Masaryk University Faculty of Arts

Department of English and American Studies

English Language and Literature

Hana Mekinov

Options and Choices in Musical Film Lyrics Translation

Masters Diploma Thesis

Supervisor: Ing. Mgr. Ji Rambousek

2011

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

Acknowledgement I would like to thank to Mgr. Simona Javrkov for her comments and suggestions and to Ing. Mgr. Ji Rambousek for his comments and advice.

Table of Contents

INTRODUCTION.......................................................................................... 5 I 1 THE THEORETICAL PART..................................................................... 7 Audiovisual Translation ............................................................................... 7 1.1 1.2 2 Subtitling ................................................................................... 8 Film Subtitles............................................................................. 9

Research................................................................................................... 11 2.1 2.2 2.3 Research Strategies................................................................ 13 Fansubs .................................................................................. 18 DVD ........................................................................................ 21

Translation and Music ............................................................................... 22 3.1 3.2 II Opera translation..................................................................... 24 Functional approach................................................................ 25

THE PRACTICAL PART .................................................................... 31

Czech musical........................................................................................... 31 1.1 Czech musical films ................................................................ 34

Starci na chmelu ....................................................................................... 36 2.1 Subtitles .................................................................................. 39

Noc na Karltejn ...................................................................................... 54 3.1 Subtitles .................................................................................. 56

CONCLUSION ........................................................................................... 68 APPENDIX ................................................................................................. 71 WORKS CITED.......................................................................................... 86

INTRODUCTION
The aim of this thesis is to explore a particular section of audiovisual translation from the functional perspective - musical song lyrics subtitles; taking into consideration the latest developments in song lyrics translation and contemporary tendencies in subtitling. The Theoretical part of this work consists of three sections. The first section is devoted to the definition of audiovisual translation and its classification, further focusing on subtitling in general and film subtitling, and its position within the film industry. The next section explores the research on audiovisual translation, research strategies and unifying standards for subtitling. Because the recent research on subtitling includes unofficial translation of subtitles, brief description of the specifics of fansubbing will be given together with a few words on Digital Versatile Disc (DVD), because it may offer new opportunities for translators of subtitles. Various approaches to the analysis of the translation connected to music (opera, song lyrics etc.) are observed in the third section of the thesis. The Practical part will be introduced by a brief history of the Czech musical, staged in a theatre and film musical; to provide a context for the analyzed films. The two musical films I have chosen for analysis are Starci na chmelu and Noc na Karltejn. English subtitles of these films offer two different approaches to the song lyrics subtitles translation. My analysis is based on an article called Choices in Song Translation by Johan Franzon published in The translator (2008), which explores singability in print, subtitles and sung performance. According to him, translation of song lyrics should aim for verbal and musical

fidelity, every translation achieves different level of fidelity depending on the purpose of the translation. Three levels of conformity of music and translated lyrics comprise set of features that may or may not be observed in the lyrics translation. I will examine, whether the features are present within the translations, and therefore, whether the choices made by the translator lead to the conformity of music and translated lyrics. The Appendix with transcriptions of film songs lyrics in source and target languages will be provided, songs will be listed chronologically as they are sang in the films.

THE THEORETICAL PART

Audiovisual Translation

New fields of translation studies were acknowledged together with the development of media. Alongside the traditional "written text to written text" translation and face to face interpreting emerged a field that some theoreticians call screen translation or media translation, but most often audiovisual translation.

Technological developments which have changed paper oriented society towards media oriented society have also made Audiovisual Translation the most dynamic field of Translation Studies (Benjamin p. viii)

Audiovisual translation stands for multisemiotic transfer - translation that transfers either what we see or hear in the source language into a text or utterance in the target language. As far as types of media are concerned, audiovisual translation includes translation for theatre, radio, television broadcasting, translation for the death or hard of hearing and visually impaired, film and recently extensively evolving computer translation (games, amateur subtitling, internet broadcasting and so on). Opinions on what belongs to this category differ extensively. As far as the mode of the target language output is concerned, two main methods of audiovisual translation are distinguished. Textual translation, which includes all kinds of subtitles (surtitles / supertitles / supratitles for opera, subtitles for films 7

that capture spoken utterances, subtitles for the death or hard of hearing), and oral, which includes revoicing, dubbing, voice-over, narration, interpreting, commentary and so on. Yves Gambier, who is a head of the Centre for Translation and Interpreting in Turku, established ten types of audiovisual transfer methods:

a) subtitling, b) simultaneous subtitling, c) dubbing, d) interpreting (prerecorded and consecutive), e) voice-over, f) narration, g) commentary, h) multilingual broadcast, i) surtitles and supratitles / supertitles and j) simultaneous translation (Karamitroglou p. 4).

Each method has its own specificities, boundaries and problems resulting from the change of modes, types of audience and technical limitations. I am not going to describe them individually in detail, but rather focus on the one that is going to be a subject of my research; subtitling.

1.1

Subtitling

Subtitling can be defined as the translation of the spoken (or written) source text of an audiovisual product into a written target text which is added onto the images of the original product, usually at the bottom of the screen (Karamitroglou p.5).

Due to the number of restrictions in subtitling, that limit translators in their work, some voices support the idea that subtitling is not a translation activity, 8

but rather an adaptation of speech. The duality of media comprises equally important visual and auditory components which cannot be separated in course of translation. Because of the space and time constrains grammar and lexical items have to be simplified, most relevant information has to be kept, while repetitions and other items that may be omitted are left out. Thanks to the development of media and the transition from analogue technology to digital subtitling software, the work of a translator has become much easier1, however, subtitling still remains a team activity, not only with distributed scope of work, but also with joint responsibility. Evaluating the quality of subtitles can therefore be tricky because it is hard to assign the proposed deficiencies or compliments to a particular person. As described above, several types of subtitles are used for various audiences. I am going to focus on film subtitling and then mainly on the subtitling of film songs. In the following chapter I am going to describe the process of subtitling and general standards that were set by theoreticians, and then I am going to focus on the specificities of subtitling and trends that can be traced in contemporary subtitling.

1.2

Film Subtitles

As far as I am concerned, subtitles are often not considered an integrated part of a film. When viewers discuss a film they have seen, they mostly mention

Requirements for the computer skills of translators grow together with the development of technology. Translation tools, digital subtitling, subtitling software make work easier, but at the same time force translators to learn how to use these tools and therefore spend more and more time doing other activities than translating itself.

the plot, the director, who tends to be acknowledged as a creator of a film, artists who star as main characters, sometimes the setting. Viewers would hardly ever say that particular film was bad because of the low quality subtitles. Neither film creators take subtitles into consideration. For them the film is a complex unit as it is, no one thinks of subtitles when writing dialogues or timing the duration of a scene. Subtitles are a kind of "post-product, necessary evil that needs to be present for the foreign audience. Subtitles are not a part of "the art" of film; subtitles are hardly ever mentioned in the film reviews, being seen rather as a material for a linguist or translation theorist. Creators may even oppose the usage of subtitles, because the letters cover a portion of a screen, spoil the picture, distract viewers who should be watching the action and not be bothered by reading. But cannot poor quality subtitles ruin the whole film? The process of subtitling is limited in space and time as opposed to literary or technical translation. To succeed means to translate subtitles in a way that the audience is able to read and understand the text and at the same time pay attention to the rest of the screen. Meeting these requirements may be highly challenging. Subtitles have to be short, simple, complex, should rhythmically correspond with the spoken original, and should contain everything that has been said, ideally with all the references, jokes and in appropriate register. Number of theoreticians provide categorisation of the codes involved in subtitling, standards for subtitling; describe various approaches to the translation. That is why I am going to devote the next section of my thesis to the research carried out in the field of audiovisual translation and subtitling.

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Research

Despite the definition of audiovisual translation as a multidisciplinary field and multisemiotic blend, the research has been carried out almost exclusively by linguists. Film studies do not acknowledge audiovisual translation as a part of the film analysis and therefore images, sounds, gestures and other extralinguistic features are not generally included into the audiovisual analysis. Consequently, because the research is done by linguists, it focuses on language, and even though the multidisciplinarity should be reflected in the research, it could be accomplished only if done by researchers who are familiar with both linguistics and film studies (at least). For the abovementioned reasons I am going to dedicate this section to the linguistic research of audiovisual translation. Jorge Daz Cintas from the University of Surrey focused in one of the sections of his article called Subtitling: the long journey to academic acknowledgement on the history of the research done in the field of subtitling. He points out that even though the first academic works on audiovisual translation were published in the late 1950s and early 1960s (first work on subtitling was written by Larks in 1957) and it was not until 1987 when the first conference on Dubbing and Subtitling was held in Stockholm. "One of the major achievements was a proposal of non-binding guidelines to facilitate the exchange, purchase and sales of television programmes to be subtitled2. Two articles on subtitling discourse were published in 1989 (Delabastita, Lambert), but the real golden age began in the 1990s. Luyken et al. provided the fist

http://www.jostrans.org/issue01/art_diaz_cintas.php

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systematic analysis and statistics of audiovisual translations. First book written solely on subtitling Subtitling for the Media by Jan Ivarsson was published in 1991 (second extended edition Subtitling 1998). Other notable theoreticians working in the field in the 90s were Gambier, Tomaszkiewitz, Dries, Gottlieb, Daz Cintas etc. European Association for Studies in Screen Translation (ESIST) established in 1995 joined together people involved in research, teachers and professionals for AVT3. Yves Gambier4 also mentions the dramatic increase of interest in audiovisual translation in the 1990s; conferences, workshops and sessions on audiovisual translation take place every year since 1999 (Forli conferences, biennial Berlin conferences, Hong Kong 2001, London 2004 and many more). Gambier further points out the increasing number of dissertations and M.A. thesis exploring audiovisual translation as well as the number of universities offering training in audiovisual translation. As far as journals are concerned, many issues dedicated to audiovisual translation were published e.g. Babel 1960, Circuit 1991, The Translator 2003, 2008, Meta 2004). Although back in the 1960s the language of translation research was French, English replaced it fully in 1990s. Recently, Spain has become the country where a lot of attention is paid to the research of audiovisual translation and many publications are released every year5 (Avila, Lorenzo, Duro, Daz Cintas, Chaume). Audiovisual translation (and subtitling as its component) has in recent years established its individual position within translation studies and hopefully more and more will be done for the research of its specificities.

http://www.esist.org/Index.htm Between text and image - Recent developments and challenges in audiovisual translation research p. 11 5 Research focused mainly on dubbing, AVT introductory materials
4

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2.1

Research Strategies

Prescriptive Approach

The 1990s were the golden era of the research in the field of audiovisual translation and, of course, of subtitling as well. Number of theoreticians6 involved in prescribing guidelines (rules) for subtitling. Although on one hand it is of course beneficial for the viewers in Europe to get used to only one visage of subtitles, on the other hand setting one norm on more than just the formal appearance limits subtitling even more. By forbidding experiments and adaptation of the natural language developments, these norms restrain translators rather than guide them. In the late 1990s there were no common standards for subtitling, no guidance in terms of colour, lay-out or length of display. Although the differences across Europe were not essential, several theoreticians reflected on the situation and published concise guidelines for subtitlers. Even though the following standards tend to be kept, I did include tendencies that may desire revision of these standards in the future.

Layout Due to the various typefaces around the world (e.g. Chinese characters traditionally written in columns or Arabic script written from right to left)

Code of Good Subtitling Practice by Ivarsson and Caroll, A Proposed Set of Subtitling Standards in Europe by Fotios Karamitroglou

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standardized

version

of

subtitles

worldwide

will

probably

never

be

accomplished. Nevertheless guidelines published by Fotios Karamitroglou and Jan Ivarsson and Mary Carroll share several common recommendations that are mainly results of scientific observations and their observance improves viewer's experience. The general practice of the production and layout of TV subtitles should be guided by the aim to provide maximum appreciation and comprehension of the target film as a whole by maximising the legibility and readability of the inserted subtitled text (Karamitroglou7). According to Fotios Karamitroglou, subtitles should be located at the bottom of the screen centre justified in the maximum of two lines. Nevertheless, the number of lines varies, as far as dialogues are concerned, when several people speak, utterance of each of them is usually placed on individual line introduced by a dash, however, the number of lines cannot exceed four, because subtitles would otherwise cover a great portion of the image and viewers may not have enough time to read them all. Although dialogue translations are placed at the bottom, notes and glosses explaining culture specific terms may appear at the top of the screen8. Usage of glosses may be disturbing and viewers may not read quick enough to read both sets of subtitles, but when watching a film that is highly culturally specific, viewers are likely to be interested in explanations of the specific terms.

Duration The average time of appearance for one set of subtitles is 6 seconds for two lined subtitles (should be 14 to 16 words long) and 3.5 seconds for single line of
7 8

A Proposed Set of Subtitling Standards in Europe Diaz Cintas suggests the terms headnotes or topnotes

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subtitles (7 to 8 words long). One set should always appear for more than one second and not more then 2 seconds after the utterance is spoken, and should disappear before the cut. A gap between individual sets of subtitles should be 1/4 of a second.

