE REVIEW

This chapter is designed to re-examine some fundamental concepts in the literary translation and introduce some typical models for assessing translation quality in order to provide theoretical orientations for the analysis of the Chapter 6

in the novel „Lady Chatterley‟s Lover‟ including translation theory, literary translation and translation quality assessment Several well-known linguistics such

as Nida, Peter Newmark, Koller and J House with their notable works are presented

in this section

1.1 Literary translation

1.1.1 Definition of literary translation

Among other types of translation, literary translation seems to be discussed

at greatest length due to its special features, that is, it implies the translation of all genres of literature, which include prose, drama and poetry As affirmed by Bush

(1998:127), “literary translation is the work of literary translators That is truism

which has to serve as a starting point for a description of literary translation, and original subjective activity at the center of a complex network of social and cultural practices The imaginative, intellectual and intuitive writing of the translator must not be lost to the disembodied abstraction which is often described as

“translation” With this definition, Bush put a stress on the mission of a „literary

translator‟ as well as the social and cultural factors

Following Bush‟s idea of literary translation, Lambers (1998:130) also

asserted that “a published translation is the fruit of a substantial creative effort by

the translator, who is the key agent in the subjective activity and social practice of

translation” He claims that it is the literary translator who decides to translate and

gives the literary translation its existence no matter what restraints of the network of social and cultural factors are Literary translation, indeed, is a matter of challenges

In order to emphasize its difficulties, Johnson (1999:1) presented it as 'an

apparently nebulous body of knowledge in oral or written form, an imitation of life, which reflects civilization and culture, and which covers every angle of human activities-culture, tradition, entertainment, information among others Sharing the

same view with other predecessors, John Bester (quoted by Landers, 2011: 10) claimed that literary translation is "an art of the possible; compromise is inevitable

and universal” However, this art also emphasizes aspect of equivalence between

source text and target text in literary translation “the translation of texts which are

regarded as “literary” in the source culture and the translation of a text (in principle, at least, any text) in a way that the product be acceptable as “literary” to the recipient culture”, as affirmed by Toury (1993)

In general, literary translation is considered as one of the great creative and universal means of communicating the emotional, spiritual and intellectual concerns

of humankind Consequently, it may be said to have the greatest number of peculiar problems including cultural, linguistic, stylistic factors and the text itself, which will

be discussed in the next section

1.1.2 Difficulties in literary translation

Since every language portrays the world in diverse way and has its own grammar structure, grammar rules and syntax variance, literary translation involves challenges for both inexperienced and experienced translators This section, therefore, is designed to discover prominent difficulties that translators tend to cope

with literary translation as “when there is any kind of translation problem, literary

translation is normally (not always) out of the question” (Newmark, 1988:70)

The difficulty in translation, indeed, just lies in the fact that both the content and the style are already existent in the original and as a result, the translator must

reproduce them as they are in quite a different language

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Obviously, literary translation is a challenging activity and there are already

a great number of difficulties that emerge throughout the translation process According to Christiane Nord (1997), a translator might experience translation difficulties if he lacks the skilled required for a certain translation job No matter how good and experienced he is, he is likely to encounter obstacles when translating two different languages To illustrate this viewpoint, he formulated a model in which he divides different translation problems into four sub-types, namely, cultural, stylistic, linguistic and text-specific problems, which will be briefly discussed in the following sections

1.1.2.1 Cultural translation problems

Undeniably, culture is also a major concern of literary translation As a

result, cultural translation problems refer to the differences in „conventions (norms)

and habits‟ (Schjoldager, 2008) between ST culture and TT culture One particular

genre is set up and written in a certain way in the ST culture but may have to be different if the TT conventions are not the same in that specific genre Certainly, culture is a key role that enables one to understand a literary work, which is quite a relatively difficult issue to handle even in the SL, not that of TT It leads to a requirement of the translator‟s understanding of the beliefs, values, attitudes of the

SL so that he can successfully transmit it to people of different sets of beliefs, attitudes and values It might be drawn that the closer the two cultures are, the less challenging the work of translator seems

In terms of the relationship between receptors and translators, Larson

(1984:436) develops the idea that “The receptor audience will decode the

translation in terms of his own culture and experience not in terms of the culture and experience of the author and audience of the original document The translator then must help the receptor audience understand the content and intent of the source document by translating with both cultures in minds” Consequently, it is not

an easy task to transplant a text steeped in one culture into another, especially it possesses its own metaphors and allusions

1.2.2.2 Stylistic translation problems

Another factor challenging translators belongs to stylistic feature, caused in rendering the style in which a ST is written According to Landers, “style” is an

“oxymoron” to a translator In order to perform his or her task well, it would be suggested that the translator strives to have no style at all and disappears into and

become “indistinguishable from the style of SL author” Preferably, translator

should adapt to the style of each author translated but always as faithful to the original as much as possible In narrow sense, style can be understood as the way one says a thing or the way something is written as distinct from its subject matter

1.2.2.3 Linguistic translation problems

The third challenge is linguistic translation problem, which is derived from structural differences between the source language and the target language (Nord, 1997) Linguistically, each language possesses its own metaphysics which determines the spirit of a nation and its behavioral norms It rejects the commonly held belief that all people of different countries have a common logical structure when processing with language independent of communication Instead, it emphasizes the influences of linguistic patterns on the way people perceive the world Consequently, the modes of thinking and perceiving in groups utilizing different linguistics systems will result in basically different world views Since words or images may vary considerably from one group to another, the translator need to pay attention to the style, language and vocabulary peculiar to the two languages in question in order to produce an „exact‟ translation of the source language text

1.2.2.4 Text specific translation problems

The last problematic issue involves text feature As the name indicates, specific translation problems are specific for this one text The aforementioned elements prove to be bound to this specific ST In order to successfully translate the

as follows:

 While translating, are you expected to focus on the form and content

of the ST or on the effect of the TT?

