В региональном конкурсе переводов, посвящённом 170-летнему юбилею

Рассказа Эдгара По «Золотой жук»

Фамилия Имя Отчество участника
Класс/ курс обучения
Название образовательного учреждения (согласно уставным документам), структурного подразделения (при наличии)
Фамилия Имя Отчество, должность, степень, звание (при наличии) педагога, подготовившего участника
Адрес электронной почты участника/ педагога / организации

Пример оформления текста перевода

Перевод с английского языка на русский

Название текста

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Перевод выполнен Петровым Ильей Игоревичем.

Приложение 2

Текст для перевода учащимися 7-9 классов

(http://jtrezza.qwriting.qc.cuny.edu/gold-bug-overview/)

Plot Summary

If you are visiting this website, it’s assumed that you already have an at least preliminary understanding of the Gold-Bug in regards to its plot. In case you don’t, here’s what happens.

The Gold-Bug centers around an unnamed narrator and his involvement with William Legrand, a friend of his who lives on Sullivan’s Island in Charleston, SC with his slave Jupitar. The narrator arrives to a joyous Legrand, euphoric over a golden insect he has recently discovered. Since he has lent the specimen to a Lieutenant, Legrand draws a picture of the bug for his friend to see.

The insect is brilliant gold, with two large black spots near one extremity of the back, and another on the other side. It is about the size of a hickory nut.

Upon the completion of the drawing the narrator inspects it and concludes that the bug most closely resembles a human skull. Legrand does not agree. They bicker about it for a minute until Legrand takes a second look, at which point he becomes enthralled with the sketching, completely obsessed with what he’s drawn. He ignores his guest for some time, his eyes buried in the paper, which he turns from side to side in his all-inches inspection. The narrator, who had planned to spend the night, begins to feel unwelcome, and leaves.

The narrator hasn’t heard from Legrand in a month when Jupitar arrives at his door, delivering a letter from his master urging the narrator to see him at his home in regards to a matter of “the highest importance”. Jupitar tells the narrator that he thinks Legrand has been bitten by the golden bug and has fallen ill.

Once the narrator arrives on Sullivan’s Island, Legrand tells him that he believes the bug is made out of solid gold and is worth a fortune. He then makes the narrator accompany him on a journey through the wilderness with the insect tied to a string.

After two hours the men come across a large tulip tree, which Legrand instructs Jupitar to climb. All the way up on the seventh limb, Jupitar finds a human skull dangling high above the ground. He is then instructed to drop the beetle down through the skull’s left eye socket. Where the bug falls, Legrand begins to dig. After two hours, they find nothing. It is then when Jupitar realizes he dropped the bug through the skull’s right eye.

The servant goes through the routine again, this time correctly, and the men begin to dig once more. It’s in this spot where they find a vast buried treasure of jewels.

The narrator estimates the treasure, buried by the legendary Captain Kidd, to be worth $1.5 million. Poe offers a detailed description of the treasure’s contents, and once it has been safely recovered, Legrand finally describes the methods of which he used to find it.

The man pieced together a cryptogram which he found on his drawing of the death’s-head-shaped beetle. After discovering the code, a monumental feat in itself, Legrand then deciphered the hidden message, both of which are reproduced below. He succinctly wraps up the story by sharing his detailed procedure, leaving no loose ends or questions as to the treasure of how he found it.

The Code:

“53‡‡†305)) 6*;4826)4‡)4‡;806*;48‡8¶60))85;1-(;:*8-83(88)5*‡

;46(;88*96*?;8)*‡(;485);5*†2:*‡(;4956*2(5*- 4)8¶8*;40692

85);)6†8)4;1(‡9;48081;8:8‡1;48†85;4)485†528806*81(‡9;48;

(88;4 (‡?34;48)4‡;161;:188;‡?;”

The translated message:

A good glass in the bishop’s hostel in the devil’s seat

forty-one degrees and thirteen minutes northeast and by north

main branch seventh limb east side shoot from the left eye of the death’s-head

a bee line from the tree through the shot fifty feet out.

Текст для перевода учащимися 10-11 классов, учащимися учреждений среднего профессионального образования

(http://www.poemuseum.org/poes-biography)

Biography

The name Poe brings to mind images of murderers and madmen, premature burials, and mysterious women who return from the dead. His works have been in print since 1827 and include such literary classics as “The Tell-Tale Heart,” “The Raven,” and “The Fall of the House of Usher.” This versatile writer’s oeuvre includes short stories, poetry, a novel, a textbook, a book of scientific theory, and hundreds of essays and book reviews. He is widely acknowledged as the inventor of the modern detective story and an innovator in the science fiction genre, but he made his living as America’s first great literary critic and theoretician. Poe’s reputation today rests primarily on his tales of terror as well as on his haunting lyric poetry.

Just as the bizarre characters in Poe’s stories have captured the public imagination, so too has Poe himself. He is often seen as a morbid, mysterious figure lurking in the shadows of moonlit cemeteries or crumbling castles. This is the Poe of legend. But much of what we know about Poe is wrong, the product of a biography written by one of his enemies in an attempt to defame the author’s name.