Colour For strictly practical reasons the colour of subtitles should be either yellow or white, because the two colours are easy to spot. At the same time the colours should not be extremely bright so that they are not uncomfortable for the eye. Even though only the two colours are used for European films subtitling, Diaz Cintas in his paper called Back to the Future in Subtitling points out some interesting facts about the trends in subtitling for the deaf and the hard-ofhearing and subtitling of Japanese films. Colours are used to help speaker identification and to inform deaf viewers about sound effects and particular tones of voice to which they do not have access auditorily. Given that hearing viewers can retrieve all these details effortlessly from the original soundtrack, the use of colours has been deemed to be irrelevant in interlingual subtitling, in which historically just one colour has been used throughout the entire program: white or yellow (Daz Cintas). Surprisingly the colouring scheme of subtitles for the deaf and the hard-ofhearing has downgraded to one on DVDs. Moreover, while the subtitles for the death and the hard-of-hearing on DVDs are becoming monochromatic, English subtitles for Japanese films for hearing audience contain up to four colours. Although the colours are used unsystematically, introduction of colours into

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subtitles for hearing viewers from countries culturally distant from the ones in the movie adds a new artistic aspect; however, whether it would be seen with pleasure by the director is questionable. Another exception from monochromatic European subtitles would be the usage of different colour for the subtitles for lyrics. Ivarsson and Carrol also propose a set of requirements for a translator. According to their Code, the translation should be of a high quality with grammatically correct language, coherent, translator should use corresponding register. In addition, simple syntactic units are preferred and redundant repetitions do not need to be subtitled at all. "Songs must be subtitled when relevant" and finally "the main subtitler should be acknowledged at the end of the film or () close to the credit for the script writer9.

Descriptive (Compound) Approach

Frederic Chaume brings in a merger of translation studies and film studies; he combines the visual and the auditorial, emphasizing that when analysing the subtitles, we have to take into consideration mainly issues specific to audiovisual translation. He identifies ten codes of 'cinematografic language; four relating to the acoustic channel (the linguistic code, the paralinguistic code, the musical and special effects code, the sound arrangement code) and six relating to the visual channel (the iconographic code, photographic codes, the planning code, the mobility code, graphic codes, syntactic codes).

http://www.esist.org/ESIST%20Subtitling%20code_files/Code%20of%20Good%20Subtitling%2 0Practice_en.pdf

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Dirk Delabastita says that "film establishes a multi-channel and multi-code type of communication" (Munday, 183). He further categorises these codes as:

the verbal (with various stylistic and dialectal features) the literary and theatrical (plot, dialogue, etc., appropriate to the genre) the proxemic and kinetic (relating to a multitude of non-verbal behaviour) the cinematic (techniques, genres, and so on)

The first two codes are not "subtitle specific", the features are shared in all fields of translation, however, translation of these codes, due to the mentioned space and time constrains, becomes challenging in specific aspects and sometimes the "correct" solution cannot be found.

Recent technical developments have shifted the focus of the audiovisual translation researchers also beyond the established scope. Increasing interest in amateur fan subtitling draw attention of several audiovisual theoreticians as well as the immense popularity of DVD as a storage device for audiovisual material that changes slightly the conditions of perception of this material (in particular the ability to rewind and replay or pause the projection). That is why I have decided to describe these two phenomena in more detail.

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2.2

Fansubs

The original idea of fans subtitling for fans emerged in the 1980s, when American fans of Japanese animated films10 translated subtitles for anime that were not accessible via official media (television, cinema) in USA. At the beginning of 21st century fansubbing has become a social phenomenon of worldwide significance. Technical development allows practically everyone with a computer, internet connection and the right programme to create his/her own subtitles. What began as a hobby of a few enthusiasts for a few enthusiasts turned into a very specific activity that although still being done for free, is by some people seen as unethical and even illegal. Watching movies, series and reality shows became one of the most favourite past time activity. That is why mainly series fans want to see new episodes when they are released and not several months or even years later, when they are broadcasted on the national television. Premiers of popular Hollywood movies in the Czech Republic are also several months delayed from the original in the English speaking world. Pablo Muoz Snchez and Jorge Daz Cintas describe the process of fansubbing11 in detail in their article for the Journal of Specialised Translation. According to their experience, it is an activity performed by several people (raw providers, translators, timers, timesetters, editors and proof-readers, encoders)

called anime or mango amateur translators tend to use the word subbing instead of subtitling to distance themselves from the official translators
11

10

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but can also be done by an individual. Fansubbing is mostly done by amateurs and for free. However, since there is a vast demand for subtitles, some groups of fansubbers try to make profit and sell them. The whole activity is considered unlawful by some companies, but since it is a worldwide phenomenon there is no international law that would forbid fansubbing.

Specifics

Set of specific features can be spotted in subtitles created and translated by amateur translators and fans of series or films. The most significant one is the exposure of identity. Although only relative, because fansubbers sign their work with nicknames, it is still surprising that subbers proudly present their nicknames at the beginning of the film or episode of series, while names of official translators appear at the very end; if they appear at all (to find a name of the translator of subtitles on a DVD can be strikingly complicated). Highly discussed feature of fansubs is their quality. As the fansubbers are usually rather IT enthusiasts than linguists, their translations are often incorrect and stylistically poor. On the other hand, fansubbers are not bounded by the official conventions that claim that the best subtitles are those that are not noticed therefore are free to experiment within the scope of both form and content. As far as series are concerned, due to the enclosed group of viewers who are familiar with characters, previous episodes and are usually eager to understand every joke or hint, even when it concerns culture specific terms,

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subbers tend to insert notes and glosses, either to explain technical issues that they think viewers may not understand (e.g. references to scientific theories and scientists in The Big Bang Theory), or to explain the culture specific terms (references to names, shows, food etc.). Glosses are usually incorporated in the text of the subtitles enclosed in brackets. Immense popularity and demand for fansubs all over the world and therefore creation of new field of translation with its own specificities desires a comprehensive research, because as the usage of fansubs grows, the tendencies observed may in the future influence the practices in the area of official subtitling.

Fansubbing in the Czech Republic

Fansubbing is very popular in the Czech Republic, because there is always a time gap between the release of films and series episodes in United States or Great Britain and premiers in Czech theatres, DVD releases or broadcasts on national television. Fansubbers use notes and glosses and the quality of the subs is usually quite low. Nevertheless there is a major demand for Czech fansubs translated from English and there are many websites with fansubs for virtually all famous English speaking films, however, no one seems to be making English subs for Czech movies. The reason probably is the fact that official English subtitles for Czech films are available soon after the film premiere, because DVDs are on the market right after the screening already with English subtitles, and are then being ripped and made available on the internet. Although over 30 Czech movies are shot every year, just a few

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manage to draw attention of foreign audience at the international film festivals and since older famous Czech films (e.g. 60s New Wave films) are being released on DVDs, there is hardly a film that would lack official English subtitles, and therefore would need to be fansubbed.

2.3

DVD

DVD became the most successful consumer electronics product of all time in less than three years of its introduction. In 2003, six years after introduction, there were over 250 million DVD playback devices worldwide (Daz Cintas12)

Subtitling industry changed dramatically after the introduction of DVD (optical disc storage media format). Suddenly hundreds of films are released every year with subtitles and dubbed versions in tens of languages. Traditions of subtitling or dubbing in individual national cinematographies (e.g. dubbing Spain, Germany, France; subtitling Scandinavian countries) are gradually altered, because both types of film translating are now available on DVDs. Therefore amount of people working in the industry is rising exponentially. According to Jose Diaz Cintas, DVDs make viewers more active as they get to choose how they want to see the movie. Moreover, they offer bonus materials about shooting, interviews with actors and in the future maybe also translator's commentary. Diaz Cintas sees it as an opportunity for the translator to explain his approach to the translation and issues he dealt with. Another

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Back to the Future in Subtitling

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suggestion how the future of film subtitles could look like is the usage of two sets of subtitles, regular subtitles, as they are common in present, and secondary set that would offer glosses and commentaries for enthusiasts, other translators and theoreticians. Viewer would then be able to choose which set he/she wants to display. Whether the future of subtitles leads to multilevel subtitles or not, DVD as an interactive medium created new jobs for hundreds of translators worldwide, even in languages which did have a long tradition of dubbing, and enabled viewers to be more active, to create their own "version" of a film.

Translation and Music

Any piece of music that contains a text is a result of cooperation of a composer and lyricist; it is a compromise between the intentions of the two parties that leads to a harmony of music and lyrics. Therefore any translator faces the same dilemma, whether to be, in the course of his/her translation, faithful to the lyrics or music. The number of choices to be made varies according to the particular piece of music and the purpose of the translation. Apart from the translation of canonized forms, opera in particular, not much attention had been paid to the translation and music up to recent years when it was finally acknowledged as at least a peripheral branch of translation studies and gradually more theoreticians devote their time to research in this field. Not

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only academics are interested in song translation, but amateur translation has become a significant phenomenon on the internet.13 Special issue of The Translator was dedicated to the translation and music in 2008, depicting the recent developments, tendencies and research options in the future research in the area of translation and music. ebnem Susam-Sarajeva in her introductory article emphasises how complex the field is, without precise borders, merging number of disciplines together, sometimes leaving the branch of translation altogether. "Sometimes boundaries become irrelevant (...) one cannot establish that translation has been involved at all (Susam-Sarajeva p. 189). Therefore, she suggests, researchers preferred the safer grounds of canonized genres. Although according to her

"Audiovisual translation (AVT) may appear as the obvious branch of translation studies where translation and music should be researched (). After all, music goes hand in hand with evocative associations, settings and visual imagery, not to mention dance and ubiquitous videoclips (Susam-Sarajeva p. 190).

She points out that not many people find themselves eligible for this kind of research, since research in translation has prevailingly been carried out by

Translation of song lyrics by amateurs is mainly driven by the urge to understand what the song is about. Therefore no "rules" apply for those translations, or rather transcriptions into the target language. As well as fansubbing, amateur lyrics translation has become very popular on the internet where people share their translations with others for free (http://www.jazyky.com/content/view/440/54/).

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linguists and translators, not many have sufficient knowledge in musicology14, media studies, cultural studies, semiotics and ideally also in film studies, for the purposes of translating film musicals. Besides, a method employed in some countries and generally not available for other types of translation is the option of non-translation, supported by the opinion of some researchers that enjoyments of a non-translated and translated song by the audience are equal. In that case, no linguistic research would be needed. Following the implied chronology I will briefly mention the main aspects of canonical music translation (opera) and continue by describing other types of musical translation, pointing out the options a translator has when translating a musical/subtitling a musical, options he/she has and thus establishing the terms, purpose and approach applied in my upcoming analysis.

3.1

Opera translation

Translation for opera is brought about by means of two channels (acoustic and visual) either to be heard by the audience and sang by the artist or read by the audience in the form of surtitles projected above the stage. Although the duality of channels is shared by both film musicals and opera in theatres, there is a set of aspects specific for the individual types of translation.

14

To be able to deal with meaning derived from () melody, pitch,

duration, loudness, timbre, dynamics, rhythm, tempo, expression, harmony, pause, stress or articulation in music (Susam-Sarajeva p. 190).

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Josef Vymtal points out two sets of requirements that need to be satisfied; musical and literary aspects, that blend together in opera as well as in musical, and musical film translation. Failure to fulfil the musical requirements may be overlooked, because translations tend to be analyzed and assessed by literary critics and theoreticians. Moreover, Vymtal argues that because a translator may not be able to conform to the literary requirements, the theoretician should focus on assessing mainly the musical level of the translation. Non-recurrence is probably the most significant aspect that does apply only to productions performed live. The performance cannot be stopped, surtitles reread or singing re-heard, in cinema the film cannot be stopped, although being recorded, however, it can be replayed in the exact same way; DVDs offer the option of pausing and rewinding. Opera also lacks transitions between dialogues and singing, because the whole performance in sung.

3.2

Functional approach

When the attention of the researchers shifted from the canonized genres to noncanonized, the research consisted mainly of criticism. Translators were assessing the work of other translators. Gradually the research was enriched by broader context (macro-level analysis), which included other aspects engaged in the musical translation. As mentioned earlier, audiovisual translation is a group activity, more people are responsible for the final version of translation, furthermore, distribution companies, audience and competition influence the success of the translation, therefore contribute to the decision, whether the 25

translation has accomplished its goal. Both micro and macro-level analyses were being done, incorporating methods from above mentioned disciplines of social studies, media studies, film studies and musicology. Recently, researchers introduced a functional approach into the musical translation that allows them to depict functions applied in the translation, from the various disciplines, to accomplish its purpose. The method obviously draws on Skopos theory introduced to translation studies by Hans J. Vermeer in the 1970s and is based on investigation of options a translator had in the course of translating and commenting on the solutions he/she made, taking into consideration the purpose of the translation. To illustrate the methods of the functional approach and therefore set forth the course of my analysis I am going to describe two research projects carried out by Elena Di Giovanni and Johan Franzon, published in the special issue of The Translator (Translation and Music 2008). Both projects focus on the options translator has and summarize the choices made, pointing out presumable reasons for such choices.