 Are you expected to act as a communicator of somebody else‟s communication or as a mediator between primary parties?

 Is your translation to appear as an overt translation or as a covert one? (Schjoldager, 2008)

Answering these questions will help the translator decide whether to choose

a ST oriented strategy or a TT oriented strategy While the former one mainly focus

on ST form and content with the preference an overt translation , the latter one put a stress on the effect of the TT with the emphasis on covert translation

1.2 Translation quality assessment

1.2.1 The role of translation quality assessment

As mentioned earlier, translation quality assessment plays important role in linguistic field Newmark (1995) regards translation criticism or translation quality assessment (TQA) as a crucial link between translation theory and its practice and

as “the keystone of any course in comparative literature, or literature in translation,

and a component of any professional translation course with the appropriate types as an exercise for criticism and discussion” In his work, “A textbook of

text-translation” (1995), Newmark affirms that quality assessment in translation could

be considered a very crucial and useful tool for translators which could perfect their competence as well as gain more essential professional experiences Secondly, TQA

could help translators expand their knowledge and understanding of linguistics regarding either their mother tongues and the foreign language or topics discussed

in the translation Ultimately, this activity offers a good chance for translators to, first, re-organize their knowledge of translation in terms of translation principles and then, to sharpen their comprehension of translation theories which are extremely important for professional translators

1.2.2 Approaches towards translation quality assessment

It has long been discussed that the aim of each translation activity is to produce a good translation, a good TT However, what criteria should be based on

to say that one TT is a „good‟ translation while another is „bad‟ or „poor‟ still remains a challenging question to answer Schaffner (1997) states that the criteria listed are supposed to be different regarding the purpose of the assessment and on the theoretical framework which the people in charge of assessing translation

quality apply House (1997) also agrees that „different views of translation lead to

different concepts of translation quality, and hence different ways of assessing it‟

The answer to what a good translation is still remains controversies A large majority of studies on this issue, in fact, has been conducted House (1986)

classifies the studies into four main categories: pre-linguistic studies,

responsed-based psycholinguistic studies, source text-responsed-based studies, and studies responsed-based on pragmatic theories of language use

Undertaken by professional translators, philologists, and poets on the subject

of translation and translation quality, pre-linguistics studies put emphasis on such criteria including the faithfulness to the ST and the preservation of the ST‟s

„specific flavor‟ (House, 1986) These criteria may seem valid but rather vague and impractical, as asserted by Cicero, „a translation should be free… A translation

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principle‟ According to him (1964), the response of TT receptors should be similar

to that of ST audience The question, however, is whether this criterion can be

tested or not it would remain „mentalistic and needs further definition‟ (Newmark,

1974) Though many experimental studies conducted by Nida and Taber (1969), Miller and Beebe-Center (1958), and later Carroll (1966) suggested different tests and standard to produce concrete quality statements, a score of drawbacks of the tests were recognized and thoroughly explained by House

The third group consists of researchers who use the ST as the basis to evaluate a translation text A consistent model including criteria for the comprehensive description and explanation of the ST and for the evaluation of the

TT should be built to overcome shortcomings of previous studies on TQA (Wilss, 1974) Supporting Wilss‟s concept, Reiss (1973) also shares a common idea that quality of a translation can be determined on the basis of the ST, more specifically, its function and type The suggested models are potentially useful, however, lack of concrete ideas to be effectively applied

The last group of studies represented by House (1986) proposes a model of translation quality assessment based on pragmatic theories of language use Given clear and comprehensive linguistic theories as the foundation and specific steps, the model is built to overcome the inadequacies of previous models Yet, it should be noted that the model requires translation critics to reach a certain level of both linguistic knowledge and professional skills to apply, which makes it difficult to be widely used

In his book, Newmark (1995) also suggests another method to evaluate a

translation text which is a “comprehensive criticism of a translation‟ This method

including five main steps is actually a summary by Newmark of the process that any translator must experience when translating a text Despite the weakness regarding theoretical ground in comparison with House‟s model, Newmark‟s model seems to

be an effective tool with a wider application

1.2.3 Previous models for translation quality assessment

1.2.3.1 Nida‟s response-based approach

Before Nida, most scholars writing about translation applied a particular linguistic approach to the topic, taking translation to be a type of applied linguistics

