MASARYK UNIVERSITY FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE

Translating Terry Pratchett's "Soul Music": Selected Aspects of the Author's Style Diploma thesis

Brno 2013

Supervisor: Author: Mgr. Martin Adam, Ph.D. Bc. Petra Koudelková

Prohlášení Prohlašuji, že jsem diplomovou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů uvedených v seznamu použité literatury.

Declaration I hereby declare that I have written this work by myself, using only the sources listed in the bibliography. ______Petra Koudelková

2

Acknowledgement

I would like to thank my supervisor Mgr. Martin Adam, Ph.D. for his support, kind attitude, valuable advice and careful guidance.

3

Abstract

This diploma thesis deals with a translation of a part of a book “Soul Music” by an English writer Terry Pratchett from the English original into Czech language. The work is divided into two parts – practical and theoretical where the first part is the translation itself and the second part provides the analysis of the translated text on the basis of graphical, lexical, textual and syntactic equivalence. The theoretical part describes various features of these equivalences and explores differences between the English original and the Czech translation. Further, it considers possible problems which may appear during translation process. Specific findings and conclusions were discovered during the work on the thesis, and these outcomes are described in the theoretical part. Mainly publications on translation theory and praxis served as an initial source.

Key words: Terry Pratchett, Soul Music, analysis, translation, syntactic, equivalence, functional sentence perspective, Czech language, English language.

Abstrakt

Tato diplomová práce se zabývá překladem části knihy Soul Music anglického spisovatele Terryho Pratchetta, a to z originálu do češtiny. Práce je rozdělena do dvou částí – praktické a teoretické. Praktická část představuje samotný překlad a v části teoretické je podána analýza překládaného textu na základě grafické, lexikální, textové a syntaktické ekvivalence. Teoretická část popisuje různé podoby těchto shodností a vysvětluje rozdíly mezi anglickým originálem a českým překladem. Rovněž uvažuje o různých problémech, které se mohou vynořit v průběhu překládání. Při tvorbě této diplomové práce došlo ke specifickým zjištěním a závěrům a o těchto výsledcích pojednává teoretická část. Jako hlavní prameny byly použity převážně publikace vztahující se k teorii a praxi překladu.

Klíčová slova: Terry Pratchett, Soul Music, analýza, překlad, syntaktika, ekvivalence, funkční větná perspektiva, český jazyk, anglický jazyk.

4 Contents

1. Introduction ……………………………………………………………………………… 6 1.1 Terry Pratchett …………………………………………………………………… 7 1.2 Translation ……………………………………………………………………….. 8 1.3 The Plot …………………………………………………………………………... 8 2. Practical Part ……………………………………………………………………………. 10 3. Theoretical Part …………………………………………………………………………. 77 3.1 Translation Principles …………………………………………………………… 77 3.2 Graphical equivalence …………………………………………………………... 79 3. 2. 1 Italics ………………………………………………………………… 79 3. 2. 2 Punctuation …………………………………………………………... 82 3. 2. 3 Capitals ………………………………………………………………. 83 3. 2. 4 Spelling ………………………………………………………………. 87 3. 2. 5 Usage of footnotes …………………………………………………… 86 3. 3 Lexical equivalence …………………………………………………………….. 88 3. 3. 1 Full equivalence ……………………………………………………… 88 3. 3. 2 Partial equivalence …………………………………………………… 89 3. 3. 3 Zero equivalence …………………………………………………….. 91 3. 3. 3. 1 Proper nouns ………………………………………………. 93 3. 3. 3. 2 Names of places …………………………………………… 94 3. 3. 3. 3 Verb say …………………………………………………... 95 3. 3. 3. 4 Interjections ……………………………………………….. 98 3. 4 Textual equivalence …………………………………………………………… 100 3. 4. 1 Cohesion ……………………………………………………………. 101 3. 4. 2 Functional sentence perspective ……………………………………. 106 3. 4. 2. 1 Context ………………………………………………….. 107 3. 4. 2. 2 Word order ……………………………………………….. 109 3. 4. 2. 3 Translation teasers ……………………………………….. 111 3. 5 Syntactic equivalence …………………………………………………………. 113 4. Conclusion ……………………………………………………………………………... 117 Bibliography ……………………………………………………………………………… 119 Internet sources ………………………………………………………………………….. 120

5 1. Introduction

This diploma thesis deals with selected aspects of translation of a part of a book written by Terry Pratchett, Soul Music. For this purpose, nearly sixty pages were chosen for the translation and furthermore, this translated part of the book was analysed in the view of author’s style. Translators of all books handle with a difficult aim; to transform a book into a new environment. Books written in English are written for an English environment, and thus if the book should be translated for a Czech environment, they should consider it properly. These varieties can cause problems assuming the fact that the translator plainly translates books or other texts. Translations of Pratchett's books must be difficult for his translators. Therefore, it is not surprising that there is only one Czech translator – Jan Kantůrek. Pratchett's books belong to my favourite books. It is impossible for me to compete with Kantůrek, and I even do not intend to surmount his work. Nevertheless, I wanted to try to work as a translator; what problems they meet while translating the works. Another important aspect of the theoretical survey was the introduction of the concept of translations with the support of literature concerning theories of translations suggested by Jiří Levý in his work Umění překladu, About Translation by Peter Newmark and Dagmar Knittlová’s Překlad a překládání. There are more sources, i.e. dictionaries and other books but the three mentioned can be considered as the two main sources for this diploma thesis. Not only these books were used but also more sources were covered in the thesis in order to make the most objective view on the work and its features. After having read the book, I have chosen a part of it which is designated for the translation. I tried to point out not only all main characters of the book but also cover interesting author’s aspects. The thesis consists of three main parts. In first chapters the author of Soul Music, Terry Pratchett, is presented. I focused on Pratchett's life and work, his writing style and as well as the novel itself. The second, practical part presents the translation of a selected part of the book. I intended to apply the theoretical knowledge and translate the selected part of the original work into a fluent and natural Czech language. The third chapter is theoretical. It deals with the author’s aspects and should demonstrate how I managed to cope with them in the practical part. The emphasis was placed on graphical, lexical, textual and syntactic

6 equivalence or distinction between these two languages resulting from their different nature. The aim of this thesis is not to compare my translation with Kantůrek’s work but to point out Terry Pratchett’s style and how this style is kept in my translation. The aim of this work was not to come up with a professional translation and compete with Jan Kantůrek, but there was an intention to experience the work of a translator and see how a translated book rises from the original, and how English and Czech language work via its analysis seen from the view of the author’s typical features.

1.1 Terry Pratchett

Terry Pratchett is one of the most respected fantasy writers Britain has ever produced. He’s up there with Tolkien and CS Lewis, and one could not bestow higher – or more relevant – accolade. (Campbell, xviii)

Terry David John Pratchett was born in Beaconsfield, Buckinghamshire on 28th April 1948. Primarily, Pratchett is well-known for his Discworld series of fantasy novels which are comic. These series are long-running and he wrote his first Discworld novel – The Colour of Magic – in 1983, where ordinary people, dwarfs, magis, trolls, witches, Death and other fantasy characters. He started writing in his early age and his short stories were published in a school magazine. His first short story The Hades Business was written in 1961 and published in 1963 in Science Fantasy magazine. Not only has he written books about Discworld but he also has written books for children involving Discworld and non-Discworld stories, i. e. Carpet People. Unfortunately, Terry Pratchett has been diagnosed with Alzheimer’s disease in 2007. Nevertheless, he has been writing for more than 50 years. (Campbell, 3-18) Pratchett belongs to a few of writers who have been writing for everyone – children and adults. He has written fifty books of which thirty-nine are Discworld novels and he has co-authored about other fifty. The series has expanded to several related books and maps, short stories, cartoon and theatre adaptations. (Smythe, Terry Pratchett) There have been over 75 million books sold all over the world and his books were translated into 37 languages. Pratchett gained the British Book Awards' 'Fantasy and Science Fiction Author of the Year' for 1994 and, in 1998, was named an Officer of the Order of the British Empire 'for services to literature'. He gained the Carnegie Medal for his children's novel The Amazing Maurice and His Educated Rodents in 2001. (Terry Pratchett)

7 1.2 Translations Jan Kantůrek, who was born in Zlín in 1948, is the only and exclusive translator of Terry Pratchett’s books in the Czech Republic. His works have been awarded with the ‘Academy of science fiction, fantasy and horrors. In 2003 he received a prize for his lifetime work. Kantůrek is reproached for his inconsistency and some factual mistakes in his translations. Nevertheless, Terry Pratchett declared publicly that he is confident of high quality translations of his books in Holland and the Czech Republic only. (Červenková)

1.3 The plot Pratchett’s fantasy vision about how Music tears itself from a chain in a fantasy world. Three so called musicians (a human, a troll and a dwarf) have got problems in a Discworld city Ankh-Morpork, especially with local Music guild whose fees are too high for them to be able to afford them. They get a magical guitar by an accident. Enchanted music sleeps in the guitar, and the instrument starts controlling the musicians. At the same time, the Discworld’s Death decides to search for oblivion, and thus He sets his scythe aside and gets lost. His job must be taken by his granddaughter Susan. Susan’s and the musicians’ journeys intersect just when the guitar player is about to die. Susan wavers to swing with the scythe, and at the same time Music is born in the guitar. Music with rocks in as it is later called, seizes control over Ankh-Morpork and captures a part of professorial body which sits in Unseen University. According to Pratchett’s words, mags are masters of doing nothing dynamically. Nevertheless, its librarian appears on a stage behind a piano keyboard, and its dean starts to take into account to paint his flat’s wall black. Music is being spread out of any control all over Discworld and causes not only mass hysteria but also riots – where we may see connection with the Beatles impact. The guitar player Buddy, who was supposed to die, lives from borrowed time, which was given to him by Music. This situation starts to be considered strange by other members of the group. The musicians go on tours to states which neighbour with Ankh-Morpork, and at the same time they are followed by a Music guild boss and his followers. They tend to kill Buddy but Susan who is accompanied by Rat’s Death and a raven, who can speak, stops them from killing Buddy together with archancellor of an Unseen university. The archancellor together with the head of high-voltage current magic department are probably the only mags who are resistant to Music. The high peak of the tour should be a giant concert in Ankh-Morpork, even though Buddy is nearly dead and is coming alive only when he plays.

8 The absence of Death and Susan’s inactivity, who probably fell in love with Buddy, gently disrupts balanced balance of a magic world, and thus Death’s servant Albert sets off to find his lord. After a huge success at the Ankh-Morpork mega concert, the musicians are fleeing with a sack full of dollars which people paid for the tickets. They are followed by Mister Clete from the Guild, the Death on a borrowed magical Harley-Davidson, which was built by the librarian. The end of a book is very wild. It consists of horse coach and motorbike chase, the Death starts working again – he helps the musicians to get rid of the men from the Guild (the Rat’s Death has its important role here too), he solves Buddy’s problem and after the magic guitar is liquidated, the Music disappears after having caused so many troubles. Relationship between Susan and Buddy is let open by Terry Pratchett.

9 Terry Pratchett Terry Pratchett Soul Music Hudba duše Susan got through the next morning without Zuzana prošla dalším ránem, aniž by se having to go non-existent. Geography musela stát neviditelnou. Zeměpis se skládal consisted of the flora of the Sto Plains,1 z flóry v Zelném hrabství,1 hlavního vývozu chief exports of the Sto Plains,2 and the fauna Zelného hrabství,2 a fauny Zelného hrabství.3 of the Sto Plains.3 Once you mastered the Jakmile jste jednou zvládli společného common denominator, it was straightforward. jmenovatele, bylo to jednoduché. Děvčata The gels had to colour in a map. This měla vybarvovat mapu. K tomu bylo involved a lot of green. Lunch was dead zapotřebí hodně zelené. K obědu byly Prsty Man’s Fingers and Eyeball Pudding, a mrtvého muže a Pudink z očních bulv, tedy healthy ballast for the afternoon’s zdravý základ pro odpolední zaměstnání, což occupation, which was Sport. byl sport. This was the province of Iron Lily, who Tento rajón patřil Železné Lily, o které se was rumoured to shave and lift weights with šuškalo, že se holí a činky zvedá pomocí her teeth, and whose shouts of zubů. Její povzbuzující výkřiky, když encouragement as she thundered up and poskakovala u postranní čáry, vyznívaly asi down the touchline tended towards the nature v tomto duchu: „Seberte ten balón, vy bando of ‘Get some ball, you bunch of soft nellies!’ měkkot!“ Miss Butts and Miss Delcross kept their Slečna Knoflíčková a slečna Delcrosová windows closed on games afternoon. Miss nechávaly během těchto odpoledních dní Butts ferociously read logic and Miss zavřená okna. Slečna Knoflíčková urputně Delcross, in her idea of a toga, practised četla logiku a slečna Křížková cvičila v eurhythmics in the gym. tělocvičné eurytmiku v tom, co považovala za tógu. Susan surprised people by being good at Zuzana překvapovala lidi tím, že byla ve sport. Some sport, anyway. Hockey, lacrosse sportu dobrá. Totiž v některých sportech. Byl and rounders, certainly. to samozřejmě hokej, lakros a pálkovaná.

1 Cabbages. 1 Zelí 2 Cabbages. 2 Zelí 3 Anything that ate cabbages and didn’t mind not having any 3 Cokoliv, co jí zelí a nevadí mu, že nemá žádného friends. přítele.

10 Any game that involved putting a stick of A rozhodně jakákoli hra, která zahrnovala some sort in her hands and asking her to uchopení nějaké hole do rukou a jež swing it, definitely. The sight of Susan vyžadovala prudké švihnutí touto holí. advancing towards goal with a calculating Pohled na Zuzanu, řítící se s vypočítavým look made any goalie lose all faith in her pohledem na branku, donutil jakoukoli prospective padding and throw herself flat as brankářku ztratit veškerou důvěru ve své the ball flashed past at waist height, making a chrániče a plácnout sebou na zem ve chvíli, humming noise. kdy míček s hukotem prosvištěl ve výši pasu. It was only evidence of the general stupidity Byl to jen důkaz všeobecné hlouposti zbytku of the rest of humanity, Susan considered, lidstva, přemýšlela Zuzana. Ačkoli byla that although she was manifestly one of the evidentně jednou z nejlepších hráček ve best players in the school she never got škole, nikdy ji nikdo nevybral do svého picked for teams. Even fat girls with spots týmu. Dokonce tlustá děvčata s akné byla got picked before her. It was so infuriatingly vybrána před ní. Bylo to nesnesitelně unreasonable, and she could never nesmyslné a nikdy nemohla pochopit proč. understand why. She’d explained to other girls how good Vysvětlila ostatním děvčatům, jak je dobrá, she was, and demonstrated her skill, and ukázala jim svou dovednost a poukázala na pointed out just how stupid they were in not to, jak jsou hloupé, když ji nevyberou. picking her. For some exasperating reason it Z nějakého nepochopitelného důvodu se didn’t seem to have any effect. zdálo, že to nemělo žádný efekt. This afternoon she went for an official walk Místo toho šla dnes odpoledne oficiálně na instead. This was an acceptable alternative, procházku. To byla přijatelná alternativa, provided girls went in company. Usually they pokud s vámi šla i ostatní děvčata. Obvykle went into town and bought stale fish and šly do města a koupily v zatuchlém obchodě chips from an unfragrant shop in Three Roses v Růžové ulici starou rybu a hranolky; slečna Alley; fried food was considered unhealthy Knoflíčková považovala smažené jídlo za by Miss Butts, and therefore bought out of nezdravé, a děvčata si je kupovala vždy, když school at every opportunity. byla mimo školu. Girls had to walk in groups of three or Děvčata musela chodit ve skupinkách po more. Peril, in Miss Butt’s conjectural třech a více. Nebezpečí, podle neověřené experience, couldn’t happen to units of more zkušenosti slečny Knoflíčkové, nemohlo than two. hrozit více než dvoučlenným skupinkám.

11 In any case it was certainly unlikely to Každopádně bylo velmi nepravděpodobné, happen to any group that contained Princess že se to přihodí jakékoli skupince, v níž byla Jade and Gloria Thogsdaughter. princezna Nefrit a Glorie Thogsdaughterová. The school’s owners had been a bit Majitel školy měl trochu problém s přijetím bothered about taking a troll, but Jade’s trola, ale Nefritin otec byl králem celé hory a father was king of an entire mountain and it bylo vždy velmi dobré mít ve škole členy always looked good to have royalty on the nějaké královské rodiny. A co víc, jak roll. And besides, Miss Butts had remarked poznamenala slečna Knoflíčková ke slečně to Miss Delcross, it’s our duty to encourage Křížkové, je to naše povinnost povzbuzovat them if they show any inclination to become je, pokud ukážou nějakou chuť se stát real people and the King is actually quite opravdovými lidmi a král je v podstatě charming and assures me he can’t even docela okouzlující a ujistil mě, že si ani remember when he last ate anyone. Jade had nemůže vzpomenout, kdy někoho naposledy bad eyesight, a note excusing her from snědl. Nefrit špatně viděla, a to ji omlouvalo unnecessary sunshine, and knitting chain z nadbytečného pobytu na sluníčku a z toho, mail in handicraft class. že v hodinách ručních prací pletla drátěnou košili. Whereas Gloria was banned from sport Naopak Glorii zakázali tělocvik kvůli její because of her tendency to use her axe in a tendenci výhružně manipulovat se sekerou. threatening manner. Miss Butts had Slečna Knoflíčková naznačovala, že sekera suggested that an axe wasn’t a ladylike není zbraň vhodná pro dámu, a to ani pro weapon, even for a dwarf, but Gloria had trpaslici, ale Gloria naopak namítala, že pointed out that, on the contrary, it had been sekeru zdědila po své babičce, která ji left to her by her grandmother who had vlastnila po celý život a každou sobotu ji owned it all her life and polished it every leštila, i když ji ten týden vůbec nepoužila. Saturday , even if she hadn’t used it at all Na způsobu, jakým sekeru držela, bylo něco, that week. There was something about the co způsobilo, že se slečna Knoflíčková way she gripped it that made even Miss Butts vzdala. give in. To show willing, Gloria left off her iron Aby Glorie ukázala svou ochotu, sundávala helmet and, while not having off her beard – si svou železnou helmu, ale vous si neholila there was no actual rule about girls not – vlastně ani neexistovalo žádné pravidlo pro having beards a foot long – at least plaited it. děvčata, že by nemohla nosit

12 And tied it in ribbons in the school colours. třiceticentimetrový knír – a tak si ho aspoň zaplétala. A svazovala stužkami v barvách školy. Susan felt strangely at home in their Zuzana se cítila v jejich společnosti kupodivu company, and this had earned guarded praise dobře, a tím získala nečekanou pochvalu od from Miss Butts. It was nice of her to be such slečny Knoflíčkové. Je to od ní velmi hezké, a chum, she said. Susan had been surprised. že je taková kámoška, říkala. Zuzana byla It had never occurred to her that anyone překvapená. Nikdy se jí nestalo, že by někdo actually said a word like chum. skutečně použil slovo kámoš. The three of them trailed back along the Tři z nich se vracely zpět podél plážové beech drive by the playing field. cestičky u hřiště. ‘I don’t understand sport,’ said Gloria, „Nerozumím sportu,“ řekla Glorie, zatímco watching the gaggle of panting young se dívala na hordu supících mladých žen, jak women stampeding across the pitch. se splašeně žene napříč hřištěm. ‘There’s a troll game,’ said Jade. It is „Trolové mají také hru,“ řekla Nefrit, „říká se called aargrooha.’ jí aargrooha.“ ‘How’s it played?’ said Susan. „Jak se hraje?“ zeptala se Zuzana. ‘Er… you rip off a human’s head and kick „No… odřízneš lidskou hlavu a kopeš s ní it around with special boots made of obsidian speciálními botami vyrobenými z obsidiánu until you score a goal or it bursts. But it’s not do té doby, než dáš gól nebo se rozprskne. played any more, of course,’ she added Ale už se samozřejmě nehraje,“ rychle quickly. dodala. ‘I should think not,’ said Susan. „Tak to bych si nemyslela,“ řekla Zuzana. ‘No-one knows how to make the boots, I „Předpokládám, že nikdo neví, jak vyrobit ty expect,’ said Gloria. boty,“ řekla Glorie. ‘I expect if it was played now, someone „Pokud by se to teď hrálo, čekala bych, že like Iron Lily would go running up and down někdo jako Železná Lily by pořád běhala the touchline shouting, “Get some head, you podél postranní čáry a řvala: „Seberte tu soft nellies”,’ said Jade. hlavu, vy bando měkkot,‘“ řekla Nefrit. They walked in silence for a while. Chvilku šly v tichosti. ‘I think,’ said Gloria, cautiously, ‘that she „Myslím si,“ opatrně řekla Glorie, „že by to probably wouldn’t, actually.’ asi neudělala.“ ‘I say, you two haven’t noticed „Poslyšte, vy dvě, všimly jste si v poslední

13 anything… odd lately, have you?’ said Susan. době něčeho… divného, nebo nevšimly?“ zeptala se Zuzana. ‘Odd like what?’ said Gloria. „Čeho divného?“ zeptala se Gloria. ‘Well, like… rats…’ said Susan. „No, něco jako… krysy….“ řekla Zuzana. ‘Haven’t seen any rats in the school,’ said „Žádné krysy jsem ve škole neviděla,“ řekla Gloria. ‘And I’ve had a good look.’ Glorie. „A to jsem se dobře dívala.“ ‘I mean… strange rats,’ said Susan. „Myslím… zvláštní krysy,“ řekla Zuzana. ‘They were level with the stables. These Byly poblíž stájí. Stáje jsou obvykle were normally the home of the two horses domovem pro dva koně, kteří tahali školní that pulled the school coach, and the term- kočár, a přechodným domovem pro několik time residence of a few horses belonging to koní patřících těm dívkám, které se od nich the gels who couldn’t be parted from them. nemohly odloučit. There is a type of girl who, while Existuje typ dívek, které nikdy neuvidíte, jak incapable of cleaning her bedroom even at si uklízí pokoj, ani když už je nejhůř, ale knifepoint, will fight for the privilege of které budou bojovat o dovolení strávit den being allowed to spend the day shovelling kydáním hnoje ve stáji. Bylo to kouzlo, které manure in a stable. It was a magic that hadn’t Zuzana nemohla pochopit. Neměla nic proti rubbed off on Susan. She had nothing against koním, ale nerozuměla komplikovaným horses, but couldn’t understand complicated strojům, jako jsou pravítka. Taky to tak řekla. machines like rulers. She’d said so, too. ‘All right,’ said Susan. ‘How about „Dobrá,“ řekla Zuzana. „A co havrani?“ ravens?’ Something blew in her ear. Něco zaslechla. She spun around. Otočila se. The white horse stood in the middle of the Bílý kůň stál uprostřed dvora, jako by to byla yard like the only real thing in a world of na světě jediná opravdová věc ve světě pale shapes. Compared to the bulbous ponies nevýrazných tvarů. V porovnání s bachratými that normally occupied the loose-boxes, he poníky, kteří běžně okupovali prostorné kóje, was a giant. to byl obr. A couple of the jodhpured girls were Pobíhalo kolem něj několik dívek, které byly fussing around him, Susan recognized posedlé jezdectvím. Zuzana poznala Cassandra Fox and Lady Sara Grateful, Kasandru Liškovou a Lady Sáru Vděčnou, almost identical in their love of anything on které byly téměř identické svou láskou k

14 four legs that went ‘neigh’ and their disdain čemukoliv, co mělo čtyři nohy a řehtalo, for anything else, their ability to apparently svým opovržením pro cokoli jiného, look at the world with their teeth, and their schopností sledovat svět svými zuby a expertise in putting at least four vowels in the uměním vpravit do slova ,oh‘ alespoň čtyři word ‘oh’. samohlásky. The white horse neighed gently at Susan, Bílý kůň na Zuzanu jemně zařehtal a začal se and began to nuzzle her hand. jí tulit k ruce. You're Binky, she thought. I know you. I've Ty jsi Rakvík, pomyslela si. Znám tě. Už jsem ridden on you. You're… mine, I think. na tobě někdy jezdila. Ty jsi… můj. Myslím. 'I say,' said Lady Sára, 'who does he belong „Jémine,“ pravila Lady Sára, „komu patří?“ to?' Susan looked around. Zuzana se rozhlédla. 'What? Me?' she said. 'Yes. Me… I „Co? Mně?“ řekla. „Ano. Mně… suppose.' Předpokládám.“ ‘I didn't knoeuwa you had a horse here. You „Neuvěděla jsem, že tady máš koně. Musíš have to get permission from Miss Butts, you mít povolení od slečny Buttové, vuíš?“ knoeuwa.' 'He's a present,' said Susan. 'From… „ To je dárek,“ řekla Zuzana. „Od… someone…? někoho. . . ?“ The hippo of recollection stirred in the Chumáč vzpomínek se vnořil do zakalených muddy waters of the mind. She wondered vod mysli. Podivila se, proč to řekla. Na why she'd said that. She hadn't thought of her svého dědečka si nevzpomněla už spoustu grandfather for years. Until last night. let. Až do včerejší noci. I remember the stable, she thought. So big Pamatuju si tu stáj, pomyslela si. Tak velkou, you couldn't see the walls. And I was given a že jsem vůbec neviděla zdi. A jednou jsem se ride on you once. Someone held me so I na tobě mohla projet. Někdo mě držel, takže wouldn't fall off. But you couldn't fall off this jsem nemohla spadnout. Ale z tohohle koně horse. Not if he didn't want you to. jste spadnout nemohli. Ne, pokud on sám nechtěl. 'Oeuwa. I didn't know you rode.' „Ouva. Já neuvěděla, že jezdíš na koni.“ ‘ I… used to.' „Já… jezdívala jsem.“ 'There's extra fees, you knoeuwa. For „Jsou tu extra poplatky, víš. Když tady máš keeping a horse,' said Lady Sara. koně.“ řekla Lady Sára.

15 Susan said nothing. She strongly suspected Zuzana nic neřekla. Měla silné podezření, že they'd be paid. by byly zaplaceny. 'And you've got noeuwa tack,' said Lady „A neumáš žádný postroj,“ řekla Lady Sára. Sara. And Susan rose to it. A Zuzana jí to hned pohotově vrátila. 'I don't need any,' she said. „Žádný nepotřebuji,“ řekla. 'Oeuwa, bareback riding,' said Lady Sara. „Ouha, ježdění bez sedla,“ řekla Lady Sára. 'And you steer by the ears, ya?' „A řídíš ušima, ne?“ Cassandra Fox said: 'Probably can't afford Kasandra Lišková řekla: „Pravděpodobně si them out in the sticks. And stop that dwarf je nemůžeš dovolit, když jsi ze zapadákova. looking at my pony. She's looking at my A ať se ten trpaslík přestane dívat na mého pony!' poníka. Ona se opravdu dívá na mého poníka!“ 'I'm only looking,' said Gloria. „Já se jen dívám,“ odtušila Gloria. 'You were… salivating,' said Cassandra. „Ty jsi… slintala.“ řekla Kasandra. There was a pattering across the cobbles Na dlažebních kostkách se ozval klapot and Susan swung herself up and on to the a Zuzana se vyhoupla na koňský hřbet. horse's back. She looked down at the astonished girls, Podívala se dolů na udivená děvčata a potom and then at the paddock beyond the stables. na výběh za stájemi. Bylo tam několik There were a few jumps there, just poles překážek, byly to jen tyče položené na balanced on barrels. sudech. Without her moving a muscle, the horse Aniž by musela pohnout svalem, kůň se turned and trotted into the paddock and otočil a klusal směrem do výběhu k nejvyšší turned towards the highest jump. There was a překážce. Byla to úžasná souhra energie, sensation of bunched energy, a moment of moment akcelerace a překážka se pod ním acceleration, and the jump passed mihla. underneath. Binky turned and halted, prancing from one Rakvík se otočil, zastavil a přešlapoval hoof to the other. z jednoho kopyta na druhé. The girls were watching. All four of them Dívky se dívaly. Všechny čtyři měly výraz had an expression of total amazement. absolutního úžasu. 'Should it do that?' said Jade. „Měl by dělat tohle?“ zeptala se Nefrit.