Translation vs. Non-translation

Elena Di Giovanni wrote an article on the translation of American film musicals in Italy. She used fifteen Hollywood film musicals for her research and observed the translation strategies employed in translation of these musicals in Italy. First, she focuses on the musical language and its components. Musicals, more than many other film genres, are made of complex expressive components. The verbal component is very difficult to isolate from the non-

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verbal ones and, therefore, is only translatable in relation to the other complex components (Di Giovanni p. 298). Despite the complexity of the musical language, Di Giovanni establishes 3 basic components: musical number - can be further divided into dance numbers, duets, songs etc., star persona usually a couple of popular actors, who star repetitively in musicals (typical almost exclusively of Hollywood musicals15), duality significant aspect of clashing sides, man and a woman, good and bad, two different attitudes or differences in social status. After drafting the basic components of musical language, Di Giovanni continues by analysis, dividing the fifteen films into four groups according to the translation strategy employed (combination of dubbing, subtitling or nontranslation). Partial translation dubbing of dialogues, non-translation of songs surprisingly it is the most common translation strategy in Italy, musicals were presented as films with songs that were not integrated into the storyline, films with gaps and non-connected dialogues, as many dialogues continue in lyrics. Di Giovanni claims that one of the reasons for non-translation of songs in musicals may be the intention of distribution companies to release soundtracks. The companies wanted the audience to be familiar with the original versions of the songs. Another reason may be economic, because rerecording of all songs would be costly. Mixed translation dialogues dubbed, songs subtitled a cheaper version, compared to the rerecording of songs, however, the information gaps are filled and the original song is preserved for the audience.

15

Fred Astaire and Ginger Rogers, Judi Garland and Mickey Rooney and so on.

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Full translation I all dubbed translation, the most costly solution, but still applied in some cases in Italy, Di Giovanni claims that fully dubbed musicals were highly popular in Italy, however, due to the language specificities many compromises had to be made, sometimes the music or the meaning of lyrics altered. Full translation II all subtitled translation as in other European countries, including the Czech Republic, subtitling is used mainly in cinemas, art programmes on television and DVDs, mainstream television programmes prefer dubbed versions, therefore subtitled strategy for musicals is not very famous in Italy.

Elena Di Giovanni has in her research shown four strategies used for the translation of Hollywood musicals in Italy and put together groups of films, where individual strategies were employed. She notes, that the choice of the strategy is not in translators hands, but rather distributors, because distributors decide how much money they are willing to invest and therefore which option is the most suitable.

Choices in Song Translation

Finnish academic Johan Franzon published an article exploring singability in print, subtitles and sung performance. He provides a functional organization of choices within song translation, applying the notion of the Skopos theory: "Fidelity follows function" (Franzon p. 3). The purpose of the translation influences the choices that have to be made. If the translated work is going to

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be performed, different requirements apply than if it is going to be printed. Franzon defines three properties of a song music, lyrics and prospective performance. The prospective performance determines the level of singability (in a broad sense, singable meaning performable). Singability is the attainment of musico-verbal unity between the text and the composition. This is what makes the lyrics sing, so to speak, what makes them carry their meaning across and deliver their message in cooperation with the music" (Franzon p. 375). As far as musicals are concerned, for example the content of a translation of lyrics in a musical that is to be performed (has to be singable) may have to be altered or omitted to fulfil the requirements for singability. In case of a book musical the translated lyrics have to fit in the context of dialogues. A translation for dubbing has to respect the music, which cannot be altered, as well as the visual performance (synchronization of the lip movement). Spatial and temporal constrains apply to the translation of subtitles, however, requirements for subtitles are not as strict as for the translations that are intended for dubbing, the target text does not have to be synchronizes with the lip movement. As far as the approaches to song translation are concerned, Franzon lists five options:

1. Leaving the song untranslated; 2. Translating the lyrics but not taking the music into account; 3. Writing new lyrics to the original music with no overt relation to the original lyrics;

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4. Translating the lyrics and adapting the music accordingly sometimes to the extent that a brand new composition is deemed necessary; 5. Adapting the translation to the original music.16

Various combinations of these options may occur, depending on the purpose of the translation. Three layers constitute the musico-verbal unity, and therefore a singable translation - prosodic, poetic and semantic-reflexive. In other words, these three properties have to coordinate with the music, if the translations goal is singability. Each layer comprises of a set of components:

Prosodic rhythm, stress, intonation (important for opera translation), segmentation of phrases Poetic rhyme, location of key words, segmentation of phrases Semantic-reflexive mood, metaphor, the story told, characters expressed17

Not all of the layers have to be engaged, and a combination of any is possible, however, the prosodic match is the basic requirement for singability. What determines the combination, is the function of the song; within the musical each song may have different function - poetic (a dream), informative (dialogue, narrator setting forward the plot) and so on. Johan Franzon described in his article a functional method of a song translation inspired by Skopos theory. By defining a purpose of a translation,

16 17

Franzon p. 376 Franzon p. 390

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choosing from the pre-defined options and fulfilling the related functions, a successful translation may be achieved.

Analysis

Drawing on the methods described above I would like to analyze English lyrics subtitles of two Czech film musicals made in the 1960s and 1970s using functional categorisation provided by Johan Franzon. I will observe the choices made by the two translators and explore the achieved level of singability within the prosodic, poetic and semantic-reflexive layer. Although I may refer to the translator as a person I will bear in mind that subtitling is a team activity and therefore the final outcome may not correspond to the original translation done by the translator.

II THE PRACTICAL PART

The Practical part is comprised of introductory section on Czech musical and musical film, followed by brief description of the plot of each film and general examination of dialogue subtitles. Then, after sufficient context is provided, song lyrics of each film will be analysed from the functional perspective.

Czech musical

Music and songs have always played an important role in the Czech cinematography, and many songs from musical films have become a part of basic cultural knowledge within the Czech republic. In this chapter I will briefly 31

describe the history of musicals staged in the Czech republic and Czech film musicals. Common definition of a musical is:
Musical theatre is a form of theatre combining songs, spoken dialogue and dance. The emotional content of the piece humor, pathos, love, anger as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms such as opera, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements of the works. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals. (Musical theatre Wikipedia) musical (noun): a film or theatrical production typically of a sentimental or humorous nature that consists of musical numbers and dialogue based on a unifying plot (musical Merriam-Webster).

Definitions of the genre are miscellaneous. Many dictionaries describe musicals as performances, mainly comedies, that involve a musical element, omitting dance altogether. Therefore, despite the fact that dancing is not a common feature of Czech musical films, they still meet requirements of the genre. Song lyrics may or may not be incorporated as librettos and convey information that is important within the narrative18. The most frequent form of a Czech film musical contains songs that do not bear information relevant to the plot, and therefore, omission of those songs would not create an informational gap. Staged musicals have gained enormous success over the last decades of artistic freedom and some of the authors participated on the creation of both, stage musicals and musical films.

So called book musical "a musical play where the songs and dances are fully integrated into a well-made story, with serious dramatic goals, that is able to evoke genuine emotions other than laughter ("Book musical Wikipedia).

18

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Genres similar to musical may be traced back to the beginning of the 20th century, when operetta was popular and later individual small theatres offered revues with songs and sketches. Small theatre groups have been very popular in Czech lands since 192019 (erven sedma offered a cabaret already in 1909). Osvobozen divadlo (West pocket revue), Semafor (Kytice) and later in 1969 Studio Ypsilon (Veery pod lampou), Divadlo Husa na provzku (Balada pro banditu, the musical film based on this stage play was made in 1978), Sklep (Besdka, Chemikl a stage musical also transferred into a film in 1986). All these theatres offered plays with songs, but not Broadway style musicals, because that would be expensive and demanding in terms of staging and trained actors, who would be professional singers and dancers. Moreover, the Communist regime would not allow any western influences, although, as Helena Kalbov states in her M.A. thesis, some Broadway musicals were staged in Karln theatre (My Fair Lady in 1964, Hello, Dolly in 1966 and West Side Story in 1970). After 1989 more translated versions of foreign musicals were staged (Les Misrables - Bdnci 1992, Jesus Christ Superstar 1994, Hair 1996) and gradually a number of original Czech musicals were created and became more and more popular among Czech audience. Four major contemporary musical authors are Karel Svoboda20 (Dracula 1995, Monte Cristo 2000, Golem 2006), Janek Ledeck (Hamlet 1999, Galileo 2003), Ondej Soukup and Gabriela Osvaldov (Johanka z Arku 2000, Robin Hood 2010) and Michal David (Kleopatra 2002, Ti muketi 2004, Kat Mydl 2011) etc.
19 20

In Czech "divadla malch forem" Died in 2007, but his musicals are still staged and very popular

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1.1

Czech musical films

Music played very important role from the very beginnings of the Czech sound film, mainly in 1930s and 40s when every premiere of a comedy was accompanied by a release of a song composed for the movie, played repeatedly in the movie and usually sung by one of the actors. A number of famous movie stars were also singers21, and vice versa, famous musicians and singers were given roles of conductors and bar singers22. The fact that virtually all Czech films with songs are either comedies or fairytales is not at all surprising. It is common for the genre, as described in the definitions above, and during the Second World War and then 40 years of communism conditions for film making were restricted, and censorship would allow certain amount of freedom to the film makers only within these genres, because they were not supposed to be politically engaged. However, due to the Communist prohibition of western films and music, the book musical can hardly be found in the Czech cinematography, except for a few rarities. First genuine and probably most famous musical Starci na Chmelu (Green Gold) was directed by Ladislav Rychman in 1964, and combines all the major aspects of the genre acting, singing and dancing. Most of the songs became hits and are sung by the fire even by people who havent seen the movie. First Czech western musical Limondov Joe had a premiere the same year. Although music plays an important role in the film, it lacks dancing. Other musical films made in the

21 22

e.g. Hana Vtov, Frantiek Kritof Vesel, Oldich Nov and so on e.g. R.A. Dvorsk, Inka Zemnkov

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same decade were Kdyby tisc klarinet 1964, Dma na kolejch 1966, and Fantom Morrisvillu 1966. The 1970s and 80s were fruitful mainly in the sphere of fairy-tales and films (often primarily television films) for children (len smutn princezna 1968, Pijela k nm pou 1973, Zlatovlska 1973, A ij duchov 1977, Princov jsou na draka 1980, Co takhle svatba, princi? 1985, A pilet p, krlovno! 1987). Number of comedies with songs and musical films were shot during the same period as well (Drah tety a j 1974, Jen ho nechte, a se boj 1977, Balada pro banditu 1978, Trhk 1980, Andl s blem v tle 1983, Andl svd bla 1987). Most popular film musical of that time that is still often to be seen on television was directed by Zdenk Podskalsk and is called Noc na Karltejn (Night at Karlstejn, 1973). Film is based on a stage play by Jaroslav Vrchlick and accompanied by exceptionally famous music composed by Karel Svoboda. The film also lacks dancing. Late 1980s and 1990s musical films (Discopbh 1987, Discopbh 2 1991, Lska z pase 1984) were accompanied by "disco songs popular at that time. Situation has changed dramatically after the velvet revolution in 1989. Cinemas were flooded with foreign films, creators were not limited by the censorship, and whole industry was undergoing a massive change23. For example Kou (1991) is an exceptional attempt to joint specific humour of the Sklep theatre and underground music, and depict the atmosphere of an authoritative regime. Though it contains several humorous scenes it can hardly

Mainly in the area of financing, dealing with the foreign competition (especially Hollywood movies) and the loss of cinema goers thanks to the increasing selection of films and series on television.

23

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be described as a comedy. akal lta (1993) and Rebelov (2001) are both very successful retro musicals, however, songs in Rebelov are actually famous period songs that were not originally composed for the movie. Most recent Czech film musical Kvaska was directed by Miriam Landa in 2007 and maps the environment in a theatre during musical rehearsals. All in all, there can be no doubt that music is a very important aspect of Czech films, mainly comedies, fairy-tales and films for children, however, the book musical does not have a strong tradition due to the isolation of the country and censorship during the Communist era. The situation is different in theatres, where book musicals are very popular. Dancing as means of expression can be found only in Starci na chmelu, akal lta and Rebelov; although only in Starci na chmelu is the dancing equal to singing and acting. Despite the exponential increase of Czech musicals in theatres in recent years24 (even original film musicals are staged in theatres Noc na Karltejn, Starci na chmelu), film creators do not seem to be very interested in the genre.

Starci na chmelu
Green Gold25

Starci na Chmelu is supposedly the first and most popular Czech film musical. It was made in 1964, based on a script written by Vratislav Blaek26 and directed by Ladislav Rychman. It was the first film to be supported by vast

Johanka z Arku, Ti muketi, Baron Pril, Kat mydl, Tajemstv, Dti rje, Robin Hood and many more. 25 Green Gold is actually a DVD English title, otherwise the film is known under a title Hop Pickers (http://en.wikipedia.org/wiki/Ladislav_Rychman#Starci_na_chmelu_.28The_Hop_Pickers.29). 26 He is also the author of song lyrics.

24

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advertising campaign27; it was extremely popular and controversial at the same time. While shooting the film creators came to know famous American musical West Side Story, therefore some critics claim the film is in some aspects inspired by the musical, it was even called East Side Story or Hop Side Story in the 1960s. Even though the musical was never banned, because it was considered apolitical and the official aim was to address young people who experience similar situations, references to the first Czechoslovak democratic president Masaryk, democratic philosophers and questioning of atheism were found controversial by the Communist party, and therefore the film was not frequently screened after 1968, despite its enormous popularity. Thus, even though the primary function of musical is to entertain, Starci na chmelu is a film with social and political outreach. The plot of the musical is a love story of two high school students at a hop picking brigade28. Hanka (Ivana Pavlov) and Filip (Vladimr Pucholt) are both outsiders in their own different ways. Hanka is a young lady who feels humiliated by the conditions at the brigade where all girls and boys sleep on the floor in a primary school gymnasium, and she demonstrates her attitude by distinguished and decent language and behavior. Filip is a young intellectual who disapproves with degrading housing conditions and therefore secretly sleeps alone in the attic of the primary school surrounded by furniture he found or borrowed. Hanka accidentally finds Filips hiding place and moves in with him. Although classmates find out about Hanka and Filip, they respect their

Interviews with actors and creators of the film were published, songs were released, even a book was published before the premiere, hop picking hats were sold and so on. Jan Konen in his BA thesis on the perception of the film claims that Starci na chmelu was an attempt to gain European level of film musicals. 28 Brigade compulsory work; students had to help the workers, most common were hop picking brigades and potato picking brigades.