In favor of systematic approach to translation, Nida (1964) suggested three criteria

to assess quality of a translation which are programmatic and general: general efficiency of the communication process; comprehension of intent; equivalence of response The third and most important criterion is, of course, closely to Nida‟s

well-known basic principle of “Dynamic (or Functional) Equivalence of a

translation”; the manner in which receptors of the translation text responds to the

translation text must be equivalent to the manner in which the receptors of the source text respond to the source texts Nida and Taber (1969:173) also provides three similar criteria: the correctness with which the receptors understand the message of the original, the ease of comprehension and the involvement a person experiences as a result of the adequacy of the form of the translation Again, these

behavioral criteria need to be further explained and put to the practical tests

1.2.3.2 Koller‟s text-based approach

Koller (1974) acknowledges the importance of a linguistic model of translation quality assessment with three steps The first step is to consider the transferability of the original text If the original text is transferable, it tends to achieve the most equivalent translation If the original text is untransferable, there would be no equivalence or no translation is made The source text should be remained the same The second step is to re-translate the target into the source language A translation is acceptable if the target text is similar in meaning with the source text after it is re-

translated The following step is to have the translation „proof-read by native

speakers of the target language‟ A translation must satisfy readers as native

speakers of the target language It means that they are able to interpret the translation without challenges

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In general, in spite of its strengths, Koller‟s model seemingly does not go beyond a very general outline with no suggestions for application Criteria that the transferability of a text based have not been mentioned in his model Moreover, the approach might not offer a specific method so that it might not be applied in a real translation Thus, it needs to be further developed and made more concrete in order

to form a workable model of TQA

1.2.3.3 Peter Newmark‟s comprehensive criticism approach

According to Peter Newmark, translation criticism is an essential component in

a translation course He suggests three reasons in order to explain for this idea First, it considerably improves your competence as a translator Second, it expands your knowledge and understanding of your own and foreign language, as well as perhaps of the topic Thirdly, it will help you to sort out your ideas about translation As an academic discipline, translation criticism ought to be the keystone

of any course in comparative literature, or literature in translation, and a component

of any professional translation course with the appropriate text-type as an exercise for criticism and discussion

According to Peter Newmark, a comprehensive criticism should cover five topics to criticize a text:

1 A brief analysis of the SL text stressing its intention and its functional aspects

2 The translator‟s interpretation of the SL text‟s purpose, his translation method and the translation‟s likely readership

3 A selective but representative detailed comparison of the translation with the original

4 An evaluation of the translation: in the translation‟s terms and in the critic‟s terms

5 An assessment of the likely place of the translation in the target language culture or discipline

Despite its prominence among those previous models, this model seems hard to apply as it mainly relies on the translator‟s experience Consequently, it is likely to

be ineffective for inexperienced translators

In short, in spite of their strength, the three first models still experience limitations In Nida and Taber‟s model, all the tests and criteria suggested by these two theorists seem unfruitful This might be explained by the limitation of intelligibility and lack of reference to the ST Although Koller‟s model turned out to

be more appropriate, emphasizing on the necessity of developing a comprehensive, linguistic model of translation, he seems not to go beyond a very general outline without further implications Concerning Peter Newmark‟s notion, all five topics to criticize a text are clearly stated but rely on translator‟s experience As a result, this model is inclined to challenge new translators Meanwhile, House‟s model, based

on semantic, pragmatic and textual aspect, is considered the most appropriate one to assess translation quality

1.3 House’s model of translation quality assessment

Unlike other theorists, Juliane House put a stress on semantic and pragmatic equivalence and argues that ST and TT should match one another in function She suggests that it is possible to characterize the function of a text by determining the situational dimensions of the ST More specifically, every text itself is placed within

a particular situation which has to be correctly identified and taken into account by the translator If the ST and the TT differ substantially on situational features, then they are not functionally equivalent, and the translation is not of a high quality In fact, she claims that a translation text should not only match its source text in function, but employ equivalent situational-dimensional means to achieve that function

1.3.1 House’ original model

Juliane House gives a model for TQA which is based on pragmatic theories of language This model attempts to avoid anecdotalism, reductionism, programmatic statements and intuitively implausible one-sided considerations of the ST and TT

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alone In this model, there is an analysis of linguistic-situational particularities of the source and target texts, a comparison of the two texts, and an assessment of their relative match The basic requirement for equivalence is that the translation should have a function which is equivalent to that of the original, and should also employ equivalent pragmatic means for achieving that function An initial analysis of the original according to a set of situational dimensions for which linguistics correlates are established will be made Then, there will be a comparison between the original and the translation in terms of textual profiles and functions In this comparison, some mismatches are likely to occur, namely, dimensional mismatches and non-dimensional mismatches

In order to do so, each text must be analyzed individually for establishment of

corresponding textual function, which was defined by House as "the use of the text

in a particular situation" (House, 1977: 38) This situation bound the text and for

the purpose of analysis, it was broken down into specific situational dimensions, which are presented in her model as follows:

A Dimensions of Language User 1 Geographical Origin

Figure 1: A model for translation quality assessment by House (1977)

The theoretical framework for above scheme was Crystal and Davy (1969)'s model, of which most of dimensions were adopted by House, those of Time, Medium, Participation and Province

The next step, according to House, is to figure out how above situational

dimensions "are realized syntactically, lexically and textually" (House, 1977:51)