16 'What's the matter?' said Susan. 'Have none „Co se děje?“ odvětila Zuzana. „Ještě nikdy of you seen a horse jump before?' jste neviděly, jak skáče kůň?“ 'Yes. The interesting point is… ‘ Gloria „To ano. Zajímavé je…“ začala Gloria began, in that slow, deliberate tone of voice pomalu a hlasem jemným, který lidé people use when they don't want the universe používají, aby neotřásli vesmírem,… že shatter,’… is that, usually, thy come down obvykle dopadne zpět na zem.“ again.' Susan looked. Zuzana se podívala. The horse was standing on the air. Kůň stál ve vzduchu. What sort of command was necessary to Jaký povel byl asi nutný k tomu, aby koně make a horse resume contact with the přesvědčil, že má přistát na zemi? Byl to ground? It was an instruction that the pokyn, který jezdecké sesterstvo doposud equestrian sorority had not hitherto required. nikdy nepotřebovalo. As if understanding her thoughts, the horse Jako by kůň četl její myšlenky, posunul se trotted forward and down. For a moment the dopředu a dolů. V jednu chvíli se kopyta hoofs dipped below the field, as if the surface zasunula pod zem, jako by zemský povrch was no more substantial than mist. Then nebyl nic jiného než mlha. Potom to Binky appeared to determine where the vypadalo, že si Rakvík uvědomil, kde by ground level should be, and decided to stand měla být úroveň země, a rozhodl se na ni on it. postavit. Lady Sara was the first one to find her Lady Sára byla první, kdo se vzpamatoval. voice. 'We'll tell Miss Butts of youewa,' she „Řekneme o toubě slečně Knoflíčkové,“ bylo managed. jediné, co dokázala. Susan was almost bewildered with Zuzana byla téměř celá paf z neznámého unfamiliar fright, but the petty-mindedness in strachu, ale nafoukanost v hlase ji vrátila zpět the tones slapped her back to something k něčemu, co se blížilo zdravému rozumu. approaching sanity. 'Oh yes?' she said. 'And what will you tell „Ano?“ řekla. „A co jí řeknete?“ her?' 'You made the horse jump up and… ‘ The „Skočila jsi s koněm nahoru a...“ girl stopped aware of what she was about to Dívka přestala mluvit z obavy před tím, co se say. chystala říct.

17 'Quite so,' said Susan. 'I expect that seeing „Přesně tak,“ řekla Zuzana. „Předpokládám, horses float in the air is silly, don't you?' že vidět koně levitovat ve vzduchu je hloupé, ne?“ She slipped off the horse's back, and gave Sklouzla z koně a ze široka se usmála na the watchers a bright smile. přihlížející. 'It's against school rules, anyway,' muttered „Přesto je to proti školním Lady Sara. pravidlům,“ zamumlala Lady Sára. Susan led the white horse back into the Zuzana vedla bílého koně zpět do stájí, stables, rubbed him down, and put him in a vytřela ho do sucha a zavedla do volného spare loose-box. boxu. There was a rustling in the hay-rack for a Najednou v seně něco zašustilo. Zuzana měla moment. Susan thought she caught a glimpse dojem, že zahlédla slonově bílou kost. of ivory-white bone. „Ty mizerné krysy,“ řekla Kasandra, která se 'Those wretched rats,' said Cassandra, vrátila do reality. „Slyšela jsem slečnu struggling back to reality. 'I heard Miss Butts Knoflíčkovou, jak říká zahradníkovi, aby tell the gardener to put poison down.' nastražil návnady.“ 'Shame,' said Gloria. „Škoda,“ řekla Glorie. Lady Sara seemed to have something Lady Sára vypadala, jako by se jí něco honilo boiling in her mind. hlavou. 'Look, that horse didn't really stand in mid- „Podívej, ten kůň ve skutečnosti nestál ve air, did it?' she demanded. 'Horses can't do vzduchu, nebo ano?“ naléhala. „Koně to that!' neumí!“ 'Then it couldn't have done it,' said Susan. „Tak to potom nemohl udělat,“ řekla Zuzana. 'Hang time,' said Gloria. 'That's all it was. „To je jako když míč letí vzduchem,“ řekla Hang time. Like in basketball.1 Bound to be Glorie. „To je to, co to bylo. Byl prostě ve something like that.' vzduchu. Jako v basketbale.1 Alespoň to tak vypadalo.“ 1 Until an unfortunate axe incident, Gloria had been captain of the 1 Do té nešťastné události se sekerou byla Glorie kapitánkou school basketball team. Dwarfs don't have height but do have školního basketbalového týmu. Trpaslíci nemají dostatečnou výšku, acceleration, and many a visiting team member got a nasty shock ale mají zrychlení a mnozí z těch, co viděli tým hrát, byli v hrozném when Gloria appeared rising vertically out of the depths. šoku, když se Gloria začala vertikálně zvedat z hlubin.

'Yes.' „Ano.“ The human mind has a remarkable ability to Lidská mysl má pozoruhodnou schopnost se

18 heal. So have the trollish and dwarfish uzdravit. Alespoň to tak mají trolí a trpasličí minds. Susan looked at them in frank mysli. Zuzana se na ně podívala s upřímným amazement. They'd all seen a horse úžasem. Všechny viděly koně stát ve stand on the air. And now they had carefully vzduchu. A teď to opatrně zasunuly hluboko pushed it somewhere in their memoires and do svých vzpomínek a zlomily klíč v zámku. broken off the key in the lock. 'Just out of interest,' she said, still eyeing „Jen tak mimochodem,“ řekla, stále the hay-rack, 'I don't suppose any of you pokukujíc po seníku, „nepředpokládám, že know where there's a wizard in this town, do by někdo z vás věděl, jestli je tady ve městě you?' nějaký čaroděj, že?“ ...... 'I've found us somewhere to play!' said „Našel jsem místo, kde budeme moci Glod. hrát!“ zvolal Zlotan. 'Where?' said Lias. „Kde?“ zeptal se Jura. Glod told them. Zlotan jim to řekl. 'The Mended Drum?' said Lias. „U toho Zašitého bubnu?“zeptal se Jura. 'We'd be safe there. The Guild won't play in „Budeme tam v bezpečí. Lidé z cechu tam there,' said Glod. nebudou,“ řekl Zlotan. The troll hesitated. Trol zaváhal. 'I could use five dollars,' he concerned. „Mohl bych použít pět dolarů,“ poznamenal. 'One-third of five dollars,'said Glod. „Jednu třetinu pěti dolarů,“ řekl Zlotan. Lias's brow creased. Jurovo obočí se svraštělo. 'Is that more or less than five dollars?' he „Je to víc nebo míň než pět dolarů?“ zeptal said. se. 'Look, it'll get us exposure,' said Glod. „Podívej, bude na nás víc vidět,“ řekl Zlotan. 'I don't want exposure in de Drum,' said „Nechci být vidět v Bubnu,“ odpověděl Jura. Lias. 'Exposure's the last thing I want in de „Být vidět v Bubnu je ta poslední věc, kterou Drum. In de Drum, I want something to hide bych chtěl. Chci něco, za co bych se tam behind.' mohl schovat.“ 'All we have to do is play something,' said „Všechno, co musíme udělat, je něco Glod. 'Anything. The new landlord is dead zahrát.“ řekl Zlotan. „Cokoli. Nový majitel keen on pub entertainment.' se velmi zajímá o zábavu v hospodě.“ I thought they had a one-arm bandit.' “Myslel jsem, že tam mají mašinu –

19 jednorukého banditu.“ 'Yes, but he got arrested.' „Ano, ale zatkli ho.“

There's a floral clock in Quirm. It's quite a V Kvirmu mají květinové hodiny. Je to tourist attraction. taková turistická atrakce. It turns out to be not what they expect. Ale nevyvrbilo se z toho to, co očekávali. Unimaginative municipal authorities Bezduší představitelé města po celém světě throughout the multiverse had made floral dělali květinové hodiny, což znamenalo clocks, which turn out to be a large clock velký hodinový strojek zakopaný mechanism buried in a civic flowerbed with v městském květinovém záhonu s ciferníkem the face and numbers picked out in bedding vytvořeným z květin.1 plants.1 1 nebo metanové krystaly. Nebo mořské sasanky. Princip je stejný. 1 Or methane crystals. Or sea anemones. The principle is the same. V každém případě se to rychle zaplnilo čímkoliv, co je místní In any case, it soon fills up with whatever is the local equivalent of ekvivalent pro krabičky na rychlé občerstvení a nepoužívané větší fast-food boxes and derelict lager cans. plechovky.

But the Quirm clock is simply a round Ale kvirmské hodiny jsou jednoduchý kulatý flower-bed, filled with twenty-four different květinový záhon s dvaceti čtyřmi různými types of flower, carefully chosen for the druhy květin, které byly pečlivě vybrány pro regularity of the opening and closing of their to, jak se pravidelně rozvíjejí a večer opět petals… zavírají…

As Susan ran past, the Purple Bindweed Jak Zuzana běžela kolem, fialový svlačec se was opening and Love-in-a-Spin was closing. zrovna otevíral a rožec plstnatý se zavíral. To This meant that it was about half past ten. znamenalo, že je tak půl jedenácté. The streets were deserted. Quirm wasn't a Ulice byly opuštěné. Kvirm nebyl noční night town. People who came to Quirm město. Lidé, kteří přišli do Kvirmu a hledali looking for a good time went somewhere zábavu, šli někam jinam. Kvirm byl tak else. Quirm was so respectable that even spořádaný, že i psi se nejprve dovolovali, dogs asked permission before going to the jestli mohou jít na záchod. lavatory. At least, the streets were almost deserted. Přinejmenším byly ulice téměř vylidněné. Susan fancied she could hear something Zuzana měla dojem, že ji něco sleduje, něco following her, fast and pattering, moving and rychlého a cupkajícího uhýbalo a kličkovalo

20 dodging across the cobbles so quickly that it po kostkách tak rychle, že nikdy nevypadalo was never more than a suspicion of a shape. na víc než jen tušení stínu. Susan slowed down as she reached Three Jakmile byla u Růžové ulice, Zuzana Roses Alley. zpomalila. Somewhere in Three Roses near the fish Někde v Růžové ulici, blízko obchodu shop, Gloria had said. The gels were not s rybami, řekla Glorie. Děvčata nebyla encouraged to know about wizards. They did podporována v tom, aby věděla o čarodějích. not figure in Miss Butts's universe. Ti ve světě slečny Knoflíčkové nefigurovali. The alley looked alien in the darkness. A Alej vypadala ve tmě cize. V držáku na torch burned in a bracket at one end. It jednom konci hořela pochodeň a pouze merely made the shadows darker. dělala stíny ještě tmavšími. And, halfway along in the gloom, there was A v pološeru uprostřed stál žebřík opřený o a ladder leaning against the wall and a young zeď a mladá žena se právě chystala na něj woman just preparing to climb it. There was vyšplhat. Bylo na ní něco povědomého. something familiar about her. She looked around as Susan approached, Ohlédla se, jak se Zuzana blížila, a vypadala and seemed quite pleased to see her. celkem potěšeně, že ji vidí. 'Hi,' she said. 'Got change of a dollar, „Ahoj,“ řekla. „Nemáte drobné za dolar, miss?' slečno?“ 'Pardon?' „Prosím?“ 'Couple of half-dollars'd do. Half a dollar is „Dva půldolary by stačily. Cena je půl the rate. Or I'll take copper. Anything, really.' dolaru. Nebo vezmu měďák. Cokoli. Opravdu.“ 'Um. Sorry. No. I only get fifty pence a „Hm. Omlouvám se. Nemám. Stejně week allowance anyway.' dostávám na týden pouze padesát pencí kapesného.“ 'Blast. Oh, well, nothing for it.' „Zatraceně. No tak nic.“ In so far as Susan could see, the girl did not Pokud si Zuzana mohla všimnout, dívka appear to be the usual sort of young woman nevypadala jako ten obvyklý typ mladé ženy, who made her living in alleys. She had a kind která se živí v aleji. Byla taková čistá of well-scrubbed beefiness about her; she a tělnatá, vypadala jako zdravotní sestra, looked like a nurse of the sort who assist která asistuje lékaři, jehož pacienti jsou doctors whose patients occasionally get a bit trošku tu a tam zmateni a prohlašují, že jsou

21 confused and declare they're a bedspread. prostěradlo. She looked familiar, too. Taky vypadala povědomě. The girl took a pair of pliers from a pocket Dívka vzala z kapsy šatů kleště, vyšplhala se in her dress, shinned up the ladder and po žebříku a vlezla do horního okna. climbed in through an upper window. Susan hesitated. The girl had seemed quite Zuzana zaváhala. Dívka vypadala, že má businesslike about it all, but in her limited hodně práce, ale její omezená zkušenost jí experience people who climbed ladders to říkala, že lidé, kteří lezou v noci po žebříku get into houses at night were Miscreants do domů, jsou lumpové, které by odvážné whom Plucky Gels should Apprehend. And dívky měly zadržet. Alespoň se chtěla she might at least have gone to look for a podívat po hlídači, kdyby se vtom dál v aleji watchman, had it not been for the opening of neotevřely dveře. a door further up the alley. Two men staggered out, arm in arm, and Směrem k hlavní ulici si to šťastně vrávorali, zigzagged happily towards the main street. opřeni o sebe, dva muži. Zuzana se držela Susan stepped back. No-one bothered her zpět. Nikdo ji neobtěžoval, když nechtěla. when she didn't want to be noticed. The men walked through the ladder. Muži prošli žebříkem. Either the men weren't exactly solid, and Buď ti muži nebyli až tak mohutní, i když they certainly sounded solid enough, or there rozhodně vypadali dost poctivě, nebo bylo was something wrong with the ladder. But něco špatně s žebříkem. Ale ta dívka na něj the girl had climbed it… vyšplhala… … and was now climbing down again, …a teď zase po něm lezla dolů a dávala si slipping something into her pocket. něco do kapsy. 'Never even woke up, the little cherub,' she „Ti malí andělíčci se nikdy nevzbudí,“ řekla. said. 'Sorry?' said Susan. „Prosím?“ řekla Zuzana. 'Didn't have 50p on me,' said the girl. She „Neměla jsem u sebe padesát pencí,“ řekla ta swung the ladder easily up on to her dívka. Zlehka si dala žebřík na rameno. shoulder. 'Rules are rules. I had to take „Pravidla jsou pravidla. Musela jsem si vzít another tooth.' ještě jeden zub.“ 'Pardon?' „Prosím?“ 'It's all audited, you see. I'd be in real „Všechno je kontrolováno, víš. Dostala bych

22 trouble if the dollars and teeth didn't add up. se do problému, kdyby zuby a dolary You know how it is.' neseděly. Ty víš, jak to je.“ 'I do?' „Já?“ 'Still, can't stay here talking all night. Got „No, nemůžeme tady stát celou noc a kecat. sixty more to do.' Musím zvládnout dalších šedesát.“ 'Why should I know? Do what? Whom to?' „Proč bych to měla vědět? Co zvládnout? said Susan. Koho?“ zeptala se Zuzana. 'Children, of course. Can't disappoint them, „Děti samozřejmě. Nemůžeme je zklamat, can I? Imagine their little faces when they lift že? Představ si jejich tvářičky, když zvednou up their little pillows, bless them.' své malé polštáře, Bůh jim žehnej.“ Ladder. Pliers. Teeth. Money. Pillows… Žebřík. Kleště. Zuby. Peníze. Polštáře…. 'You don't expect me to believe you're the „Snad neočekáváš, že budu věřit, že jsi ta Tooth Fairy?' said Susan suspiciously. Víla zubnička?“ řekla podezřívavě Zuzana. She touched ladder. It felt solid enough. Dotkla se žebříku. Zdál se dost pevný. 'Not the,' said the girl. 'A. I'm surprised you „Ne ta“ řekla dívka. „Jedna z nich. Jsem don't know that.' překvapená, že ty to nevíš.“ She'd sauntered around the corner before Víla zubnička se odšourala se za roh dřív, Susan asked, 'Why me?' aniž by se Zuzana stačila zeptat, „Proč já?“ 'Cos she can tell,' said a voice behind her. „Protože ona to může říct,“ řekl hlas za ní. 'Takes one to know one.' „Ty jsi taky taková.“ She turned. The raven was sitting in a small Otočila se. V malém otevřeném okně seděl open window. havran. 'You'd better come in,' it said. 'You can „Pojď raději dál,“ řekl. „V této ulici můžeš meet all sorts, out in that alley.' potkat kohokoli.“ 'I already have.' „Už jsem potkala.“ There was a brass plate screwed on the wall Na zdi vedle dveří byla přišroubována beside the door. mosazná destička. It said: 'C V Cheesewaller, DM (Unseen) B, Pravila: „C V Zazděnýsýr, DM (Nevid. univ.) Thau, B. F.’ B, Thau, B. F.“ It was the first time Susan had ever heard To bylo poprvé, kdy Zuzana uslyšela metal speak. kovovou řeč. 'Simple trick,' said the raven, dismissively. „Jednoduchý trik,“ řekl havran lhostejně. 'It senses you looking at it. Just give—' „Zaleží na tom, jak se na to díváš. Jenom…

23 'C V Cheesewaller, DM (Unseen) B, Thau, „'C V Zazděnýsýr, DM (Nevid. univ.) B, B. F.’ Thau, B. F.“ '… shut up… just give the door a push.' „… sklapni … jenom zatlač do dveří.“ 'It's locked.' „Jsou zamčené.“ The raven gave her a beady-eyed look with Havran ji bedlivě sledoval s hlavou na jednu its head on one side. Then it said: 'That stops stranu. Pak řekl: „Tebe to zastaví? Aha. you? Oh, well. I'll fetch the key.' Půjdu pro klíče.“ It appeared a moment later and dropped a Objevil se o chvíli později a pustil na kočičí large metal key on the cobbles. hlavy velký kovový klíč. 'Isn't the wizard in?' „Cožpak tady není čaroděj?“ 'In, yes. In bed. Snoring his head off.' „Je. V posteli. Strašně chrápe.“ 'I thought they stayed up all night!' „Myslela jsem si, že jsou vzhůru celou noc!“ 'Not this one. Cup of cocoa around nine, „Ne tento. Šálek kakaa kolem deváté a neví dead to the world at five past.' o světě do pěti.“ 'I can't just let myself into his house!' „Přece nemůžu jen tak vlézt do jeho domu!“ 'Why not? You've come to see me. Anyway, „Proč ne? Přišla jsi za mnou. Jinak, já jsem I'm the brains of the outfit. He just wears the ten mozek, co rozhoduje. On má na sobě jen funny hat and does the hand waving.' ten legrační klobouk a mává rukama.“ Susan turned the key. Zuzana otočila klíčem. It was warm inside. There was the usual Uvnitř bylo teplo. Bylo tam typické vybavení wizardly paraphernalia – a forge, a bench pro čaroděje – kahan, lavice s lahvičkami with bottles and bundles strewn over it, a a svazky čehosi nad nimi, knihovna bookcase with books rammed in anyhow, a nepořádně narvaná knihami, vycpaný stuffed alligator hanging from the ceiling, aligátor visící ze stropu, několik obrovských some very big candles that were just lava svíček, které tvořily proudy vosku, a havran streams of wax, and a raven on a skull. na lebce. 'They get it all out of a catalogue,' said the „To všechno seženeš v katalogu,“ řekl raven. 'Believe me. It all comes in a big box. havran. „Věř mi. Všechno přijde ve veliké You think candles get dribbly like that by krabici. Myslíš si, že svíčky se zničí takto themselves? That's three days' work for a samy? To je práce pro zručného voskaře na skilled candle dribbler.' tři dny.“ 'You're just making that up,' said Susan. „To si jen vymýšlíš.“ řekla Zuzana. „Ale 'Anyway, you can't just buy a skull.' lebku si jen tak koupit nemůžeš.“

24 'You know best, I'm sure, being educated', „Jsem si jistý, že ty to musíš vědět nejlíp, say the raven. když jsi vzdělaná“, řekl havran. 'What were you trying to tell me last night?' „Co ses mi to včera snažil celou noc říct?“ 'Tell you?' said the raven, with a guilty look „Tobě?“ řekl havran s provinilým výrazem on its break. na svou obranu. 'All that dah-dah-dah-DAH stuff.' „Všechno to tu-tu-tu-tú .“ The raven scratched its head. Havran skrčil hlavu. 'He said I wasn't to tell you. I was just „On řekl, že ti to nemám říkat. Bylo mi supported to warn you about the horse. I got pouze doporučeno tě varovat ohledně toho carried away. Turned up, has it?' koně. Jinak se do toho nemám plést. Objevil se, že?“ 'Yes!' „Ano!“ 'Ride it.' „Jezdi na něm.“ 'I did. It can't be real! Real horses know „Jezdila jsem. Nemůže být opravdový! where the ground is.' Opravdoví koně vědí, kde je zem.“ 'Miss, there's no horse realer than that one.' „Slečinko, opravdovějšího koně bys na světě nenašla.“ 'I know his name! I've ridden him before!' „Znám jeho jméno! Už jsem na něm někdy jezdila!“ The raven sighed, or at least made a sort of Havran si povzdechnul, nebo alespoň whistling noise which is as close to a sigh as vytvořil zvuk podobný hvizdu, který byl tak a beak can get. blízko povzdechu, jak to jen zobák může dokázat. 'Ride the horse. He's decided you're the „Jezdi na tom koni. On se rozhodl, že jsi ta one.' pravá.“ 'Where to?' „Kam?“ 'That's for me not to know and you to find „To já nemám vědět a ty si to musíš zjistit.“ out.' 'Just supposing I was stupid enough to do „Pouze předpokládám, že jsem byla dost it … can you kind of hint about what will hloupá, abych to udělala … můžeš alespoň happen?' naznačit, co se stane?“ 'Well … you've read books, I can see. Have „No … ty jsi četla knihy, jak vidím. Četla jsi you ever read any about children who go to a někdy nějakou o dětech, jak šly do dalekého

25 magical faraway kingdom and have kouzelného království a prožívaly adventures with goblins and so on?' dobrodružství se skřítky a tak?“ 'Yes, of course,' said Susan, grimly. „Ano, samozřejmě,“ řekla Zuzana vážně. 'It'd probably be best if you thought along „Bylo by pro tebe pravděpodobně nejlepší, those lines,' said the raven. kdybys o nich popřemýšlela,“ řekl havran. Susan picked up a bundle of herbs and Zuzana zvedla svazek bylinek a hrála si s played with them. ním. 'I saw someone outside who said she was „Venku jsem viděla někoho, kdo si říkal Víla the Tooth Fairy,' she said. zubnička,“ řekla. 'Nah, couldn't've been the Tooth Fairy,' said „No, to nemohla být ta,“ řekl havran. „Jsou the raven. 'There's at least three of them.' tu nejméně tři.“ 'There's no such person. I mean … I didn't „Taková osoba neexistuje. Mám na know, I thought that's just a … story. Like the mysli…že jsem nevěděla, že je to jen … sandman or the Hogfather.1 příběh. Jako Písečňák nebo Otec prasátek.1 1 According to rural legend – at least in those areas where pigs are a 1 Podle místní legendy – tedy alespoň tam, kde jsou prasata vital part of the household economy – the Hogfather is a winter důležitou součástí domácí ekonomiky – je Otec prasátek zimní myth figure who, on Hogswatchnight, gallops from house to house mytologická postava, která na Štědrý večer chvátá od domu k domu on a crude sledge drawn by four tusked wild boars to deliver na velkých saních tažených čtyřmi divokými prasaty s velkými presents of sausages, black puddings, pork scratchings and ham to tesáky, aby doručila dárky ve formě párečků, černého pudinku, all children who have been good. He says 'Ho ho ho' a lot. Children opižlaného vepřového masa a šunku všem dětem, které byly hodné. who have been bad get a bag full of bloody bones (it's these little Často říká 'Ho ho ho'. Děti, co zlobily, dostanou pytel plný krvavých details which tell you it's a tale for the little folk). There is a song kostí (právě z těchto malých detailů pochopíte, že jde jen o pohádku about him. It begins: You'd Better Watch Out... pro drobotinu). Zpívá se o něm píseň. Začíná: Dávej si pozor... The Hogfather is said to have originated in the legend of a local O Otci prasátek se říká, že má původ v legendě o místním králi, king who, one winter's night, happened to be passing, or so he said, který jednoho zimního večera jel, nebo to aspoň říkal, kolem domu the home of three young women and heard them sobbing because tří mladých žen, které slyšel vzlykat, protože neměly nic, čím by they had no food to celebrate the midwinter feast. He took pity on oslavily zimní slunovrat, zželelo se mu jich a hodil jim balíček them and threw a packet of sausages throught the window. (2) párečků oknem. (2) (2) Badly concussing one of them, but there's no point in spoiling a (2)Jednu z nich vážně zranil, ale proč si kazit dobrý příběh? good legend.

'Ah,' said the raven. 'Changing our tone, „Aha,“ řekl havran.“ Měníme názor, že? Už yes? Not so much of the emphatic to není tak rozhodné, že ano? Něco méně declarative, yes? A bit less of the “There's no jako ‚Taková věc neexistuje‘ a trochu víc such thing” and a bit more of the “I didn't jako ‚Nevěděla jsem,‘ že ano?“ know”, yes?' „Všichni to ví – mám na mysli, že to není 'Everyone knows – I mean, it's not logical logické, že existuje starý muž s bradkou, that there's an old man in a beard who gives který každému dává salámy a střívka na

26 everyone sausages and chitterlings on Štědrý večer, nebo ano?“ Hogswatchnight, is it?' 'I don't know about logic. Never learned „O logice nic nevím. Nikdy jsem se ji about logic,' said the raven. 'Living on a skull neučil,“ řekl havran. „To, že žiju na lebce, ain't exactly logical, but that's what I do.' není úplně logické, ale přesně to dělám.“ 'And there can't be a Sandman who goes „A nemůže tady být Písečňák, který chodí around throwing sand in children's eyes,' said kolem a hází dětem do očí písek,“ řekla Susan, but in tones of uncertainty. Zuzana nejistým tónem. 'You’d…never get enough sand in one bag.' „To přece nejde mít v jednom pytli tolik 'Could be. Could be.' písku.“ „ Ale jde. Ale jde.“ 'I'd better be going,' said Susan. 'Miss Butts „Měla bych už raději jít,“ řekla Zuzana. always checks the dorms on the stroke of „Slečna Knoflíčková vždy o půlnoci midnight.' kontroluje ložnice.“ 'How many dormitories are there?' said the „Kolik ložnic máte?“ zeptal se havran. raven. 'About thirty, I think.' „Asi třicet, myslím.“ 'You believe in the Hogfather?' „Věříš na Otce prasátek?“ 'You believe she checks them all at „Ty opravdu věříš, že o půlnoci kontroluje midnight and you don´t believe in the všechny ložnice, a nevěříš na Otce Hogfather?‘ prasátek?“ 'I'd better be going anyway,' said Susan. „Přesto raději půjdu,“ řekla Zuzana. 'Um. Thank you.' „Hm. Děkuji.“ 'Lock up behind you and chuck the key „Zamkni za sebou a hoď klíč oknem,“ řekl through the window,' said the raven. havran. The room was silent after she'd gone, Poté, co odešla, bylo v místnosti ticho, jen except for the crackle as coals settled in the uhlí v peci praskalo. furnace. Then the skull said: 'Kids today, eh?' Pak lebka řekla: „Ty dnešní děti, že?“ 'I blame education,' said the raven. „Proklínám vzdělávání,“ řekl havran. 'A lot of knowledge is a dangerous thing,' „Spousta vědění je nebezpečná věc,“ řekla said the skull. 'A lot of more dangerous than lebka. „Je to mnohem víc nebezpečné než jen just a little. I always used to say that, when I málo. Vždycky jsem to tak říkal, když jsem was alive.' byl naživu.“

27 'When was that exactly?' „A kdy to přesně bylo?“ 'Can't remember. I think I was pretty „Nevzpomínám si. Myslím si, že jsem byl knowledgeable. Probably a teacher or pořádně erudovaný. Pravděpodobně učitel philosopher, something of that kidney. And nebo filozof nebo tak něco. A teď jsem na now I'm on a bench with a bird crapping on lavici s ptákem, který mi kálí na hlavu.“ my head.' 'Very allegorical,' said the raven. „Velmi alegorické,“ řekl havran.