27

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relationship, except for Honza (Milo Zavadil) and his friends, who try to get hold of the attic apartment but do not succeed. Consequently, a farmer who is supervising the students, the owner of some of the borrowed items, receives an anonymous letter saying, that he shall find what he is missing in the attic. The relationship of Hanka and Filip is revealed. Hanka and Filip are expelled from the brigade and school after a teachers meeting and have to leave immediately. Although at the beginning the film seems to have all aspects of a socialist film with the typical setting (manually working people organized by the Communist party who pick on a girl and a boy who in a way prefer bourgeois values), viewers very soon realize that these anti/heroes are actually the main characters and the character of the hard working and ambitious Honza stands for immorality, hypocrisy and insincerity. As the storyline unfolds, nave and romantic Filip and Hanka are forced to face the adult world; they are falsely accused of having an affair and officially expelled from the society. However, because the society represents the beliefs and behavior they disapprove of, they are not sad to leave. Despite the above mentioned, the film describes the differences in perception of reality by different generations rather than politics. The word musical was used for the first time in connection with a Czech film after the premiere of Starci na chmelu, consequently a discussion concerning the definition of the genre took place in newspaper and magazines. As far as musical numbers are concerned, since most of the actors were actually students of theatre faculties and dancers, songs are not sung by the actors but by well known singers popular at that time. The film is musically very

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colorful because it combines both Czech and foreign (western) music popular in the 1960s. Diverse dance numbers join together popular twist with fragile and poetic ballet and simple collective choreography. Among other primacies, the film is also one of the few where dancing is equal to singing.

2.1

Subtitles

Distributors have decided that only English an Czech subtitles will be provided on the DVD released in 2003, within the range of Czech films called Zlat fond esk kinematografie29. Subtitles are provided to all songs, the strategy of non-translation is not employed, and song lyrics subtitles are not marked by different color or font. The version released in 2003 by Filmexport Home Video30 is probably the only version containing any form of English translation. Even though Czech DVDs are occasionally made available at the foreign market via international internet retailers (e.g. Amazon) and

exceptionally distributed by foreign companies abroad31, they are primarily intended for the Czech market. Therefore the Czech distributors have decided to provide only English subtitles for foreign audience and Czech subtitles for the hard of hearing32. Due to the huge time gap between the release of the film and creation of subtitles, no reviews reflecting on the quality of subtitles were published.

Golden resources of Czech cinematography The translator is not named in the subtitles or the DVD, the distribution company did not reply to my request about the name either. 31 Musical film Limondov Joe (Lemonade Joe) was distributed by Allied Artists Pictures Corporation in USA. 32 Another reason may be the low price of the product.
30

29

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Dialogues

Various ways of expression are employed in Starci na chmelu. Some do not need translation (dancing, music, rhythmical sequences), some may have been already translated (poem quoting or book reading), and some translations do not bear the same meaning thanks to different cultural and political background. Non-equivalence may be observed at the level of lexis and style.

Lexis

As far as the word level is concerned, dialogues contain many cultural and political references that are difficult to translate, however, some do not bear information that is vital for the viewer and may therefore be replaced or omitted. Mona Baker33 names various strategies used by translators in case of culturespecific concepts; three of them are applied within these subtitles - translation by superordinate word, translation by cultural substitution and omission. Names of villages or towns are translated either by general word village (Prosm vs, kudy se dostanu do ivic Excuse me, how can I get to the village?), by cultural substitution (Jenkov Rio) or transferred (To mus zptky na sttn a potom na atec Go back to the main road and then to Zatec). Two arbitrary names are translated by the name of a fictional comic book character, suggesting that it could be any name that sounds ridiculous, because Hanka uses the names to point out the pointlessness of Filip's

33

Baker, Mona. In Other Words. NY:Routlege,1992.

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questions (Havelka z Hloubtna, Divek z Libn jack-a-dandy). Names of contemporary products are translated by subordinate words (mionka, stadionka, tatranka - biscuits and cookies). References to writers, philosophers and their works are frequent in the film. Filip quotes poems and reads passages from books to Hanka (Vtzslav Nezval Manon Lescaut, Seneca). When he recites Manon Lescaut at night, when he goes for a walk, the farmer with Honza overhear him and the farmer asks Honza about Manon, because he thinks it is a girl he may know. Even though no official English translation of Manon Lescaut could not have been provided (and the translation does not rhyme), the rhythm of Filips speech and tone of his voice suggest that he is reciting. Foreign viewer is slightly mislead when Filip reads a book to Hanka, who is trying to get to him through the wooden attic door, and the cover of the book says Seneca - Utitel, but the text Filip is quoting is actually a text of a song Kdyby sis oi vyplakala (interpreted by Karel Gott). Of course Czech viewers not familiar with the song may be equally confused. Tiny reference, commonly used among Czech speakers, is the title of Nezval's poem Sbohem a teek, often translated as Waving farewell, but in subtitles translated as farewell and goodbye. The translation probably is refering to the poem, because otherwise the word teek scarf would be present as a reference to the one Honza gives to his friends; the translator just does not use the common English title. The nickname of a teacher Jana mosa refers to the Czech teacher, educator and writer Jan mos Komensk. The name is not used in the subtitles; it is replaced by general "teacher". Political hints are mostly translated by general words that do not explain the meaning contained in the source word. Communist era vocabulary was specific

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by using common words that were given extra meaning, e.g. comrade, building, worker34 etc. Other words describe events or actions that were specific for that era e.g. chmelov brigda hop-picking summer job. Translator's choice to supply "neutral" target words is understandable, because musical is a genre that is supposed to entertain, words like cooperative association (drustvo) would sound unnatural and would have to be explained within the subtitles for foreign viewers who are not familiar with the contemporary conditions, thus the translator uses the word "farm". Similar approach may be observed in terms of addressing. General Mr. / Mrs. was replaced with comrade and was used either before name, title or position; the translator uses common general words miss for a teacher and sir for the farm worker. Another concept unknown abroad is Tuzex a chain of shops that offered goods from abroad, mainly western countries, in exchange for hard currency or special vouchers. "z Tuzexu is translated as from abroad to preserve the meaning.

Style

Apart from the lexical level, the translator had to make decisions in stylistics because some characters use specific registers. Hanka and Filip are not different from the other characters only in terms of their behavior and opinions, but also in the way they speak. Hanka uses very distinctive and formal vocabulary; however, this fact is not reflected in the translation (e.g. prosila

Word comrade was used to address a friend before the second world war, members of the Communist party started to use it instead of common Mr./Mrs./Ms. Communist ideology is based on a strong position of the working class, therefore when Filip says: This lad knows that the workers pay for his studies he refers to the contemporary belief that workers work so that students could study.

34

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bych polvky docela mlo translated as just a little soup, please). Foreign audience may not be able to understand why Hanka talks differently than others, but her distinctive speech is a part of her character, as well as her clothing and behavior. Filip is shy and nervous when talking to Hanka, he often murmurs and repeats words; all these elements may be observed without the need to understand the source language, therefore they are not reflected in the translation. Apart from Hanka's speech, there are no specific elements in the speech of other characters, such as dialect, slang or speech defect. As opposed to the translation of spoken utterances, written text is not subtitled. When villagers and students carry banners and slogans (Filip dreams about a new system of young couples living and working together and villagers sleeping on the floor in a school), the subtitles translate only the lyrics of a song sang in the scene. Banners seem like any other communist slogans that should motivate people to work, but they actually praise Filip's method and love Lyric poetry increases productivity, Kiss for every bucket, Filip's method our ideal35. The translation of banners is not provided because the banners appear during a song, when subtitles translate lyrics, and provision of translations of two modes could be confusing. Subtitles for banners would have to appear at the top of the screen. Starci na Chmelu is a very complex film which contains many culture specific references. English subtitles do not offer explanations of the concepts unknown by the foreign viewer; culture specific expressions are mostly translated by general words. Translations of dialogues do not reflect the level of formality in the individual characters speech. Nevertheless, Hanka's formal

35

My translation

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vocabulary is reflected in song lyrics translation36 which is going to be a subject of the forthcoming analysis.

Conformity of Music and Lyrics

Even though song lyrics subtitles are not intended for singing and therefore requirements for singability are not strict, the more a translation is singable, the more convenient it is for the viewers who may easily follow the music. Singable subtitles improve their experience (once a text is on the screen, splitting their focus among listening to the music, watching the particular scene and reading), because they display prosodic, poetic and semantic-reflexive match to the music. Since source music cannot be altered, translation has to match the original music. In the following section, I am going to explore achieved levels of singability, taking into consideration options the translator had and pointing out the choices he/she made.

Prosodic match

According to Johan Franzon, the prosodic match can be accomplished by observing: melody: music as notated, producing lyrics that are comprehensible and sound natural when sung (Franzon p. 390). This observance can be then noticed in the text as matching: syllable count; rhythm; intonation, stress; sounds for easy singing (Franzon p. 390). Sounds for easy singing are observed mainly in forms of translation that is intended to be performed. Film

36

e.g. charm, indeed, daresay

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musical lyrics subtitles are not intended for singing, however, some tendencies towards prosodic match may be observed, mainly in the glossing songs.

Unusual aspect of the musical are three singers with guitars in black, who as narrators fill in short intermezzos with songs which resume the previous storyline or introduce the upcoming events, and at the same time appeal to viewers by emphasizing that the story could happen to their child and it could be them dealing with the situation. When the film was released the three singers with sunglasses were seen as a symbol of western values (reminding some people of The Beatles and other western bands), however, more likely they symbolize the conscience of the older generation represented in the movie by teachers and workers. All the intermezzos are accompanied by the same music, each time the three men sing next strophe of the song. The first one at the very beginning, an introduction of the whole film, three within the storyline and finally the three men close-up the whole story by singing the last strophe glossing the passed events. The glossing songs have a strict rhyming and syllabic structure, the lines are rather long, consisting of nine and eight syllables, affording the translator more space for necessary changes in word order, while preserving the original meaning. "The longer the musical lines, the easier it may be for translators to accommodate the syntax of their particular language, perhaps allowing a fairly close translation by moving a few words around (Franzon, 387). As far as subtitles of the opening song are concerned, the translator has decided, from the options of the prosodic match, to follow the syllabic count of the original

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lyrics quite closely. This option offers convenient reading to the viewer, the text may be read fluently and simultaneously with the sung lyrics.

Ten pbh, kter uvidte a co tak divn zan. Ten mohlo prot vae dt, a chce i nechce rodina. Ten me prot vae dt a nikoli jen na chmelu a kdy se nad nm zamyslte, doshl svho elu. Jsme pece jeden za osmnct, a druh bez dvou za dvacet a byla by vc nerozumn chtti rub na lc obracet. Chtti rub na lc obracet

9 8 9 8 9 8 9 8 9 8 9 8 8

The story you're about to see now, unwinding strangely from the start, could be the story of your own child whether you folks like it or not. It may all happen to your own child not only on a summer job, and should it make you consider, then it's purpose has been met. We may seem all widely different, though all in all we're all the same. Thats why it would be all in vain to try to change us inside out to try to change us inside out

9 8 9 8 9 8 8 7 9 8 8 8 8

Although the syllabic count of the other strophes of the glossing song is not as close to the source lyrics37, the tendency supposedly is to reach at least the closest possible number of syllables. The maximum deviation from the source lyrics is two syllables within one line. The similar choice has been made for other songs in the film, although the exact syllabic match cannot be found in any of the songs, deviations from the source lyrics are not significant. With the exception of the song Hodn hoi, where a distinct rhythm is supported by snapping fingers and dancing of the singers, and the translator has decided to expand the number of syllables and consequently made the subtitles harder to follow.

Hodnch hoch bylo vdy a vdycky bude Hodnm hochm jen oko pro pl zbude. Po hodnch hoch se nejlp veze prevt.

12 11 12

There always was and always will be lots and lots of good guys. Good guys will be left all alone to weep into their pillow. Good guys are the best ladder for bad guys, who are climbing to the top.

15 15 17

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The syllabic count stays the same within all glossing songs.

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The last line of the subtitles is displayed for approximately 3,5 seconds. If we take into consideration Karamitroglou's standards that draw on an average reading speed, which is 5,5 seconds for full length two lined subtitles containing 14-16 words, the line is too long to be read conveniently. That means, that even if the viewers reading speed was not influenced by the rhythm of the song, he/she would be forced to adjust the reading speed to the increasing tempo of the music, because the tempo influences the time sequences for the display of individual sets of subtitles. The translator should take the average reading speed into consideration and avoid expansions in these cases. Other tendencies towards prosodic match were not spotted in case of any other songs in the film; however, I would say that the subtitles of song lyrics in Starci na chmelu aim to observe the melody of the songs.