To do so, analyzer shall, in each dimension, pick up syntactic, lexical and textual

means which are "text-specific linguistic correlates to the situational dimensions"

(House, 1977:52) The basis for those linguistic correlates were taken by House (1977: 51-61) from linguistic theories such as grammatical models of Quirk and Greenbaum (1973), treatment of the textual means based on Enkvit (1973), theme-rheme distribution of Prague school, types of text constitution of Söll (1974), illocutionary forces What are found will lead researcher to statement of in ST's function composed by ideational and interpersonal textual components, two terms are adopted from Halliday (1970, 1971, 1973)

It might be concluded that the main purpose of House‟s model is to analyze the

SL text and TL text according to given situational dimensions of the model to get the respective textual profiles, and that of SL text will be further used as norm to judge the appropriateness of the TL text (House, 1997: 52) The secondary objective

is to identify the possible mismatches between the original and translation The above mentioned detailed comparison of text by situational dimension helps to reveal possible mismatches, and such mismatches were named covertly erroneous errors This type of error, on the other hand, suggests another type: overtly erroneous error, which is used to name the mismatches in denotative meaning or

breaches of TL system More specifically, over translation is "one in which the TT

addressees are quite "overtly" not being directly addressed”; thus an overt

translation is one which must overtly be a translation, not, as it were, a "second

original" (House, 1977: 189) and covert translation is "a translation which enjoys

or enjoyed the status of an original ST in the target culture" (House, 1977:194)

House's notion of overt and covert translation, according to Munday (2008:93), is

"rather confusing" and the difference between them "is cline rather than a binary

opposite" (2008: 94) To distinguish, House clarified "the ST of overt/covert translation is respectively tied/ not tied to source language community and culture"

(1977: 189,194) As a result, ST of covert translation is tied to expectation of the target culture addressee while that of overt translation is less likely to be so This

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leads to the definition of cultural filter – a concept suggested by House as "a means

of capturing socio-cultural differences in shared conventions of behavior and communication, preferred rhetorical styles and expectation norms in the two speech communities" – must be applied to covert translation Such application challenges

either translator or evaluator by demanding a considerable consideration of cultural presuppositions of both SL's community and TL's community, i.e., the translator

must, in House's words, "view the ST through glasses of target culture member"

(1977: 196, 197)

1.3.2 House’s revised translation quality assessment model

House‟s original model attracted numerous comments and criticisms, which led

to her further refinement in 1997 The most controversial issue in her model, according to many critics, is the overlapping of data while analyzing the text by dimension

In her revised model, House added the new category of Genre in order to provide more comprehensive analysis for text profile Genre here is defined as „a

socially established category characterized in terms of occurrence of use, source and a communicative purpose or any combination of these‟ (House, 1997) Genre,

Register and Language correlates to each other According to House, Genre serves

as a bridge connecting Register and Function In general, the application of her revised model enables researchers to examine a text on different levels: Function, Register and Language, which are illustrated as bellow:

INDIVIDUAL TEXTUAL FUNCTION

GENRE REGISTER

FIELD

Subject matter and

social action

TENOR Participant relationship

- Author‟s provenance and stance

- Social role relationship

- Social attitude

MODE

 Medium (simple/complex)

 Participation (simple/complex)

LANGUAGE/TEXT

Figure 2: A Scheme for Analyzing and Comparing Original and Translation

Text in by House (1997)

To sum up, in her revised model, House (1997) introduces the component Genre, to thoroughly categorize a text‟s function and the language required Genre

is defined as “a social established category characterized in terms of occurrence of

use, source and a communicative purpose or any combination of these” Besides,

based on Halliday‟s „trinity‟, House uses “Field, Mode and Tenor” to build her

model and make it easier to be applied Compared with her original model, the

operation of the newer one is also kept in the same way Besides, she put a stress on the importance of cultural filter

1.4 Summary

This chapter has provided the theoretical background relevant to the objectives of the study The researcher has illustrated an overview of the notions of literary translation and translation quality assessment To begin with, the thesis attempts to emphasize some general characteristics of literary translation as well as its four typical challenges with a clear explanation Then, the role of TQA or is also taken into consideration with four TQA models, suggested by several well-known linguistics Finally, House‟s original model and her revised one have also been introduced as the last fundamental concept for the study In the next part, Chapter 6

of the novel „Lady Chatterley‟s Lover, will be investigated, applying House‟s model 1977 as the theoretical framework

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CHAPTER 2 RESULTS AND DISCUSSIONS

This chapter will present the application of House‟s translation quality assessment model to assess the quality of the target text To be more specific, a source text profile will be analyzed on dimension of language use and language user A statement of function is then drawn to see the degree to which the original text fulfills its ideational and interpersonal function The next stage is a comparison

of original and translation text on the aforementioned dimensions Any violation of these dimensions is categorized as covert mistakes, and also a demonstration of overt mistakes are also given Finally, statement of quality can be asserted based on House‟s model

2.1 Source Language Text Analysis

2.1.1 Source Language Text Background

D.H Lawrence is regarded as one of the most controversial authors of the

20th century history of English literature as well as the first great working-class British writer Like many other writers, he was deeply opposed to the industrial civilization of his time with the belief that modern civilization had a destructive effect on the life of spirit Most of his works reflect emotional life, praise the natural

beauty of human beings and free love with sacred erotic scenes (David Ellis, 2005, University of Kent at Canterbury)