No-one had taught Susan about the power Nikdo nepoučil Zuzanu o síle víry nebo of belief, or at least about the power of belief přinejmenším o síle víry v kombinaci in a combination of high magical potential s vysokým magickým potenciálem a nízkou and low reality stability such as existed on stabilitou reality, takovou, jaká existovala na the Discworld. Plochosvětě. Belief makes a hollow place. Something Víra vytváří prázdné místo. Něco se musí has to roll in to fill it. přivalit a zaplnit je. Which is not to say that belief denies logic. Čímž se neříká, že víra popírá logiku. For example, it's fairly obvious that the Například je celkem jasné, že Písečňák Sandman needs only a small sack. potřebuje pouze malý pytlík a je schopen On the Discworld, he doesn't bother to take uspat spoustu dětí. Na Plochosvětě ani the sand out first. nemusí vyrukovat s pískem jako první. It was almost midnight. Byla téměř půlnoc. Susan crept into the stables. She was one of Zuzana se vplížila do stájí. Byla jedním those people who will not leave a mystery z těch lidí, co nenechávají záhadu unsolved. nevyřešenou. The ponies were silent in the presence of Poníci byli v přítomnosti Rakvíka potichu. Binky. The horse glowed in the darkness. Kůň ve tmě tlumeně zářil. Zuzana zvedla Susan heaved a saddle down from the rack, sedlo z police, ale pak si to rozmyslela. and then thought better of it. If she was going Pokud má spadnout, tak ani sedlo nepomůže. to fall off, a saddle wouldn't be any help. And A opratě by byly k užitku asi jako kormidlo reins would be about as much use as a rudder na skále. on a rock. She opened the door to the loose-box. Most Otevřela dveře velkého boxu. Většině koní se horses won't walk backwards voluntarily, nechce dobrovolně couvat, protože co nevidí,

28 because what they can't see doesn't exist. But to neexistuje. Ale Rakvík vycouval sám Binky shuffled out by himself and walked a přešel k nasedací lavici, kde se otočil, over to the mounting block, where he turned a v očekávání ji sledoval. and watched her expectantly. Susan climbed on to his back. It was like Zuzana vylezla na jeho záda. Bylo to, jako sitting on a table. kdyby seděla na stole. 'All right,' she whispered. 'I don't have to „V pořádku,“ zašeptala. „Nemusím ničemu z believe any of this, mind you.' tohoto věřit, víš.“ Binky lowered his head and whinnied. Then Rakvík sklonil hlavu a zařehtal. Potom he trotted out into the yard and headed for vyrazil na dvůr a zamířil na pole. the field. At the gate he broke into a canter, and U brány začal cválat a obrátil se k ohradě. turned towards the fence. Susan shut her eyes. Zuzana zavřela oči. She felt muscles bunch under the velvet Pod sametovou kůží ucítila napjaté svaly skin and then the horse was rising, over the a potom se kůň zvedl přes ohradu a přes pole. fence, over the fence, over the field. Behind it, in the turf, two fiery V trávě za ním se na vteřinu nebo dvě hoofprints burned for a second or two. vytvořily dvě ohnivé koňské stopy. As she passed above the school she saw a Jak jeli nad školou, uviděla záblesk v okně. light flicker in a window. Miss Butts was on Slečna Knoflíčková už dělala svoje kolečko. her rounds. There's going to be trouble over this, Susan Kvůli tomu bude problém, řekla si Zuzana. told herself. And then she thought: I'm on the back of A potom si pomyslela. Sedím na hřbetě koně, horse a hundred feet up in the air, being který letí asi třicet metrů nad zemí a který somewhere mysterious that's a bit like a míří někam do neznáma, kde by to mohlo magic land with goblins and talking animals. vypadat jako v kouzelné zemi se skřítky a mluvícími zvířaty. There's only so much more trouble I could Je tu mnohem víc problémů, do kterých bych get into … se mohla dostat. Besides, is riding a flying horse against Mimochodem, je létání na koni proti školním school rules? I bet it´s not written down pravidlům? Vsadím se, že to není nikde

29 anywhere. zapsané. Quirm vanished behind her, and the world Kvirm za ní zmizel a svět se rozevřel v opened up in a pattern of darkness and temnotě a měsíčním stříbře. V měsíčním moonlight silver. A chequer-board pattern of světle byla vidět šachovnice polí a tu a tam fields strobed by in the moonlight, with the světlo osamělé farmy. Roztrhané mraky occasional light of an isolated farm. Ragged svištěly pryč. clouds whipped past and away. Away on her left the Ramtop Mountains Daleko po její levici tvořily hory Beraní were a cold white wall. On her right, the Rim hlavy studenou bílou zeď. Napravo Okrajový Ocean carried a pathway to the moon. There oceán tvořil cestu k měsíci. Bylo bezvětří, was no wind, or even a great sensation of ani necítila rychlost – jen viděla, jak pod ní speed - just the land flashing by, and the long ubíhala země a Rakvíkovy dlouhé pomalé slow strides of Binky. kroky. And then someone spilled gold on the A potom někdo na noc rozlil zlato. Mraky se night. Clouds parted in front of her and there, před ní rozdělovaly, a tam, rozložen pod ní, spread below, was Ankh-Morpork – a city byl Ankh-Morpork – město, které obsahovalo containing more Peril than even Miss Butts více nebezpečí, než si slečna Knoflíčková could imagine. dokázala představit. Torchlight outlined a pattern of streets in Světla pochodní rýsovala síť ulic, ve kterých which Quirm would have not only been lost, by se Kvirm nejen ztratil, ale byl by také but mugged and pushed into the river as přepaden a svržen do řeky. well. Binky cantered easily over the rooftops. Rakvík lehce cválal nad špičkami střech. Susan could hear the sounds of the streets, Zuzana slyšela zvuk ulic, dokonce jednotlivé even individual voices, but there was also the hlasy, ale i město hučelo jako roj hmyzu. great roar of the city, like some kind of insect Kolem ubíhala horní okna, v každém z nich hive. Upper windows drifted by, each one a plamének svíčky. glow of candlelight. The horse dropped through the smoky air Kůň se prodral hustým vzduchem, přistál and landed neatly and at the trot in an alley ladným klusem v ulici, která byla prázdná. which was otherwise empty except for a Až na zavřené dveře se znakem a pochodní closed door and a sign with a torch over it. nad nimi. Susan read: Zuzana četla:

30

CURRY GARDENS KARI ZAHRADA Kitchren Entlance - Keep Out. Ris Means Vstup do kuchyně – nepovolaným vstup You. zakázán – tobě taky. Binky seemed to be waiting for Rakvík vypadal, jako by na něco čekal. something.Susan had expected a more exotic Zuzana očekávala mnohem exotičtější destination. destinaci. She knew about curry. They had curry at Znala kari. Mívali kari a říkali mu něco s school under the name of Bogey and Rice. It rýží. Bylo to žluté. Byly v tom lepkavé was yellow. There were soggy raisins and rozinky a hrášek. peas in it. Binky whinnied, and stamped a hoof. Rakvík zaržál a dupl kopytem. A hatch in the door flew open. Susan got a Poklop ve dveřích se rozletěl. O Zuzaninu brief impression of a face against the fiery tvář se krátce otřel ohnivý žár z kuchyně. atmosphere of the kitchen. 'Ooorrh, nooorrrh! Binkorrr!' „No né! Rakváák!“ The hatch slammed shut again. Poklop se zase zabouchl. Obviously something was meant to Očividně se mělo něco stát. happen. She stared at a menu nailed to the wall. It Zírala na jídelní lístek přibitý na zeď. was misspelled, of course, because the menu Samozřejmě tam byly pravopisné chyby, of the folkier kind of restaurant always has to protože tyto lidové restaurace vždy musely have misspellings in it, so that customers can mít chyby, aby se zákaznící mohli cítit be lured into a false sense of superiority. She falešně nadřazeně. Nebyla schopná rozpoznat couldn't recognize the names of most of the názvy většiny jídel, která zahrnovala: dishes, which included:

Curry with Vegetable 8p Kari se zeleninou 8p Curry with Sweat, and Sore Balls of Kari s upocenými bolavými prasečími Pig 10p koulemi 10p Curry with Sweer and Sour, Ball of Kari na sladkokyselo, rybí koule 10p Fish 10p Curry with Meat 10p Kari s masem 10p Curry with Named Meat 15p Kari se známým masem 15p Extra Curry 5p Extra kari 5p

Porn cracker 4p Pukuřičná pracka 4p

31 Sněz to Eat It tu Here OR, NEBO Take It si to vem s sebou Away

The hatch snapped open again and a large Poklop se znovu otevřel a na malou římsu brown bag of allegedly but not really položili velký hnědý pytlík, který sice waterproof paper was dumped on the little vypadal, ale rozhodně nebyl z voděodolného ledge in front of it. Then the hatch slammed papíru. Potom se poklop znovu zavřel. shut again. Susan reached out carefully. The smell Zuzana se po něm opatrně natáhla. Zápach rising from the bag had a sort of thermic řinoucí se z pytlíku měl kvalitu jakéhosi lance quality that warned against metal druhu acetylenového hořáku, který jakoby cutlery. But tea had been a long time ago. varoval před použitím kovových příborů. Ale svačina už byla dávno. She realized she didn´t have any money Zjistila, že nemá u sebe žádné peníze. Na on her. On the other hand, no-one had asked druhou stranu po ní nikdo žádné nechtěl. Ale her for any. But the world would go to svět by šel do kytek, kdyby si lidé wrack and ruin if people didn't recognize neuvědomovali, jaké mají povinnosti. their responsibilities. She leaned forward and knocked on the Předklonila se a zaklepala na dveře. door. 'Excuse me... don't you want anything—?' „Promiňte … copak vy nic nechcete?“ There was shouting and a crash from Zevnitř se linul řev a rámus, jako kdyby se inside, as if half a dozen people were půl tuctu lidí rvalo ve snaze dostat se pod ten fighting to get under the same table. stejný stůl. 'Oh. How nice. Thank you. Thank you „Ó, jak milé. Děkuji. Děkuji vám very much,' said Susan, politely. mnohokrát,“ řekla Zuzana zdvořile. Binky walked away, slowly. This time Rakvík pomalu odešel. Tentokrát to nebyl there was no bunched leap of muscle power velký skok pomocí svalů – do vzduchu – he trotted into the air carefully, as if some vyklusal opatrně, jako kdyby byl někdy time in the past he'd been scolded for v minulosti vyhubován za to, že něco rozlil. spilling something. Susan tried the curry several hundred feet Zuzana ochutnala kari několik desítek metrů

32 above the speeding landscape, and then nad ubíhající zemí a potom je vyhodila tak threw it away as politely as possible. slušně, jak to jen bylo možné. 'It was very… unusual,' she said. 'And „Bylo to velmi… neobvyklé,“ řekla. „A to je that´s it? You carried me all the way up here jako všechno? To jsi mě vezl takovou cestu, for takeaway food?' abych ochutnala kari?“ The ground skimmed past faster, and it Země ubíhala rychleji a hlavou jí proběhlo, crept over her that the horse was going a lot že kůň teď běží mnohem rychleji, plným faster now, a full gallop instead of the easy tryskem, místo aby cválal. Hromada svalů…. canter. A bunching of muscle… … and then the sky ahead of her erupted … a potom se před ní na chvíli zamodralo blue for a moment. nebe. Behind her, unseen because light was Za ní, ačkoli to neviděla, protože se studem standing around red with embarrassment začervenalo světlo a ptalo se samo sebe, co asking itself what had happened, a pair of se to stalo, ve vzduchu na chvíli zahořel pár hoofprints burned in the air for a moment. otisků podkov. It was a landscape, hanging in space. Byla to krajina, která visela v prostoru. There was a squat little house, with a Stál tam malý podsaditý domek se zahradou. garden around it. There were fields, and Rozléhala se tam pole a vzdálené hory. distant mountains. Susan stared at it as Zuzana na to zírala, když Rakvík Binky slowed. zpomaloval. There was no depth. As the horse swung Nebyla tam žádná hloubka. Když kůň around for a landing, the landscape was přistával, krajina se odhalila jako pouhý revealed as a mere surface, a thin-shaped povrch, velmi tenká vrstva… existence…, film of ... existence ... imposed on která je položena na nicotě. nothingness. She expected it to tear when the horse Očekávala, že se roztrhne, když kůň landed, but there was only a faint crunch and přistával, ale ozvalo se jen nepatrné a scatter of gravel. zakřupání rozhrnutého štěrku. Binky trotted around the house and into Rakvík obklusal dům a vběhl do dvora u the stable-yard, where he stood and waited. stájí, kde se zastavil a čekal. Susan got off, gingerly. The ground felt Zuzana nesměle sestoupila. Země pod jejíma solid enough under her feet. She reached nohama se zdála být dost pevná. Došlápla na down and scratched at the gravel; there was zem a zašramotila na štěrku; pod ním byl

33 more gravel underneath. ještě další štěrk. She'd heard that the Tooth Fairy collected Slyšela, že Víla zubnička sbírá zuby. teeth. Think about it logically… the only Přemýšlej logicky… jediní další lidé, kteří other people who collected any bits of bodies sbírali jakékoli části lidského těla, to dělali did so for very suspicious purposes, and z velmi podezřelých důvodů, obvykle proto, usually to harm or control other people. The aby ublížili nebo ovládali ostatní lidi. Víly Tooth Fairies must have half the children in Zubničky musí mít pod kontrolou polovinu the world under their control. And this didn't všech dětí na celém světě. A toto nevypadalo look like the house of that sort of person. jako dům někoho takového. The Hogfather apparently lived in some Otec prasátek očividně žil v jakési příšerné kind of horrible slaughterhouse in the chatrči v horách, ozdobené párečky a černým mountains, festooned with sausages and pudinkem a natřené ohavně krvavě červenou black puddings and painted a terrible blood- barvou. red. Which suggested style. A nasty style, but Což ukazovalo na styl. Nechutný styl, ale at least style of a sort. This place didn´t have alespoň nějaký. Toto místo nemělo vůbec style of any sort. žádný styl. The Soul Cake Tuesday Duck didn´t Kachna, coby symbol svátku pečené duše, apparently have any kind of a home. Nor did zřejmě neměla vůbec žádný domov. Pokud to Old Man Trouble or the Sandman, as far as věděla, tak ani Starý průšvihář nebo she knew. Písečňák. She walked around the house, which Prošla kolem domu, který nebyl o nic větší wasn't much larger than a cottage. Definitely. než chata. Určitě. Kdokoli tady žil, neměl Whoever lived here had no taste at all. vůbec žádný vkus. She found the front door. It was black, Našla hlavní dveře. Byly černé, s klepátkem with a knocker in the shape of an omega. ve tvaru písmene omega. Susan reached for it, but the door opened Zuzana se jich chtěla dotkknout, ale dveře se by itself. samy otevřely. And the hall stretched away in front of her, A před ní se rozprostřela obrovská hala, která far bigger than the outside of the house could byla mnohem větší, než při pohledu zvenčí possibly contain. She could distantly make dům vůbec mohl pojmout. Vzdáleně mohla out a stairway wide enough for the tap- rozpoznat schodiště, dost široké na finálové dancing finale in a musical. taneční číslo v muzikálu.

34 There was something else wrong with the Ještě něco bylo špatně s perspektivou. Určitě perspective. There clearly was a wall a long tam byla podélná stěna, ale zároveň to way off but, at the same time, it looked as vypadalo, jako kdyby byla namalována ve though it was painted in the air a mere vzduchu a necelých pět metrů daleko. fifteen feet or so away. It was as if distance Vypadalo to, jako kdyby vzdálenost byla was optional. volitelná. There was a large clock against one wall. Naproti jedné stěně byly velké hodiny. Its slow tick filled the immense space. Obrovský prostor naplňoval jejich pomalý tikot. Theres a room, she thought. I remember Tady je místnost, pomyslela si. Pamatuji si the room of whispers. místnost šepotů. Doors lined the hall at wide intervals. Or Hala byla lemovaná dveřmi, které byly short intervals, if you looked at it another umístěny daleko od sebe, nebo blízko, pokud way. jste se na to podívali z druhé strany. She tried to walk towards the nearest one, Zkusila jít k těm nejbližším, ale vzdala to po and gave up after a few wildly teetering několika velmi nejistých krocích. Nakonec to steps. Finally she managed to reach it by zvládla díky tomu, že se na ně zaměřila taking aim and then shutting her eyes. a potom zavřela oči. The door was at one and the same time Ty dveře byly obrovské a zároveň tak akorát about normal human size and immensely velké pro normálního člověka. Kolem dveři big. There was a highly ornate frame around byl bohatě zdobený rám s motivem kostí it, with a skulls-and-bones motif. a lebek. She pushed the door open. Otevřela dveře. This room could have housed a small Tato místnost klidně mohla pojmout malé town. město. A small area of carpet occupied the middle Střed místnosti zabíral malý kousek koberce, distance, no more than a hectare in size. It který nebyl větší než jeden hektar. Zuzaně took Susan several minutes to reach the trvalo několik minut, než došla k jeho okraji. edge. It was a room within a room. There was a Byla to místnost v místnosti. Velký, masivně large, heavy-looking desk on a raised dais, vyhlížející pracovní stůl stál na vyvýšeném with a leather swivel chair behind it. There stupínku a za ním kožené otočné křeslo. Na was a large model of the Discworld, on a jakémsi podstavci stál velký model

35 sort of ornament made of four elephants Plochosvěta, který byl tvořen čtyřmi slony, standing on the shell of a turtle. There were kteří stáli na krunýři želvy. Dále několik several bookshelves, the large volumes piled polic s knihami, přičemž velké svazky byly in the haphazard fashion of people who're far naskládány tak, jak to dělají lidé, kteří jsou too busy using the books ever to arrange příliš zaneprázdněni, aby je pořádně zařadili. them properly. There was even a window, Bylo zde dokonce i okno, zavěšené ve hanging in the air a few feet above the vzduchu několik desítek centimetrů nad ground. zemí. But there were no walls. There was Ale nebyly zde žádné stěny. Mezi rohem nothing between the edge of the carpet and koberce a stěnami větší místnosti nebylo nic the walls of the greater room except floor, kromě podlahy, a i to bylo pro ni příliš přesné and even that was far too precise a word for slovo. Nevypadalo to jako kámen a určitě to it. It didn't look like rock and it certainly nebylo dřevo. Nevydávalo to žádný zvuk, wasn't wood. It made no sound when Susan když po tom Zuzana šla. Byl to jednoduše walked on it. It was simply surface, in the povrch v čistě geometrickém smyslu. purely geometrical sense. The carpet had a skull-and-bones pattern. Koberec měl vzor z lebek a kostí. It was also black. Everything was black, or Také byl černý. Všechno bylo černé nebo a shade of grey. Here and there a tint v odstínu šedé. Tu a tam nádech barvy suggested a very deep purple or ocean-depth připomínal velmi sytou fialovou nebo modř blue. oceánských hloubek. In the distance, towards the walls of the V dálce, směrem ke stěnám většího pokoje, greater room, the metaroom or whatever it maxipokoje nebo co to bylo, byl was, there was the suggestion of… náznak…něčeho, co vrhalo komplikované something. Something was cast-ing stíny, příliš daleko na to, aby je bylo možno complicated shadows, too far away to be jasně rozeznat. clearly seen. Susan got up on to the dais. Zuzana vystoupila na stupínek. There was something odd about the things Na věcech kolem ní bylo něco divného. Na around her. Of course, there was everything věcech kolem ní bylo samozřejmě všechno odd about the things around her, but it was a divné, ale byla to významná podivnost, která huge major oddness that was simply in their prostě vycházela z jejich podstaty. Mohla je nature. She could ignore it. But there was an ignorovat. Ale byla tady podivnost na lidské

36 oddness on a human level. Everything was úrovni. Všechny věci byly prostě mírně just slightly wrong, as if it had been made by špatně, jako kdyby je vytvořil někdo, kdo someone who hadn't fully comprehended its plně nepochopil jejich smysl. purpose. There was a blotter on the oversize desk Na předimenzovaném stole byla psací but it was part of it, fused to the surface. The podložka, která ale byla jeho součástí, drawers were just raised areas of wood, spojená s povrchem. Šuplíky byly reliéfní impossible to open. Whoever had made the kousky dřeva, které nešly otevřít. Ať už desk had seen desks, but hadn't understood vyrobil tento stůl kdokoliv, tak deskishness. pravděpodobně věděl, co je to stůl, ale určitě nerozuměl stolařině. There was even some sort of desk Na stole byl dokonce nějaký druh ornamentu. ornament. It was just a slab of lead, with a Byla to jen olověná destička s provázkem thread hanging down one side and a shiny visícím na jedné straně a s lesklou kulatou round metal ball on the end of the thread. If kovovou kuličkou na konci provázku. Když you raised the ball it swung down and jste zvedli kuličku, zhoupla se dolů a pouze thumped into the lead, just once. jednou narazila do provázku. She didn´t try to sit in the chair. There was Nezkoušela sedat do křesla. V kůži byla a deep pit in the leather. Someone had spent velká prohlubeň. Někdo zde strávil spoustu a lot of time sitting there. času sezením. She glanced at the spines of the books. Prohlížela si hřbety knih. Byly napsány They were in a language she couldn't jazykem, kterému nerozuměla. understand. She trekked back to the distant door, went Odvlekla se zpět ke vzdáleným dveřím, vyšla out into the hall, and tried the next door. A do haly a zkusila další dveře. V mysli se jí suspicion was beginning to form in her začalo rodit podezření. mind. The door led to another huge room, but Dveře vedly do další obrovské místnosti, ale this one was full of shelves, floor to distant, tato byla zaplněna policemi, od podlahy až cloud-hung ceiling. Every shelf was lined do dalekého, oblak se dotýkajícího stropu. with hourglasses. Každá police byla lemována přesýpacími hodinami. The sand pouring from the past to the Písek přelévající se z minulosti do

37 future filled the room with a sound like surf, budoucnosti plnil místnost zvukem a noise made up of a billion small sounds. podobným příboji, zvukem tvořeným miliardami malých zvuků. Susan walked between the shelves. It was Zuzana se procházela mezi policemi. Bylo to, like being in a crowd. jako kdyby se nacházela v davu lidí. Her eye was caught by a movement on a Její pohled zachytil pohyb na blízké polici. nearby shelf. In most of the hourglasses the Ve většině přesýpacích hodin padající písek falling sand was a solid silver line but in this tvořil plnou stříbrnou čáru, ale v této, právě one, just as she watched, the line vanished. jak se podívala, čára zmizela. Poslední zrnko The last grain of sand tumbled into the písku spadlo do spodní baňky. bottom bulb. The hourglass vanished with a small 'pop'. Přesýpací hodiny zmizely s malým ‘puk‘. A moment later another one appeared in O moment později se na jejich místě se its place, with the faintest of 'pings'. In front slaboučkým ‘pink‘ objevily další. Před jejím of her eyes, sand began to fall… zrakem začal padat písek… And she was aware that this process was Uvědomila si, že tento proces probíhá po celé going on all over the room. Old hourglasses místnosti. Staré přesýpací hodiny mizely vanished, new ones took their place. a nové zabíraly jejich místo. She knew about this, too. Toto také znala. She reached out and picked up a glass, bit Natáhla ruku, zvedla jedny hodiny, her lip thoughtfully, and started to turn the zamyšleně sevřela rty a začala tu věc otáčet thing upside down… vzhůru nohama… SQUEAK! KVÍK! She spun around. The Death of Rats was Otočila se kolem. Na polici za ní stál Krysí on the shelf behind her. It raised an smrťáček. Zvedl varovně prst. admonitory finger. 'All right,' said Susan. She put the glass „Dobře,“ řekla Zuzana. Hodiny vrátila zpět back in its place. na jejich místo.

SQUEAK. KVÍK.

'No. I haven't finished looking.' „Ne. Ještě jsem se nedodívala.“ Susan set off for the door, with the rat Zuzana vyrazila ke dveřím, krysa běžela po skittering across the floor after her. podlaze za ní.

38 The third room turned out to be… Z třetí místnosti se vyklubala …. … the bathroom. …koupelna. Susan hesitated. You expected hourglasses Zuzana zaváhala. Na tomto místě jste in this place. You expected the skull-and- očekávali přesýpací hodiny. Očekávali jste bones motif. But you didn't expect the very tady motiv lebek a kostí. Ale neočekávali jste large white porcelain tub, on its own raised obrovskou bílou porcelánovou vanu stojící podium like a throne, with giant brass taps na svém vlastním zvýšeném pódiu jako trůn, and – in faded blue letters just over the thing s obrovskými mosaznými kohoutky a – nad that held the plug chain – the words: C. H. tou věcí, co držela řetěz se špuntem – s Lavatory & Son, Mollymog St, Ankh- nápisem provedeným vybledlými modrými Morpork. písmeny: C. H. Záchody & syn, ulice Mollymog, Ankh-Morpork. You didn't expect the rubber duck. It was Nečekali byste gumovou kačenku. Byla yellow. žlutá. You didn't expect the soap. It was suitably Nečekali byste mýdlo. Bylo náležitě bílé jako bone-white, but looked as if it had never kost, ale vypadalo, jako kdyby nikdy nebylo been used. Beside it was a bar of orange soap používáno. Vedle toho bylo oranžové mýdlo, which certainly had been used – it was které určitě bylo používáno – bylo ho už jen hardly more than a sliver. It smelled a lot like ždibec. Vonělo podobně jako ta hnusná věc the vicious stuff used at school. používaná ve škole. The bath, though big, was a human thing. Vana, ačkoliv velká, byla vyrobena lidmi. There was brown-lined crazing around the Smalt byl okolo výpusti zahnědlý. A plug-hole and a stain where the tap had v místech, kde byla skvrna, kapal kohoutek. dripped. But almost everything else had been Téměř všechno bylo navrženo osobou, která designed by the person who hadn't nerozuměla stolařině a nerozuměla ani understood deskishness, and now hadn't koupelnám. understood ablutionology either. They had created a towel rail an entire Vytvořili držák na ručník, který mohl athletics team could have used for training. používat na trénink celý atletický tým. Černé The black towels on it were fused to it and ručníky splývaly s držákem a byly docela were quite hard. Whoever actually used the těžké. Kdokoliv, kdo ve skutečnosti používal bathroom probably dried themselves on the tuto koupelnu, ten se pravděpodobně utíral white-and-blue, very worn towel with the do bílomodrého velmi používaného ručníku

39 initials Y M R-C-I-G-B-S A, A-M on it. s iniciálami SMMVBKB-S, A-M. There was even a lavatory, another fine example of C. H. Lavatory's porcelainic art, Dokonce tu byl záchod, další kvalitní vzorek with an embossed frieze of green and blue C. H. záchodového porcelánového umění flowers on the cistern. And again, like the s reliéfním vlysem na nádrži tvořeným bath and the soap, it suggested that this room zelenými a modrými květy. A znovu, stejně had been built by someone… and then jako v případě vany a mýdla, to vypadalo, someone else had come along afterwards to jako by tato místnost byla postavena add small details. Someone with a better někým… a potom přišel někdo jiný, aby knowledge of plumbing, for a start. And přidal malé detaily. Na začátek někdo s someone else who understood, really under- lepšími znalostmi instalatérství. A někdo stood, that towels should be soft and capable jiný, kdo chápal, opravdu chápal, že ručníky of drying people, and soap should be capable by měly být měkké a schopné sušit lidi, a of bubbles. mýdlo by mělo být schopné dělat bublinky. You didn't expect any of it until you saw it. Nic z toho jste nečekali, dokud jste to And then it was like seeing it again. neuviděli. A potom se zdálo, jako byste to viděli znovu. The bald towel dropped off the rail and Hladký ručník sklouzl z držáku a poskakoval skipped across the floor, until it fell away to po podlaze, až spadl a odhalil Krysího reveal the Death of Rats. smrťáčka. SQUEAK? KVÍK? 'Oh, all right,' said Susan. 'Where do you „Oh, dobře,“ řekla Zuzana. „Kam chceš, want me to go now?' abych teď šla?“ The rat scurried to the open door and Krysa pelášila k otevřeným dveřím a zmizela disappeared into the hall. v hale. Susan followed it to yet another door. She Zuzana ji následovala do dalších dveří. turned yet another handle. Otočila ještě další klikou. Another room within a room lay beyond. Ležela za ní další místnost uvnitř místnosti. There was a tiny area of lighted tiling in the Zde v temnotě svítila malá plocha světlých darkness, containing the distant vision of a kachliček obsahující vzdálenou představu table, a few chairs, a kitchen dresser— stolu, několik židlí, kuchyňskou komodu – —and someone. A hunched figure was a někoho. U stolu seděla shrbená postava. sitting at the table. As Susan cautiously Když se Zuzana opatrně blížila, slyšela

40 approached she heard the rattle of cutlery on rachot příboru na talíři. a plate. An old man was eating his supper, very Starý muž večeřel. Velmi hlučně. Mezi noisily. In between forkfuls, he was talking sousty mluvil sám se sebou s plnou pusou. to himself with his mouth full. It was a kind Byl to zlozvyk. of auto bad manners. "S'not my fault! [spray] I was against it „Není to mo-je chyba! [prsk] Byl jsem proti from the start but, oh no, he has to go and tomu od za-čát-ku, ale to ne, on musel jít a [recover piece of ballistic sausage from [zvedl kousek balistického párku ze stolu] table] start gettin' involved, I told him, i's'not začal se do toho plést, já jsem mu říkal, že to as if you're not involved [stab unidentified není, jako byste nebyl zapojen [napíchl fried object], oh no, thaťs not his way [spray, neidentifikovatelný smažený objekt], ale ne, jab fork at the air], once you get involved to není jeho způsob [prsk, cink vidličkou o like that I said, how're you getting out, tell talíř do vzduchu], jednou, jak se zapojíte, me that [make temporary egg-and-ketchup takhle jsem říkal, jak se dostanete ven, sandwich] but, oh no—' řekněte mi… [vytvořil dočasný sendvič s vejcem a kečupem] ale, ale ne…“ Susan walked around the patch of carpet. Zuzana šla kolem kusu koberce. The man took no notice. Muž si jí vůbec nevšiml. The Death of Rats shinned up the table leg Krysí smrťáček šplhal vzhůru po noze stolu a and landed on a slice of fried bread. přistál na krajíčku topinky. 'Oh. Iťs you.' „Á. To jsi ty.“ SQUEAK. KVÍK. The old man looked around. Starý muž se ohlédl. 'Where? Where?' „Kde? Kde?“ Susan stepped onto the carpet. The man Zuzana se postavila na koberec. Muž se stood up so quickly that his chair fell over. postavil tak rychle, že jeho židle spadla. 'Who the hells are you?' „Kdo k čertu jsi?“ 'Could you stop pointing that sharp bacon „Mohl byste přestat na mě mířit tou ostrou at me?' slaninou?“

'I asked you a question, young woman!' „Na něco jsem se vás zeptal, mladá dámo!“

'I´m Susan.' This didn't sound enough. „Jsem Zuzana.“ To dost dobře neznělo.

