Repetition in the essay "The Tragic Feeling of Life" by M. de Unamuno and its reflection in the translation by E.V. Garaggi from Spanish into Russian

Bakhturina Irina Lecturer; Faculty of History; Lomonosov Moscow State University Lecturer; Faculty of International Relations, Political Science and Foreign Regional Studies; Russian State University for the Humanities 7 3rd Likhachevsky Lane, Moscow, 125438, Russia irusichek@yandex.ru

Miguel de Unamuno can be considered one of the most important Spanish writers of the twentieth century, and many of his works are rightfully considered masterpieces of world classics both in Russia and abroad. The writer's work is incredibly multifaceted, he wrote not only a huge number of poems, short stories, novellas, novels, but also newspaper essays, articles, and essays. Among M. de Unamuno's works written in the genre of essays, one of the most famous is "The Tragic Feeling of Life", which reflects the writer's attitude to the problems of religion, life and death ^{[15, p. 68]}. At the moment, there is only one translation of "The Tragic feeling of Life", made by E. V. Garaja. Unamuno's affiliation with religious existentialism and the numerous references to God in his works led to the fact that during the Soviet era, the philosophical works of M. de Unamuno were little translated ^{[13, p. 135]}. E. V. Garadzha is one of the very first translators to work on the philosophical essays of M. de Unamuno. The translation of The Tragic Sense of Life was performed by E.V. Garaja as an addition to her PhD thesis "The Philosophy of the Tragic Sense of Life by Miguel de Unamuno"^[4] and later published in 1997 by the Symbol publishing house^[1].

One of the main problems that a translator solves when working with a work is to convey the features of the author's individual style in translation. Like any other writer, Miguel de Unamuno has his own unique style, which has certain features, some of which have already been discussed earlier in the dissertation of A.V. Pronkevich ^[9], in articles by I. Birsan ^[14], J. Rodriguez ^[15] and other studies, both domestic and foreign. In the essay "On the tragic feeling of life", as in other works of the writer, there are features characteristic of his style, in particular, the author repeatedly uses various artistic means. Among them, one can single out such a tool as repetition, which is one of the main stylistic techniques used by M. de Unamuno in his works ^{[9, p. 76]}, but has never been the subject of a separate scientific work before. The purpose of our research was a detailed examination of the repetitions used by the author in the text of the essay and their transmission in the translation by E. V. Garaji. To do this, we set the following tasks: highlighting stylistically significant repetitions in the text of the work, determining the type of repetitions used by M. de Unamuno in the text of the essay, analyzing fragments of the translation of the essay by E.V. Garaggi, which involve repetitions.

The function of repetition as a stylistic means is not the repeated repetition of the same linguistic units, but the fact that it strongly affects the reader ^{[5, p. 53]}. Therefore, not every repetition found in the text of the essay has an additional stylistic meaning. In our study, we did not consider repetitions that do not play the role of a stylistic means. For example, in one of the sentences the word "desgracia" ("misfortune") is repeated several times, however, this is done by the author not for additional impact on the reader, but in order to explain his point of view.:

Repetition as a stylistic means can manifest itself in the text in different ways, as a result of which researchers distinguish different types of repetition. Currently, there are several different classifications of repetitions in linguistics. For example, already in antiquity, the Roman rhetorician Quintillian proposed the division of repetitions ^{[6, pp. 124-125]} into adjacent repetition, anaphora, epiphora, consonation, repetition of the beginning and end of a sentence, repetition in a long verbal turn of a word that strengthens the connection between parts, repetition in which words placed side by side at the beginning are then repeated separately, the repetition of a word in different morphological forms, doubling. MV Lomonosov in "A short guide to eloquence" also discusses repetitions and divides them into such types as repetition, aggravation, omen, ascension, inclination, polyunion, non-union and coordination, clarifying the ancient classification. In addition, A.A. Potebnya wrote about repetitions in his work "From notes on Russian Grammar", I.R. Galperin (he distinguishes different types of repetitions depending on their function in the text and according to the compositional principle) ^{[3, p. 258]}, M. D. Kuznets and Yu.M. Skrebnev^[7] M.K. Moren and N.N. Teterevnikova (they distinguish five different types of repetition — simple lexical, anaphora, epiphora, epanaphora, partial repetition) ^[8]. Z. I. Khovanskaya identifies, in addition to the types already indicated in the classification of M.K. Moren and N.N. Teterevnikova, semantic and lexical-syntactic repetition, I. V. Arnold, V. Fleischer and G. Michel also speak about pronominal repetition ^{[12, p. 220]}.