Of all the novels, none has received a more hostile reception than the last one, Lady Chatterley's Lover, a story of an aristocratic woman who finds escape from a frustrated marriage in the arms of her husband's gamekeeper The book itself, though rife with unprintable, is rivaled for scandal by the history of its publication It was first published privately in Florence in 1928, but banned in the

U.S and U.K

Despite its controversy, this novel succeeds in not only depicting the political and economic malaise of British society after the First World War but also stating the regenerative power of sexual love between man and woman - an affirmation of life and the possibility of happiness Chapter 6 is an interesting chapter which took

a different view of the relationship between the two sexes than was generally discussed ever before This chapter begins with a discussion between Connie and Tommy Dukes on male-female relations, continues with description of Connie‟s sexual depression and ends in her discovery of natural beauty of human beings

2.1.2 Analysis of ST in accordance with House's model

A Dimensions of Language Users:

(1) Geographic origin: for the narrative, it is non-marked Standard English British For the speeches among interlocutors, it is marked as Hiberno-English This geographical dialect is most strongly marked phonologically

 Syntactic means:

a Use of „and‟ or its contracted forms an‟ to replace other conjunctions And

thus expresses various semantic relationships between two clauses For example:

„An‟ sixpence an‟all! Oh, your Ladyship, you shouldn‟t, you shouldn‟t‟

b use of ye for you:

„Why, are yer back a‟ready!‟

„Why, where was yer Dad?‟

„Fancy Lady Chatterley takin‟ all that trouble over yer!‟

„Why, isn‟t Lady Chatterley good to yer!

 Lexical means:

a presence of a few Hiberno-English words and phrases:

„Oh, you‟d no right t‟ave bothered, Lady Chatterley, I‟m sure! I‟m sure it

was very good of you, but you shouldn‟t „ave bothered‟

„Fancy Lady Chatterley takin‟ all that trouble over yer! Why, she shouldn‟t

„ave bothered!‟

 Syntactic means:

a syntactic means listed above under Geographical Origin are also

applicable here (cf Geographical Origin)

b abundance of contractions and elliptical clauses throughout the text

c frequent use of contractions „d‟ for „would‟ and „ave‟ for „have‟

„Oh, you‟d no right t‟ave bothered, Lady Chatterley, I‟m sure! I‟m sure it

was very good of you, but you shouldn‟t „ave bothered Why, did ever you see!‟

„Fancy Lady Chatterley takin‟ all that trouble over yer!) Why, she shouldn‟t

„ave bothered!‟

(3) Time: marked, 1928

B Dimensions of Language User:

(1) Medium: written to be read as if heard because when reading the text,

readers are aware of the fact that they are listener and the narrator acts as story-teller, witnessing what is happening The medium is characterized by

presence of deletion, elliptical clauses, commentary phrases, colloquial, interjection, short and simple sentences, lack of conjunction

 Syntactic means:

a Typical patterns characterizing the spoken mode reproduced in form of a narration Dialogues in the text are, therefore, set up in one direction The

structure always is: A said “(message X)” B said “(message Y)”

„It was no bother, just a walk‟, said Connie smiling.‟

„It isn‟t true‟, she said „Men can love women and talk to them I don‟t see how they can love them WITHOUT talking, and being friendly and intimate

„Well,‟ he said, „I don‟t know What‟s the use of my generalizing?

b Short and simple structured sentences, this is easy to see throughout the text and thus not necessary to be listed here In the case of narrative, some sentences stand alone which brings to readers the feeling that the information is left unfinished

c Repetition of some word to intensify the types of narrative, at all levels,

on the one hand, and to hold life together and give it beingness On the stylistic level, the repetition involves the types of lexical cohesion

„I? What am I doing but talking perfectly sincerely to a woman at this moment?‟

„Yes, talking….‟

„I think they ought to‟

„All right The fact that things ought to be somethings else than what they are, is not my department‟

 Lexical means:

a Presence of interjections or spoken language signals: “Oh‟, “Ah‟, „Well”,

“ugh”, “Well then‟, “None at all”,

b Ample use of expletives and colloquial in both narrative and speeches:

„Be damned to the artificial sex-compulsion‟

„Ah, shut it up, tha false little bitch!

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„So that‟s THAT‟

„The goddess! Well, if one had to prostitute oneself, let it be to a goddess‟

bitch-c Fore-grounded words: frequent use of verbal process The repeated use of

this verb helps to maintain the atmosphere throughout the text

„Lady Chatterley!‟ he said

„I only called with a message from Sir Clifford; she said in her soft, rather breathless voice‟

„Would you care to sit down?‟ he asked‟

„With the child?‟ asked Connie

„Only she looked up at him again, and remarked: I hope I didn‟t disturb you?