41 'Duchess of Sto Helit,' she added. „Vévodkyně z Helitského hrabství.“ dodala. The man's wrinkled face wrinkled still Mužova vrásčitá tvář se ještě více svraštěla, further as he strove to comprehend this. Then jak se tomu snažil porozumět. Potom se he turned away and threw his hands up in the otočil a vyhodil ruce do vzuchu. air. 'Oh, yes!' he bawled, to the room in „Ó, ano!“ zařval všeobecně do místnosti. general. 'That just puts the entire tin lid on it, „To je prostě jasné, že!“ that does!' He waved a finger at the Death of Rats, Zamával prstem na Krysího smrtě, který se who leaned backwards. stáhl zpět. 'You cheating little rodent! Oh, yes! I smell „Ty podvádíš, malý hlodavče! Ó, ano! Cítím a rat here!' tady krysu!“ SQUEAK? KVÍK? The shaking finger stopped suddenly. The Hrozící prst se najednou zastavil. Muž se man spun around. otočil. 'How did you manage to walk through the „Jak jsi dokázala projít zdí?“ wall?' 'I´m sorry?' said Susan, backing away. 'I „Prosím?“ zeptala se couvající se Zuzana. didn't know there was one.' „Nevěděla jsem, že tady nějaká je.“ 'What ďyou call this, then, Klatchian mist?' The man slapped the air. „Jak ty tomu teda říkáš – Klačská mlha?“ The hippo of memory wallowed… Muž ve vzduchu zatleskal. ‘... Albert…,’ said Susan, 'right?' Chumel vzpomínek se znovu převalil… Albert thumped his forehead with the palm „…Albert…,“ řekla Zuzana, „že?“ of his hand. Albert si plácl dlaní na čelo. 'Worse and worse! Whaťve you been „Horší a horší! Co jsi jí řekl?“ telling her?' 'He didn't tell me anything except SQUEAK „Neřekl mi nic jiného, než KVÍK a já nevím, and I don't know what that means,' said co to znamená,“ řekla Zuzana. Susan. 'But…look, there's no wall here, „Ale…podívej, tady není žádná zeď, je tady there's just… jen…“ Albert wrenched open a drawer. 'Observe,' he said sharply. 'Hammer, right? Albert trhnutím otevřel šuplík.

42 Nail, right? Watch.' „Dávej pozor,“ řekl ostře. „To je kladivo, že? He hammered the nail into the air about Hřebík, že? Sleduj.“ five feet up at the edge of the tiled area. It Přibil hřebík do vzduchu asi pět stop nad hung there. hranu obložené plochy. Visel tam. 'Wall,' said Albert. „Zeď,“ řekl Albert. Susan reached out gingerly and touched Zuzana opatrně natáhla ruku a dotkla se the nail. It had a sticky feel, a little like static hřebíku. Byl nepříjemný na dotek, trošku electricity. jako statická elektřina. 'Well, it doesn't feel like a wall to me,' she „No, mně to pořád nepřijde jako managed. stěna,“ vypustila ze sebe. SQUEAK. KVÍK. Albert dropped the hammer on the table. Albert upustil kladivo na stůl. He wasn't a small man, Susan realized. He Zuzana si uvědomila, že muž není malý. Byl was quite tall, but he walked with the kind of docela vysoký, ale chodil tak nějak shrbeně, lopsided stoop normally associated with což je běžně spojováno s laboratorními laboratory assistants of an Igor turn of mind. asistenty s igorovskou myslí. 'I give in,' he said, wagging his finger at „Vzdávám to,“ řekl znovu hrozící prstem na Susan again. 'I told him no gooďd come of it. Zuzanu. „ Já jsem mu říkal, že není dobré, He started meddlin', and next thing a mere aby se to stalo. Začal si zahrávat a pak se chit of a girl— where'd you go?' tady objeví taková malá holka – kde jsi?“ Susan walked over to the table while Zuzana došla ke stolu, zatímco Albert mával Albert waved his arms in the air, trying to svýma rukama ve vzduchu, aby ji našel. find her. There was a cheeseboard on the table, and Na stole bylo servírovací prkénko na sýr a snuff box. And a string of sausages. No a krabička se šňupacím tabákem. A věnec fresh vegetables at all. Miss Butts advocated buřtů. Vůbec žádná zelenina. Slečna avoiding fried foods and eating plenty of Knoflíčková prosazovala, aby se vyhýbaly vegetables for what she referred to as Daily smaženému jídlu a konzumovaly hodně Health. She put a lot of troubles down to an zeleniny kvůli čemusi, co nazývala Denní absence of Daily Health. Albert looked like zdraví. Absenci Denního zdraví považovala the em-bodiment of them all as he scuttled za hodně špatnou. Albert vypadal jako around the kitchen, grabbing at the air. ztělesnění všeho zlého, když běhal po kuchyni a mával rukama ve vzduchu.

43 She sat in the chair as he danced past. Jakmile dotančil, sedla si na židli. Albert stopped moving, and put his hand Albert se přestal hýbat a položil si ruku přes over one eye. Then he turned, very carefully. jedno oko. Pak se velmi opatrně otočil. The one visible eye was screwed up in a Jedno oko, které vidělo, bylo vypouleno v frantic effort of concentration. zoufalé snaze se koncentrovat. He squinted at the chair, his eye watering Mžoural na židli a oko slzelo námahoou. with effort. 'Thaťs pretty good,' he said, quietly. 'All „To je dost dobré,“ řekl tiše. „Dobře. Jsi tu. right. You're here. The rat and the horse Krysa a kůň tě přivedli. Doprčic. Myslí si, že brought you. Damn fool things. They think je to tak správně.“ iťs the right thing to do.' 'What right thing to do?' said Susan. 'And „Jak správně?“ zeptala se Zuzana. „A nejsem I´m not a… what you said.' to… co jsi říkal.“ Albert stared at her. Albert na ni zíral. 'The Master could do that,' he said at last. „Mistr to mohl udělat,“ řekl nakonec. 'Iťs part of the job. I 'spect you found you „Je to součástí práce. Očekávám, že jsi to už could do it a long time ago, eh? Not be dávno zjistila, že to můžeš dělat, co? Že tě noticed when you didn't want to be?' nikdo nevidí, když nechceš?“ SQUEAK, said the Death of Rats. KVÍK, řekl Krysí smrťáček. 'What?' said Albert. „Co?“ zeptal se Albert. SQUEAK. KVÍK. 'He says to tell you,' said Albert wearily, „On říká, abych ti to pověděl,“ vyčerpaně 'that a chit of a girl means a smali girl. He řekl Albert, „že malá holka znamená malá thinks you may have misheard me.' holka. Myslí si, že jsi mi možná nerozuměla.“ Susan hunched up in the chair. Zuzana se na židli shrbila. Albert pulled up another one and sat down. Albert vytáhl druhou židli a posadil se. 'How old are you?' „Kolik je ti let?“ 'Sixteen.' „Šestnáct.“ 'Oh, my.' Albert rolled his eyes. 'How long „Ach jo.“ Albert protočil oči. „Jak dlouho ti have you been sixteen?' je šestnáct?“ 'Since I was fifteen, of course. Are you „Od té doby, co mi bylo patnáct, stupid?' samozřejmě. Blázníš?“

44 'My, my, how the time does pass,' said „Jo, jo, jak ten čas utíká,“ řekl Albert. Albert. 'Do you know why you're here?' „Víš, proč jsi tady?“ 'No… but,' Susan hesitated, 'but iťs got „Ne… ale,“ zaváhala Zuzana, „ale má to co something to do with… iťs something like… dělat… je to něco jako…Vidím věci, které I'm seeing things that people don't see, and lidé nevidí, potkala jsem někoho, kdo je jen v I´ve met someone who's just a story, and I pohádce, a já vím, že už jsem tady byla… a know I´ve been here before… and all these všechny ty lebky a kosti na věcech…“ skulls and bones on things…’ Alberťs rangy, vulture-like shape loomed Albertův ohromný, supovitý obrys se tyčil over her. nad ní. 'Would you like a cocoa?' he said. „Dala by sis kakao?“ nabídl jí. It was a lot different from the cocoa at the Bylo to úplně něco jiného než kakao ve school, which was like hot brown water. škole, které vypadalo jako hnědá voda. Alberťs cocoa had fat floating in it; if you Albertovo kakao obsahovalo tuk; kdybyste turned the mug upside down, it would be a otočili hrnek dnem vzhůru, trvalo by nějakou little while before anything fell out. dobu, než by cokoli vypadlo ven. 'Your mum and dad,' said Albert, when she „Tvoje maminka a tatínek,“ řekl Albert, když had a chocolate moustache that was far too už měla čokoládový knír, který se k jejímu young for her, 'did they ever… explain věku vůbec nehodil, „vysvětlili ti vůbec… anything to you?' někdy něco?“ 'Miss Delcross did that in Biology,' said „Slečna Křížková to udělala v Susan. 'She got it wrong,' she added. biologii,“ řekla Zuzana. „Ale špatně,“ dodala. 'I mean about your grandfather,' said „Myslím o tvém dědečkovi,“ řekl Albert. Albert. 'I remember things,' said Susan, 'but I can't „Pamatuji si věci,“ řekla Zuzana, „ale remember them until I´ve seen them. Like nevzpomenu si na ně, dokud je neuvidím. the bathroom. Like you.' Jako koupelnu. Jako tebe.“ 'Your mum and dad thought it best if you „Tvoje maminka a tatínek si mysleli, že pro forgot,' said Albert. 'Hah! Iťs in the bone! tebe bude nejlepší, když zapomeneš,“ řekl They was afraid it was going to happen and Albert. „Ha! To je ono! Báli se, že se to stane it has! You´ve inherited.' a ono se to stalo! Ty jsi to podědila.“ 'Oh, I know about that, too,' said Susan. „Och, to vím taky,“ řekla Zuzana. „To je

45 'Iťs all about mice and beans and things.' stejné jako myši a fazole a takové ty věci.“ Albert gave her a blank look. Albert se na ni vrhl bezvýznamný pohled. 'Look, I´ll try to put it tactful,' he said. „Podívej, zkusím ti to taktně vysvětlit,“ řekl. Susan gave him a polite look. Zuzana na něj přezíravě pohlédla. 'Your grandfather is Death,' said Albert. „Tvůj dědeček je Smrťák,“ řekl Albert. „Víš 'You know? The skeleton in the black robe? to? Kostra v černém plášti? Přijela jsi na jeho You rode in on his horse and this is his koni a toto je jeho dům. On jen…odešel. Aby house. Only he’s… gone away. To think si něco promyslel nebo tak něco. Myslím si, things over, or something. What I reckon's že tě to vtáhlo. Cítím to v kostech. Teď už jsi happening is you're being sucked in. Iťs in dost stará. Je tu mezera a ta si myslí, že jsi ta the bone. You're old enough now. There's a pravá. Nelíbí se mi to o nic víc než tobě.“ hole and it thinks you're the right shape. I don't like it any more than you do.' 'Death,' said Susan, flatly. 'Well, I can't say „Smrťák,“ řekla Zuzana kategoricky. „No, I didn't have suspicions. Like the Hogfather nemůžu říct, že jsem neměla podezření. Jako and the Sandman and the Tooth Fairy?' Otec prasátek a Písečňák a Víla zubnička?“ 'Yes.' „Ano.“

SQUEAK. KVÍK. 'You expect me to believe that, do you?' „Ty čekáš, že tomu budu věřit, že?“ řekla said Susan, trying to summon up her most Zuzana a zkusila, aby to znělo co withering scorn. nejpohrdavěji. Albert glared back like someone who'd Albert na ni pohlédl zpět jako někdo, kdo se done all his withering a long time ago. naposledy rozčílil kdysi hodně dávno. 'Iťs no skin off my nose what you believe, „Je mi úplně jedno, čemu věříš, dámo,“ řekl. madam,' he said. 'You really mean the tall figure with the „Ty vážně myslíš tu vysokou postavu s kosou scythe and everything?' a tak?“ 'Yes.' „Ano.“ 'Look, Albert,' said Susan, in the voice one „Podívej se, Alberte,“ řekla Zuzana tónem, uses to the simple-minded, 'even if there was kterým se mluví s prosťáčky, „dokonce a "Death" like that, and frankly iťs quite i kdyby existoval ‚Smrťák‘ jako takový, ridiculous to go anthropomorphizing a a upřímně, je to docela směšné představit si simple natural function, no-one can inherit ztělesnění čistě přírodní funkce, nikdo

46 anything from it. I know about heredity. Iťs nemůže od něj nic zdědit. Vím o dědičnosti. all about having red hair and things. You get Je to o tom mít zrzavé vlasy a tak. Získáš je it from other people. You don't get it from… od jiných lidí. Nezískáš je od… postav myths and legends. Um.' z mýtů a legend. Tak.“ The Death of Rats had gravitated to the Krysího smrťáčka přitahovalo prkénko na sýr cheeseboard, where he was using his scythe a použil kosičku k tomu, aby si kousek to hack off a lump. Albert sat back. odsekl. Albert se opřel. 'I remember when you got brought here,' „Pamatuji si, jak tě sem přivezli,“ řekl. he said. 'He'd kept on asking, you see. He „Pořád se tě na něco ptal, víš. Byl zvědavý. was curious. He likes kids. Sees a lot of them Má děti rád. Opravdu jich hodně potkává, really, but… not to get to know, if you see ale … ne aby se seznámil, pokud chápeš, co what I mean. Your mum and dad didn't want myslím. Tvoje maminka a tatínek nechtěli, to, but they gave in and brought you all here ale vzdali to a přivezli tě sem jedno for tea one day just to keep him quiet. They odpoledne jenom proto, aby dal pokoj. didn't like to do it because they thought you'd Nechtěli to udělat, protože si mysleli, že se be scared and scream the place down. But budeš bát a ukřičíš se k smrti. Ale ty… ty jsi you…you didn't scream. You laughed. neječela. Smála ses. Ale to k smrti vyděsilo tvého tátu. Frightened the life out of your dad, that Přivezli tě ještě několikrát, když si řekl, ale did. They brought you a couple more times pak se začali bát toho, co by se mohlo stát when he asked, but then they got scared a tvůj otec si dupl a byl s tím konec. Tvůj about what might happen and your dad put otec byl jediný, kdo se mohl s Mistrem hádat. his foot down and that was the end of it. He To ti tehdy byly asi čtyři.“ was about the only one who could argue with the Master, your dad. You'd have been about four then, I think.' Susan raised her hand thoughtfully and Zuzana zvedla zamyšleně ruku a dotkla se touched the pale lines on her cheek. bledých čar na své tváři. 'The Master said they were raising you „Mistr řekl,“ ušklíbl se Albert, „že tě according to,' Albert sneered, 'modern vychovávali podle moderních metod. Logika. methods. Logic. And thinking old stufr is A že myslet postaru je hloupé. Nevím… silly. I dunno… I suppose they wanted to Myslím, že tě chtěli ochránit před… keep you away from… ideas like this…’ představami jako je tato.“

47 'I was given a ride on the horse,' said „Mohla jsem jezdit na koni,“ řekla Zuzana, Susan, not listening to him. 'I had a bath in která ho neposlouchala. „Koupala jsem se v the big bathroom.' té velké koupelně.“ 'Soap all over the place,' said Albert. His „Mýdlo bylo úplně všude,“ pravil Albert. face contorted into something approaching a Tvář mu zkřivilo něco, co se podobalo smile. 'I could hear the Master laughing from úsměvu. „Až odtud jsem slyšel, jak se Mistr here. And he made you a swing, too. Tried směje. A taky tě houpal. Alespoň se o to to, anyway. No magic or anything. With his pokoušel. Žádná magie ani nic jiného. Svýma actual hands.' skutečnýma rukama.“ Susan sat while memories woke and Zuzana si sedla a vzpomínky v hlavě se jí yawned and unfolded in her head. začaly probouzet, zívat a vstávat. 'I remember about that bathroom now,' she „Už si vzpomínám na tu koupelnu,“ řekla. said. 'Iťs all coming back to me.' „Všechno se mi to začíná vracet.“ 'Nah, it never went away. It just got „Nesmysl, nikdy to neodešlo. Měla jsi to jen papered over.' dobře zabaleno.“ 'He was no good at plumbing. What does „Nikdy se moc nevyznal v instalateřině. Co Y M R-C-I-G-B-S A, A-M mean?' znamená SMMVBKB-S, A-M?“ 'Young Men's Reformed-Cultists-of-the- „Sdružení mladých mužů, vyznavačů kultu Ichor-God-Bel-Shamharoth Association, božské krve Bel-Shamharotha, Ankh- Ankh-Morpork,' said Albert. 'Iťs where I stay Morpork,“ pravil Albert. if I have to go back down for anything. Soap „Chodím tam, když musím skočit pro něco and suchlike.' tam dolů. Pro mýdlo a tak.“ 'But you're not… a young man,' said „Ale ty nejsi… mladý muž,“ vyhrkla Zuzana, Susan, unable to prevent herself. která to nebyla schopna potlačit. 'No-one argues,' he snapped. And Susan „To nikdo netvrdí,“ odsekl. A Zuzana si thoiught that was probably true. There was pomyslela, že má asi pravdu. V Albertovi some kind of wiry strength in Albert, as if his byla jakási šlachovitá síla, jako kdyby celé whole body was a knuckle. jeho tělo představovalo jeden velký kloub. 'He can make just about anything,' she „Může dělat skoro všechno,“ řekla napůl said, half to herself, 'but some things he just k sobě, „ale některé věci prostě nechápe doesn't understand, and one of thenťs a jednou z nich je instalateřina.“ plumbing.' „Přesně tak. Museli jsme pozvat instalatéra 'Right. We had to get a plumber from z Ankh-Morporku. Ha, říkal, že by to možná

48 Ankh-Morpork, hah, he said he might be mohl udělat ten týden po čtvrtku a takové able to make it a week next Thursday, and věci by se neměly Mistrovi říkat,“ pravil you don't say that kind of thing to the Albert. „Ještě nikdy jsem neviděl Master,' said Albert. I‘ve never seen a bugger žádného pitomce makat tak rychle. Pak Mistr work so fast. Then the Master just made him způsobil, že zapomněl. Může nechat forget. He can make everyone forget, zapomenout každého s výjimkou…“ Albert except—' Albert stopped, and frowned. přestal mluvit a zamračil se. 'Seems I´ve got to put up with it,' he said. „Zdá se, že se s tím budu muset smířit. Zdá 'Seems you´ve a right. I expect you're tired. se, že ty máš právo. Řekl bych, že jsi You can stay here. There's plenty of rooms.' unavená. Můžeš tady zůstat. Je tady spousta pokojů.“ 'No, I´ve got to get back! There'll be „Ne, já musím zpátky! Měla bych strašné terrible trouble if I´m not at school in the potíže, kdybych ráno nebyla ve škole.“ morning.' 'There's no Time here except what people „Tady není žádný Čas, kromě toho, který si brings with 'em. Things just happen one after lidé přinesou s sebou. Věci se prostě dějí the other. Binky'll take you right back to the jedna za druhou. Rakvík tě donese zpět time you left, if you like. But you ought to přesně do té chvíle, kdy jsi odešla, budeš-li stop here a while.' chtít. Ale raději bys měla chvilku zůstat tady.“ 'You said there's a hole and I´m being „Řekl jsi, že existuje díra a já jsem do ní sucked in. I don't know what that means.' nasávána. Vůbec nevím, co to znamená.“ 'You'll feel better after a sleep,' said Albert. „Budeš se cítít líp, když se trochu prospíš,“ řekl Albert. There was no real day or night here. That had Tady neexistoval opravdový den ani noc. given Albert trouble at first. There was just Albertovi to zpočátku dělalo problémy. Byla the bright land-scape and, above, a black sky tady jen jasná krajina a nad ní černé nebe with stars. Death had never got the hang of s hvězdami. Smrťák nikdy nepochopil day and night. When the house had human rovnováhu dne a noci. Pokud byli v domě inhabitants it tended to keep a 26-hour day. lidští obyvatelé, měl dům sklony držet se Humans, left to themselves, adopt a longer šestadvacetihodinového dne. Lidé, ponecháni diurnal rhythm than the 24-hour day, so they sami sobě, se přizpůsobí dennímu rytmu can be reset like a lot of little clocks at delšímu, než je čtyřiadvacetihodinový den,

49 sunset. Humans have to put up with Time, takže mohou být znovu nataženi stejně jako but days are a sort of personal option. spousta malých hodinek při východu slunce. Albert went to bed whenever he Albert odcházel do postele, kdykoli se mu remembered. zachtělo. Now he sat up, with one candle alight, Teď se posadil s hořící svíčkou a zíral staring into space. do prázdna. 'She remembered about the bathroom,' he „Vzpomněla si na koupelnu,“ zamumlal. muttered. 'And she knows about things she „A ví o věcech, které nemohla vidět. Nikdo jí couldn't have seen. She couldn't have been to nemohl říct. Vrátila se jí paměť. Ona to told. She's got his memory. She inherited.' zdědila.“ SQUEAK, said the Death of Rats. He tended KVÍK, řekl Krysí smrťáček. Měl ve zvyku v to sit by the fire at nights. noci sedávat u ohně. 'Last time he went off, people stopped „Když naposledy odešel, lidé přestali dyin,' said Albert. 'But they ain't stopped umírat,“ řekl Albert. „Ale teď nepřestávají dyin' this time. And the horse went to her. umírat. A kůň šel za ní. To ona zaplňuje She's fillin' the hole.' mezeru.“ Albert glared at the darkness. When he Albert zuřil v temnotě. Když byl rozrušený, was agitated it showed by a sort of relentless projevovalo se to jakýmsi druhem vytrvalého chewing and sucking activity, as if he was přežvykování a cucání, jako by se pokoušel trying to extract some forgotten morsel of dostat z díry v zubu kousek svačiny. Teď teatime from the recesses of a tooth. Now he však vydával zvuky jako kadeřníkův fén. was making a noise like a hairdresser's U- bend. He couldn't remember ever having been Nemohl si vzpomenout, kdy byl mladý. young. It must have happened thousands of Pokud ano, muselo to být před tisíci let. Bylo years ago. He was seventy-nine, but Time in mu sedmdesát devět, ale čas ve Smrťákově Deatlťs house was a reusable resource. domě byl recyklovatelným zdrojem. He was vaguely aware that childhood was Nejasně si uvědomoval, že dětství byla a tricky business, especially towards the end. složitá záležitost, zvláště ke konci. Byla tady There was all the business with pimples and celá ta věc s pupínky a částmi vašeho těla, bits of your body having a mind of their own. které si dělaly, co chtěly. Být výkonnou paží Running the executive arm of mortality was smrtelnosti, tak to byl extra problém. certainly an extra problem.

50 But the point was, the horrible, inescapable Šlo však o to, nevyhnutelně o to, že někdo to point was, that someone had to do it. dělat musel. A to bez debat. For, as has been said before, Death Protože, jak už bylo napsáno dříve, Smrťák operated in general rather than particular působil spíše v obecném než konkrétním terms, just like a monarchy. smyslu, asi jako monarchie. If you are a subject in a monarchy, you are Jestliže jste poddaným v monarchii, vládne ruled by the monarch. All the time. Waking vám panovník. Pořád. Ať už je vzhůru, nebo or sleeping. Whatever you - or they - happen spí. Ať už vy – nebo oni – děláte cokoli. to be doing. Iťs part of the general conditions of the Je to součástí obecných podmínek situace. situation. The Queen doesn't actually have to Ve skutečnosti královna nemusí přijít do come around to your actual house, hog the vašeho domu, nemusí sebrat křeslo nebo chair and the TV remote control, and issue dálkové ovládání televize a vydávat actual commands about how one is parched opravdové příkazy o tom, jak je člověk and would enjoy a cup of tea. It all takes vyprahlý a jak by si užil šálek čaje. To se place automatically, like gravity. Except that, děje automaticky jako přitažlivost. Kromě unlike gravity, it needs someone at the top. toho, že na rozdíl od přitažlivosti je zapotřebí They don't necessarily have to do a great někdo nahoře. A ti nemusejí nutně vykonávat deal. They just have to be there. They just spoustu práce. Prostě tam mají být. Prostě have to be. mají být. 'Her?' said Albert. „Jí?“ řekl Albert.

SQUEAK. KVÍK. 'She'll crack soon enough,' said Albert. 'Oh, „Ona na to brzo přijde,“ řekl Albert. „Ó ano. yes. You can't be an immortal and a mortal at the Nemůžeš být nesmrtelný a smrtelný same time, iťll tear you in half. I almost feels současně, to tě prostě roztrhne v půli. Téměř sorry for her,' ji lituju.“ SQUEAK, agreed the Death of Rats. 'And that ain't the worst bit,' said Albert. KVÍK, souhlasil Krysí Smrťáček. 'You wait till her memory really starts „A to ještě není to nejhorší.“ řekl Albert. working...' „Počkej, až jí paměť skutečně začne

SQUEAK. fungovat…“ 'You listen to me,' said Albert. 'You'd KVÍK.

51 better start looking for him right away.' „Poslouchej,“ řekl Albert, „měl bys raději začít hledat jeho, a to hned.“ Susan awoke, and had no idea what time it Zuzana se probudila a vůbec nevěděla, kolik was. je hodin. There was a clock by the bedside, because U postele byly hodiny, protože Smrťák věděl, Death knew there should be things like že by tam měly být věci, jako třeba hodiny na bedside clocks. It had skulls and bones and nočním stolku. Hodiny zdobily lebky a kosti the omega sign on it, and it didn't work. a písmeno omega a nefungovaly. V domě There were no working clocks in the house, nešly žádné hodiny s výjimkou jedněch except the special one in the hall. Any others velmi zvláštních hodin v hale. Tyto hodiny got depressed and stopped, or unwound byly tak výjimečné, že všechny ostatní trpěly themselves all in one go. takovým pocitem méněcennosti, že se raději zastavily, anebo si všechny hned napoprvé přetáhly péro. Her room looked as though someone had Její pokoj měl vzhled místnosti, z níž někdo moved out yesterday. There were hairbrushes včera odešel. Na toaletním stolku ležely on the dressing table, and a few odds and kartáče a několik drobností na líčení. ends of make-up. There was even a dressing- Na vnitřní straně dveří dokonce visel župan. gown on the back of the door. It had a rabbit Na kapse měl králíčka. Příjemný dojem mohl on the pocket. The cosy effect would have být ještě lepší, kdyby nebyl vyobrazen been improved if it hadn't been a skeletal v podobě kostry. one. She had a rummage through the drawers. V zásuvkách byla spousta haraburdí. Musel This must have been her motheťs room. to být pokoj její matky. Bylo tu mnoho There was a lot of pink. Susan had nothing růžové. Zuzana neměla nic proti růžové, against pink in moderation, but this wasn't it; pokud se užívala s rozumem, ale to nebyl she put on her old school dress. tento případ. Oblékla si svou starou školní uniformu. The important thing, she decided, was to Rozhodla se, že je důležité zůstat klidná. Na stay calm. There was always a logical vše bylo vždy rozumné vysvětlení, explanation for everything, even if you had i kdybyste si ho museli celé vymyslet. to make it up. SQEAUFF. KVAUK.