G. Lausberg also writes about repetitions in his work "The Book of Literary Rhetoric". He classifies repetitions depending on the violation or preservation of the identity of the repeated word. E.G. Rizel made a great contribution to the study of repetitions, raising the question of studying its architectonic function ^[11].

In her dissertation, N. T. Golovkina divides repetitions according to the "structural" principle into two main groups, depending on whether they occur in a large or small context^{[5, p. 53]}:

1) Repeat within a "small" context

-at the phonetic level (alliteration — repetition of a consonant sound, onomatopoeia, assonance, rhyme)

-at the morphological level (affixal repetition, root repetition, repetition of one of the components of a complex word)

-at the lexical level (contact, extended, frame or ring repetition, catch-up, inflectional repetition)

-at the syntactic level (syntactic parallelism, chiasm)/lexical and syntactic repetition (partial or complete repetition of the sentence structure in combination with lexical repetition — anaphora, epiphora, repetition of whole sentences)

-at the semantic level (actually synonymous repetition, contextually synonymous repetition, repetition by means of "substitutes")

2) Repetition within a "large context" - an architectonic unit or a speech whole

-architectonic anaphora (repetition of linguistic elements at the beginning of two architectonic units — paragraphs, stanzas, etc.)

-architectonic epiphora (repetition at the end of the units)

-architectonic junction (repetition of units finishing one architectonic unit and starting the next one)

-architectonic framework (repetition of identical or similar linguistic elements at the beginning and at the end of an architectonic unit or speech whole)

-architectonic parallelism (symmetry in form and content in two or more consecutive architectonic units)

-repetition is a leitmotif (repetition of a word, phrase, sentence, or whole paragraph throughout speech; it acts as a means of characterizing actors, in the meaning of a symbol, or to connect separate disparate parts into a single whole). This type of repetition can also be called a linguistic leitmotif ^[10].

In this study, we used this classification because it seems to us to be the most detailed of all available at the moment.

At the phonetic level, there are no repetitions in the essay. At the morphological level, the author mainly uses root repetition. By repeatedly using single-root words in some sentences, the author emphasizes their importance. For example, Unamuno repeats the words "inmortal" ("immortal") and "inmortalidad" ("immortality") in one sentence. Thus, he draws the reader to the concept of the immortality of the soul, which is one of the key ideas in the religious philosophy of Unamuno.:

At the lexical level, there are also quite a lot of repetitions, mainly distant ones, such as in the following sentence:

However, the translator does not always manage to convey them in his text. So, for example, assuming what would happen if the sun were intelligent, Unamuno repeats several times that it would "think" about something: "Si el sol tuviese conciencia, pensaría vivir para alumbrar a los mundos, sin duda; pero pensaría también, y sobre todo, que los mundos existen para qne él los alumbre y se goce en alumbrarlos y así viva. Y pensar i a bien." ^{[2, p. 8]} ("If the sun had consciousness, it would think that it lives in order to illuminate worlds, but besides that, it would also think that worlds exist in order for it to illuminate them and it would enjoy that that illuminates them and would have lived that way. And it would think correctly"). Repetition in this case is very important, because it emphasizes in the sentence precisely the presence of consciousness in the sun. However, one of these repetitions is lost in translation because the translator replaces it with a phrase synonymous in content. In addition, the repetition of the word "alumbrar" ("to illuminate") becomes less noticeable in this phrase, which is of great importance for conveying the image of the sun. It is repeated three times in the sentence, but in one of the cases E.V. Garadzha translates it with the word "illuminate", and in the other two with the word "shine", which violates the uniformity existing in the original:

At the syntactic level, the author also repeatedly uses repetition, mainly using syntactic parallelism. However, this tool is not always preserved in translation. So, in one of the phrases of the essay - "Cuando andamos, no va un pie hacia adelante y el otro hacia atras: ni cuando miramos, mira un ojo al Norte y el otro al Sur..." ("When we walk, it does not happen that one foot goes forward and the other goes back; when we look, it doesn't happen that one eye looks to the north and the other to the south...") E. V. Garadzha conveys the general meaning of the phrase, but syntactic parallelism is not preserved in the translated text, which to some extent deprives the Russian—language text of the rhythmicity inherent in the original. In addition, the forward-backward and north-south oppositions appear at different ends of the sentence, rather than side by side, as they stand in the original, which prevents the reader from noticing the antithesis in this sentence.:

This tool is often used in combination with a rhetorical question, which helps to create a sense of tension, as if the author enters into a dialogue with the reader in this way, forcing him to wait for an answer. In some sentences, in addition to syntactic parallelism and a rhetorical question, the author also uses anaphoric repetition.:

Anaphoric repetition can also be used in combination with a rhetorical exclamation, which helps the author draw the reader's attention to the ideas and concepts that he considers most important. However, the translation does not always fully reflect these features of the original text. In addition, sometimes anaphoric repetition is combined with epiphoric. For example, in one sentence, the words "contradicción" ("contradiction") are repeated several times at the beginning of the sentence and "naturalmente" ("naturally") at the end. However, E.V. Garadzha excludes one of the repetitions of the word "naturally" from his translation, which completely eliminates the epiphora in this paragraph, and adds another repetition of the word "contradiction" to the text at the end of the last sentence, which makes the paragraph less symmetrical compared to the original and violates its composition.:

In the "large" context of this essay, we were able to identify only the so-called repetition-a leitmotif or linguistic leitmotif. Throughout the essay, M. de Unamuno repeats the word "hombre" ("man") even where it is not necessary from the point of view of the general meaning. The author does this to emphasize the human essence of all the philosophers he speaks about, which reflects one of his main philosophical ideas — every philosopher is first and foremost a human being, and in philosophy it is always not the ideas that are primary, but the personalities of the philosophers to whom they belong (For example, including in this essay M. de Unamuno writes that "La iñtima biografía de los filósofos, de los hombres que filosofaron ocupa un lugar secundario. Y es ella, sin embargo, esa iñtima biografía, la que más cosas nos explica." ("The personal biography of philosophers, people who philosophize, is given secondary importance. And yet it is this personal biography of philosophers that allows us to understand their philosophy to a much greater extent.")^{[2, p. 5]}.Therefore, when talking about philosophers, he does not write "Kant", "Butler", but "man-Kant", "man-Butler" and so on.:

Thus, in the course of our research, we conducted a comprehensive analysis of the repetitions used in the text of the essay and their transmission in translation, which allowed us to draw conclusions about the functioning of repetition in Unamuno's essays and create a theoretical basis for future translations of the writer's essays. All of the above leads to the conclusion that in M. de Unamuno's essay "On the tragic sense of Life among people and nations," repetition is one of the key stylistic means that plays a huge role in the reader's perception of the work. The work uses different types of repetitions, such as root, anaphoric, repeat-leitmotif, and others, and the author uses this linguistic tool at several linguistic levels at once — morphologically, lexically, and syntactically. Repetitions in M. de Unamuno's essay occur mainly within the framework of a "small" context, at morphological and higher levels. Within the framework of the "big" context, we managed to highlight the repetition-the leitmotif of the word "hombre", which is extremely important for this work. One of the characteristic features of the essay text is, among other things, the use of repetition in combination with other stylistic means, such as a rhetorical question and a rhetorical exclamation, as well as the simultaneous use of several repetitions of the same or different types. In the course of the research, we found out that in E. V. Garaji's translation many repetitions are not displayed and in some sentences additional repetitions appear that are not present in the original, which in some situations prevents the accurate transmission of the Spanish text in its translation into Russian, despite the fact that most of the repetitions are conveyed correctly. This can be explained by the fact that the translator's main goal was not to translate as such, but to analyze the essay primarily as a philosophical text. However, as the analysis of the text has shown, when translating the works of Unamuno, in particular the essays of the writer, it is necessary to pay attention to the repetitions used by the author and to convey them as accurately as possible in cases where they are a stylistic means.