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Poetic match

Lyrics achieving poetic match aim to: "() attract the audience attention and achieve poetic effect" (Franzon 390). To put it differently, lyrics that create the same effect at the same spots in a song (for example graduation ending by a word that reveals a secret or repetition of a phrase together with the same melody) did achieve a poetic match. Textual means of achieving such a match are: rhyme; segmentation of phrases/lines/stanzas; parallelism and contrast; location of key words (Franzon, 390). Generally no translation of lyrics in the musical employs all the textual means mentioned above together to achieve poetic effect, however, some of the means are used at least now and then. Song Chmel je nae zlato is the first song of the musical (apart from the glossing song) which introduces the setting, individual characters and the mood of the whole film. It starts with a march of working students, smiling and singing about their devotion to hop picking. This would suggest a beginning of a typical socialist film of that time; however, the music suddenly changes into a modern chaotic cheerful dance with corresponding change in lyrics. The rest of the song consists of these contrasting parts. To distinguish these two parts of the song I have indicated the "marching" sequences in italics and the cries that signalize the upcoming change in bold.

Myslme jenom na to, e chmel je nae zlato. Jedin, co nm svato, je chmel a jenom chmel! Kecte!

All we ever think about is that hop is our gold! All that is sacred to us is nothing but green gold! Nonsense!

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Protivo, protivo, dlme to pro pivo. Pro pivo, protivo, ee kad ech! Myslme jenom na chmel, tak se, obane, nachmel. Chmel to je nae zlato, chmel nroda je tmel! Nekecte! Kecme, kecme, to si vzti nedme. Jenome, obane, taky makme. Od Tater a po Brdy bu kad otec hrd, a d si jedno tvrd, e chmel jsem esal j! J! J! J!... Myslme jenom na to, e chmel je nae zlato. Jedin, co nm svato, je chmel, je chmel, je chmel!

Indeed, dont sneer, were doing it for the beer, for the beer, dont sneer, 'cause every Czech loves beer. Hop is all we think about so that you can enjoy your pint, Hop is our most precious crop, our peoples bond is hop! It isnt nonsense! It is nonsense theres no doubt, its just a lot of tommyrot, but cant you really see that we also sweat a lot. From the highlands to valleys green may every father be proud when he lifts his pint of beer, thats made of hops picked by me. Me! All we ever think about is that hop is our gold! All that is sacred to us Is nothing but green gold!

The marching rhythm is amplified in the text by exclamation marks; the two cheerful and rhythmically distinct parts are rhymed. First one by repeating two expressions sneer/ beer/ sneer/ beer, second one rhymes only two lines rot/lot. Apart from Chmel je nae zlato a rhyming scheme can be found also in Hopsa Hejsa, other songs contain just random attempts to rhyme which do not match the source rhyme scheme. While for example in Bossa nova the rhyme scheme of source lyrics is ABAB the scheme of the translation is AABC.

S tou modlitbikou dojde vdycky nejdl a doshne s n vechno, cos kdy chtl. A Karel IV. byl ukrutn feudl, tak zaved u ns vno a ne chmel. Bossa-nova, bossa-nova, bossanova, bossa-nova, bossa-nova, bossanova.

This prayer will take you far, Get you what you want, a bike or a car. And although Karel IV was a feudal emperor, He brought wine into Bohemia and not beer. Bossa nova, bossa nova

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Ta modlitba ti vrt zdrav chatr, to je zcela mimo diskuzi a a Jan mos Komensk byl bratr, nezavrhujeme ho soudruzi.

This prayer will restore your health, thats better than wisdom or wealth, and although John Amos Comenius was a Czech Brethren, lets not condemn him for that, my dear friends.

Apart from rhyming, the repetitions in music are followed by repetitions of lines of lyrics, translation mirrors this practice and the repetitions are strictly obeyed. In the case of repeating phrases, translator obeys the rule of omitting repetitions that can be heard and do not bring any new information. Segmentation of subtitles corresponds to the segmentation of the lines of lyrics; one set of two-line subtitles corresponds to one line of lyrics, that way same information is accompanied by the same music. Since English language has a strict word order, unlike Czech, syntactic parallelism can be achieved only up to a certain point. Closest match is achieved in the case of imperative lines in Do gala.

Tupruj si dvko vlasy bez ohledu na poas tupruj se, neznej bratra, vye es na ti patra. Navoskuj si knr, uprav vlas i vous

Back comb your hair regardless of the weather, back comb your hair and raise your chignon three floors up. Wax your moustache, trim your hair and beard,

Another example of syntactic parallelism can be found in a song called Den je krsn. The song illustrates Filip's dream about Hanka, music is slow and romantic, lyrics very simple without any idioms, hidden meanings or poeticisms, therefore the syntactic parallelism may be achieved. However, the translation does not rhyme.

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Den je krsn. Den je krsn. Den je krsn. S tebou. Den je krsn. Den je krsn. Kdy dva, se rdi maj i v lednu je, jak v mji i v lednu je, jak v mji. S tebou. Kdy dva mohou bt spolu u jedinho stolu u jedinho stolu S tebou! S tebou! S tebou! S tebou! Kdy veer prac zmoen Ulhm na tv loe. Coe? Ach na jedin loe S tebou! S tebou!

The day is lovely. The day is lovely. The day is lovely. With you! The day is lovely. The day is lovely. When two are in love then winter is like summer, then winter is like summer. With you! When a boy and are sitting at Sitting at the With you! With With you! With a girl one table, one table you! you!

When tired from the days work I lie next to you on our bed. What? On our bed With you! With you!

Key words that would be accompanied by a distinct music are not common, yet for example in Chmel je nae zlato translation does end by the pronoun me ("that's made of hops picked by me), because the pronoun is then repeated by other students who profess their tribute, supported by drum beats. Although poetic match is not achieved uniformly, attempts can be observed in several instances.

Semantic-reflexive match

Semantic-reflexive match may or may not be achievable. It presupposes that meaning conveyed by music is reflected in lyrics. Several options are available; however, if none of them is present, the semantic-reflexive match cannot be achieved by the translator. The most common instances of meaning being conveyed by music are: "the story told, mood conveyed, character(s) expressed; description (word-painting); metaphor (Franzon, 390). Although music in Starci na chmelu contains a number of semantic- reflexive features, they are not always reflected in the lyrics because either only music "tells the 51

story" or portrays the individual characters by distinct melody, instrument or rhythm. For instance anticipation and tension expressed by silence and silent beating of cymbals, when Honza and his friends are approaching Filip in the dark wood. Another example is depiction of a character by the absence of music or voice. Filip sings only when dreaming, but he whispers his first song to sleeping Hanka and then recites another called ivot je bl dm. Besides these examples, instances of the proper semantic-reflexive match can be found in the film as well. In general, contrasts are a typical feature of the film. The clash of generations, opinions, attitudes, political beliefs and many other aspects is symbolized by contrasting strophes or other parts of particular songs conveyed by music, lyrics and dance. Two instances of this approach are the songs Chmel je nae zlato and Hopsa Hejsa. Both combine the contrast of serious/formal and cheerful/reckless music and lyrics. Several textual means are used in the translation of Chmel je nae zlato to reflect the mood of the music in the text38. Since subtitles are displayed on a screen and read and therefore intonation cannot be rendered (although the original can be heard of course), punctuation may be used instead. Exclamation marks are used to reflect the brisk and enthusiastic mood of the music in the first marching "obedient" part of the song. On the phonetic level sequences of same vowels are used within the cheerful parts to create the same

From the point of view of the person who was not present to the creation of neither music or lyrics it is actually hard to say whether the mood of the music is reflected in the lyrics or the meaning of lyrics is reflected in the music, however, translation should at least attempt to create the same relationship between the source music and the target lyrics, moreover, because of the change of mode it can employ different means to achieve the same effect.

38

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onomatopoeic effect as in the source lyrics. While in the source lyrics the vowel o is repeated several times, the translation uses a sequence diphthong ee.

Protivo! Protivo! Dlme to pro pivo! Pro pivo, protivo,

Indeed, dont sneer, were doing it for the beer, for the beer, dont sneer,

On the word level idioms like tommyrot39 and metaphor sweat a lot, meaning doing hard work, also assist in creating the playful atmosphere preset by the music. Hopsa hejsa also consists of two interchanging opposing parts, but this time it is a formal decent and fragile character of Hanka versus her loud and "mannerless" classmates. Hanka as a ballet dancer, she dances during the song she sings and her words gently tinkle

No jakpak ne, vdy pvab mj je nevedn a sv. I kdybys hledal stj co stj, podobn najde st.

Indeed, why not? My charm, I can say, is not to be seen everyday. And seek though you may, both far and near You wouldnt find a match, I daresay.

while her classmates as her maids sing their parts and every strophe contains a children's rhyme or other simple phrase that is repeated many times.

Povd j hopsa hejsa, hopsa hejsa, hopsa hejsa, pojedeme do brandejsa do brandejsa do brandejsa

And he tells her: Hoppity hop, hoppity hop, come with me straight to the top

39

Meaning utter foolishness, nonsense

53

Hankas words - indeed, charm, though and daresay correspond to the distinct ballet dance, romantic and dreamy music again supported by onomatopoeic repetitions of in the source lyrics and corresponding the rhyming ay in the translation. The part of the song sang by the crowd is translated by a corresponding rhyme, this time even beginning with the same sound, and rhymed. Affords to achieve semantic-reflective match can be spotted mainly in the two songs where the characters and their attitudes are depicted by music, dancing and verbal elements.

All in all, even though it could be anticipated that due to the small market for which the subtitles are intended and delayed translation the translator would not take time and afford to create a translation of subtitles that would be in harmony with the music it coexists with, surprisingly, a number of textual evidence, that these efforts have been made, may be observed. Due to the specific requirements of subtitles, the level of singability is not high, the three matches are not achieved in any of the songs, however, the purpose of the translation was not to create a singable text, but rather to propose subtitles that would allow convenient observation of the music, singing, dancing and at the same time fluent reading of a text that up to a certain point cooperates with the mentioned elements. To my mind, the translation of song lyrics in Starci na chmelu achieved this aim.

Noc na Karltejn
A night at Karlstejn

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Noc na Karltejn is a romantic and playful film musical, based on a stage play by Jaroslav Vrchlick, directed in 1973 by Zdenk Podskalsk. In contrast with Starci na chmelu it is a simple historical comedy inspired by a myth saying that women were forbidden access to the Karltejn castle built by the Czech king Karel IV. The queen, his wife, missed him and decided to enter the gates of Karltejn despite the ban. At the same time a girlfriend of a cupbearer makes a bet with her dad, that if she manages to spend a night at Karltejn, she will be allowed to marry her boyfriend. Two guests, who arrive at Karltejn at the same time, Peter King of Cyprus and Stephen Duke of Bavaria, do not believe that there are really no women at Karltejn, and decide to find out where the women are hiding. Series of misunderstandings and confusions take place at Karltejn that night, resulting in the cancellation of the banning of women by Karel IV., who also arrives. Music composed by Karel Svoboda (very famous composer, who is also the author of famous stage musical Dracula) is widely known and the individual songs have been covered by a number of singers. This time the songs are sung by the actors with the exception of Lsko m j stu sang by Helena Vondrkov. Lyrics were written by Ji taidl, who often cooperated with Karel Svoboda. Although the dance is not present in the movie, it is still classified as a musical. Characters use archaisms, but its purpose is rather to entertain than to observe the period language.

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3.1

Subtitles

The film was released on DVD in 2003 with Czech and English subtitles; English subtitles were translated by Doris Kokov40. Her translation is the only available version of English subtitles for this film. Subtitles involve a rather uncommon feature; subtitles for dialogues and song lyrics subtitles are displayed in different colors. Yellow colored subtitles signal that the text accompanies a song, while the rest of the subtitles are white. Although the usage of multicolored subtitles may seem unusual and even pointless in this case41, because viewers can hear when actors sing, the distinction may come useful when actors sing and talk at the same time, to distinguish which translation belongs to singing, and which belongs to dialogues; and in case of transitions (beginnings and endings of songs) to signal what part of translation belongs to the lyrics.

Dialogues

Although Night at Karlstejn is based on a drama by Jaroslav Vrchlick, who wrote it in 1884, the plot is set to 1363 and therefore the language is intentionally archaic, including archaic suffixes and word order. The whole drama is a very playful comedy without any secondary meanings, its only

Who translated also for example subtitles to another Czech film called Tajemstv hradu v Karpatech. 41 Colors do not convey meaning in this case, are used for strictly practical reasons.