52 The Death of Rats landed on the dressing Krysí smrťáček přistál na toaletním stolku a table, claws scrabbling for a purchase. He snažil se zachytit pařátky. Z čelistí si vyndal removed the tiny scythe from his jaws. malou kosičku. 'I think,' said Susan carefully, 'that I would „Myslím,“ řekla Zuzana opatrně, „že teď like to go home now, thank you.' bych šla ráda domů, děkuji.“ The little rat nodded, and leapt. Malá krysa přikývla a skočila. It landed on the edge of the pink carpet Přistála na kraji růžového koberce a pelášila and scurried away across the dark floor po tmavé podlaze. beyond. When Susan stepped off the carpet the rat Když Zuzana přešla koberec, krysa se stopped and looked around in approval. zastavila a uznale se rozhlédla. Zase měla Once again, she felt she'd passed some sort pocit, že prošla jakýmsi druhem zkoušky. of test. Šla za krysou ven do haly a pak do She followed it out into the hall and then zakouřené jeskyňovité kuchyně. Albert se into the smoky cavern of the kitchen. Albert nakláněl nad sporákem. was bent over the stove. 'Morning,' he said, out of habit rather than „Dobré ráno,“ řekl spíše ze zvyku, než že by any acknowledgement of the time of day. si uvědomoval denní dobu. 'You want fried bread with your sausages? „Chceš ke klobáskám topinku? Pak bude There's porridge to follow.' ovesná kaše.“ Susan looked at the mess sizzling in the Zuzana se podívala na šlichtu prskající v huge frying-pan. It wasn't a sight to be seen obrovské pánvi. Nebyl to pohled vhodný na on an empty stomach, although it could prázdný žaludek, ačkoli mohl způsobit jeho probably cause one. Albert could make an vyprázdnění. Albert byl schopen donutit egg wish it had never been laid. vejce přát si, aby nebylo nikdy sneseno. 'Haven't you got any muesli?' she said. „Nemáš nějaké müsli?“ zeptala se. 'Is that some kind of sausage?' said Albert „To je nějaký druh klobásy?“ otázal se Albert suspiciously. podezřívavě. 'Iťs nuts and grains.' „To jsou oříšky a obilí.“ 'Any fat in it?' „Je v tom nějaký tuk?“ 'I don't think so.' „Myslím, že ne.“ 'How're you supposed to fry it, then?' „Tak jak si pak představuješ, že se to bude smažit?“

53 'You don't fry it.' „To nesmažíš.“ 'You call that breakfast?' „A jak tomu teda můžeš říkat snídaně?“ 'It doesn't have to be fried to be breakfast,' „K snídani nemusí být smažené,“ řekla said Susan. 'I mean, you mentioned porridge, Zuzana. „Myslím, že jsi mluvil o ovesné kaši and you don't fry porridge—' a ovesná kaše se nesmaží…“ 'Who says?' „Kdo to říká?“ 'A boiled egg, then?' „A pak vařené vajíčko?“ 'Hah, boiling's no good, it don't kill off all „Cha, vaření není dobré. Nezabije všechny ty the germs.' bakterie.“ 'BOIL ME AN EGG, ALBERT.' „UVAŘ MI VAJÍČKO, ALBERTE." As the echoes bounced across and died away, Když ozvěna dozněla a vytratila se, Zuzana Susan wondered where the voice had come se podivila, odkud se vzal ten hlas. from. Alberťs ladle tinkled on the tiles. O dlaždičky cinkla Albertova naběračka. 'Please?' said Susan. „Prosím?“ zeptala se Zuzana. 'You did the voice,' said Albert. „To ty jsi udělala ten hlas,“konstatoval 'Don't bother about the egg,' said Susan. Albert. The voice had made her jaw ache. It worried „Nestarej se o vajíčko,“ řekla Zuzana. Hlas her even more than it worried Albert. After způsobil, že ji začala bolet čelist. Dělalo jí to all, it was her mouth. 'I want to go home!' mnohem větší starosti než Albertovi. Byla to nakonec její pusa. „Chci domů!“ 'You are home,' said Albert. „Jsi doma,“ odpověděl Albert. 'This place? This isn't my home!' „Tohle místo? To není můj domov!“ 'Yeah? Whaťs the inscription on the big „Jo? Co je napsáno na velkých hodinách?“ clock?' '"Too Late",' said Susan promptly. „Příliš pozdě,“ řekla Zuzana okamžitě. 'Where are the beehives?' „Kde jsou úly?“ 'In the orchard.' „V sadu.“ 'How many plates´ve we got?' „Kolik máme talířů? 'Seven—' Susan shut her mouth firmly. „Sedm.“ Zuzana pevně sevřela ústa. 'See? Iťs home to part of you,' said Albert. „Vidíš? Část tebe je tady doma, “ řekl Albert. 'Look… Albert,' said Susan, trying sweet „Podívej, …Alberte,“ řekla Zuzana, která se reason in case it worked any better this time teď pokoušela být milá pro případ, že by to

54 round, 'maybe there is…someone… sort of… mohlo zapůsobit, „možná, že je... někdo... in charge of things, but I'm really no-one něco... co řídí události, ale já skutečně special… I mean…’ nejsem nijak zvláštní... tak to mám na mysli...“ 'Yeah? How come the horse knows you?' „Jo? A odkud tě zná ten kůň?“ 'Yes, but I really am just a normal girl—' „Ano, ale já nejsem nic jiného než jenom normální holka…“ 'Normal girls didn't get a My Little Binky „Normální holky nedostávají ke třetím set on their third birthday!' snapped Albert. narozeninám soupravu Moje malá 'Your dad took it away. The Master was very rakvička!“ vyštěkl Albert. „Tvůj otec ji dal upset about that. He was trying.' pryč. Mistr z toho byl velmi smutný. Vždyť se tolik snažil!“ 'I mean I´m an ordinary kid!' „Říkám, že jsem normální dítě!“ 'Listen, ordinary kids get a xylophone. „Poslouchej, normální děti dostávají xylofon. They don't just ask their grandad to take his Prostě nechtějí po svém dědečkovi, aby si shirt off!' sundal košili, a zahrát si tak na jeho žebra!“ 'I mean I can't help it! Thaťs not my fault! „Říkám, že s tím nemůžu nic dělat! Není to Iťs not fair!' moje chyba! Není to fér!“ 'Really? Oh, why didn't you say?' said „Opravdu? Ale, proč jsi to neřekla?“ pravil Albert sourly. 'That cuts a lot of thin ice, that Albert nevrle. „Tak to ti fakt hodně pomůže. does. I should just go out now, if I was you, Být na tvém místě, šel bych hned teď ven a and tell the universe that iťs not fair. I bet iťll řekl bych celému světu, že to není fér. say, oh, all right then, sorry you've been Vsadím se, že řekne, aha, tak pak je vše v troubled, you're let off.' pořádku, je mi líto, že jsi měla potíže, je ti odpuštěno.“ 'Thaťs sarcasm! You can´t talk to me like „Proč taková ironie! To snad nemůžeš myslet that! You're just a servant!' vážné! Jsi jenom obyčejný sluha!“ 'Thaťs right. And so are you. So I should „To je pravda. A ty máš taky pravdu. Tak get started, if I was you. The raťll help. He bych začal, kdybych byl tebou. Krysa ti mainly does rats, but the principle's the pomůže. Většinou dělá do krys, ale princip je same.' stejný.“ Susan sat with her mouth open. Zuzana si sedla s otevřenou pusou. I´m going outside,' she snapped. „Jdu ven,“ štěkla.

55 'I ain't stopping you.' „Já ti bránit nebudu.“ Susan stormed out through the back door, Zuzana se vyřítila zadními dveřmi a proběhla across the enormous expanses of the outer rozlehlým prostorem vnější místnosti okolo room, past the grindstone in the yard, and brusného kamene na dvoře až do zahrady. into the garden. 'Huh,' she said. „Och,“ vydechla. If someone had told Susan that Death had Kdyby někdo řekl Zuzaně, že Smrťák má a house, she would have called them mad or, dům, řekla by o něm, že je to blázen nebo even worse, stupid. But if she'd had to něco ještě horšího. Kdyby si jej však měla imagine one, she'd have drawn, in sensible představit, namalovala by ho, černou black crayon, some towering, battle-mented, pastelkou, jako věžatý, bojovně vyhlížející Gothic mansion. It would loom, and involve gotický palác. Hrozivě by se tyčil a v mysli other words ending in 'oom', like gloom and by vyvolával další slova končící na -ivý jako doom. There would have been thousands of šeřivý nebo děsivý. Byly by tam tisíce oken. windows. She'd fill odd corners of the sky Prázdná místa na nebi by zaplnila netopýry. with bats. It would be impressive. Bylo by to působivé. It wouldn't be a cottage. It wouldn't have a Nebyla by to chata. Neměla by poněkud rather tasteless garden. It wouldn't have a nevkusnou zahradu. Neměla by přede dveřmi mat in front of the door with 'Welcome' on it. rohožku s nápisem ˏVítejte´. Susan had invincible walls of common Hradby Zuzanina zdravého rozumu byly sense. They were beginning to melt like salt nepřekonatelné. Teď se však začaly in a wet wind, and that made her angry. rozplývat jako sůl ve vlhkém větru, a to ji zlobilo. There was Grandfather Lezek, of course, Samozřejmě, byl tu dědeček Ležák na své on his little farm so poor that even the malé farmě, tak ubohé, že i vrabci museli k sparrows had to kneel down to eat. He'd jídlu pokleknout. Byl to, pokud si ho teď been a nice old chap, so far as she could vybavila, milý stařík. Byl v jejích recall; a bit sheepish, now she came to think vzpomínkách trochu zakřiknutý, zejména about it, especially when her father was pokud byl poblíž její otec. around. Her mother had told Susan that her own Matka řekla Zuzaně, že její vlastní otec father had been… byl… Now she came to think about that, she Teď začala přemýšlet o tom, že vlastně neví,

56 wasn't sure what her mother had told her. co jí matka řekla. Rodiče byli dost chytří na Parents were quite clever at not telling to, aby toho moc neřekli, i když k tomu people things, even when they used a lot of použili mnoho slov. Vyvolávalo to v ní pocit, words. She'd just been left with the že tam nebyla. impression that he wasn't around. Now it was being suggested that he was Teď to však vypadalo, že si získá jméno tím, renowned for being around all the time. že bude přítomna v celém čase. It was like having a relative in trade. Bylo to jako mít příbuzného v obchodě. A god, now… a god would be something. A bůh… bůh, to by bylo něco. Lady Odile Flume, in the fifth form, was Lady Otýlie Naplavená se v páté třídě pořád always boast-ing that her great-great- chlubila tím, že její praprababička byla kdysi grandmother had once been seduced by the svedena Slepým Io v podobě vázy god Blind lo in the form of a vase of daisies, sedmikrásek, což z ní zjevně dělalo polo- which apparently made her a demi-hemi- polo-polobohyni. Říkala, že její matce se to semi-goddess. She said her mother found it hodilo při zamlouvání stolu v restauraci. useful to get a table in restaurants. Saying Kdybyste prohlásili, že jste blízcí příbuzní you were a close relative of Death probably Smrtě, pravděpodobně by to nemělo would not have the same effect. You podobný efekt. Pravděpodobně by se vám probably wouldn't even manage a seat near nepodařilo sehnat ani místo blízko kuchyně. the kitchen. If it was all some kind of dream, she didn't Pokud to vše byl nějaký druh snu, seem at any risk of waking up. Anyway, she nepovažovala za nebezpečné probudit se. didn't believe that kind of thing. Dreams Stejně ničemu z toho nevěřila. Sny prostě weren't like this. nevypadaly takhle. A path led from the stable-yard past a Od stájí vedla cestička kolem zahrady vegetable garden and, descending slightly, a mírně klesala k sadu, v němž rostly stromy into an orchard of black-leaved trees. Glossy s černým listím. Na větvích visela lesklá black apples hung from them. Off to one side černá jablka. Kousek stranou stálo několik were some white beehives. bílých úlů. And she knew she'd seen it all before. A Zuzana věděla, že už to všechno kdysi

viděla. There was an apple tree that was quite, Stála tam jabloň, která se velmi, velmi lišila quite different from the others. od ostatních.

57 She stood and stared at it as memory Zuzana tam stála a zírala na ni a zaplavovaly flooded back. ji vzpomínky. She remembered being just old enough to Vzpomínala na to, že byla dost stará, aby si see how logically stupid the whole idea was, uvědomila, jak pitomá je z hlediska logiky and he'd been standing there, anxiously celá tato záležitost, a tak tam stála a waiting to see what she'd do ... . s obavami přemýšlela, co má dělat… Old certainties drained away, to be Staré jistoty odplynuly a nahradily je jistoty replaced by new certainties. nové. Now she understood whose granddaughter Teprve teď pochopila, čí je vnučkou. she was.

The Mended Drum had traditionally gone in Zašitý buben vždy podporoval, ehm, tradiční for, well, traditional pub games, such as hry jako domino, šipky a Bodni lidi do zad a dominoes, darts and Stabbing People In The seber jim všechny peníze. Nový majitel se Back And Taking All Their Money. The new rozhodl posunout podnik do vyšší kategorie. owner had decided to go up-market. This was To byl také jediný možný směr. the only available direction. Stál tam stroj na otázky, třítunová, vodou There had been the Quizzing Device, a three- poháněná obludnost zkonstruovaná podle ton water-driven monstrosity based on a nedávno objeveného návrhu Leonarda recently dis-covered design by Leonard of z Kvirmu. Nebyl to dobrý nápad. Kapitán Quirm. It had been a bad idea. Captain Carrot Mrkvička z Hlídky, který pod usměvavou of the Watch, who had a mind like a needle tváří skrýval mozek ostrý jako břitva, do něj under his open smiling face, had nepozorovaně vpravil nový seznam otázek surreptitiously substituted a new roll of jako například: Byl jste v noci 15. poblíž questions like: Were you nere Vortin´s Vortinova obchodu s diamanty? a Kdo je ten Diamond Warehouse on the Nite of the 15th? třetí muž, který kradl minulý týden and: Who was the Third Man Who did the v palírně U Medvědova objetí? A než si toho Blagging At Bearhugger´s Distillery Larst všimli, zatkl tři zákazníky. Week? and had arrested three customers before they caught on. The owner had promised another machine Majitel teď každý den sliboval nový stroj. any day now. The Librarian, one of the Knihovník, jeden ze štamgastů Bubnu, už v tavenťs regulars, had been collecting pennies očekávání shromažďoval drobné.

58 in readiness. There was a small stage at one end of the Na jednom konci baru bylo malé pódium. bar. The owner had tried a lunch-time Majitel to v době oběda zkoušel se stripper, but only once. At the sight of a large striptýzem, ale jen jednou. Ubohé děvče, při orang-utan in the front row with a big pohledu na obrovského orangutana sedícího innocent grin, a big bag of penny pieces and v první řadě se širokým nevinným úsměvem, a big banana the poor girl had fled. Yet velkým sáčkem s drobnými a s velkým another entertainment Guild had blacklisted banánem, uteklo. A tak se dostal Buben na the Drum. černou listinu dalšího cechu věnujícího se zábavě. The new owner´s name was Hibiscus Nový majitel se jmenoval Ibišek Dumal. Dunelm. It wasn't his fault. He really wanted Opravdu chtěl, jak sám říkal, udělat z Bubnu to make the Drum, he said, a fun place. For příjemné místo. Na dva stojany venku by two pins he'd have put stripy umbrellas přidělal pruhované deštníky. outside. He looked down at Glod. Podíval se dolů na Zlotana. 'Just three of you?' he said. „Jenom tři?“ 'Yes.' „Ano.“ 'When I agreed to five dollars, you said „Když jsem souhlasil s pěti dolary, říkali you had a big band.' jste, že jste velká kapela.“ 'Say hello, Lias.' „Pozdrav, Juro.“ 'My word, that is a big band,' Dunelm „Na mou věru, to je opravdu velká backed away. 'I thought,' he said, 'just a few kapela,“ řekl Dumal a ustoupil. „Jenom jsem numbers that everyone knows? Just to myslel,“ pravil, „na pár kousků, které každý provide some ambience.' zná. Jen kvůli atmosféře.“ 'Ambience,' said Imp, looking around the „Atmosféra,“ hlesl Imp, rozhlížeje se po Drum. He was familiar with the word. But, Bubnu. Znal to slovo. V místě, jako byl in a place like this, it was all lost and alone. Buben, však byla úplně mimo. V tuto časnou There were only three or four customers in večerní dobu tu byli jen tři nebo čtyři hosté. at this early hour of the evening. They O jeviště se vůbec nezajímali. weren't paying any attention to the stage. The wall behind the stage had clearly seen Zeď za pódiem už evidentně něco zažila. action. He stared at it as Lias patiently Imp se na ni díval, zatímco Jura trpělivě

59 stacked up his stones. skládal své kameny. 'Oh, just a bit of fruit and old eggs,' said „Ále, jen trochu ovoce a stará Glod.' People probably get a bit boisterous. I vajíčka,“ poznamenal Zlotan. „Lidé zřejmě shouldn't worry about that.' trochu divočí. Nebál bych se toho.“ 'I´m not worried about it,' said Imp. „Já se toho nebojím,“ řekl Imp. 'I should think not.' „Myslel jsem si to.“ 'Iťs the axe marks and arrow holles I‘m „Co mi dělá starosti, jsou záseky po worried about. Gllod, we haven't even sekerách a díry po šípech. Zllotane, my jsme practised! Not properlly!' vůbec necvičili! Alespoň ne pořádně.“ 'You can play your guitar, can't you?' „Můžeš hrát na kytaru, že jo?“

'Wellll, yes, I suppose…’ „Noo, ano, aspoň předpokládám…“ He'd tried it out. It was easy to play. In Měl by to zkusit. Hrát na ni bylo velmi fact, it was almost impossible to play badly. snadné. Ve skutečnosti bylo skoro nemožné It didn't seem to matter how he touched the hrát špatně. Zdálo se, že nezáleží na tom, jak strings - they still rang out the tune he had in se dotýkal strun - prostě vydávaly tóny, na mind. It was, in solid form, the kind of které myslel. Byl to nástroj, o kterém jste instrument you dream about when you first snil každý, když začínal hrát – nástroj, na start to play - the one you can play without nějž můžete hrát bez učení. Vzpomněl si na learning. He remembered when he'd first chvíli, kdy poprvé uchopil harfu a uhodil do picked up a harp and struck the strings, strun a očekával, že zazní ten druh jemných confidently expecting the kind of lambent tónů, které z harf dostávali staří bardi. tones the old men coaxed from them. He'd Namísto toho se mu dostalo disharmonie. got a discord instead. But this was the Ale tohle byl nástroj, o kterém snil… instrument he'd dreamed of… 'We'll stick to numbers everyone knows,' „Budeme se držet songů, které každý said the dwarf. '"The Wizarďs Staff" and zná,“ řekl trpaslík. „Čarodějova hůlka a "Gathering Rhubarb". Stuff like that. People Sbíráme rebarboru. Takovéhle věci. Lidé like songs they can snigger along to.' mají rádi písničky, při nichž se zasmějí.“ Imp looked down at the bar. It was filling Imp pohlédl do baru. Začínal se teď trochu up a bit now. But his attention was drawn to zaplňovat. Jeho pozornost však přitahoval a large orangutan, which had pulled up its mohutný orangutan, který si přitáhl křeslo chair right in front of the stage and was přímo před pódium a v ruce třímal kabelu s holding a bag of fruit. ovocem.

60 'Gllod, there's an ape watching us.' „Zllotane, je tam opice a dívá se na nás.“ 'Well?' said Glod, unfolding a string bag. „Ano?“ opáčil trpaslík, když rozvazoval síťovku. 'Iťs an ape.' „To je opice!“ 'This is Ankh-Morpork. Thaťs how things „Tohle je Ankh-Morpork. Tak to tady are here.' Glod removed his helmet and chodí.“ Zlotan si sundal přilbu a vytáhl něco unfolded something from inside. zevnitř. 'Why've you got a string bag?' said Imp. „Na co vlastně máš síťovku?“ zeptal se Imp. 'Fruiťs fruit. Waste not, want not. If they „Ovoce je ovoce. Když zaváháš, nebude. throw eggs, try to catch them.' Jestli budou házet vajíčka, snaž se je chytit.“ Imp slung the guitaťs strap over his Imp si přehodil popruh kytary přes rameno. shoulder. He'd tried to tell the dwarf, but Snažil se to trpaslíkovi říct, ale co mu what could he say: this is too easy to play? vlastně mohl povědět – že hrát na ni je až příliš snadné? He hoped there was a god of musicians. Zadoufal, že existuje nějaký bůh hudebníků. And there is. There are many, one for A existoval. Je jich mnoho, téměř pro každý almost every type of music. Almost every druh hudby jeden. Téměř každý druh. Ale type. But the only one due to watch over ten jediný, který měl dohlížet na Impa ten Imp that night was Reg, god of club večer, byl Reg, bůh klubových muzikantů, musicians, who couldn't pay much attention který však byl poněkud nesoustředěný, because he'd also got three other gigs to do. protože měl na starosti ještě tři další podobná vystoupení. 'We ready?' said Lias, picking his „Připraveni?“ zeptal se Jura, když zvedal hammers. kladiva. The others nodded. Ostatní přikývli. 'Leťs give 'em "The Wizarďs Staff", then,' „Tak jim dáme Čarodějovu hůlku, “ prohlásil said Glod. 'That always breaks the ice.' Zlotan, „to vždycky prolomí ledy.“ 'OK,' said the troll. He counted on his „Dobrá, “ řekl trol. Začal počítat na prstech. fingers. 'One, two…one, two, many, lots.' „Jedna, dva … jedna, dva, hodně, hrozně moc.“ The first apple was thrown seven seconds První jablko proletělo vzduchem o sedm later. It was caught by Glod, who didn't miss vteřin později. Chytil je Zlotan, který při tom a note. But the first banana curved viciously nezkazil ani jedinou notu. Ale první banán se

61 and grounded in his ear. ve vzduchu zlomyslně stočil a přistál mu na uchu. 'Keep playing!' he hissed. „Hrajte dál, “ syknul. Imp obeyed, ducking a fusillade of oranges. Imp poslechl a uhýbal salvě pomerančů. In the front row, the ape opened his bag Lidoop v přední řadě otevřel kabelu a vytáhl and produced a very large melon. dosti velký meloun. 'Can you see any pears?' said Glod, taking „Vidíte nějaké hrušky?“ zeptal se Zlotan, a breath. 'I like pears. popadaje dech. „Zbožňuju hrušky.“ 'I can see a man with a throwing axe!' „Vidím chlapa s vrhací sekerou!“ 'Does it look valuable?' An arrow „Vypadá, že je cenná?“ Do zdi u Jurovy vibrated in the wall by Lias's head. hlavy se zarazil šíp.

It was three in the morning. Sergeant Colon Byly tři hodiny ráno. Seržant Střevo and Corporal Nobbs were reaching the a desátník Hlava se usnesli na tom, že conclusion that any-one who intended to kdokoli, kdo by zamýšlel napadnout Ankh- invade Ankh-Morpork probably wasn't going Morpork, to už teď pravděpodobně neudělá. to do so now. And there was a good fire back A na policejní stanici hořel příjemný oheň. in the watch house. 'We could leave a note,' said Nobby, „Mohli bychom zanechat vzkaz, “ řekl blowing on his fingers. 'You know? Come Hlava. „Jako např. Přijď zítra, ať už jsi back tomorrow, sort of thing?' kdokoli.“ He looked up. A solitary horse was Vzhlédl. Klenutou bránou projížděl walking under the gate arch. A white horse, osamocený kůň. Bílý kůň nesoucí with a sombre, black-clad rider. pochmurného, černě oděného jezdce. There was no question of 'Halt, who goes Nebyl důvod se ptát: „Stůj, kdo tam?“ there?' The night watch walked the streets at Noční hlídka procházela ulicemi v strange hours and had become accustomed to neobvyklých hodinách a byla zvyklá na to, seeing things not generally seen by mortal že viděla věci, které normální smrtelníci men. nevidí. Sergeant Colon touched his helmet Seržant Střevo se uctivě dotkl přilby. respectfully. ' 'Evenin', your lordship,' he said. „…večír, vaše lordstvo,“ pozdravil. 'ER… GOOD EVENING.' EHM… DOBRÝ VEČER.

62 The guards watched the horse walk out of Strážní sledovali, jak jim kůň mizí sight. z dohledu. 'Some poor bugger’s in for it, then,' said „Zase si jede pro nějakého chudáka, “ řekl Sergeant Colon. seržant Střevo. 'He's dedicated, you got to admit it,' said „Musíš uznat, že je své práci oddanej, “ řekl Nobby. 'Out at all hours. Always got time for Hlava. „Pořád pracuje. Vždycky si na lidi people.' udělá čas.“ 'Yeah,' „To jo.“ The guards stared into the velvety dark. Hlídka zírala do sametové tmy. Seržant Something not quite right, thought Sergeant Střevo si pomyslel, že něco není úplně v Colon. pořádku. 'Whaťs his first name?' said Nobby. „Jaké je jeho křestní jméno?“ zeptal se They stared some more. Then Sergeant Hlava. Colon, who still hadn't quite been able to put Ještě chvíli zírali. Seržant Střevo, který se his finger on it, said: 'What do you mean, ještě úplně nevzpamatoval, se zeptal: „Co whaťs his first name?' tím myslíš, jaké má křestní jméno?“ 'Whaťs his first name?' „Jak se teda jmenuje?“ 'He's Death,' said the sergeant. 'Death. „Jmenuje se Smrťák,“ řekl seržant. „Smrťák. Thaťs his whole name. I mean…what do you To je jeho celé jméno. Myslím tím… co tím mean?…You mean like… Keith Death?' myslíš? … Něco jako …Karel Smrťák?“ 'Well, why not?' „No, proč ne?“ 'He's just Death, isn't he?' „On je prostě Smrťák, ne?“ 'No, thaťs just his job. What do his friends „Ne, to je jen jeho práce. Jak mu říkají jeho call him?' kamarádi?“ 'What do you mean, friends?' „Kamarádi?“ 'All right. Please yourself.' „Dobře. Tak ať je po tvým.“ 'Leťs go and get a hot rum.' „Pojďme si dát grog.“ 'I think he looks like a Leonard.' „Myslím si, že vypadá jako Leonard.“ Sergeant Colon remembered the voice. Seržant Střevo si vzpomněl na ten hlas. Tak That was it. Just for a moment there… to bylo ono. Jen na chviličku…. 'I must be getting old,' he said. For a „Asi už stárnu,“ řekl. „Na chvíli se mi začalo moment there I thought he sounded like a zdát, že mluvil jako nějaká Zuzana.“ Susan.'

63

'I think they saw me,' whispered Susan, as „Asi mě viděli,“ zašeptala Zuzana, když kůň the horse rounded a corner. zahnul za roh. The Death of Rats poked its head out of Z její kapsy vystrčil hlavu Krysí smrťáček. her pocket.