The real Poe was born to traveling actors in Boston on January 19, 1809, but within three years both of his parents had died. Poe was taken in by the wealthy tobacco merchant John Allan and his wife Frances Valentine Allan in Richmond, Virginia, while his brother and sister went to live with other families. Mr. Allan reared Poe to be a businessman and a Virginia gentleman, but Poe dreamt of emulating his childhood hero, the British poet Lord Byron. The backs of some of Allan’s ledger sheets reveal early poetic verses scrawled in a young Poe’s handwriting and show how little interest Edgar had in the tobacco business.

In 1826 Poe left Richmond to attend the University of Virginia, where he excelled in his classes but accumulated considerable debt. The miserly Allan had sent Poe to college with less than a third of the funds he needed, and Poe soon took up gambling to raise money to pay his expenses. By the end of his first term Poe was so desperately poor that he burned his furniture to keep warm. Humiliated by his poverty and furious with Allan, Poe was forced to drop out of school and return to Richmond. However, matters continued to worsen. He visited the home of his fiancée, Elmira Royster, only to discover that she had become engaged to another man.

The heartbroken Poe’s last few months in the Allan mansion were punctuated with increasing hostility toward Allan until Poe finally stormed out of the home in a quixotic quest to become a great poet and to find adventure. He accomplished the former by publishing his first book Tamerlane when he was only eighteen; to achieve the latter, he enlisted in the United States Army. Two years later he entered the United States Military Academy at West Point while continuing to write and publish poetry. But after only eight months at West Point Poe was thrown out.

Broke and alone, Poe turned to Baltimore—his late father’s home—and called upon relatives in the city. One of Poe’s cousins robbed him in the night but another relative, Poe’s aunt Maria Clemm, became a new mother to him and welcomed him into her home. Clemm’s daughter, Virginia, first acted as a courier to carry letters to Poe’s lady loves but soon became the object of his desire.

While Poe was in Baltimore, John Allan died, leaving Poe out of his will, which did, however, provide for an illegitimate child whom Allan had never seen. By then Poe was living in poverty but had started publishing his short stories, one of which won a contest sponsored by the Saturday Visiter. The connections Poe established through the contest allowed him to publish more stories and to eventually gain an editorial position at the Southern Literary Messenger in Richmond. It was at this magazine that Poe finally found his life’s work as a magazine writer.

Текст для перевода студентами вузов

(http://www.jstor.org/stable/pdf/27532355.pdf?refreqid=excelsior%3Af18425cd95412a188146b57c4f35b396)

POE'S GOLD BUG FROM THE STANDPOINT OF AN ENTOMOLOGIST

Probably no entomologist has ever given a serious thought to the possibility of the actual existence of such an insect as Poe's "gold bug." It is generally believed that the beetle, like the story, must have been merely a creation of the writer's fertile' imagination; for nothing that answers to it is catalogued in the whole eleven thousand and odd beetles known in America north of Mexico, nor have the tropics as yet produced its fellow. And yet, Poe was not ignorant of nature: on the contrary he was more than ordinarily alive to it; for it is known that he was a conchologist and that he wrote the text for an illustrated work on that subject. Indeed, in the Gold Bug he refers to Legrand's taste for conchology and speaks of his collecting shells and insects and of his delight at finding "an unknown bivalve" as well as the "Scarabaeus," as he calls the "gold bug." Moreover, in his descriptions of that insect, Poe shows himself to some extent conversant with insect anatomy. It will be pertinent to examine some other points in which imagination plays with the actual to suit the plot of the narrative. Though some freedom with facts must be allowed the writer of a purely imaginary tale, even if it has historical foundation, yet, where a plot is laid in a well-known locality, considerable accuracy in local coloring and setting would seem proper, if not imperative. In the Gold Bug, Poe has met fully this requirement, and has given vivid and accurate pictures of Sullivan's Island, the scene of the tale. Here he could draw on his own experience, for during his enlistment in the army from 1827 to 1829, he was stationed for about a year on this island in Charleston harbor. But as the real interest in the story lies in the ingenious reasoning relative to the cryptogram, he makes everything subservient to the development of this particular feature. Thus he does not hesitate to introduce "Bishop's Castle," though he was doubtless well aware that no rocks of that sort or of any other description were indigenous to the low and alluvial region of the South Carolina coast. He must also have known that there was no mainland to the east of Sullivan's Island, but only the low, palmetto and live-oak covered island, formerly known as Long Island, and now as the Isle of Palms; that the mainland, from the eastern end of Sullivan's Island was many miles to the north, beyond a wilderness of salt marsh and mud flats, and traversed by winding and difficult creeks; and that certainly no pirate would have ventured so far inland, when the Isle of Palms, or rather Long Island, offered at that time all the safety needed for the burial of treasure Poe may not have known, what now seems true, that Kidd never was on the Carolina coast, but that his treasure, if buried anywhere, was hidden along the shores of Long Island near New York. Or perhaps the identity of name for the two islands may have suggested a whimsical connection to Poe, and the necessity for the pun on Kidd may have prevented his choosing a Thatch, Moody, Worley, or Bonnett, all freebooters who did often visit the Carolina shores. No further analysis need be made of the tale to show the odd mixture of accuracy and pure invention in his dealing with a locality familiar to him.

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