„But isn‟t there something special about him?‟ Connie insisted

„Might he?‟ said Clifford „I hadn‟t noticed‟

 Textual means: Lack of transitional words and phrases sentences indicating the transition of theme between juxtaposed and thus reveals lack of premeditation typical of spoken mode as it seems

(2) Participations: this category is complex predominantly monologous with

a few traces of indirect, implied addressee participation

Addressees are elicited by the use of direct addressee (first personal pronoun, second and third pronoun, possessive pronouns) and indirect ones

which are manifested linguistically, for instance, switching among imperative, interrogative and declarative utterances, presence of exclamations, rhetorical questions and question tags

 Syntactic means:

a Use both monologue and dialogue

b The text is a kind of narrative fiction Therefore, there is an ample use of the second and third personal and possessive pronouns to indicate direct and indirect interaction situations in the text This also shows the presence of direct

and „implied‟ addressees Besides, the “You” and “She” in the deepest sense are

used to convey Lawrence‟s attitudes towards his characters Among these

pronouns, the third personal pronoun “she” is the most frequently used

c Presence of rhetorical questions and embedded questions in utterances produced by interlocutors through which the addressees are invited indirectly to participate

„Oh God, if the mechanism of the consciousness itself was going to go wrong, then what was one to do? Hang it all, one did one‟s bit! Was one to be let down absolutely?‟

„Why, one might even rather hate him, personally Yet if he was the man, what would one‟s personal hate matter?‟

(3) Social role relationship: symmetrical relationship: the relationship between

addresser (narrator) & addressee (readers) in which the addresser tries to attract the addressee to his story without any authority over addressee

 Syntactic means:

Presence of reference: Proper names (Connie, Tommy, Clifford, Mellor) are,

in many case, replaced by singular personal pronouns to express the neutral

attitude towards interlocutors (she, he, Tommy, Clifford, the keeper…)

 Textual means:

Presence of events in chronological order reveals the role of a narrator

(4) Social attitude: consultative-casual

The text is mixed by the tone of formal and informal, depending on each situation which sets the frame for interlocutors and addresser At the beginning of the text, an informal tone is employed to show intimacy relationship between Connie and Tommy to imply an open discussion on a sensitive topic However, in the rest of Chapter 6, the narrator uses consultative tone to deliver his message as well as express his attitude The social attitude of the addresser towards his

addressees then is reflected on the level of a consultative-casual style

Consultative style is manifested in the way the addresser was aware that he could not skip certain parts of his message, and hence be fairly elaborate in

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providing background information in which addresses are now considered as temporary “insiders”, and this is where the casual style is characterized Relatively elaborated explicitness throughout the text more or less reveals the intimacy that addresser has set between himself and his „implied‟ addressees so that he could express freely his own confidence Casual style is manifest in conversations among interlocutors (House, 1977)

 Syntactic means:

a Incompleteness of clause: presence of elliptical clauses which adds to the conversational and chatty tone of the text It is obvious that Lawrence inserts additional incomplete sentences in order to invite the reader to focus his

attention on the acts and deeds of the characters (cf Medium)

b Short and very short sentences indicating the style of a story teller and signaling the direct speech between addresser and addressee Also, he uses the indirect speech and even direct so as to push the reader closer to the character‟s mind

„Yes, talking….‟

„Nothing perhaps But a woman…‟

„But they shouldn‟t be!‟

„I think they ought to‟

„But isn‟t there a difference?‟

„I should hate it‟

„You may feel it, I don‟t‟

 Lexical means:

Fore-grounded verbal process marked [-formal] due to the relation that the addresser set up with his addressees and high frequency of colloquial and expletives used in existing relationship between him and his addressee (cf

Medium)

(5) Province

Regarded as an erotic rather than a pornographic work, Lady Chatterley‟s Lover discusses the subject of sexual relations between two adults as something natural, as a source of pleasure rather than shame Furthermore, the novel represents the author‟s struggle to convey his firm conviction that

a full sexual relationship might not be detached from love, feelings and emotions In Chapter 6, we, readers, will approach the author‟s view on the sexual relationship between man and woman via an interesting discussion between Connie and Tommy Dukes, social distance in two conversations (between Connie and the gamekeeper; between Connie and his mother) and Connie‟s discovery of beauty‟s revelation which emphasize Lawrence‟s influence of Freud To cover the above mentioned issues, a high proportion

of deletions of necessary words in conversations, direct and indirect speech, repetition instead of conjunction; morphemic variants, alliteration, voicing and colloquial items were successfully employed What is more, the text is featured by the presence of inversions; oddments of using punctuation marks; parallelism and contrast; adjective order violation and symbolic metaphors

 Syntactic means:

a Consistent use of the past simple tense which is popular in narrative form

b Deliberate use of verbal process in narrative form (c.f Medium)

c Presence of figurative language: those of simile (cf Medium); rhetorical

questions

„No doubt water ought not to be so wet as it is; it overdoes it in wetness‟

„Like a chip on a dreary pond, she felt‟

„The child was already as full to the brim with tricks as a little monkey, and

so self-assured‟

„It was a sort of magic, certainly it was triumph.‟

„It seemed as if most of the „really good‟ men just missed the bus‟

„As life have a child to rabbit!