SQUEAK. KVÍK. 'I think we're going to need that raven,' „Asi budeme potřebovat toho havrana,“ řekla said Susan. 'I mean, I… think I understand Zuzana. Mám na mysli, …myslím, že ti you, I just don't know what you're saying…’ rozumím, ale nevím, co říkáš….“ Binky stopped outside a large house, set Rakvík zastavil před velkým domem, který back a little from the road. It was a slightly byl odsazen trochu dál od ulice. Dům se štíty pretentious residence with more gables and a štukami, kterých měl víc, než bylo ve mullions than it should rightly have, and this skutečnosti zapotřebí, vypadal nabubřele. To was a clue to its origins: it was the kind of bylo klíčem k jeho původu: byl to typ domu, house built for himself by a rich merchant jaký by si nechal postavit bohatý obchodník, when he goes respectable and needs to do když se stane řádným občanem a potřebuje something with the loot. něco udělat s naloupenou kořistí. 'I´m not happy about this,' said Susan. 'It „Vůbec mě to netěší,“ řekla Zuzana. can't possibly work. I'm human. I have to go „Nemůže to ani trochu fungovat. Jsem lidská to the toilet and things like that. I can't just bytost. Musím chodit na záchod a tak. walk into people's houses and kill them!' Nemůžu jen tak vejít lidem do domů a zabít je!“ SQUEAK. KVÍK. 'All right, not kill. But iťs not good „Dobře. Tak ne zabít. Ale ať se na to podíváš manners, however you look at it.' z jakéhokoli úhlu, nejsou to dobré způsoby.“ A sign on the door said: Tradesmen to rear Nápis na dveřích říkal: Zásobování zezadu. entrance. 'Do I count as—' „Beru se já jako…“ SQUEAK! KVÍK! Susan normally would never have Zuzanu by normálně ani ve snu nenapadlo se dreamed of asking. She'd always seen zeptat. Vždy se považovala za tu, která herself as a person who went through the chodila předními dveřmi. front doors of life.

64 The Death of Rats scuttled up the path and Krysí smrťáček vycupital nahoru a prošel through the door. dveřmi. 'Hang on! I can't—' „Počkej! Já nemůžu….“ Susan looked at the wood. She could. Of Zuzana se podívala na dřevo. Mohla. course she could. More memories Samozřejmě, že mohla. Před očima se jí crystallized in front of her eyes. After all, it vynořily další vzpomínky. Nakonec, bylo to was only wood. Iťd rot in a few hundred jen dřevo. Za pár stovek let by shnilo. V years. By the measure of infinity, it hardly porovnání s nekonečnem v podstatě vůbec existed at all. On average, considered over neexistovalo. Vezmeme-li v úvahu dobu the lifetime of the multiverse, most things trvání vesmíru, zjistíme, že většina věcí ani didn't. neexistuje. She stepped forward. The heavy oak door Vykročila vpřed. Těžké dubové dveře offered as much resistance as a shadow. nekladly větší odpor než stín.

Grieving relatives were clustered around the Truchlící příbuzní stáli kolem postele, ve bed where, almost lost in the pillows, was a které ležel starý vrásčitý muž. Téměř se wrinkled old man. At the foot of the bed, ztrácel v polštářích. V nohách postele ležela paying no attention whatsoever to the velká tlustá zrzavá kočka, která jako by keening around it, was a large, very fat, nevnímala, co se děje kolem. ginger cat.

SQUEAK. KVÍK. Susan looked at the hourglass. The last Zuzana se podívala na hodiny. Posledních pár few grains tumbled through the pinch. zrnek písku propadlo hrdlem. The Death of Rats, with exaggerated Krysí smrťáček se s přehnanou opatrností caution, sneaked up behind the sleeping cat protáhl za spící kočku a tvrdě ji nakopl. Zvíře and kicked it hard. The animal awoke, se probudilo, otočilo, v hrůze sklopilo uši turned, flattened its ears in terror, and leapt a uteklo z postele. off the quilt. The Death of Rats sniggered. Krysí smrťáček se zahihňal. SNH, SNH, SNH. HI, HI, HI. One of the mourners, a pinch-faced man, Jeden z truchlících, muž s tváří připomínající looked up. He peered at the sleeper. 'Thaťs pinče, vzhlédl. Podíval se na spáče. „Tak a je it,' he said. 'He's gone.' to,“ řekl. „A je po něm.“

65 'I thought we were going to be here all „Už jsem si myslela, že tady budeme day,' said the woman next to him, standing tvrdnout celý den,“ řekla žena vedle něj up. 'Did you see that wretched old cat move? a vstala. „Viděli jste, jak ta mizerná stará Animals can tell, you know. They've got this kočka utekla? Zvířata mohou vyprávět. Mají sixth sense.' ten šestý smysl. SNH, SNH, SNH. HNI, HNI, HNI. 'Well, come on there, I know you're here „Tak už pojď. Vím, že jsi někde tady,“ řeklo somewhere,' said the corpse. It sat up. tělo. Posadilo se. Susan was familiar with the idea of ghosts. To, že existují duchové, Zuzana věděla. But she hadn't expected it to be like this. She Nečekala však, že by to mohlo být takovéto. hadn't expected the ghosts to be the living, Nečekala, že by duchové vypadali jako živí, but they were merely pale sketches in the air ale při srovnání se starým mužem, který si compared to the old man sitting up in bed. sedal v posteli, to byly v podstatě jen bledé He looked solid enough, but a blue glow obrysy ve vzduchu. Muž vypadal docela outlined him. bytelně, ale lemovala jej tlumená modrá záře. 'One hundred and seven years, eh?' he „Sto sedm let, co?“ ušklíbl se. „Asi jsem tě cackled. 'I expect I had you worried for a na chvíli trápil. Kde jsi?“ while there. Where are you?' „Ehm, TADY,“ řekla Zuzana. 'er, HERE,' said Susan. „Ženská, že?“ řekl starý muž. „Dobře, dobře, 'Female, eh?' said the old man. 'Well, well, dobře.“ well.' Sklouzl zpostele, přízračná noční košile se He slid off the bed, spectral nightshirt zatřepala a najednou se vyhrnula, jako kdyby flapping, and was suddenly pulled up short stařec došel na konec řetězu. To byl více as though he'd reached the end of a chain. méně ten problém; tenká linie modrého This was more or less the case; a thin line of světla jej stále spojovala s jeho bývalým blue light still tethered him to his late tělem. habitation. Krysí smrťáček poskakoval na polštáři The Death of Rats jumped up and down a intenzivě mával kosičkou. on the pillow, making urgent slashing movements with its scythe. 'Oh, sorry,' said Susan, and sliced. The „Jejda, promiň,“ řekla Zuzana a máchla. blue line snapped with a high-pitched, Modrá čára pronikavě praskla jako průzračná crystalline twang. struna.

66 Around them, sometimes walking through Pozůstalí stáli kolem nich a někdy jimi them, were the mourners. Mourning seemed i prošli. Když teď stařík zemřel, zdálo se, že to have stopped, now the old man had died. truchlení ustalo. Muž s tváří pinče šátral pod The pinch-faced man was feeling under the matrací. mattress. 'Look at 'em,' said the old man nastily. „Podívej se na ně,“ řekl starý muž ‘Poor ole Grandad, sob, sob, sorely missed, nepříjemně. „Chudák náš staroušek, vzlyk, we won't see his like again, where did the vzlyk, bude nám velice chybět, už ho nikdy ole bugger leave his will? Thaťs my neuvidíme, kde nechal ten starej zmetek svou youngest son, that is. Well, if you can call závěť? Tak to je můj nejmladší syn. No, a card every Hogswatchnight a son. See his pokud můžeme nazvat každoroční pozdrav wife? Got a smile like a wave on a slop ke svátku Prasečí hlídky synem. Vidíš jeho bucket. And she ain't the worst of 'em. ženu? Má úsměv jako vlna v kýblu s Relatives? You can keep 'em. I only stayed pomejemi. A to není z nich ta nejhorší. alive out of mischief.' Příbuzní? Můžeš si je nechat. Stejně jsem A couple of people were exploring under zůstal naživu jen proto, abych je naštval.“ the bed. There was a humorous porcelain Pár lidí hledalo pod postelí. Ozvalo se clang. The old man capered behind them, legrační zacinkání porcelánu. Starý muž za making gestures. nimi poskakoval a dělal obličeje. 'Not a chance!' he chortled. 'Heh heh! Iťs „Nemají šanci!“ chechtal se. „Cha cha! Je to in the cat basket! I left all the money to the v kočičím košíku! Všechny peníze jsem cat!' odkázal kočce!“ Susan looked around. The cat was Zuzana se rozhlédla. Kočka je podezřívavě watching them anxiously from behind the sledovala od umyvadla. washstand. Susan felt some response was called for. Zuzana ucítila, že by měla nějak reagovat.

'That was very…kind of you…’ she said. „To bylo od vás …velmi milé…“ řekla. 'Hah! Mangy thing! Thirteen years of „Ha! Ta prašivá obluda! Třináct let jen sleepin' and crappin' and waiting for the next chrápala, kálela a čekala na další žrádlo! Ve meal to turn up? Never took half an hour's svém tlustém životě se nikdy ani na půl exercise in his big fat life. Up until they find hodiny neprotáhla. Každopádně jen do té the will, anyway. Then he's going to be the doby, než najdou závěť. Pak z ní bude ta

67 richest fastest cat in the world—' nejbohatší a nejtlustší kočka na světě…“ The voice faded. So did its owner. Hlas se vytratil. Stejně jako jeho majitel. 'What a dreadful old man,' said Susan. „To byl ale hrozný stařec,“ řekla Zuzana. She looked down at the Death of Rats, Pohlédla na Krysího smrťáčka, který se who was trying to make faces at the cat. snažil dělat obličeje na kočku. 'Whaťll happen to him?' „Co se s ním stane?“ SQUEAK. KVÍK. 'Oh.' Behind them a former mourner „Aha.“ Za nimi jeden bývalý truchlící tipped a drawer out on to the floor. The cat vysypal na podlahu šuplík. Kočka se začala was beginning to tremble. třást. Susan stepped out through the wall. Zuzana vyšla ven zdí.

Clouds curled behind Binky like a wake. Oblaka se za Rakvíkem čeřila jako voda za lodí. 'Well, that wasn't too bad. I mean, no „No, tak to nebylo tak hrozné. Mám na mysli blood or anything. And he was very old and krev nebo tak něco. A byl velmi starý not very nice.' a ne příliš příjemný.“ 'Thaťs all right, then, is it?' The raven „Takže všechno v pořádku, ne?“ Na rameni jí landed on her shoulder. přistál havran. 'Whaťre you doing here?' „Co tady děláš?“ 'Rat Death here said I could have a lift. Tady Krysí smrťáček mi řekl, že se můžu I´ve got an appointment,' svézt. Mám nějakou schůzku.“ KVÍK. SQUEAK. The Death of Rats poked its nose out of Krysí smrťáček vystrčil nos ze sedlové the saddlebag. brašny. 'Are we a cab service?' said Susan coldly. „Copak jsme taxík?“ zeptala se Zuzana chladně. The rat shrugged and pushed a lifetimer Krysa pokrčila rameny a vstrčila jí do ruky into her hand. hodiny. Susan read the name etched on the glass. Zuzana si přečetla jméno vyryté na skle. 'Volf Volfssonssonssonsson? Sounds a bit „Vlk Vlkofsonssonssonsson? Zní mi to tak Hublandish to me.' trochu střeďansky.“

SQUEAK. KVÍK.

68

The Death of Rats clambered up Binky's Krysí smrťáček se vyškrábal po Rakvíkově mane and took up station between the hřívě, zaujal místo mezi jeho ušima a jeho horse's ears, tiny robe flapping in the wind. rouško vlálo ve větru.

Binky cantered low over a battlefield. It Rakvík cválal nízko nad bojištěm. Nebyla to wasn't a major war, just an inter-tribal nějaká významná válka, jen potyčka mezi scuffle. Nor were there any obvious armies – kmeny. Nebyly zde ani žádné rozeznatelné the fighters seemed to be two groups of armády – bojovníci vypadali jako dvě individuals, some on horseback, who skupinky individualistů, část z nich na koni, happened coincidentally to be on the same kteří se náhodou ocitli na jedné straně. side. Everyone was dressed in the same sort Všichni byli oblečeni ve stejném druhu of furs and exciting leatherwear, and Susan kožešin a vzrušující černé kůži a Zuzana was at a loss to know how they told friend nedokázala rozlišit nepřítele od přítele. from foe. People just seemed to shout a lot Bojovníci jako by jen řvali a náhodně and swing huge swords and battleaxes at máchali obrovskými meči a bojovými random. On the other hand, anyone you sekyrami. Na druhou stranu, kdokoli, koho managed to hit instantly became your foe, so jste náhodou trefili, se okamžitě stal vaším it probably all came out right in the long run. nepřítelem. Takže to byla zřejmě dlouhodobá The point was that people were dying and záležitost. acts of incredibly stupid heroism were being Hlavní bylo to, že lidé umírali a byly konány performed. činy neskutečně hloupého hrdinství.

SQUEAK. KVÍK. The Death of Rats pointed urgently Krysí smrťáček naléhavě ukazoval k zemi. downward. 'Gee…down.' „Dolů, Rakvíku.“ Binky settled on a small hillock. Rakvík přistál na malém pahorku. 'Er… right,' said Susan. She pulled the „No… tak dobrá,“ řekla Zuzana. Z pouzdra u scythe out of its holster. The blade sprang sedla vytáhla kosu. Čepel se pustila do práce. into life. It wasn't hard to spot the souls of the dead. Nebylo těžké rozlišit duše zemřelých od They were coming off the battlefield arm in živých bojovníků. Opouštěly bitevní pole arm, friend and hitherto foe alike, laughing ruku v ruce, kamarádi stejně jako dosavadní

69 and stumbling, straight towards her. nepřátelé, smály se, klopýtaly a mířily k ní. Susan dismounted. And concentrated. Zuzana sesedla z koně. Soustředila se. 'Er,' she said, 'ANYONE HERE BEEN „Ehm,“ řekla, „BYL TU ZABIT NĚKDO,

KILLED AN CALLED VOLF?' KOMU SE ŘÍKÁ VLK?“ Behind her, the Death of Rats put its head in Krysí smrťáček stojící za ní si sevřel hlavu its paws. tlapkami.

'Er. HELLO?' „Ehm. HALÓ?“ No-one took any notice. The warriors Nikdo si toho nevšímal. Bojovníci se vlekli trooped past. They were forming a line on kolem. Na konci bitevního pole začali tvořit the edge of the battlefield, and appeared to řadu a zdálo se, jako by na něco čekali. be waiting for something. She didn't have to… do… all of them. Nemusela je … udělat … všechny. Albert se Albert had tried to explain, but a memory jí to snažil vysvětlit, ale paměť jí to odhalila had unfolded anyway. She just had to do sama. Musela pouze udělat některé z nich, some, determined by timing or historical určené časem nebo historickou důležitostí, importance, and that meant all the others a to znamenalo nechat události, aby se udály; happened; all she had to do was keep the vše, co musela udělat, bylo nechat celou momentum going. záležitost v pohybu. 'You got to be more assertive,' said the „Měla bys být víc asertivní,“ řekl havran, raven, who had alighted on a rock. 'Thaťs který přistál na kameni. „To je problém se the trouble with women in the professions. zaměstnanými ženami. Nejsou dost Not assertive enough.' asertivní.“ 'Why'd you want to come here?' she said. „Proč jsi sem chtěl jít?“ zeptala se. 'This is a battlefield, isn't it?' said the „Tohle je přece bitevní pole, ne?“ vysvětloval raven patiently. 'You've got to have ravens havran trpělivě. „Až to všechno skončí, tak afterwards.' Its freewheeling eyes swivelled tady musí být havrani.“ Jeho bezstarostné oči in its head. 'Carrion regardless, as you might se otáčely v hlavě. „Možná jen řekneš, že to say.' jsou jen mršiny.“ 'You mean everyone gets eaten?' „Ty chceš říct, že všichni budou sežráni?“ 'Part of the miracle of nature,' said the „To je součást zázraku přírody,“ řekl havran. raven. 'Thaťs horrible,' said Susan. Black birds „To je strašné,“ zhrozila se Zuzana. Černí were already circling in the sky. ptáci kroužili na obloze.

70 'Not really,' said the raven. 'Horses for „Ne tak docela,“ řekl havran. „Koně jsou courses, you might say.' další chod, jak bys asi řekla.“ One side, if thaťs what you could call it, Jedna strana, pokud ji tak bylo možno was fleeing the field of battle with the others nazvat, prchala z bojiště, pronásledována in pursuit. stranou druhou. The birds started to settle on what was, Ptáci začali sedat na to, co pro ně bylo, jak si Susan realized with horror, an early Zuzana s hrůzou uvědomila, časná snídaně. breakfast. Soft bits, sunny side up. Měkké kousky, teplou stranou nahoru. 'You'd better go and look for your lad,' „Měla bys raději jít a podívat se na toho said the raven. 'Otherwise he'll miss his ride.' svého chlapce. „Jinak zmešká odvoz.“ 'What ride?' „Jaký odvoz?“ The eyes orbited again. Oči znovu zakroužily. 'You ever learn mythology?' it said. „Učili vás někdy o mytologii?“ zeptal se. 'No. Miss Butts says iťs just made-up „Ne. Slečna Knoflíčková říká, že se jedná stories with little literary content.ʼ o smyšlené příběhy s nepříliš literárním obsahem.“ 'Ah. Deary me. Can't have that, can we? „Aha. Panečku. Nerozumíme tomu, že? Ach Oh, well. You'll soon see. Must rush,' The tak. Brzy uvidíš. Musím pohnout.“ Havran raven leapt into the air. 'I generally try to get vzlétl. „Obvykle se snažím získat místo a seat near the head.' někde u hlavy.“ 'What will I—' „Co budu…“ And then someone started to sing. The A potom někdo začal zpívat. Hlas se voice swooped out of the sky like a sudden najednou snesl z nebe jako náhlý poryv wind. It was a rather good mezzo-soprano— větru. Byl to docela dobrý mezzosoprán… 'Hi-jo-to! Ho! Hi-jo-to! Ho!' „Hí-ja-hot! Hó! Hí-ja-hot! Hó!“ And after it, mounted on a horse almost as Hlas následovala žena sedící na koni téměř fine as Binky, was a woman. Very definitely. tak pěkném jako Rakvík. Zcela určitě to byla A lot of woman. She was as much woman as žena. Kus ženské. Tolik ženy, kolik jste you could get in one place without getting mohli dát dohromady, aniž by z toho vznikly two women. She was dressed in chain mail, ženy dvě. Měla na sobě drátěnou košili, a shiny 46-D-cup breastplate, and a helmet lesklý hrudní krunýř vytepaný do velikosti with horns on it. šest a helmu s rohy. The assembled dead cheered as the horse Když kůň klusal k zemi, začali shromáždění

71 cantered in for a landing. There were six mrtví povykovat. Z nebe se vynořilo dalších other singing horse-women plunging out of šest zpívajících žen na koních. the sky behind it. 'Isn't it always the same?' said the raven, „Není to tak vždycky?“ řekl havran flapping away. 'You can wait hours without a poodlétl stranou. „Čekáš celé hodiny, aniž seeing one and then you get seven all at bys nějakou viděla, a najednou je jich tady once.' sedm.“ Susan watched in astonishment as each Zuzana s úžasem sledovala, jak každá rider picked up a dead warrior and galloped jezdkyně zvedla mrtvého válečníka up into the sky again. They disappeared a tryskem se s ním vracela do nebe. Jezdkyně abruptly a few hundred yards up and mizely ve výši několika stovek metrů a téměř reappeared again almost instantly for a fresh okamžitě se znovu objevily pro dalšího passenger. Soon there was a busy shuttle pasažéra. Brzy se zde rozjela čilá kyvadlová service operating. doprava. After a minute or two one of the women Asi po minutě nebo dvou jedna z žen dovedla trotted her horse over to Susan and pulled a svého koně k Zuzaně a vytáhla si z hrudního scroll of parchment out of her breastplate. plátu srolovaný pergamen. 'What ho! Says here Volf,' she said, in the „Tak co! Tady se píše Vlk,“ řekla rázně brisk voice used by people on horseback hlasem, který používají lidé na koni, když when addressing mere pedestrians. 'Volf the mluví s obyčejnými chodci. „Vlk Lucky…?’ Šťastný…?“

'er. I don't know - I MEAN, I DON'T KNOW „Ehm. Nevím – CHCI ŘÍCT, ŽE NEVÍM, WHICH ONE HE IS,' said Susan helplessly. KTERÝ TO JE,“ řekla bezmocně Zuzana. The helmeted woman leaned forward. Žena s přilbou se naklonila. Něco na ní bylo There was something rather familiar about velmi povědomé. her. 'Are you new?' „Ty jsi nová?“ 'Yes. I mean, YES,' „Ano. Tedy, ANO.“ 'Well, don't stand there like a big girl's „Tak tady nestůj jako blůza velké holky. blouse. Jolly well go and fetch him, there's a Běž a vem si ho, je to dobrá zábava.“ good sport.' Susan looked around wildly, and saw him Zuzana se divoce rozhlédla, až ho nakonec at last. He wasn't very far away. A youngish uviděla. Nebyl ani moc daleko. Mezi

72 man, outlined in flickering pale blue, was padlými vidět mladý muž obklopený visible among the fallen. nevýraznou modrou září. Susan hurried over, scythe at the ready. Zuzana tam zamířila s připravenou kosou. There was a blue line connecting the warrior Válečníka spojovala s jeho tělem modrá to his former body. linka. SQUEAK! shouted the Death of Rats, KVÍK! zakřičel Krysí smrťáček, který skákal jumping up and down and making nahoru a dolů a dělal názorná gesta. suggestive motions. 'Left hand thumb up, right hand bent at „Levou ruku palcem nahoru, pravou ruku the wrist, give it some wellie!' shouted the ohnout v zápěstí a trochu života do toho horned woman. umírání!“ zahřměla rohatá žena. Susan swung the scythe. The line snapped. Zuzana máchla kosou. Linka praskla. 'What happened?' said Volf. He looked „Co se stalo?“ zeptal se Vlk. Podíval se dolů. down. 'Thaťs me down there, isn't it?' he „To jsem já tam dole, že?“ řekl. Pomalu se said. He turned slowly. 'And down there. otočil. „A tam. A támhle. A…“ And over there. And…’ He looked at the horned female warrior Podíval se na rohatou válečnici a rozzářil se. and brightened up. 'By Io!' he said. 'Iťs true? Valkyries will „U Ia!“ řekl. „Je to pravda?“ Valkýry mě carry me off to the hall of Blind Io where vezmou do síně Slepého Ia, kde se věčně there is perpetual feasting and drinking?' slaví a hoduje?“

'Don't, I mean DON'T ASK ME,' said Susan. „Mě se…, tedy, MĚ SE NEPTEJ,“ řekla The Valkyrie reached down and hauled the Zuzana. warrior across her saddle. Valkýra se sklonila a hodila si válečníka přes sedlo. 'Just keep quiet, there's a good chap,' she „Jen buď v klidu a buď hodnej said. chlapec,“ řekla. She stared thoughtfully at Susan. Zamyšleně se podívala na Zuzanu. 'Are you a soprano?' she said. 'Pardon?' „Ty jsi soprán?“ zeptala se. „Prosím?“ 'Can you sing at all, gel? Only we could „Umíš vůbec zpívat, děvče? Bereme už jen do with another soprano. Far too many soprány. Poslední dobou mezi sebou máme mezzo-sopranos around these days.' příliš mnoho mezzosopránů.“ 'I´m not very musical, I´m sorry,' „Je mi to líto, ale nejsem příliš muzikální.“

73 'Oh, well. Just a thought. Must be going.' „Aha, dobře. Jen mě to napadlo. Musím jít.“ She threw back her head. The mighty Pohodila hlavou. Mohutné hrudní pláty se breastplate heaved. 'Hi-jo-to! Ho!' zvedly. „Hí – ja – hot! Hó!“ The horse reared, and galloped into the Kůň se vzepjal a vyrazil do nebe. Ještě před sky. Before it reached the clouds it shrank to tím, než dorazil k mrakům, se smrskl do a gleaming pinpoint, which winked. velikosti lesknoucí se špendlíkové hlavičky, která krátce blikla. 'What,' said Susan, 'was all that about?' „Co,“ řekla Zuzana, „co to má znamenat?“ There was a flurry of wings. The raven Ozvalo so zapleskání křídel. Havran právě alighted on the head of the recently departed přistál na hlavě právě zesnulého Vlka. Volf. 'Well, these guys believe that if you die in „Hm, tihle chlapci věří, že když zemřeš v battle some big fat singing horned women bitvě, nějaká velká a tlustá zpívající žena s carry you off to a sort of giant feast hall rohy na přilbě tě odnese do obrovské where you gobble yourself silly for the rest hodovní síně, kde se budou cpát a opíjet do of eternity,' said the raven. It belched němoty na věky věků,“ řekl havran. genteelly. 'Damn stupid idea, really.' Decentně si říhl. „To je ale opravdu hloupý nápad.“ 'But it just happened!' „Ale to se právě stalo!“ 'Still a daft idea.' The raven looked around „Pořád je to hloupá myšlenka.“ Havran se at the stricken battlefield, empty now except rozhlédl po použitém bojišti, které teď bylo for the fallen and the flocks of his fellow prázdné. Až na padlé a hejna havranů – ravens. 'What a waste,' he added. 'I mean, kolegáčků. „To je ale škoda,“ přidal. „Jen se just look at it all. Such a terrible waste.' kolem podívej na to všechno. Takové plýtvání.“ 'Yes!' „Ano!“ „Víš, já už jsem plný a stovek z nich se nikdo 'I mean, I'm near bursting and there's ani nedotkl. Asi zkusím vzít si něco s sebou. hundreds of 'em untouched. I think I'll see if

I can have a doggy bag.' „To jsou mrtvá těla!“ 'They're dead bodies!' „Správně!“ 'Right!' „Čím se to cpeš?“ 'What are you eating?' „To je v pořádku,“ ustupoval havran. „Je tady 'Iťs all right,' said the raven, backing

74 away. 'There's enough for everyone.' dost pro všechny.“ 'That´s disgusting!' „To je nechutné!“ 'I didn't kill 'em,' it said. „No, já jsem je nezabil, “ řekl. Susan gave up. Zuzana to vzdala. 'She looked a lot like Iron Lily,' she said, „Vypadala téměř jako Železná Lily, “ řekla, as they walked back to the patient horse. když se vraceli k trpělivému koni. 'Our gym mistress. Sounded like her, too.' „Naše tělocvikářka. A podobně i mluvila.“ She imagined the warbling Valkyries Představila si zpívající Valkýry, jak dupou pounding across the sky. Get some warrior, oblohou. Dejte mi nějakého válečníka, vy you bunch of fainting blossoms… bando usychajících kytek… 'Convergent evolution,' said the raven. „Obrácená evoluce,“ řekl havran. 'Often happens. I read once where apparently „To se často stává. Jednou jsem se někde the common octopus has an eye almost dočetl, že jedna úplně obyčejná chobotnice exactly the same as the human eyeb— caw!' měla téměř stejné oko jako člo— krá!“ 'You were going to say something like: „Chtěl jsi říct něco jako: jen jinak chutnalo, except for the taste, weren't you?' said že?“ řekla Zuzana. Susan. 'Negger grossed by bind,' said the raven „To bvy mě ani nenapaduo,“ řekl indistinctly. nesrozumitelně havran. 'Sure?' „Ne?“ 'Leg go ogg by beak glease?' „Pufť mi vobák, pvofím?“ Susan released her grip. Zuzana uvolnila stisk. 'This is dreadful,' she said. 'This is what he „To je strašné,“ řekla. To je to, co dělával? used to do? There's no element of choice?' Ani náznak volby?“

SQUEAK KVÍK 'But what if they don't deserve to die?' „Ale co když si nezaslouží zemřít?“

SQUEAK. KVÍK. The Death of Rats contrived to indicate, Krysí smrťáček docela jasně naznačil, že v quite effectively, that in that case they could tom případě by si dotyční mohli stěžovat apply to the universe and point out that they vesmíru a poukázat na to, že si nezasloužili didn't deserve to die. In which case it was up zemřít. V tomto případě to bylo na vesmíru, to the universe to say, oh, didn't you? oh, aby řekl, ó, opravdu? Ó, tak to ano, takže well, thaťs all right, then, you can go on můžete dál žít. Bylo to velmi výstižné gesto.