40

56

purpose is to entertain and the archaic language is one of the sources of the entertainment. Language in the musical is more or less contemporary, with the exception of some archaic vocabulary and suffixes (for example infinitive suffix -ti). Authors of the script probably presumed that the original text would be too archaic (since the original was supposed to be archaic in 1884) and viewers would have problem understanding. The original drama was based on witty dialogues and despite the more modern language in the musical, the dialogues still bear the essential part of the plot; they are playful with quick exchanges. This complexity cannot be reflected in the subtitles, space and time limitations allow only simple and short sentences, therefore the translator is given some freedom only on the word level. Archaic vocabulary concerns mainly positions and ranks of men at Karltejn that no longer exist; some are translated by English equivalents, some are replaced with general expressions. For example "enk" - "cup-bearer", "pe" "page-boy", but "pan purkrab" - "sir", "pacholek" - "man". Women in general are called within the musical called by the archaic German word "fraucimor", translated either as "ladies" or "womenfolk". Other archaic expressions include contemporary objects, mainly arms - "halapartny - halbers, kyrysy cuirasses. As for the registers of individual characters, no significant abnormalities can be spotted in their speech; only two guests, who come to Karlstejn to see the king, Peter, king of Cyprus and Stephen, the Duke of Bavaria exchange sayings. Stephen says a Latin saying and Peter responds with an equivalent Czech saying. Latin sayings are not translated and Czech sayings are translated by an English equivalent De gustibus non est disputandum - nkdo

57

m rd holky, jin zase vdolky - There's no accounting for tastes; Prior tempore, pocior iure - Kdo dv pijde, ten dv mele - The early bird catches the worm. Although the last English saying is rather an equivalent of Czech saying Rann pte dl doske and there actually is an English saying First-come, first-served that would correspond to the Czech saying in the film; there is just a slight shift of meaning. Reference to one literary work may be observed when Karel IV. hosts a dinner and talks to his guests about Czech wine. His monologue is inspired by a poem by Jan Neruda called Romance o Karlu IV.42 (corresponding parts of the poem are quoted in brackets after each line of the monologue in the musical): Nu dej sem i pe a nalej vna (Nu dej sem zlat e, pe, a nalej vna), je z prvn rvy urozen pnov, co dozrla zde v echch (to prvn vno, kter v echch zrlo). Zprvu trochu trpk zd se, ale jen na prvn ochutnn (zprv trpk, ale mil zas) - Pour the wine, boy. From the first vine to have ripened in Bohemia, gentlemen. A little bitter at first it seems. But only the first taste. Even though Night at Karlstejn is a historical musical the language is not too archaic, contemporary words are translated by their English equivalents and sayings in Latin are left untranslated.

Conformity of Music and Lyrics

In comparison to Starci na chmelu, the translation of song lyrics in Noc na Karltejn creates a different relationship between the music and translated lyrics. The style of music draws on the historical setting of the film (fanfares and

42

http://cs.wikisource.org/wiki/Balady_a_romance/Romance_o_Karlu_IV.

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period instruments and harmonies, e.g. at the beginning when the queen is alone at her castle waiting for the king and watches jugglers in the yard), however, almost no archaisms can be found in song lyrics. As far as functions of the songs are concerned, because they were added to the original stage play, they do not convey information about the plot, in other words, if the option of non-translation was chosen, no informational gaps related to the plot would occur. The lyrics do not depict the individual characters, with the exception of Lska na sto let, where the two lovers express their attitude towards love. Therefore the translator is not bound by the obligation to transfer the exact meaning and may render the translation more freely. Doris Kokov has chosen an option that Johan Franzon does not mention in his list of choices in song translation (if the music is to be heard). She has decided to translate the lyrics without taking the music into account, but she does not provide prose translation. She provides her own new versified version of the lyrics. Choices suggest, that the aim was probably to create a poetic text that would not be sung, but would read differently than the rest of the subtitles due to its poetic character. Interesting contrast arises between the approaches to translation of the two films, partially because of the different functions of the songs, partially because of different choices made by the translators.

Prosodic match

Since the translation is irrespective of the music in terms of melody, not many attempts to achieve prosodic match can be found. Syllabic counts vary,

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the songs cannot be sung as notated. Nevertheless, the length of individual sets of subtitles is respected, translated lines are mostly shorter than the source lyrics lines and longer lines are present only in slow songs or before pauses, and therefore allow convenient reading. Out of seven songs only two contain attempts to create syllabically matching lyrics - Lska na sto let and Lsko m j stu (5 matches). Lska na sto let contains 8 matching lines, but the higher percentage is caused mainly by repetition.

Kdo chce lsku prot, mus do n vloit mun srdce hrdiny. M vak lska vel, vloit rozum cel, i kdy mm jen jedin. Mj Boe! R.: Hdejme, kdo nejvc v lsce pravdu m. Ten, kdo nedum. Ten, kdo podum. Hdejme, co vede k lsce stolet. e ns poplete. e ns nesplete! e ns nesplete. e ns poplete! Lska velkolep ta mus bt slep, a miluje pn i kmn. I kdy vn planu, peci nepestanu mti oi do kon. Mj boe! R.: hdejme kdo nejvc....

6 6 7 6 6 7

If from your lover youll not part, You must grow a heros heart. Love makes me feel tense, but I use my common sense. Dear God! When you love this way, Throw all sense away What makes your love last a hundred years quite fast? Keep all sense at bay. Never let us stray! Never let us stray. Keep all sense at bay! Love has to be blind, If you want to be kind. My passion makes me tense, but I use my common sense. My God!

5 3 7 5 3 4

11 5 11 5 5 5 5 6 6 7 6 6 7

5 5 11 5 5 5 5 1 4 6 6 3 4

Other four songs contain only one matching line and no matching syllabic count can be found in Vera z veera.

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As the degree of syllabic match is very low, we can say that the translation does not take into consideration the melody, therefore the translator was not trying to achieve prosodic match.

Poetic match

The layer of poetic match is highly interesting in this translation. When Franzon describes criteria for the match, observing the musics structure, he mentions rhyming and segmentation that is used to evoke effect, draw the attention of viewers. He demonstrates this match on a translation that was meant to be printed and read without any music. To his mind, poetic match is actually the match that signalizes singability when no music is present.

A poetic form would seem to be the only way to indicate singability (or songness) in print, since the prosody of the melody and effects of musical word-painting cannot be communicated visually" (Franzon, 393).

Franzon claims that in some cases poetic match may be achieved while prosodic match is not, and even though in the case of film subtitles the music is heard, as well as the original lyrics, the translator of lyrics subtitles for Noc na Karltejn has decided to employ this option. Translations of lyrics to all songs are rhymed, some respect the original rhyme scheme, and some have different rhyme scheme than the source lyrics. Only one song shares the same rhyme scheme with the source lyrics - Hoja hoj; every strophe employs AABB scheme in this song.

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Chce-li na svt bti pevesel A zvol si nejlep ze vech emesel.A Chce-li okouzlit dvku nevinnou, B sta se vojkem sta se hrdinou. B Ref: Hoja hoj,hoja hoj, v krli mme zastn, A hoja hoj ,hoja hoj, Bh ns ochrn, A hoja hoj ,hoja hoj, hmode a palcty B hoja hoj ,hoja hoj, holky vokat! B Rny na buben m-li ve vnku A nesm zavhat ani vteinku, A slva a pilbu tvoj pozlat B stal ses muem tm co se neztrat, B

If you want to feel better then the rest, A choose a craft that suits you best. A If you want the girls to love you, B be a soldier, be a hero! B Ref. The king supports us. God protects us! Mortatrs and maces, and the girlseyes A A B B A A B B

Hear the drum, dont waste your time! When Glory gilds your helmet youre a man, youve made it!

The only exceptions are two indications of a rhyme - you/hero, maces/eyes, but the attempt to keep the source scheme is obvious. The rhyme scheme in Mui nejlp slu slo is respected only partially, source lyrics employ AB rhyming scheme on every line whereas the translation, in the first strophe and refrain, employs AABB scheme on every other line. If published as a poetic text, the translation would probably print the two lines of subtitles on one line. Second and third strophes are translated differently; although the AABB scheme is kept, the segmentation of lines is different, beginning with an introductory line which does not rhyme and ending with a two lines that do not rhyme as well.

Vlaje fbor, vlaj vlajky, kde se ensk nepletou, dlm stejn dobe krajky jako teku za vtou. Dlouh ivot v domcnosti pipomn rekviem, za takovch okolnost nesmjem se nepijem. Ref. Mui nejlp slu slo, v bitv jako u plotny

A B A B C D C D A B

With no women, to get in the way, A Work gets done as it should all day. A At home life is nothing but a bore, B no laughter, no drink for ever more!B Ref. Even a dwarf just like a giant feels A

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ba i pidimu je kolos, A kdy je doma samotn. B lalalala lalalala lalalalala... Nebudu vm kat dlouze co o enskejch vecko vm, svoje prdlo svm pouze zas a jenom rukm svm. I ta husa radi vid, kdy j pe kube chlap. Kdo se za to pni styd, ten je duchem str a slb. Ref. To co zvldnou ensk ruce, zvldne ruka kluka lp, zamst, zat, vyprat, upct a pak nabrousit si p. Kam neme zajt bel, tam si enskou dosad, a jsi Kain a nebo Abel, vyhbej se podhrad... Ref. A B A B C D C D A B A B C D C D

If he needs no woman to get his meals. A

My laundry smalls I entrust, hear-hear A Only into my own hands without fear! A Even the goose here B will, if she can, have her feathers plucked by a man, B Who is ashamed of that misters, his spirit is old and weak. To bake, darn, sweepany man can do A and then sharpen up his arrow too. A There where the devil cannet bed he sends a woman in his stead! Whether youre Kain or Abel, please watch out for castle surroundings! B B

The concept of rhyming every other line is used in the translation also in Do v, where the AABB scheme rhymes four lines out of eight in each strophe. Other songs rhyme irrespectively of the source rhyming scheme Kdy mm tekutou rvu employs AABB scheme in strophes, ABAB in the first refrain, and AABB in the second refrain. Vera z veera is a song based on repetition, however, the translation uses more repetitions than the source lyrics (cholera/cholera, pni/span, vera/dcera, hbit/aby t x shivers/shivers, plague/plague, be/see).The two remaining songs do not contain any regular rhyme scheme, but irregularly rhyme two subsequent lines. As far as segmentation is concerned, majority of the songs is segmented according to the source lyrics, however, some exceptions may be found. Lska na sto let is conceived as a dispute of a man and woman (Alena and Peek) about love. The refrain consists of interchanges of opinions on how a person in

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love should behave. Surprisingly, the basic concept of interchanges is not fully reflected in the translation.

Hdejme ten kdo ten kdo Hdejme e e e e ns ns ns ns

kdo nejvc v lsce pravdu m nedum, podum. co vede k lsce stolet poplete, nesplete nesplete, poplete

When you love this way, throw all sense away What makes your love last a hundred years quite fast? Keep all sense at bay. Never let us stray! Never let us stray! Keep all sense at bay!

The refrain is sung twice in the song and the line of Peek is left untranslated in both instances. Because the preceding line, sung by Alena, does not end with a full stop and the subsequent line begins with a capital letter, the implication may be that the omission was not intentional43. Syntactic parallelism was not accomplished in majority of lyrics, mainly because the word order had to be changed for the lines to rhyme; sometimes whole lines were interchanged, as for example in the refrain of Mui nejlp slu slo.

Source lyrics Mui nejlp slu slo, v bitv jako u plotny ba i pidimu je kolos, kdy je doma samotn.

Original translation Even a dwarf just like a giant feels If he needs no woman to get his meals.

Literal translation44 A man goes about best solo in fight as at stove even a midget is vigorous When hes on his own at home.

Many times words and phrases were omitted, changed or the meaning shifted for the sake of rhyming, as for instance in Lsko m j stu.

It may be have been a mistake done by any other person involved in the process of the creation of subtitles. 44 My translation

43

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Source lyrics J a mm spnek bezesn mn vera sen se zdl

Original translation Though my nights are sleepless, I had a dream so hopeless:

Literal translation45 Though my nights are sleepless, I had a dream last night,

()
ekl: Lsko m j stu svoji pchu j jen hrl He said to me: My love, as the heavens stand above He said: My love, I am diseased I just pretended to be proud

()
trp m sen oidn a trp m krl sm. A weird dream I have, My king, oh come to me! Treacherous dream torments me, the king himself torments me.

All in all, efforts to achieve poetic effect are concentrated mostly on rhyming. Other aspects of the structure are overlooked or subjected to the rhyme scheme.

Semantic-reflexive match

Due to the fact that music was incorporated into a complex and completed stage play, the story is not told by the songs, however, emotions of the characters are reflected in the lyrics. Probably the most emotive song of the film is Lsko m j stu. Desperate queen who misses her beloved husband sings about a dream she had and in which the king realizes his misconduct, admits he was too proud and forsakes all his possessions to be with his wife. Desperation and frankness of the queens confession is reflected in the song by long vowels that in connection with the music sound like sobbing.

45

My translation

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ekl: Lsko m j stu svoji pchu j jen hrl kvli vm se vzdvm trnu klenot i katedrl.

He said to me: My love, as the heavens stand above for you I give up my throne, my cathedrals and my crown.

Attempts to achieve the same sobbing effect can be spotted. Long vowels in source text are replaced by diphthongs in the translation, moreover, the repetition of the pronoun my supports the urgency of the situation. Beginning of Vera z veera is another example of mood reflected in the lyrics on a sound level. Peek pretends to be ill to have a free evening to spend with his girlfriend.

Vera z veera, mor a cholera, napadly m, pni.

the shakes and the shivers the pest and the plague

The onomatopoeic sequence of r's in the source lyrics helps to create the fake fatal atmosphere of pretended illness, at the same time the usage of deadly diseases that were common in the Middle Ages intensifies the effect. The translation achieves the same effect by creating a sequence of the same consonants, naming illnesses that on each line begin with the same letter. Another example of creating the appropriate atmosphere by the lyrics is Kdy mm tekutou rvu. The song is sung by two drunken men, the translated refrain of the song reflects the cheerful carefree mood, even though the translation is not literal.

Rvo, Rvo poehnan Jiskrn jak mlad panna Rvo, rvo tekut zabarven do luta

You blessed wineLove of mine! You liquid vine sparkling and mine!