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„…subtle as a weasel playing with water and utterly alone‟

d Presence of clausal linkage which is described by a system of basically logical relation between clauses and sentences in the text, for example additive, alternative, causal, explanatory, or illative relation

 Lexical means:

a The text is dominated with words and phrases belonging to the theme of

sex, love and money: like, desire, want, love, talk, human species, men,

women, pretence, male, female, sex things, cocktail parties, youth, life, home, joy, marriage, happiness, husband, mother, father, stoicism, money, fame, business, bitch-goddess, first-class, solution, child, baby, dying, stopped,

end, motionless, inwardness, aristocratic, silence, strength, hips, loins, back,

bowl, head, arms, ears, creature, nudity, purity, mind, body, confusion, position, generation…

b Preponderance of adjectives and adverbs which are used to describe the characters‟ appearance and their mind as well as the foregrounding

The readers might find not only the pattern of ideas hinted at in the narrative but also the tone of Lawrence‟s voice there indicates some logical specially

in the word order In this text, the author breaks the rule of adjective order

and puts them in a reverse order, for example: „a little, rather dry woman‟,

„that thin, proud man‟, „that little sharp woman‟, „a creature purely alone‟

c Use of lexical items marked [+human] For example, the „wood‟ is used

with [+human] subject noun: “From the old wood came an ancient

melancholy, somehow soothing to her, better than the harsh insentience of the outer world She liked the INWARDNESS of the remnant of forest, the unspeaking reticence of the old trees They seemed a very power of silence, and yet a vital presence They, too, were waiting: obstinately, stoically waiting, and giving off a potency of silence Perhaps they were only waiting for the end; to be cut down, cleared away, the end of the forest, for them the end of all things But perhaps their strong and aristocratic silence, the

silence of strong trees, meant something else‟ In fact, the „sacred‟ wood is

emblematic of spontaneity, fertility, and vitality against the mechanistic lifestyle of Wragby that symbolizes the modern technological society In contrast to Wragby, the wood comes to symbolize natural energy, exceptional and sexual fertility, nature, silence and tenderness

 Textual means:

Textual cohesion is relatively loose due to that it is maintained mainly by the use of phrases indicating chronological events and the distribution of main themes throughout the text This textual mean, however, helps to characterize the text as narrative and reflects the professional activity of author as writer Main themes are indicated through several mechanisms of theme-dynamics and clausal linkage:

Theme-dynamics:

a Repetition of lexical items which carry the theme and act as key-words in

the text: love, like, talk, desire, sex, men, woman, money, marriage, happiness,

body

b Iconic linkage through the use of structural parallelism:

„Home was a place you live in, love was a thing you didn‟t fool yourself about, joy was a word you applied to a good Charleston, happiness was a term of hypocrisy used to bluff other people, a father was an individual who enjoyed his own existence, a husband was a man you lived with and kept going in spirits‟

„These men seemed so old and cold Everything seemed old and cold‟

„It was a question of power It was a question of will; a subtle, subtle, powerful emanation of will out of yourself brought back to you the mysterious nothingness of money a word on a bit of paper It was a sort of magic, certainly it was triumph‟

c Clausal linkage through logical connectors: “but‟, „and‟

„And what more could I do if you were a man, than talk perfectly sincerely to you?‟

„But don‟t take me as a general example, probably I‟m just a special case‟/

„But doesn‟t it make you sad?‟

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„And you see there‟s no question of kissing between us, is there…‟

„She didn‟t want people But her quick ear caught another sound, and she

roused; it was a child sobbing‟

2.1.3 Statement of function

The function of the text consisting of an interpersonal and an ideational component may be summed up in the following way: the addresser‟s main intention

is to affect or change the addressee‟s attitude toward sexual relation, social distance

in love as well as to praise the physical beauty of human beings with his own writing style

The interpersonal functional component is the dominant one in this text, being strongly marked on each dimensions of language use The ideational functional component, while implicit present, is never specially marked The individual dimensions operate in the following way: On the dimensions

Geographical Origin, it is obvious that the text is partly marked for

Hiberno-English and lower social class dialect (through Mellor and his mother‟s dialect) This dimension operates to support the interpersonal functional component because the dialect features add to the text‟s emotive and humorous effects as well as the social distance among interlocutors

On the Medium dimension, we found that the text has a complex mode:

written to be read as if heard This mode acts in support of the interpersonal

component of the texts‟ function by promoting a direct involvement of the addressees, suggesting that the addresser is speaking to the addressees Also, the

interpersonal functional component is supported by the dimension Participation

because of the implied addressee participation manifest in the presence of personal and possessive pronouns and the use of addressee-directing utterances in the text

Similarly, on the dimension of Social Role Relationship, a symmetrical relationship

between addresser (narrator) and addressee (readers) is built to enhance the

interpersonal functional component The Social Attitude dimension is marked for

consultative-casual style, a style level suitable for expressing the interpersonal

functional component with a considerable presence of ellipses, contractions The

last dimension, Province, is the notable one with its attempt to convey the ideational

as well as interpersonal function of the text, revealed through the conversations among characters, and Mellor‟s bathing scene, the first erotic scene in this novel