75 living. It was a remarkably succinct gesture. 'So… my grandfather was Death, and he „Takže, můj dědeček byl Smrťák a on nechal just let nature take its course? When he přírodu, aby si šla svou cestou? Co když could have done some good? Thaťs stupid.' mohl udělat něco dobrého? To je opravdu hloupé.“ The Death of Rats shook its skull. Krysí smrťáček zavrtěl lebkou. 'I mean, was Volf on the right side?' said „Zajímalo by mě, jestli byl Vlk na správné Susan. straně?“ zeptala se Zuzana. 'Hard to say,' said the raven. 'He was a „To se nedá tak jednoznačně říct,“ řekl Vasung. The other side were Bergunds. havran. „Byl to Vasung. Na druhé straně byli Apparently it all started hundred years ago. Berungové. Evidentně všechno začalo Or it may have been the other way round. před stovkami let. Nebo to taky mohlo být Well, the other side invaded their village. obráceně. Takže, ta druhá strana napadla There was a bit of a massacre. And then the jejich vesnici. Byl to takový malý masakr. A other ones went to the other village and potom ti jedni šli k těm druhým do vesnice a there was another massacre. After that, you tam byl další masakr. Je možno říci, že v might say, there was some residual bad důsledku těchto událostí mezi nimi vznikla feeling.' vzájemná nevraživost. 'Very well, then,' said Susan. 'Who's next?' „Ach tak tedy,“ řekla Zuzana. „Kdo je další na řadě?“

SQUEAK. KVÍK. The Death of Rats landed on the saddle. It Krysí smrťáček přistál na sedle. Sklonil se a leaned down and, with some effort, hauled po jisté námaze vytáhl brašny další přesýpací another hourglass out of the pack. Susan hodiny. Zuzana si přečetla štítek. read the label. It said: Imp y Celyn. Stálo tam: Imp y Cilín. Susan had a sensation of falling Zuzana měla pocit, že se někam propadá. backwards. 'I know this name,' she said. „To jméno znám,“ řekla. SQUEAK. KVÍK. ‘I… remember it from somewhere,' said „Odněkud … si ho pamatuji,“ řekla Zuzana. Susan. 'It´s important. He’s…important…’ „Je to důležité. On je … důležitý.“

76

3. Theoretical part

This part of the diploma thesis is focused on selected aspects of the author’s style, different aspects of translation and relationship between Czech language and English language. Various aspects will be covered in the theoretical part, and it is the purpose of this diploma thesis to get deeply into these aspects. The goal of this part of this diploma thesis is not to compare two translations – Kantůrek’s and mine but to highlight Pratchett’s characteristic writing and how these characteristics are reflected in my translation. The first chapter of the theoretical part is going to be general, and other chapters are also theoretical supported by examples from the translation. There will be various equivalences taken into consideration. Namely it will be graphical, lexical, syntactical and textual equivalence. Each of these equivalences will focus on their basic features, and they will be supported by theoretical suggestions, then it will be provided by examples from the practical part and these examples will be explained more deeply according to the theoretical findings.

3. 1 Translation principles

Translation theory is concerned with the translation method appropriately used for a certain type of text, and it is therefore dependent on a functional theory of language. However, in a wider sense, translation theory is the body of knowledge that we have about translating, extending from general principles to guidelines, suggestions and hints. (Newmark 9)

Newmark also suggests that it is good to divide text into various directions, which should be followed by a translator. The translated text is written in the initial language and the initial language is usually very different from the target language. There are also different norms of the initial language; the translator deals with different cultures, setting and traditions. (Newmark 4-5) In general, there are several factors which translators have to take into consideration. They should think about the environment covered in initial language and what is the target language. It is rather common that initial and target languages differ in features but also a

77 cultural background of both languages should not be omitted. It is also very important for the translator to be creative and have a very high knowledge of the target language, how it works and what words are the most suitable. Levý in his work Umění překladu suggests a trivium which should be known by a translator: a) initial language b) target language c) subject content of translated text – facts about time and place, author’s uniqueness (Levý 17, trans. by Petra Koudelková). Knittlová offers four types of translations – interlineal, literal, free and communicative translation. Interlinear translation does not respect grammatical system of the target language, and it keeps linguistic information only. Literal translation, which is sometimes called slavish, translates initial text without taking its context in account. On contrary, free translation takes the initial text into consideration. Unfortunately, sometimes the quality is low. The last type of translation – communicative translation – is tightly connected with a pragmatic aspect of translation, and during the process of translating it is necessary to consider context of the initial text (Knittlová 16-17). There are various aspects which have to be taken into consideration, and these aspects can vary from a translator to another translator. A translator should find a balance between what an author intends to say, what the purpose of the text is and the environment to which the text is translated. A translator should omit word by word translation, to keep the author’s style and intentions, and at the same time they ought to transform the source text into the target environment. A translator’s creativity and knowledge of both environments is the key attitude to a successful translation. (Hrdlička 9-13) While translating the extract of the book, I had to think about main translation principles which should be followed by all translators. It was also necessary to follow Newmark’s suggestions, to distinguish between differences between source and target languages. Fiction and non-fiction books differ in their message and purpose they bring their readers. In my opinion, fiction books, and Terry Pratchett’s Soul Music is a fiction work of a fantasy genre, have different purpose and message from non-fiction books. The latter ones bring their readers basic information and fiction books should entertain their readers. Therefore I tried to avoid interlinear, literal and free translation but I tried to follow communicative type of translation. It was necessary for me to follow the context and read between the lines.

78 Both the trivium offered by Levý, Knittlová’s types of translations and Newmark’s directions were considered in the translation, and thus it was intended to avoid interlinear, literal and free translation, and communicative type of translation was followed. It was necessary to focus on the context and read between the lines.

3. 2 Graphical equivalence The first chapter of the theoretical part is the graphical equivalence of the initial text and my translation. This chapter covers dashes, capital letters and italics. In general, Soul Music by Terry Pratchett is not divided into individual chapters. More spacing is in order to split story into parts. If two parts cover different place, there are three dots between each part of the story. This is Pratchett’s typical feature not to divide his stories about Discworld into numbered chapters. Hrdlička offers three graphical means which can evoke different feeling, imagination or ideas. They are: - typographical means – type, shape, size of letters - structure of a text – paragraphs or spacing - graphic marks – punctuation or symbols Translators should never omit them because these means play an important role in the translation, and omitting them would cause losing translations adequacy. Typograhy is a mean which can help a reader to pay an attention to specific features of a text. (Hrdlička 27 – 29) There are more possible solutions how to highlight information in a text. Pratchett uses various features which are graphically different from other texts. Capital letters are used to show different voice, dashes present hesitation or pauses and words in italics point out a foreign word and they also put stress on the given information. Knittlová presents italics as a graphical highlighting of given information (Knittlová 35).

3. 2. 1 Italics As it was mentioned in previous paragraphs, italics are used for putting stress on given information and foreign words. Words in italics are also describing someone’s thoughts in Terry Pratchett’s work. Hrdlička suggests that foreign languages used in initial texts help readers to evoke exotic or unknown environment. Foreign words also have an important function – they

79 characterize something. Not only do they characterize but also they can show an author’s fondness for using unconventional forms of naming or his witticism. He also suggests that it is really necessary to decide whether to translate a foreign word or not (Hrdlička 40). I tried to follow Hrdlička’s suggestions as given in example 1.

Fig.1 Example Type of Initial text My translation italics 1 Foreign word It is called aargrooha. Říká se jí aargrooha. 2 Thought I remember the stable, she Pamatuju si tu stáj, pomyslela si. thought. So big you couldn’t see Tak velkou, že jsem vůbec neviděla the walls. And I was given a ride zdi. A jednou jsem se na tobě on you once. Someone held me so mohla projet. Někdo mě držel, I wouldn’t fall off. But you takže jsem nemohla spadnout. Ale couldn’t fall off this horse. Not if z tohohle koně jste spadnout he didn’t want you to. nemohli. Ne, pokud on sám nechtěl. 3 Thought There’s a room she thought. I Tady je místnost, pomyslela si. remember the room of whispers. Pamatuji si místnost šepotů. 4 Emphasis It had never occurred to her that Nikdy se jí nestalo, že by někdo anyone actually said a word like skutečně použil slovo kámoš. chum. 5 Emphasis Cassandra Fox said: ‘Probably Kasandra Foxová řekla: can’t afford them out in the sticks. „Pravděpodobně si je nemůžeš . . . She’s looking at my pony!’ dovolit, když jsi ze zapadákova. . . . Ona se dívá na mého poníka!“ 6 Emphasis ‘What right thing to do?’ said „Jak správně?“ zeptala se Zuzana. Susan. 7 Unsaid direct Get some warrior you bunch of Dejte mi nějakého válečníka vy speech fainting blossoms… bando usychajících kytek. 8 Unsaid Captain Carrot of the Watch, who Kapitán Mrkvička z Hlídky, který questions had a mind like a needle under his pod usměvavou tváří skrýval open smiling face, had mozek ostrý jak břitva, do něj surreptiniously substituted a new nepozorovaně vpravil nový seznam rol of questions like: Were you otázek jako například: Byl jste v nere Vortin’s Diamond noci 15. poblíž Vortinova obchodu Warehouse on the Nite of the 15th? s diamanty? a Kdo je ten třetí muž, and Who was the third man who který kradl minulý týden v palírně did the Blagging At Bearhugger’s U Medvědova objetí? Distillery Larst week? 9 Emphasis “S’not my fault![spray] I was „Není to mo-je chyba! [prsk] Byl transferred against it from the start but, oh no, jsem proti tomu od za-čát-ku, ale into words he has to go and …” to ne, on musel jít a … with hyphens

80

Terry Pratchett uses vast amount of italics which do not have to be used in the Czech translation. There are other means of transforming italics in Czech language, usually by adding more words or different word order. Examples 1, 2 and 3 show usage of italics which were left without any change. There was no other way how to rewrite it. Italics is a kind of a graphic substance used for a written medium. (Catford 3) Catford also offers limits of translatability which are necessary to consider because some words are not translatable. These untranslatable words have nothing in common with cultural difference. (Catford 93 – 95) Thus, it is up to a translator whether to translate the word or not; if there is any equivalent or not. Foreign words which cannot be translated should be somehow distinguished from the rest of the text, and italics are visible. Coming out from the context of Pratchett’s book – aargrooha – is used as a name of a dwarf’s game and as girls come from various places of the Discworld, foreign words are sometimes used. Not only foreign words written in italics I kept without any change, but also I decided to keep thoughts unchanged in the translation. I consider thoughts to be somehow highlighted from the rest of the text because they provide something what is unseen what is in a character’s mind. In examples 2 and 3, Zuzana – the main character – thinks about things she has already known and provides examples of mind flow. On the other hand, examples 4 and 5 did not have to be rewritten in italics because there were other words used, and these words do not change the message but these words help us to follow the emphasis meant by the author of the book. There were several means which were possible to use i.e. changing the word order of a sentence – to put stressed word at the end of the sentence, or not to use a synonym but use a different word, and therefore it was possible to omit italics in my translation. These examples will be explained more deeply in chapters concerning lexical or sentence equivalence. Example 6 shows omitting not only the italics but also some words which did not have to be used and only a short question gives us an accurate example of emphasis in Czech language – two words are enough to express the idea in words. It is shown in examples 7 and 8 how to express parts of a speech which would be said or as it is in the example 7, here the italics use remembrance of someone who was a friend to the main character of the book – Zuzana. Example 8, as shown in the figure 1, contains questions of a possible interrogator. Again, these examples show us what goes in minds and what stays unsaid.

81 The last example shows what other means can be used to express an emphasis. There was no other means to express the emphasis. Therefore, words split by hyphens were used. Hyphens can point stopping and emphasizing. Italics, which are very frequently used by the English author, are a graphical mean how to express emphasis, thought or foreign words. It does not mean they have to be used in translations as well. Czech language offers other means how to express emphasis, and thus italics are used in the Czech translation rarely.

3. 2. 2 Punctuation Punctuation is another graphic feature used more or less differently in different languages. Punctuation marks like full stops, semicolons, exclamation marks, question marks and quotation marks are commonly used. There are many punctuation marks; punctuation marks are signs which are used to separate words, word phrases and sentences. Terry Pratchett uses e.g. dashes, ellipsis to express silence, pauses or hesitation.

Fig. 2 Example Type of punctuation The initial text My translation 1 Hesitation ‘Well, like . . . rats . . ..” „No, něco jako . . . krysy . . ..“ řekla said Susan. Zuzana. 2 Hesitation “I mean . . . strange „Myslím . . . zvláštní krysy,“ řekla rats,” said Susan. Zuzana. 3 Pause “You made the horse „Skočila jsi s koněm nahoru a…“ jump up and . . . “The Dívka přestala mluvit z obavy před girl stopped aware of tím, co se chystala říct. what she was about to say. 4 Parenthesis To show her willing, Aby Glorie ukázala ochotu, Gloria left off her iron sundávala si svou železnou helmu, helmet, and while not ale vous si neholila – vlastně having off her beard – neexistovalo žádné pravidlo pro there was no actual rule děvčata, že by nemohla nosit about girls not having třiceticentimetrový knír – a tak si ho beards a foot long – at aspoň zaplétala. least plaited it. 5 Silence ‘It senses you looking „Záleží na tom, jak se na to díváš. at it. Just give—‘ Jenom . . ..“ 6 Changing topic He started medlin’, Začal si zahrávat a pak se tady and next thing a mare objeví taková malá holka – kde chit of a girl— jsi?“

82 where’d you go?’ 7 Surprise There was a tiny area Zde v temnotě byla malá plocha of lighted tiling in the osvětlených kachliček obsahující darkness, containing vzdálenou představu stolu, the distant vision of a několik židlí, kuchyňskou table, a few chairs, a komodu – a někoho. kitchen dresser— and someone.

Examples 1 and 2 show hesitation during the speech, the author wanted to express silence, as if someone was looking for words during speaking. These are commonly used in both languages and there was no need to change this punctuation. Three dots are used for unspoken parts of a sentence at the beginning or at the end of a sentence. These dots which appear in the middle of a sentence are used for influent or aroused speech. Dots used for hesitation or pause are same in English version and its Czech translation. Example 3 is slightly similar to previous examples but this time it was a shock that caused pause during the speech. The text itself explains why the girl stopped speaking. It was hard for her to find the words. Thus, Czech translation keeps the same punctuation. As it was mentioned before, both languages used for the analysis have similar usage of dots. Czech language uses the term trojtečka. Examples 4, 5, 6 and 7 show different use of dashes; example 4 shows parenthesis for a deeper explanation and adding extra information. The long dash used in English example 5 for silence is not commonly used in Czech texts. Therefore it was supplemented with three full stops which present silence in Czech language. Long dashes used for changing topic and surprise in examples 6 and 7 were not replaced and there were dashes kept. Dashes suggest pauses in speech or they divide parts of a text. It could be compared to parenthesis used with commas which split inserted sentences.

3. 2. 3 Capitals Capital letters which appear in written texts apparently mean different voice. It may describe character’s way of speaking or their attitude towards other characters. There are several rules when to use capital letters in writing; i.e. personal pronoun I, at the beginning of a sentence, abbreviations, acronyms, days, months, holidays, countries, nationalities, languages, religions, people’s names, titles, trademarks, places, monuments, headings, titles of books or newspaper headlines. (“Capital letters”) These are just basic rules frequently used

83 by users of English language. Nevertheless, it was not the aim of this diploma thesis to analyse all capitals but to examine distinctive capitals used for certain purposes. Terry Pratchett uses capital letters for certain purposes only in several cases showed in figure 3.

Fig. 3 Example Type of usage Initial text My translation 1 Name of a place CURRY GARDENS KARI ZAHRADA

2 Voice of a brass ‘C V Cheesewaller, DM „C V Zazděnýsýr, DM (Nevid.univ.) plate (Unseen) B, Thau, B. F.’ B, Thau, B. F.” 3 Voice of the SQUEAK. KVÍK. Death of Rats 4 Strength of the SNH. SNH. SNH. HNI. HNI. HNI. sound and voice of the of the Death of Rats – strong or loud 5 Susan’s voice ‘BOIL ME AN EGG, „UVAŘ MI VAJÍČKO, ALBERTE.“ ALBERT.’ 6 Susan’s voice – ‘ER…GOOD EVENING.’ „EHM…DOBRÝ VEČER.“ strong or loud 7 Switching from ‘er. I don’t know – I MEAN, „Ehm. Nevím – CHCI ŘÍCT, ŽE normal voice into I DON’T KNOW WHICH NEVÍM, KTERÝ TO JE.“ a voice of Death ONE HE IS.’ 8 Switching from ‘Don’t, I mean DON’T „Mě se …, tedy, MĚ SE NEPTEJ,“ one voice to ASKE ME,’ said Susan. řekla Zuzana. another.

The first two examples are common headings and names of places. There was no reason for changing the names but to translate them only. Example 2 was left without a big difference, only the information in brackets – (Unseen) was translated into (Nevid. univ). Examples 3 and 5 written in capital letters represent voices of deaths – the Death of Rats and Susan. Susan inherited this voice from his grandfather who was Death. These are the capital letters which mark different voice, different sound. In addition to that, examples 4 and 6 represent the same but when they are compared to examples 3 and 5, they are written in bold. Capital letters in bold provide voices which sound strongly or loudly. There was no reason to change it because translation should follow the structure of a translated text, and capital letters can be used in Czech language as well as in English language. Susan’s change into the Death

84 is nicely shown in examples 7 and 8. She is learning how to speak this voice. It was also left without any change in the translation.

3. 2. 4 Spelling This subchapter cannot be omitted because spelling or intentional spelling mistakes are used in Pratchett’s work as the intention to express speech of someone coming from other parts of the Discworld, and therefore as Levý suggests it is recommendatory to adhere the purpose of the initial text and follow it in the target text as well. If a translator transfers only given information, the target text would lose the intention given by the original author. Such a translation of spelling or wrong spelling ought to be transferred into target cultural and historical background. Substitution is used there is no possibility to use any equivalence between the target and source text. (Levý 118) There will be examples of strange or wrong spelling shown in the following chapter and reasons why such spelling was used and for what reason.

Fig. 4 Example English version Czech version Explanation. 1 ‘I didn’t knouewa you had „Neuvěděla jsem, že tady Speech of a person coming a horse here.’ máš koně.” from a noble family and enthusiastic about horses. 2 ‘And you’ve got nouewa „A neumáš žádný Speech of a person coming tack,’ said Lady Sara. postroj,“ řekla Lady Sára. from a noble family and enthusiastic about horses. 3 ‘I don’t want exposure in „Nechci být vidět Speech of a person coming de Drum.’ said Lias. v Bubnu.“ řekl Jura. from another part of the Discworld, probably caused by wrong pronunciation. 4 ‘Gllod, there’s an ape „Zllotane, je tam opice a Speech of a person coming watching us.’ dívá se na nás.“ from another part of the Discworld, probably caused by wrong pronunciation. 5 ‘Negger grossed by bind,’ „To bvy mě ani This speech is produced by said the raven indistinctly. nenapaduo,“ řekl someone who cannot ‘Sure?’ ‘Leg ogg by beak nesrozumitelně havran. pronounce properly because of glease?’ „Ne?“ „Pufť mi vobák, some obstacle. pvosím?“ 6 Porn cracker 4p Pukuřičná placka 4p Intentional typing error in spelling.

These examples can be divided in two groups. A speech of characters, which is influenced by their origin, and a speech of other characters who cannot pronounce properly are written with typing errors. Examples 1 and 2 are typical speech of noble people and those

85 who love horses so much. There was an attempt to follow the author’s intention and add more vowels in the words. There is a similar explanation to examples 3 and 4; characters coming from different parts of the Discworld. The example 3 was not transferred and it was written the target language without any changes. Double ‘l’ in example 4 was kept because it was possible to preserve the author’s purpose. Sentences in example 5 could be considered as translation teasers but according to the context it was not too difficult to solve and the main help was the word indistinctly. Susan held the raven’s beak and this action was help for transferring given information. Last example shows intentional author’s typing error. The menu in Curry Gardens was full of spelling mistakes. These mistakes have their function – to be immediately solved. Thus, only the initial letter was changed to keep the author’s intention. Spelling mistakes have their specific role in Pratchett’s work. This role is to entertain, to show difference and play with the words.

3. 2. 5 Usage of footnotes Footnotes are used in Pratchett’s work fairly often. They give the reader extra information or they tell us another story. Sometimes, Pratchett links more books together. Footnotes are written in smaller size of letters and they are at the bottom of a page. A translator should determine whether to follow the author’s intention and translate these footnotes, or to avoid them. It is the translator’s decision if there is other possible solution for transforming footnotes. Footnotes were kept in this translation; there were not added extra footnotes. It was the translator intention to follow Pratchett’s style.

Fig. 5 Ex. Type of a footnote English version Czech version 1 Explanation 1Cabbages. 1 Zelí 2Cabbages. 2 Zelí 3Anything that ate cabbages and 3 Cokoli, co jí zelí a nevadí mu, didn’t mind not having any friends. že nemá žádného přítele.

2 Added story 1 Until an unfortunate axe incident, 1 Do té nešťastné události se Gloria had been captain of the school sekerou byla Glorie kapitánkou basketball team. Dwarfs don't have školního basketbalového týmu. height but do have acceleration, and Trpaslíci nemají dostatečnou many a visiting team member got a výšku, ale mají zrychlení a mnozí nasty shock when Gloria appeared z těch, co viděli tým hrát, byli v rising vertically out of the depths. hrozném šoku, když se Gloria

86 začala vertikálně zvedat z hlubin.

3 Explanation 1 Or methane crystals. Or sea 1 nebo metanové krystaly. Nebo anemones. The principle is the same. mořské sasanky. Princip je stejný. In any case, it soon fills up with V každém případě se to rychle whatever is the local equivalent of zaplnilo čímkoliv, co je místní fast-food boxes and derelict lager ekvivalent pro krabičky na rychlé cans. občerstvení a nepoužívané větší plechovky.

4 Extra information 1 According to rural legend – at least 1 Podle místní legendy – tedy in those areas where pigs are a vital alespoň tam, kde jsou prasata – a new story part of the household economy – the důležitou součástí domácí Hogfather is a winter myth figure ekonomiky – je Otec prasátek who, on Hogswatchnight, gallops zimní mytologická postava, která from house to house on a crude na Štědrý večer chvátá od domu k sledge drawn by four tusked wild domu na velkých saních tažených boars to deliver presents of sausages, čtyřmi divokými prasaty black puddings, pork scratchings and s velkými tesáky, aby doručila ham to all children who have been dárky ve formě párečků, černého good. He says 'Ho ho ho' a lot. pudinku, opižlaného vepřového Children who have been bad get a bag masa a šunku všem dětem, které full of bloody bones (it's these little byly hodné. Často říká 'Ho ho ho'. details which tell you it's a tale for the Děti, co zlobily, dostanou pytel little folk). There is a song about him. plný krvavých kostí (právě z It begins: You'd Better Watch Out... těchto malých detailů pochopíte, The Hogfather is said to have že jde jen o pohádku pro originated in the legend of a local drobotinu). Zpívá se o něm píseň. king who, one winter's night, Začíná: Dávej si pozor... happened to be passing, or so he said, O Otci prasátek se říká, že má the home of three young women and původ v legendě o místním králi, heard them sobbing because they had který jednoho zimního večera jel, no food to celebrate the midwinter nebo to aspoň říkal, kolem domu feast. He took pity on them and threw tří mladých žen, které slyšel a packet of sausages throught the vzlykat, protože neměly nic, čím window. (2) by oslavily zimní slunovrat, (2) Badly concussing one of them, but zželelo se mu jich a hodil jim there's no point in spoiling a good balíček párečků oknem. (2) legend. (2)Jednu z nich vážně zranil, ale proč si kazit dobrý příběh?

In the translated extract of the book, there were four footnotes translated. Example 1 and 3, there was further information added. Example 2 shows addition of deeper explanation

87 supported by another story which does not fit the story. Thus, it is written in a footnote. The last example is focused on further explanation and a new story is given to a reader. There, a footnote in a footnote given. Graphical equivalence between English and Czech text is not always fully observed. There are other ways how to translate emphasis, thus a translator can avoid italics. Punctuation is very similar in both languages; only long dashes are supplemented by three dots or short dashes. Ellipsis is graphically the same; three dots are used both in English and Czech version. Type of letters – capitals in this case – stay the same without any change. In my opinion, italics vary the most in this chapter because Czech language can replace them by other means i.e. different word order, adding an extra word to put emphasis on what is written and communicated.

3. 3 Lexical equivalence Lexical equivalence handles with different systems which each language has, and thus a translator has to find lexical units which are suitable for the target language. Each language has various lexical units which express the same meaning and other units which express different meaning. In her research Knittlová found out various disparities in semantic components. It means that these semantic components deal with different naming in an initial and target language, and therefore vast varieties can be found. She also suggests that a translator ought to distinguish between literary and substandard language, common vocabulary from scientific, and focus on peculiarities while translating. Translators has to think about the environment of a target language, who is the work addressed, and they should choose proper lexical units. It is counterparts which vary in the source and target language; there can appear full, partial or zero counterparts. (Knittlová 39)

3. 3. 1 Full equivalence Full lexical equivalence is typical for ordinary things, words having unambiguous meaning. They are nouns, verbs, adjectives or adverbs. Czech language may have more meanings for one lexical unit, but when it is transferred from English, it has obviously only one meaning. There are not much full equivalence between Czech and English language. (Knittlová 40-41) Figure 6 below shows full equivalence among lexical level in the practical part.

88 Fig. 6 Example Part of speech with full English version Czech version equivalence 1 Nouns Hockey, lacrosse and … Hokej, lakros a … 2 Verbs Susan recognized Zuzana poznala 3 Adjectives The white horse …. Bílý kůň … 4 Adverbs Probably can’t afford … Pravděpodobně … 5 Participle ‘Yes.’ „Ano.“ 6 Pronoun … your lordship,’ he said. … vaše lordstvo,“ pozdravil.

Full equivalence was the easiest to translate because these words mean what they mean and there is no other meaning hidden beyond. Only in example 6 it had to be decided whether to use vaše or tvoje but the following noun lordship was helpful as it would have to be meant ironically with tvoje. It was not ironic at all because the Watch met Susan as Death so Czech vaše represents respect towards to the addressed character.

3. 3. 2 Partial equivalence Partial equivalence appears in English-Czech translations more often than full equivalence. It is caused by vast differences between these languages. In fact, these languages have not much in common because they are distant not only geographically, but also culturally and historically. Knittlová offers four types of differences between these languages; e.g. formal, denotative, connotative and pragmatic differences. She also submits that hardly any single type appears individually and that these types are connected. English language consists of more analytic expressions – expressions consisting of more than one word – than Czech language. Therefore, it is more explicit and redundant than Czech language. Beyond this information, sometimes, it is Czech language which has to be more explicit and add more words for further explanation of given information. This explicit adding may be connected with missing direct expression which would express a lexical unit or lexical units directly or a translator adds extra words, make the text less explicit or omit some information according to the context of a translated work. This is called pragmatic differences. (Knittlová 42-93)

Fig.7 Example English version Czech version Explanation 1 … gave the watchers … a ze široka se usmála English version is more explicit in a bright smile. na přihlížející this example as gave a smile can be transferred into Czech usmála, and

89 bright have more than one meaning. 2 Susan led the white Zuzana vedla bílého Czech version is more explicit, it was horse back into the koně zpět do stájí, necessary to add more words so that stables, rubbed him vytřela ho do sucha a the Czech version sounded more down, and put him in zavedla do volného natural. Rub down means setřít in a spare loose-box. boxu. Czech and we usually vytíráme koně do sucha and not stíráme. 3 ‘Look, it’ll get us Podívej, bude na nás víc In both cases it was necessary to add exposure,’ said Glod. vidět,“ řekl Zlatan. extra words and change a bit the ‘I don’t want „Nechci být vidět meaning of the word exposure. Thus, exposure in de v Bubnu,“ řekl Jura. Czech version is more explicit in Drum.’ order to keep it understandable for the Czech environment. 4 The men walked Muži prošli žebříkem. Another example of partial through the ladder. equivalence as Czech language offers prefixes to show action. English language often uses an extra word or extra words to show action. Czech language shows its inexpliciteness. 5 The men walked Muži prošli žebříkem. Definite article in English through the ladder. presupposes the fact that the men and the ladder were already mentioned in the text. It is useless to use ti muži nebo tím žebříkem. It is clear for a reader to connect already mentioned men and the ladder. 6 ‘Are we a cab Copak jsme taxík?“ A Czech word taxík substitutes service?’ said Susan zeptala se Zuzana taxikářské služby since they do not coldly. chladně. sound natural in Czech language. Thus, the word cab was kept but service was omitted. 7 ‘Just three of you?’ „Jenom tři?“ English is more explicit here, it was he said. not necessary to use vy tři because the following text explains everything. It keeps its irony as well. 8 ‘Say hello, Lias.’ „Pozdrav, Juro.“ Although the Czech equivalent consists of one word and English version is of two words, we talk about partial equivalence. 9 The Death of Raths Krysího smrťáčka Since we talk about the death of Rats had gravitated to the přitahovalo prkénko na who is rather small, dimunitives were cheeseboard, where sýr a použil kosičku used to describe the character and it he was using his k tomu, aby si kousek was also a purpose to make the scythe to hack off a odsekl. translation witty. lump.