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Drawing on the analyzed texts, I would conclude this section by resuming that the translator of subtitles for Noc na Karltejn decided to create a poetic rhymed text. She did not take music into account in terms of melody and in terms of structure, preferred rhymes over syntactic or phrasal parallelism. Efforts to reflect on the semantics of the music may be spotted, but the solutions may have been accidental or may have just reflected on the source text, not the music.

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CONCLUSION
The aim of this work was to introduce the development and possible opportunities within audiovisual translation and to provide a functional analysis of two different approaches to the translation of song lyrics subtitles.

In the Theoretical part of my thesis I have introduced the field of audiovisual translation, its definitions and classification. Then I focused on the specifics of subtitling and film subtitling. History of the AVT research, descriptive and prescriptive research strategies were observed in the third section. Subtitling standards were described in more detail, because they provide guidelines based on scientific observations (e.g. number of lines, duration of display etc.), as well as recommendations that may need to be revised in the future, because of the tendencies used in culturally more distant countries (usage of colored subtitles), new possible opportunities available to translators by means of storage media (DVD various sets of subtitles available, space for translators comments), and methods adopted from the unofficial translations (glosses, acknowledgement of the translator). The specifics of the translation and music were examined in the third section of this thesis. I have chosen two articles from the special issue of The Translator, dedicated to the translation and music, which are relevant for my analysis. First one, written by Elena Di Giovanni, observes different approaches to the translation of musicals, the second one by Johan Franzon provides a systematic classification of the features which constitute singability. His approach is based on functional consequences of match between lyrics and music (Franzon p. 18). According to Franzon, we 68

may determine the level of singability (musico-verbal unity) by examining its three layers (prosodic, poetic and semantic-reflexive). Depending on the purpose of the translation, various combinations of features assigned to each layer may be employed. I have applied this methodology on the lyrics subtitles of the two musical films chosen for analysis in the Practical part.

In the Practical part of my work I have introduced the history of Czech musical and continued by the analysis of individual films.

Starci na chmelu - I have provided a short description of the plot and overall information on the points within the subtitles that were problematic for translation (mostly culture specific terms). The results of the analysis itself show that tendencies towards prosodic match may be observed only within the glossing songs, where the syllabic count is very close to the source lyric, however, the tendency is present only occasionally in other songs of the musical. Therefore we may say that the translation aims for the match with the melody. Attempts to achieve poetic effect are frequent (rhymes, syntactic parallelism and location of key words). The semantic-reflexive match may be observed mainly in two songs (Chmel je nae zlato, Hopsa hejsa), the mood of the song as well as characters and their emotions are expressed by onomatopoeic and idiomatic expressions. All in all, we may observe attempts to achieve singability in the English song lyrics subtitles in Starci na chmelu, at all the three levels. Although the subtitles would not be singable, they are not intended for singing, therefore the translator managed to provide a translation

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that is suitable for the audience, and it is easy to follow, because it respects the structure and expression of the music.

Noc na karltejn the structure of the second analysis is the same as it was for the first film. Dialogue subtitles do not contain many problematic expressions, apart from archaic vocabulary. The functional analysis of the song lyrics has shown substantial differences of the approach to translation in comparison to Starci na chmelu. While several instances of syllabic match could be found in Starci na chmelu, only two songs contain some syllabically matching lines (Lska na sto let, Lsko m, j stu), no systematic attempt to achieve prosodic match was found. The poetic match is achieved in all songs; all are rhymed, although in some cases different rhyming scheme is applied. Examples of semantic-reflexive match may be observed within three out of seven songs. The translator probably did not take music into account, because the melody is not followed in any of the songs. The target lyrics are not singable, the translation is rather a poetic, however, requirements for the song lyrics translation were different from requirements for the translation of Starci na chmelu, because the songs in Noc na Karltejn do not bear any information relevant to the plot, because the story was written before the songs were composed; therefore even if the meanings of the songs are shifted (to be rhymed), no information gap is created. The two analyses demonstrate two different approaches to song lyrics translation. Different combinations of choices were made; however, both translations serve their purpose by achieving some level of singability.

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APPENDIX

Starci na chmelu

Glossing songs

Ten pbh, kter uvidte a co tak divn zan. Ten mohlo prot vae dt, a chce i nechce rodina. Ten me prot vae dt a nikoli jen na chmelu. A kdy se nad nm zamyslte, doshl svho elu. Jsme pece jeden za osmnct a druh bez dvou za dvacet. A byla by vc nerozumn, chtti rub na lc obracet. Chtti rub na lc obracet

The story you're about to see now, unwinding strangely from the start, could be the story of your own child whether you folks like it or not. It may all happen to your own child not only on a summer job, and should it make you consider, then it's purpose has been met. We may seem all widely different, though all in all we're all the same. Thats why it would be all in vain to try to change us inside out to try to change us inside out

Nechte ty hochy, vdy jsou ei. Vdy jsou to ei, soudruzi. Nco si e, tak a e,

a nebrate jim v diskuzi. A dogmatik si, co chce, k, je jeho nzor nezdrav.

Why dont you leave them guys alone, theyre just Czechs like you and me. Why dont you let them settle things straight. Don't interfere and let it be. Let dogmatists have their say, let them state their sick beliefs,

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Jen tahle zdrav polemika doke nco napravit. Doke nco napravit

and only healthy polemics, may bring at lest some remedy. May bring at lest some remedy.

Ten pbh skrv mnoh ALE, tak jako vecko kolem ns. dme matky zachoval, aby nm jet daly as. dme otce v tomto sle, a posekaj s diskuz. A zatm spolknou svoje ALE, tak jako asto na schzi.

Je jedna skepse nerozumn, kterou je nutno vyvracet. My nejsme jeden za osmnct a druh bez dvou za dvacet, a druh bez dvou za dvacet.

This story hides many "ifs", just like all the world around. We approach sensible mothers to give us time before judgement. We also approach present fathers to postpone their hot debate, To gulp their "ifs" just like theyre used to on meetings of their management Scepticism is everpresent and this calls for remedy. We may not seem all that different, yet all in all were not the same. Yet all in all were not the same.

Bda ti chlape, tikrt bda, bda ti, hochu zpozdil. Sbor zachmuen k soudu sed, co nezn bratra soud-li. Soudit t budou soudci psn, co nikdy v tsni nebyli. A jestli nkdy byli v tsni, tak brzy pam ztratili. Je pece v zjmu spolenosti,

Alas, young man. Your time is up! Too bad for you, for holding up. Scowl judges are being summoned, showing no mercy to default. You will be tried by austere judges, who never went through dire straits. And if they ever faced real trouble, their memory was soon surely lost. Its in the interest of the people

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oddlit plevel od zrna. A tys dlal jen mrzutosti, to vc je zjevn patrn. To vc je zjevn patrn.

To separate grain from the chaff. For them you were a nuisance, causing trouble from the start. Causing trouble from the start.

A je vm to, i nen mil, e se to vecko mohlo stt, bylo by velmi poetil pro ivot hledat jzdn d. Kad, kdo um zstat mlad, a dr se t zsady nepeceovat jzdn dy a ovem taky nedy. Tak jeden mladk s jednou slenou se spolu seli na trati. K dojedou a na konenou, k na trati se neztrat. K na trati se neztrat.

Whether you folks like it or not, our story may be true to life. Thats why it would be rather silly To set a timetable for your life. For all those who are young at heart we have one well-proven rule, never let your life beme a schedule, and never let vicious hearts overrule. Thats how this boy and this girl have found themselves on the road. Lets hope they walk hand in hand. Lets hope they reach their journeys end. Lets hope they reach their journeys end.

Chmel je nae zlato

Myslme jenom na to, e chmel je nae zlato. Jedin, co nm svato, je chmel a jenom chmel! Kecte! Protivo, protivo, dlme to pro pivo. Pro pivo, protivo, ee kad ech! Myslme jenom na chmel,

All we ever think about is that hop is our gold! All that is sacred to us is nothing but green gold! Nonsence! Indeed, dont sneer, were doing it for the beer, for the beer, dont sneer, 'cause every Czech loves beer. Hop is all we think about

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tak se, obane, nechmel. Chmel to je nae zlato, chmel nroda je tmel! Nekecte! Kecme, kecme, to si vzti nedme. Jenome, obane, taky makme. Od Tater a po Brdy bu kad otec hrd, a d si jedno tvrd, e chmel jsem esal j! J! J! J!... Myslme jenom na to, e chmel je nae zlato. Jedin, co nm svato, je chmel, je chmel, je chmel!

so that you can enoy your pint, Hop is our most precious crop, our peoples bon dis hop! It isnt nonsense! It is nonsence theres no doubt, itsjust a lot of tommy rot, but cant you really see that we also sweat a lot. From the highlands to valleys green may every fater be proud when he lifts his pint of beer, thats made of hops picked by me. Me!

All we ever think about is that hop is our gold! All that is sacred to us Is nothing but green gold!

Girls bedroom

S oima edma pijede pro ni. Ve voze, kter m sto dvacet kon. A tma oima dvce d zmmen Povd j hopsa hejsa, hopsa hejsa, hopsa hejsa, pojedeme do Brandejsa, do Brandejsa, do Brandejsa. Psobm v t metropoli co vedouc Pramene. No jakpak ne, vdy pvab mj je nevedn a sv. I kdybys hledal stj co stj, podobn najde st. Nebo se piplav na bl lodi. U mola zastav, lano j hod. A ona rukuje, tolik m odvahy. Motor zahm a u pluj, a u

A grey-eyed prince will come for her. In a car with immense horse power. His grey eyes cast a spell on her... And he tells her: Hoppity hop, hoppity hop, come with me straight to the top.

I work in the metropolis, managing my grocery shop. Indeed, why not? My charm, I can say, is not to be seen everyday. And seek though you may, both far and near You wouldnt find a match, I daresay. Or hell come sailing on a white boat. Hell stop by the pier and throw her a rope. And shell limb up, shes so daring, the engine roars

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pluj, a u pluj, do Police, do Police, do Police nad Metuj. Tam ji mon potebuj na pot i u drhy. No jakpak ne, vdy j jsem z tch, kterm se k krska. A kdo jin by poznat ml, emu se k lska? Anebo pijede jenom tak na kole a pece eknu mu -ekne mu

and off theyre sailing to a far away town theyre heading. Maybe she can find a job there at the post office or elsewhere. Indeed, why I not? Else people wouldnt say that I'm beautiful Who else would have a better right to find out if true love is meaningful? Or on a bike he may come And I will say to him all the same, -And she will say to him all the same. My darling, I knew you would come. Thats what shell say, thats how things are, shed go to the end of the world with the right guy. Hoppity hop, hoppity hop, all the way to the top, anywhere he wants to go, to Anchorage or Rio. Simply anywhere with the right guy.

mj mil. U jsem t ekala, kafe m na stole. To mu ekne, tak to bude, tak to bude, tak to bude! S tm pravm i pky pjde, pky pjde, pky pjde! Hopsahejsa do Brandejsa, Do Golova Jenkova, zkrtka vude!

Boys bedroom

ivot je koloto, kolikrt s tebou to, e ani nev pro, jen vyvaluje oi. lovk si nasko a nev, kam to jede, A dnej prvod to ci nedovede. Je marn staen Vech, co dvaj rady. Vy sami, ven, nevte, pro jste tady. Vdy je to prostink, jen pro chytrho arci. Dospl dtint a dtka jsou dnes starci. Moudrej se nermout a fikus nen oura.

Life is a carousel, turning you round and round, and you have no idea what its all about. You jump on a train, not knowing its destination, and no conductor can tell you whats your terminal station. Theres no use trying to give us advice as you knot why youre here even less. Its so perfectly simple, if you are clever enough though, grown-ups are too childish today and children are too old. The wise dont seem to worry, the smart dont seem to care,

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Jsme zkrtka na pouti, kter se veer bour. Posa se do ki, ne ti tam jinej vleze. Hloupej a rozt a chytrk a se veze.

In short we are at a fair that will be no more tomorrow. Jump on a roller coaster, Before it is too late, let the dumb pull the cart and the smart enjoy the ride.

In the attic

Jak e vlastnost odvk od vk dl z lovka lidskou bytost? Pospolitost! A naopak: Co z lovka udlala ta odvk pospolitost? Lidskou bytost! Zda tedy nen k neve, co uinilo to zve! Je k neve! Je k neve! A naopak, zda je zve, kdo chov se tak k neve? Je to zve! Je to zve! Trest bezpkladn d si, kdo odklonil se od masy. Samo sebou, Pnbh s tebou! Kdy tolik touil po sudu, Tak vyhovte mu Sud kulat Rys tu pije Tu je kra, ten tu ije

Wh tis the agelong duality that makes a human being of man? Sociability! And vice versa, what has agelong sociability made of a man? A genuine human! Isnt it thus past all belief what awful things were done by the beast Past all belief! And vice versa, is someone who acts like a beast past all belief? He surely is a beast! Exemplary punishment deserves he who turns his back on the masses. It goes without saying and you can start parying! If for his barrel he yearns, Lets put him in up to his ears. In a round barrel to down his drink

Den je krsn

Den Den Den Den

je je je je

krsn. krsn. krsn.S tebou. krsn. Den je krsn.

Kdy dva se rdi maj i v lednu je jak v mji. I v lednu je jak v mji. S tebou. S tebou. S tebou. S tebou.

The day is lovely. The day is lovely. The day is lovely.With you! The day is lovely. The day is lovely. When two are in love the, winter is like summer, then winter is like summer. With you! With you! With you! With you!