2.2 ST and TT comparison and Statement of Quality

2.2.1 ST and TT comparison for mismatches

The following mismatches of the TT in comparison with the ST are pointed out on the basis of situational dimensions suggested in House‟s model

a Geographical Origin: There is a total mismatch on this parameter; no

attempt has been made in TT to find a Vietnamese geographical dialect as a

“match” for the Hiberno-English one in ST It is, of course, true that differences in the cultural heritage of the two language communities makes transference of culture-specific phenomena sometimes impossible However, culturally different but somehow „comparable‟ phenomena can be sought for a TT of a given ST By failing to select a Vietnamese dialect, the translator failed to deliver the writer‟s intention whose use of dialect to imply the social distance in British society at that time Actually, the dialect itself is one of the numerous symbols that characterize

the novel „The symbol of industrial society, of the proletariat, of Mellor‟s world,

which is just the opposite to the high-brow society represented by Wragby.‟ (Lorena

Perez Hernandez, 1998)

ST: „Nay, you mun ax „er‟, he replied callously, in broad vernacular

TT: „Hây dà, hông, hông có gì cả‟, gã gằn giọng trả lời, tiếng địa phương, khá thô thiển

ST: „You did, your Ladyship‟, he said; then, with a return to the vernacular:

„but I canna tell yer‟

TT: „Bà đã hỏi, thưa phu nhân‟, gã đáp và rồi, quay trở lại với giọng điệu thổ ngữ địa phương: “Nhưng tui hông thể nói cho lệnh bà biết.‟

30

ST: „Lady Chatterley!‟ he said „Will you come in?‟

TT: Phu nhân Chatterley!‟ Gã nói „Cô vào nhà chứ?‟

Most importantly, it is a symbol of Mellor‟s sincerity, honesty and warmth in using the dialect At the beginning of the story, Mellor makes use of the dialect to achieve precisely the opposite goal: to make explicit the distance between Connie and himself, and therefore, to mark his territory However, in the following chapters, Connie‟s attempts to imitate his dialect are likewise linked to the development of their relationship At last, Connie crosses the class line to follow her passionate love for Mellors, the gamekeeper

b Medium

This dimension is also strongly violated since TT has fewer features

characterizing the spoken component of the complex medium written to be read as

if heard As stated in the above section, Lawrence represents the concept of

„repetition‟; for like any prophetic writer, he lets his reader be aware of such

„repetition‟ as to intensify the types of narrative However, the TT failed to transfer the ST‟s intention

ST: „I knew there‟d be something afore they got far She‟s frightened of „im, that‟s where it is Seems „e‟s almost a stranger to „er, fair a stranger, and I don‟t think they‟re two as‟d hit it off very easy‟

TT: Tôi biết trước đây bọn chúng từng đi quá xa, trong một số việc Con bé rất sợ bố nó, thế đấy.Với con bé có vẻ bố nó là một người xa lạ, một người lạ tốt bụng, tôi không nghĩ hai bố con nhà nó lại có thể dễ dàng trở nên thân thiết với nhau được

ST: In the very experience of the nothingness of life, phase after phase, TAPE after TAPE, there was a certain grisly satisfaction So that‟s THAT! Always this was the last utterance: home, love, marriage, Michaelis: So that‟s THAT! And when one dided, the last words to life would be: So that‟s THAT!

TT: Trong những trải nghiệm về tình trạng hư không của cuộc đời, hết giai

đoạn này đến giai đoạn khác, hết cuộn băng này đến cuộn băng khác, vẫn tồn tại

cảm giác hài lòng, mãn nguyện đến kinh khủng Thế đấy!

c Participations: addressee is less involved in TT than in the ST; no

implied addressee participation

Addressees seems to be less involved in TT to which the translator applied strategies to make it more reader-targeted friendly, this accidentally reduce the involvement of addressee into the text that ST tried to bring Moreover, the TT does not succeed in mentioning „implied reader‟ due to the translator‟s misusage of the plural second person pronounce „You” and the third person neutral pronoun „One”

ST: „Since, of course, it‟s not your own fault you are alive Once you are alive, money is a necessity, and the only absolute necessity All the rest you can get along without, at a pinch But not money‟

TT: „Tất nhiên, khi việc sống trên cõi đời này chẳng phải là lỗi lầm của chính bạn Chỉ cần một lần bạn sống trong đời, tiền bạc là thứ cần thiết và đấy là thứ duy nhất tuyệt đối cần thiết Tất cả những thứ khác bạn có thể không cần đến, dẫu chỉ một mẩu Nhưng tiền bạc thì không‟

ST: „You couldn‟t spend your last sou, and say finally: So that‟s THAT! No,

if you lived even another ten minutes, you wanted a few more sous for something or

other Just to keep the business mechanically going, you needed money You had to have it Money you HAVE to have You needn‟t really have anything else So that‟s that!‟

TT: „Bạn không thể tiêu hết đồng xu cuối cùng của mình và buột miệng: Thế đấy!Không, nếu bạn còn có thể sống trên cõi đời này, dẫu chỉ trong mười phút, bạn vẫn muốn có thêm những đồng xu khác, để làm điều gì đấy Chỉ giữ cho công việc làm ăn may móc được suôn sẻ, bạn cần có tiền Bạn phải có nó Tiền, là thứ mà bạn buộc phải có Bạn thực sự không cần đến bất cứ điều gì khác Thế đấy!

ST: „If you were young, you just set your teeth, and bit on and held on, till the money began to flow from the invisible; it was a question of power It was a