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Den je krsn. Den je krsn. Den je krsn. Den je krsn. Kdy dva mohou bt spolu u jedinho stolu u jedinho stolu S tebou. S tebou. S tebou. S tebou. Den je krsn. Den je krsn. Den je krsn. Den je krsn. Kdy veer prac zmoen ulhm na tv loe Coe? Ach, na jedin loe S tebou. S tebou. S tebou. S tebou.

The day is lovely. The day is lovely. The day is lovely. The day is lovely. When a boy and a girl are sitting at one table, Sitting at the one table With you! With you! With you! With you! The day is lovely. The day is lovely. The day is lovely. The day is lovely. When tired from the days work I lie next to you on our bed. What? On our bed With you! With you! With you! With you!

Hodn hoi

Hodn hoi se najdou vdy a vude, hodnch hoch bylo vdy a vdycky bude moe. Hodnm hochm jen oko pro pl zbude. Hodn hochy batm. Ptm pdem volme: Hodn hoi, nesmte nikdy slevit! Po hodnch hoch se nejlp veze prevt. Mezi km? Mezi m? Mezi hodnmi hochy je sladko t. Tu gramatiku znm, mj otec za to ru. Vdy prv on to byl, kdo skloovat m uil. Chyt hoi si berou, co jim pat. Chytrch hoch kdo dr se, m za ti. Komu? emu? Inu, jenom chytrm pat svt!

Good guys may be found at any place and at any time. There always was and always will be lots and lot of good guys. Good guys will be left all alone to weep into their pillow. I really go for good guys. Let us tell you this: Good guys, you must never give up! Good guys are the best ladder for bad guys, who are climbing to the top. Among whom? Among what? Life is sweet among the good guys. I sure do know my grammar, my dad can prove Im right. As it was he, who taught me all the twists and turns of life. Smart guys take what is theirs by right, those who stick to them get their share. Who? And what? It's the smart guys

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who rule the world.

Do gala

Ho se hochu, aspo trochu do gala, je j j. Hol se, stroj se, vestrann se tu, la la la. Hladk tv a elegance nedbal, je j j, to je dkaz, e jsi prav mu. Pam pada dam pam Pam pada dam pam Tupruj si, dvko, vlasy bez ohledu na poas, tupruj se, neznej bratra, vye es na ti patra.

Lets put on your party suits, let's shave, brush our hair and shine our boots. Smooth skin and casualness are evidence of elegance.

Back comb your hair regardless of the weather, back comb your hair and raise your chignon three floors up

Navoskuj si knr, uprav vlas i vous, A jsi kavalr, na to rendez-vous! Pochyba kdy na t padla, kradmo mrkni do zrcadla. Pouh pohled pesvd t, e jsi vskutku upr dt, e jsi vskutku upr dt. U ta chvle, velk chvle, Nastala, je j j, Krsn vzhled je na ten bo svt, la la la. Tam, kde mui hodili se do gala, je j j, prav dma nesm zstat zpt. Nabdni sv mun rm jeden kad jedn dm a uve ji v mun nze ku slavnostn polonze,

Wax your moustache, trim your hair and beard, Put on your tuxedos For the dance tonight. If doubt should come upon you, steal a glance into the glass, The sight will soon asure you youre a right bonny lass. Youre a right bonny lass. The great moment is at hand. How lovely is the world to look upon? When boys put on their best girls cannot sty behind. Offer your manly arm to the lady by your side And lead her with your manly charm while dancing the polonaise.

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ku slavnostn polonze. (spelling): ABCDEFG HIJKLMN OPRST UVXYZ

While dancing the polonaise!

Bossa nova

Modleme se, modleme se, bossa-nova, bossa-nova. Opakujme ta dv slova: bossa-nova, bossa-nova. Modleme se zas a znova, bossa-nova, bossa-nova. Bossa-nova, bossa-nova S tou modlitbikou dojde vdycky nejdl a doshne s n vecko, cos kdy chtl. A Karel IV. byl ukrutn feudl, tak zaved u ns vno a ne chmel. Bossa-nova, bossa-nova Ta modlitba ti vrt zdrav chatr-n, to je zcela mimo diskuzi. A a Jan mos Komensk byl bratr nezavrhujeme ho, soudruzi. Bossa-nova, bossa-nova

Our prayer is, our prayer is! Bossa nova, bossa nova. Lets repeat those two words: bossa nova, bossa nova. Lets pray over and over. Bossa nova,bossa nova.

This prayer will take you far, Get you what you want, a bike or a car. And although Karel IV was a feudal emperor, He brought wine into Bohemia and not beer. Bossa nova, bossa nova This prayer will restore your health, thats Berger than wisdom or wealth, And although John Amos Comenius was a Czech Brethren, lets not condemn him for that, my dear friends.

In the forest

Co ho tak dojm, co je s tm hochem? Co to m s oima ten divn hoch? Hroch hro ki m,

Whats sating him? Whats wrong with the boy? Why are his eyes aflame? Why does he look so strange? A rhino has thick skin,

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pro nen hrochem? Vdy leda hroch, ne mlad hoch, By bez nsledk ten cit unst moh'. Ten cit ho stravuje jak svtc plamen. Ume snad zaiva zbyten mld. Ti slvka pravdiv, a bude men, jen: Ml ji rd, jen: Ml ji rd mu na nhrobn kmen dejte vytesat.

its a pity he's not a rhino. Only a rhino could bear such a burden, such emotion without any consequence. Passion devours him like a candle the flame. Shall he die young that would be a terrible shame. Three words on his tombstone, when he's over and done with. Three simple words saying: He loved her. He loved her. Engraved under his name.

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Noc na Karltejn

Mui nejlp slu slo

Vlaje fbor, vlaj vlajky, kde se ensk nepletou, dlm stejn dobe krajky jako teku za vtou. Dlouh ivot v domcnosti pipomn rekviem, za takovch okolnost nesmjem se, nepijem! Mui nejlp slu slo v bitv jako u plotny, ba i pidimu je kolos, kdy je doma samotn. lalalala lalalala lalalalala... Nebudu vm kat dlouze, co o enskejch vechno vm! Svoje prdlo svm pouze zas a jenom rukm svm! I ta husa radi vid, kdy j pe kube chlap,

With no women, to get in the way, Work gets done as it should all day. At home life is nothing but a bore, no laughter, no drink for ever more! Even a dwarf just like a giant feels If he needs no woman to get his meals. My laundry smalls I entrust, hear-hear Only into my own hands without fear! Even the goose here will, if she can, have her feathers plucked by a man, Who is ashamed of that misters, his spirit is old and weak. To bake, darn, sweepany man can do and then sharpen up his arrow too. There where the devil cannet bed he sends a woman in his stead! Whether youre Kain or Abel, please watch out for castle surroundings!

kdo se za to, pni, styd, ten je duchem str a slb. Mui nejlp... To co zvldnou ensk ruce, zvldne ruka kluka lp, zamst, zat, vyprat, upct, a pak nabrousit si p. Kam neme zajt bel, tam si enskou dosad! A jsi Kain a nebo Abel vyhbej se podhrad! Mui nejlp...

Do v

L la l la l, l la l la l, Prozra mi, mj pane ven, kampak vedou dvee zamen,

Please, my lord, tell me, whence does lead yonder secret

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kudy kr tajn ten, kdo je lskou popleten. Prozra mi, mj pane ctihodn, pro je tvj hrad k lsce nevhodn a kam skrv vyznn, kdo se lsce nebrn. Asi do v, asi do v. Prozra mi, mj pane lechetn, kudy vedou dvee zletn, kde se schz potaj ti, co lskou roztaj. J ti za to potom prozradm, jak se struny v en nalad. Za to chtl bych pouze znt, kam se skrv, kdo m rd. Asi do v, asi do v. Asi do v.

door, through which love steals for ever more. Please, my lord, tell me, why is this castle for love so unsuited, where does it keep Its heartbeats muted? In the towers? In the towers? Please, my lord, tell me, whence does lead yonder secret door, where do lovers here in secret meet brought by their love on winged feet? Ill tell how to tune sweet music in a girl, if you tell me, Where my wings I can unfurl! In the towers? In the towers?

Lska na sto let

Kdo chce lsku prot, mus do n vloit mun srdce hrdiny. M vak lska vel, vloit rozum cel, i kdy mm jen jedin. Mj Boe! R.: Hdejme, kdo nejvc v lsce pravdu m. Ten, kdo nedum. Ten, kdo podum. Hdejme, co vede k lsce stolet. e ns poplete. e ns nesplete! e ns nesplete. e ns poplete! Lska velkolep ta mus bt slep, a miluje pn i kmn. I kdy vn planu, peci nepestanu mti oi do kon.

If from your lover youll not part, You must grow a heros heart. Love makes me feel tense, but I use my common sense. Dear God! When you love this way, Throw all sense away What makes your love last a hundred years quite fast? Keep all sense at bay. Never let us stray! Never let us stray! Keep all sense at bay! Love has to be blind, If you want to be kind. My passion makes me tense, but I use my common sense.

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Mj boe! R.: hdejme kdo nejvc....

My God!

R. Kdypak tetevi hon s lovci prohraj? Kdy tokaj, ano ano - kdy tokaj. A kdy dospl mu nejvc chybuje? Kdy miluje, -kdy miluje. Kdo chce lskou zaplt, Nen ti nic naplat to, e k tomu enu m! A m srdce ryz -ena ti vdy zmiz -A dum i nedum! Ref.

When does the wood/rock win over the hunter? At mating time Yeahat mating time. Whens a man the greatest fool? When hes in love. When hes in love. Even if you burn with desire Whats the good in all that fire! However pure your heartYou knot you have to part Lucky the wood-cock!

Vera z veera

Vera z veera mor a cholera napadly m, pni! Vera z veera, mor a cholera zkazily mu span. Dna a oubyt v edm hbit pily ke mn vera. Dna a oubyt v edm hbit pila n, pila n dcra. Dna a oubyt v edm hbit, dna a oubyt, ert u aby t! Dna a oubyt, ert u aby t! Je v tom n, je v tom n dcra.

the shakes and the shivers the pest and the plague He's got the shakes and the shivers the pest and the plague The wasting disease it must be, that plagues me as you can see. The wasting disease it must be Somebodys daughter it must be, that plagues him, I can see. The wasting disease it must be The wasting disease it must be The wasting disease it must be Somebodys daughter, as I can see.

Kdy mm tekutou rvu

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Kdy mm tekutou rvu, tak vnuji se zpvu a ivot krut lep je! Kdy mm tekutou rvu, tu shnm krsnou dvu, neb prav mu sm nepije. Rvo, rvo poehnan, jiskrn jak mlad panna! Rvo, rvo tekut, zabarven do luta! CHA,CHA,CHA Kdy mm tekutou rvu, tak ctm kadou cvu jako strunu loutnovou. Kdy mm tekutou rvu, jsem Adam a chci Evu, a takovou i makovou. Rvo, rvo poehnan, zrdn jako ena vdan! Rvo, rvo tekut, zabarven do luta! CHA,CHA,CHA

Wine in a glass on a platter makes this cruel life better, but then my eye does start to roam. Man does not like to drink alone! You blessed wineLove of mine! You liquid vine sparkling and mine! With you in my veins thats all that remains With wine, you must believe, Im Adam, and I want my Eve. Liquid vine, youre nearly human treacherous as a married woman. You liquid vinesparkling and mine!

Hoja-hoj

Chce-li na svte bti pevesel, zvol si nejlep ze vech emesel. Chce-li okouzlit dvku nevinnou, sta se vojkem sta se hrdinou! Ref: Hoja-hoj,hoja-hoj, v krli mme zasln, hoja-hoj ,hoja-hoj, Bh ns ochrn! Hoja-hoj ,hoja-hoj, hmode a palcty, hoja-hoj ,hoja-hoj, holky vokat. Rny na buben, m-li ve vnku, nesm zavhat ani vteinku. Slva a pilbu tvoj pozlat, stal ses muem tm, co se neztrat! (3 krt)Ref:

If you want to feel better then the rest, choose a craft that suits you best. If you want the girls to love you, be a soldier, be a hero! Ref. The king supports us. God protects us! Mortatrs and maces, and the girlseyes Hear the drum, dont waste your time! When Glory gilds your helmet youre a man, youve made it! Ref

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Hoja-hoj,hoja-hoj, v krli mme zasln, hoja-hoj,hoja-hoj, bh ns ochrn! Hoja-hoj,hoja-hoj, hmode a palcty, hoja-hoj,hoja-hoj, holky vokat.

Lsko m, j stu

J a mm spnek bezesn, mn vera sen se zdl. I kdy dvno nejsem s nm, m navtvil sm krl! R: ekl: Lsko m, j stu, svoji pchu j jen hrl. Kvli vm se vzdvm trnu, klenot i katedrl. A den mm jindy poklidn, dnes nevm kudy kam. Trp m sen oidn a trp m krl sm! R: ekl: Lsko m, j stu, svoji pchu j jen hrl. Kvli vm se vzdvm trnu, klenot i katedrl. R: ekl: Lsko m, j stu, svoji pchu j jen hrl. Kvli vm se vzdvm trnu, klenot i katedrl.

Though my nights are sleepless, I had a dream so hopeless: Long ago weve been parted, My King, he came to me! He said to me: My love, as the heavens stand above for you I give up my throne, my cathedrals and my crown. Though my days are eventless, today I feel so restless. A weird dream I have, My king, oh come to me! Ref.

Ref.

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