90 3. 3. 3 Zero equivalence It can happen that there is not lexical equivalence in the target language. This is another feature which a translator has to solve. If there is no equivalence in lexical level, it is omitted, formally changed or taken over. Taking over is usually applied at proper names, geographical names and new terms. Foreign words do not appear frequently in the book. These were dealt in graphical equivalence because they were written in italics. In fact, there was only one foreign word in the translated extract – aargrooha – which means a game played by trolls. Another example of general zero equivalence could be considered takeaway food. Jídlo sebou would probably be the nearest equivalent but kari was used instead as a reference (It is shown in the example in following figure.)

Susan tried the curry several hundred feet above Zuzana ochutnala kari několik desítek metrů nad the speeding landscape, and then threw it away as ubíhající zemí a potom je vyhodila tak slušně, jak politely as possible. ‘It was very … unusual,’ she to jen bylo možné. „Bylo to velmi … said.’ And that’s it? You carried me all the way neobvyklé,“ řekla. „ A to je jako všechno? Ty jsi up here for takeaway food?’ mě vezl takovou cestu, abych ochutnala kari?“

A translator has to deal with informal language or to be more specific, they have to deal with cursing. There was one example of cursing found in the translated text. Cursing may be considered as a zero equivalent from the source to the target language. Example: Damn fool things. : Doprčic. Cursing is difficult to translate; a translator has to take into account the target language environment. Cursing or usages of vulgarisms are completely different in English and in Czech language. It is caused by differences in culture and taboo language.

3. 3. 3. 1 Proper nouns Proper nouns cannot be taken as fully or partially equivalent. As Knittlová suggests, they play a different role in the translation. They can be counted as zero equivalence. It is primarily up to the translator whether they will translate the proper names or not. In some texts, proper nouns play a specific role concerning the type of the translated text. As it was mentioned before, a translator should follow the purpose of the author, and find the balance between two environments. Newmark in his work says that proper names – first names and surnames – are normally assigned from a source language into a target language to preserve their nationality

91 when it is expected that they have no other meaning in the text. When an imaginative literature is translated, the target language is important. He also suggests that it is best to translate the word which stands for the certain name in an initial language and to naturalise it. (Newmark 214-215) At the beginning it was necessary to decide whether to translate all or only some of the characters. If only some were translated, the story would lose its atmosphere. Pratchett’s purpose is to entertain, to sound funny, and it was important to not to avoid this purpose. In Czech environment, the usage of Czech names is of great importance, they have to sound familiar to Czech readers. The Czech environment and the author’s purpose of the translated book plays a decisive role whether proper names are translated or not. Since the purpose of the book is to entertain, it would be useless to keep the proper names in English. Hence, all English names were translated into Czech language so that the purpose of the book was retained. For some of the names a dictionary was used simply to transfer the initial language into the target language, and several proper names were created to fit the Czech environment. Translated proper names show a translator’s creativity and a probable sense of humour. The following figure shows proper names in English and Czech languages, explanations and reasons why these Czech expressions were used.

Fig. 8 Names of characters Czech version of proper Explanation in English version names of characters Susan Zuzana Chosen a typical Czech version of English Susan Miss Butts Slečna Knoflíčková Assigned from the source language. Miss Delcross Slečna Křížková Assigned from the source language. Iron Lily Železná Lily Partly translated, Lily kept for its foreign origin. Princess Jade Princezna Nefrit Czech word naming the same person. Princess Jade is a troll princes, thus she is “made of “stones. Every troll gets a name which has something to do with stones. Since she is princess, her name has to be noble – nefrit is a name for a gem, and it is a Czech name for Jade. Gloria Thogsdaughter Glorie Partly translated, the surname was kept for its Thogsdaughterová foreign origin. Cassandra Fox Kasandra Lišková Surname assigned from the source language into the target language; Czech spelling used for the first name. Lady Sara Grateful Lady Sára Vděčná The title of nobility kept as it is in English, then

92 Czech spelling and surname assigned. Binky Rakvík Bin in English has various Czech equivalents but dictionaries mostly agree on koš. It can also be taken as a place where to put bodies of people after their death. There were two possibilities taken into consideration – Rakvik and Truhlík - but to avoid copying Kantůrek’s translation, the first one was chosen Binkorr Rakváák Ending was softened in order to sound ironically; there was an extra letter á in the Czech version added in order to follow spelling emphasis on exclamation. Lias Jura English name Lias is a name of a troll who is stone. It also means a part of a prehistoric era. In this case a derivation of a Czech common name was used. Jura is also a part of a prehistoric era, even though English equivalent would be Jurassic. Glod Zlotan It is obvious that Glod is an anagram of gold, thus Czech name Zlotan could be a suitable anagram substituting Glod. Tooth Fairy Víla zubnička Simply Czech version of this character was assigned. Albert Albert There was no need for translation as both languages keep the same spelling. Death of Rats Krysí smrťáček Although English version offers Czech term smrt, there was a diminutive used as rats are not as big as human beings. Death Smrťák Intention to avoid Kantůrek’s translation - Smrť; there was the ending –ák added. Librarian Knihovník Assignation from the source language into the target language. Captain Carrot Kapitán Mrkvička Surname of this character means a piece of vegetables, but Czech environment could sound with Mrkvička more familiar than with Mrkev. The intention was to bring a contrast – he is the chief of the Watch and someone called Mrkvička would not be expected to have any authority. Sergant Colon Seržant Střevo Assignation from the source language into the target language. Hibiskus Dunelm Ibišek Dumal Ibišek assigned from the source language into the target language and Dumal sounds similar to Dunelm. Imp Imp There was no need for translation as both languages keep the same spelling. Corporal Nobbs Desátník Hlava Nob in Czech language means kotrba, which is a dialect form for literary meaning hlava.

93

Levý suggests finding a compromise in translating proper names. It is also necessary to uncover author’s intention to keep the atmosphere of the book. He also says that there is no appropriate theory and it always depends on the particular translator how he or she will work with the names. (Levý 95-96)

3. 3. 3. 2 Names of places In this case it is good to think about the result, which a translated book on readers first. A translator has to consider whether it is inevitable to translate names of places in the source text. It depends on a translator if they will transform geographical places. Newmark suggests not to come up with new geographical names but to be informed about changes which may come together with changes in history. Classifiers – streets, rivers or mountains - may be translated. (Newmark 216) Since we talk about a fantasy genre, it was difficult to translate some of the places. Some of them were left without any change or only a Czech spelling was used.

Fig. 9 Name of a place in Czech version of a place Explanation English Sto Plains Zelné hrabství As Pratchett is British and Great Britain consists of counties, therefore hrabství as a Czech equivalent was chosen for its name in Czech. Plains mean pláně in Czech. Anyway, as it is explained in a footnote in the text, I decided for Zelné because it is full of cabbage and cabbage supporter. The name of a county in the Discworld consists of an adjective and a noun. Three Roses Alley Růžová ulice Translated because it is the environment taken as a place of origin. In order to sound more natural and in the Czech culture, there are many streets having this name. The Mended Drum U Zašitého bubnu Same example as above; here the adjective zašitý has two meanings – a place to hide or as the English texts offers mended because it was broken. Quirm Kvirm Considered as a foreign word but the spelling was chanced into a Czech spelling. Discworld Plochosvět Translated for the same purpose as The Mended Drum or Three Roses Alley. Ankh-Morpork Ankh-Morpork Name of a city which could evoke New York, and

94 thus there was no need for translation, taken as a foreign word. Sto Helit Helitské hrabství The word sto was taken as a county again. Helit is taken as a foreign word and therefore it is untranslatable. It was changed in order to sound as a Czech adjective.

To sum it up, proper names are translated or are not translated depending of the fact if a translator regards them as translatable or untranslatable. Foreign names and places often stay in their origin version on the other hand those names which are dealt as “native” are translated into the target language.

3. 3. 3. 3 Verb say The verb say belongs to a group known as communicative verbs. Communicative verbs are verbs which function is to communicate something and the verb say is according to Knittlová the most frequent communicative verb. There are a vast amount of possible meanings in the target language, and therefore it cannot be left unnoticed. Knittlová explains that there can be a direct translation of this verb, and thus already mentioned full equivalence or on contrary, this verb can be incorporated into zero equivalence, which depends on the context of what is translated. This verb is divided into fife groups depending on their implicatures. a) suggestion of communication i.e. ask, answer or command b) implicature of width of communication – be brief or talk for long c) implicature of content of communication – calm the receiver or warn them d) usage of antonyms – not to deny. (Knittlová 56) Pratchett primarily uses the verb say without distinguishing between a question, statement or exclamation, whereas Czech language uses much other possible equivalence. Focusing on this aspect of author’s style, English language may be deprived from this point of view. Nevertheless, it is always up to the translator’s decision whether he or she will follow suggested implicatures and will use possible translations of the discussed verb or not. In the figure below, there will be shown examples of how the verb say was translated, and for what reason.

95 Fig. 10 Example English version Czech version 1 'I'm only looking,' said Gloria. „Já se jen dívám,“ odtušila Gloria. 'You were… salivating,' said „Ty jsi… slintala.“ řekla Kasandra. Cassandra.

2 'Should it do that?' said Jade. „Měl by dělat tohle?“ zeptala se Nefrit. 'What's the matter?' said Susan. „Co se děje?“ odvětila Zuzana. „Ještě nikdy 'Have none of you seen a horse jump jste neviděly, jak skáče kůň?“ before?'

3 'I've found us somewhere to play!' „Našel jsem místo, kde budeme moci said Glod. hrát!“ zvolal Zlotan. 'Where?' said Lias. „Kde?“ zeptal se Jura. … … 'Is that more or less than five „Je to víc nebo míň než pět dolarů?“ zeptal se. dollars?' he said. „Podívej, bude na nás víc vidět,“ řekl Zlotan. 'Look, it'll get us exposure,' said „Nechci být vidět v Bubnu,“ odpověděl Jura. Glod. 'I don't want exposure in de Drum,' said Lias. 4 'Would you like a cocoa?' he said. „Dala by sis kakao?“ nabídl jí.

5 'You expect me to believe that, do „Ty čekáš, že tomu budu věřit, že?“ ohradila you?' said Susan, trying to summon se Zuzana a zkusila, aby to znělo co up her most withering scorn. nejpohrdavěji.

6 'I remember when you got brought „Pamatuji si, jak tě sem přivezli,“ začal here,' he said. 'He'd kept on vypravovat. „Pořád se tě na něco ptal, víš. Byl asking, you see. He was curious. zvědavý. Má děti rád. Opravdu jich hodně He likes kids. Sees a lot of them potkává, ale … ne aby se seznámil, pokud really, but… not to get to know, if chápeš, co myslím. you see what I mean. 7 'Soap all over the place,' said „Mýdlo bylo úplně všude,“ pravil Albert. Albert. 8 'But you're not… a young man,' „Ale ty nejsi… mladý muž,“ vyhrkla Zuzana, said Susan, unable to prevent která to nebyla schopna potlačit. herself.

9 'BOIL ME AN EGG, ALBERT.' „UVAŘ MI VAJÍČKO, ALBERTE." As the echoes bounced across and Když ozvěna dozněla a vytratila se, Zuzana se died away, Susan wondered where podivila, odkud se vzal ten hlas. the voice had come from. Alberťs ladle tinkled on the tiles. O dlaždičky cinkla Albertova naběračka. 'Please?' said Susan. „Prosím?“ zeptala se Zuzana. 'You did the voice,' said Albert. „To ty jsi udělala ten hlas,“ konstatoval 'Don't bother about the egg,' said Albert. Susan. The voice had made her jaw „Nestarej se o vajíčko,“ řekla Zuzana. Hlas ache. It worried her even more than způsobil, že ji začala bolet čelist. Dělalo jí to it worried Albert. After all, it was her mnohem větší starosti než Albertovi. Byla to mouth. 'I want to go home!' nakonec její pusa. „Chci domů!“ 'You are home,' said Albert. „Jsi doma,“ odpověděl Albert.

96 10 ‚Huh,‘ she said. „Och,“ vydechla. 11 'Oh, just a bit of fruit and old „Ále, jen trochu ovoce a stará eggs,' said Glod.' People probably vajíčka,“ poznamenal Zlotan. „Lidé zřejmě get a bit boisterous. I shouldn't trochu divočí. Nebál bych se toho.“ worry about that.' 'I´m not worried about it,' said „Já se toho nebojím,“ řekl Imp. Imp.

12 ' 'Evenin', your lordship,' he said. „ … večír, vaše lordstvo,“ pozdravil.

13 'Thaťs horrible,' said Susan. „To je strašné,“ zhrozila se Zuzana. 14 'What are you eating?' „Čím se to cpeš?“ 'Iťs all right,' said the raven, „To je v pořádku,“ ustupoval havran. „Je tady backing away. 'There's enough for dost pro všechny.“ everyone.' „To je nechutné!“ 'That´s disgusting!' „No, já jsem je nezabil, “ řekl. 'I didn't kill 'em,' it said.

As it was mentioned above, Pratchett primarily uses the verb say, but not always. He uses the verb say for question, statement, exclamation or thought. There are also other verbs used such as whisper, add or snap, which were translated according to their meaning, thus without any change. It is shown in given examples in the figure that there are various possibilities how to translate the verb say. The intention of this part of translation was to come up with more equivalents of the discussed verb, to follow the naturalness of the text. Certainly, the verb say was not always substituted by zero equivalence, and it was kept in the translated text with its Czech equivalent řekl as it is demonstrated in examples 3, 9, 11 and 14. Nevertheless, the rest of given examples in the figure were substituted according to the context and implicatures- therefore what is communicated. Talking about questions in the text, the verb was substituted by Czech zeptal se or zeptala se since it sounds more natural in the Czech environment. One exclamatory sentence was dealt in the examples – example 8 and here, to follow the form of the sentence and its function – a verb zvolal was used. Czech language offers a vast variety of verbs which can be used in translation and which they express what was communicated. In these cases it was important for the translator to grasp what Czech language offers and use it in the translation. It is demonstrated in the rest of examples. This analysis poses questions – How many says are used in English and Czech language? How many English says are substituted by other words in Czech language? Although there are 201 verbs say which begins or follows direct speech, the full equivalence was maintained and there are řekl/a shown in 157 cases. The verb say is

97 substituted by other words expressing what is communicated in 47 cases. There are 3 verbs řekl/a used even though which are not in the source text. To sum it up, verb say is very frequent in English text and it is often followed in the target text – in Czech language. Nevertheless, there are also other possible variations to verb say in Czech. It always depends on context, form of a sentence, whether it is an exclamation, a question. It also expresses the feelings of a person who is speaking in the text and their attitude.

3. 3. 3. 4. Interjections Interjections are part of speech, which do not change their form. Usually, interjections have no influence on the rest of sentence and they stand on the edge of the sentence. The producer of an interjection expresses his or her feelings, or they want to express their attitude towards receiver of the particular interjection. (Dušková 305) The meaning of interjection is depends on context in literature. Frequently, interjections can be seen as the first element of a sentence and they express the beginning of the speech. They can express mood, feelings, surprise, satisfaction, compassion, pain, disgust or for example concern. Some interjections have appealing functions, they want to evoke something; they also intend to substitute agreement or disagreement. Furthermore, there exist so called onomatopoeic interjections which elicit noises. (Dušková 305-306) Yet, they play a very important role in the text and translators should carefully deal with them; try to find their equivalent or substitute them. Interjections occur in both languages frequently. To find the best equivalents in Czech language was a difficult task. The intention was to follow author’s purpose and keep his style and at the same time, to sound naturally in Czech. In the next figure, it will be shown what interjections are used in the source text, how their meaning was understood by the translator and their translation.

Fig. 11 Example Type of an English text Czech text interjection 1 Onomatopoeic The hourglass vanished with Přesýpací hodiny zmizely s interjection a small ‘pop’. A moment malým ‘puk’. O moment Sound of things – later another one appeared in později se na jejich místě se sounds of pop and its place, with the faintest of slaboučkým ‘pink’ objevily pings were ‘pings’. další. transformed according to its sound when they

98 were pronounced. 2 Onomatopoeic “S’not my fault! [spray]….as ‘Není to mo-je chyba! expression showing if you’re not involved [stab [prsk]…to není, jako byste anger unidentified fried object], nebyl zapojen [napíchl oh no, that’s not his way neidentifikovaný smažený [spray, jab fork at the objekt], ale ne, to není jeho air],… způsob [prsk, cink vidličkou o talíř do vzduchu], … 3 Onomatopoeic SQUEAK, SQAUK KVÍK, KVAUK expression 4 Satisfaction ‘Huh,’ she said „Och,“ vydechla. 5 Onomatopoeic SNH, SNH, SHN HNI, HNI, HNI expression 6 Derision ‘Not a chance!’ he chortled. „Nemají šanci!“ chechtal se. ‘Heh heh! It’s in the cat „Cha cha! Je to v košíku pro basket! kočky 7 Mood, feelings ‘Hah!’ Mangy thing! „Ha! Prašivá obluda! 8 Command ‘Gee…down! „Dolů, Rakvíku.“ 9 Hesitation ‘Er. HELLO?’ „Ehm. Halo?“ 10 Onomatopoeic ‘Hi-jo-to! Ho! Hi-jo-to! Ho!’ „Hí-ja-hot! Hó! Hí-ja-hot! Hó! expression 11 Surprise ‘I say,’ said Lady Sara, ‘who „Jémine,“ pravila Lady Sára, does he belong to?’ „komu patří?“ 12 Surprise ‘Oh yes?’ she said. ‘And “Ano?” řekla. „A co jí what will you tell her?’ řeknete?“ 13 Accepting and ‘Um. Sorry. I only get fifty „Hm. Omlouvám se. Nemám. cursing pence a week allowance Stejně dostávám na týden anyway. pouze padesát pencí ‘Blast. Oh, well, nothing for kapesného.“ „Zatraceně. No it.’ tak nic.“ 14 Understanding … Oh, well. I’ll fetch they … Aha. Půjdu pro klíče.” key.’ 15 Adding more ‘Nah, couldn’t’ve been the „No, to nemohla být ta,“ řekl information Tooth Fairy,’ said the raven. havran. 16 Understanding ‘Ah,’ said the raven. „Aha,“ řekl havran. 17 Surprise ‘Ooorh, nooorrrh! „Ale né! Rakváák!“ Binkorrr!’ 18 Surprise ‘Oh. How nice. Thank you. .. „Ó, jak milé. Děkuji. … 19 Accepting ‘Oh, all right,’ said Susan. „No jo, tak dobře,“ řekla Zuzana. 20 Recognizing ‘Oh. It’s you.’ „Á. To jsi ty.“ someone 21 Disagreement ‘Nah, it never went away. „Nesmysl, nikdy to neodešlo. …’ …“ 22 Simplifying – ‘Oh, just a bit of fruit and old „Ále, jen trochu ovoce a stará making topic less eggs,’ said Glod. vajíčka,“ poznamenal Zlotan. serious 23 Hesitation ‘ER… GOOD EVENING.’ „EHM… DOBRÝ VEČER.“ 24 Apology ‘Oh, sorry,’ said Susan, and „Jejda, promiň,“ řekla Zuzana sliced. a máchla. 25 Irony ‘Ah. Deary me. Can’t have „A jéje. Nechápeme to, že? that, can we? Oh, well. Ach tak, brzy uvidíš“ You’ll soon see.

99

To translate some of these interjections was really difficult. Some of them were known and easily transferred into a target language but mainly onomatopoeic expressions were translator teasers. Nevertheless, in these 11 examples chosen from the translated text can be seen different interjections. Mainly onomatopoeic expressions, which are expressing sounds of things while they are changing their position (example 1) or people are moving as with items (example 2) are prevailing; further, a voice of the Death of Rats consists only of interjections which are very similar. His voice changes only in vowels and when he laughs (examples 3 and 5). In other examples hesitation, command, feelings or derision are represented. A vast usage of English oh is seen in the Pratchett’s book. This oh was translated in different ways in order to keep the text natural, and there was an attempt to use diverse Czech equivalents or substitutions which Czech language offers as it can be seen in examples 12-14, 18-20, 22, 24 and 25. Context and what was understood under the written words. Still, some words which are dealt as interjections in translation cannot be considered as interjections; these are examples 11 – I say which was translated as jémine – and example 15 – when the interjection nah was translated as nesmysl because it made sense in the text around. Pratchett could be regarded as an excessive user of interjections with which he cannot be confused with any other writer. When he uses interjections, readers can fully imagine the world or on the other hand, they can use their fantasy, what he could mean by a particular interjection. Therefore, vast usage of interjections is one of his typical stylistic markers.

3. 4 Textual equivalence This chapter is focused on the text itself, especially on the cohesion. That means how the text is connected, what is the purpose of the text and whether the linearity and naturalness of translated text is followed. And another aspect will be considered – functional sentence perspective.

100 3. 4. 1 Cohesion

A translator should be aware not only of cognitive meanings and basic syntactic structures in his text, but also of its information dynamics. Such an awareness does not necessarily imply theoretical sophistication in linguistics, or an ability to analyse sentences into themes, rhemes, and focally marked or unmarked elements. Here too a translator must rely on intuition and Sprachgefühl. But in situations where theory may be of help, even in defining problems rather than in solving them, it should not be avoided. (Enkvist in Baker 119)

A translated text should follow some linearity, and it is necessary for the translator to follow this suggestion. If a translator translates a text word by word, the text loses its linearity, and thus a reader could get lost in the text. The text of a novel would not bring what it should. A novel has its story, there is a hidden information; in fact, there is more unwritten than it is said. That is the soul of the novel. The initial text contains unwritten message and therefore a translator should not omit this message. (Baker 119-120 and Newmark 22) Translators have in their hands whole story; they have to elicit what a text is about, what the writer of the initial text wants to say. If a translator comes up against a sentence which does not give any particular meaning at the first sight, he or she has to consider various facts mentioned in the previous sentence. It is only his or her decision whether they add extra information and make the text not very equivalent to the source text. Nevertheless, this additional information can make the translated text clear for the target environment. (Newmark 22-23). There is another factor which translators have to take into account. It is the cohesive level which should be obeyed. It observes not only the spirit of the translated text but also the structure of the text. The structure is related with words that connect sentences and considering new and given information. (Newmark 22-24) When a textual level is handled, the naturalness of a text should not be forgotten. Translating any kind of a text should keep its naturalness. A source text is natural because it is written in the native language of the writer. That is the same with its translation. It is obvious that translations are written in the native language of a translator. How to keep the naturalness of the text? (Newmark 24-29) After reading the original text, it was very important to keep the message and purpose of the text. Otherwise, the translated text would be false and not attractive for readers.

101 The following figure shows how linearity and naturalness are handled. Longer parts were chosen of both texts so that the differences between Czech and English language could be more visible, and therefore could be better followed. This figure is focused on conjunctions and references which may be considered as key features in linearity and naturalness. References are marked with underlining and conjunctions and linking are in bold. Explanation part shows reasons why just these language means were chosen and used.

Fig. 12 Exa English text Czech text Explanation mple 1 It was only evidence of Byl to jen důkaz všeobecné Naturalness of this text was kept the general stupidity of hlouposti zbytku lidstva, by splitting complex sentences the rest of humanity, přemýšlela Zuzana. Ačkoli into less complex sentences- first Susan considered, that byla evidentně jednou z complex sentence was divided although she was nejlepších hráček ve škole, into two shorter sentences. manifestly one of the best nikdy ji nikdo nevybral do Conjunctions in this example are players in the school she svého týmu. Dokonce tlustá additive – and, adversative – never got picked for děvčata s akné byla vybrána even, although. teams. Even fat girls with před ní. Bylo to nesnesitelně Some words had to be spots got picked before nesmyslné a nikdy nemohla substituted by different words her. It was so infuriatingly pochopit proč. i.e. spots – its Czech equivalent unreasonable, and she could be tečky or pupínky. could never understand Nevertheless, akné was chosen why. to keep the naruralness. There is a reference to Susan – she in the text.

2 Whereas Gloria was Naopak Glorii zakázali This extract shows another way banned from sport tělocvik kvůli její tendenci of following linearity of a because of her tendency výhružně manipulovat se translation – there was no need to use her axe in a sekerou. Slečna Knoflíčková to make big changes in the threatening manner. Miss naznačovala, že sekera není translated text. It was necessary Butts had suggested that zbraň vhodná pro dámu, a to to add some more words to keep an axe wasn’t a ladylike ani pro trpaslici, ale Gloria naturalness of the Czech weapon, even for a dwarf, naopak namítala, že sekeru environment. Another example but Gloria had pointed zdědila po své babičce, která how to stay in Czech out that, on the contrary, ji vlastnila po celý život a environment was the use of it had been left to her by každou sobotu ji leštila, i trpaslici instead of trpaslík as it her grandmother who had když ji ten týden vůbec would be used as from word to owned it all her life and nepoužila. word translation. Conjunctions polished it every Na způsobu, jakým sekeru used are in bold - even was Saturday , even if she držela, bylo něco, co transferred as a to ani but the hadn’t used it at all that způsobilo, že se slečna sentence structure was kept - and week. There was Knoflíčková vzdala. reference is underlined something about the The last sentence in bold shows way she gripped it that how similar or different two made even Miss Butts languages can be. give in.

102

3 Susan felt strangely at Zuzana se cítila v jejich This example is very similar home in their company, společnosti kupodivu dobře, both in Czech and English; to and this had earned a tím získala nečekanou maintain in naturalness, it was guarded praise from Miss pochvalu od slečny used nečekanou because Miss Butts. It was nice of her Knoflíčkové. Je to od ní Butts was very reserved and she to be such a chum, she velmi hezké, že je taková did not praise very often – said. Susan had been kámoška, říkala. Zuzana byla nobody would have expected surprised. It had never překvapená. Nikdy se jí that Miss Butts will praise occurred to her that nestalo, že by někdo someone. anyone actually said a skutečně použil slovo kámoš. There are additive conjunctions word like chum. used.

4 She looked down at the Podívala se dolů na udivená There is one connector – and astonished girls, and then děvčata a potom na výběh za then: a potom. The second at the paddock beyond the stájemi. Bylo tam několik sentence is a complex sentence stables. There were a few překážek, byly to jen tyče which does not have any typical jumps there, just poles položené na sudech. connector; the second part of a balanced on barrels. sentence is not joined at all. and is giving an extra descriptive information. 5 Susan led the white horse Zuzana vedla bílého koně There was an attempt how to back into the stables, zpět do stájí, vytřela ho do keep linearity in the text so that rubbed him down, and put sucha a zavedla do volného it is easy to read, that the him in a spare loose-box. boxu. receiver of the text do not have There was a rustling in Najednou v seně něco any problems with following the the hay-rack for a zašustilo. Zuzana měla story. The dialogue among girls moment. Susan thought dojem, že zahlédla slonově in stables carries information she caught a glimpse of bílou kost. about rats and in the underlined ivory-white bone. „Ty mizerné krysy,“ řekla sentence in English has not 'Those wretched rats,' Kasandra, která se vrátila do connector but Czech said Cassandra, struggling reality. „Slyšela jsem slečnu environment would expect že to back to reality. 'I heard Knoflíčkovou, jak říká sound naturally. The second Miss Butts tell the zahradníkovi, aby nastražil underlined sentence is the very gardener to put poison návnady.“ similar to the first one. down.' „Škoda,“ řekla Glorie. 'Shame,' said Gloria. Lady Sára vypadala, jako by Lady Sara seemed to se jí něco honilo hlavou. Here, the dialogue follows have something boiling in „Podívej, ten kůň ve something what was seen a page her mind. skutečnosti nestál ve before – a horse standing in the ‘Look that horse didn’t vzduchu, nebo air. But Lady Sara did not want really stand in mid-air, ano?“ naléhala. „Koně to to believe it. The word - look – did it?' she demanded. neumí!“ points out the beginning of a 'Horses can't do that!' „Tak to potom nemohl speech which shows hesitation. 'Then it couldn't have udělat,“ řekla Zuzana. done it,' said Susan. „To je jako když míč letí Underlined reference to horse – 'Hang time,' said Gloria. vzduchem,“ řekla Glorie. „To Binky is represented by two 'That's all it was. Hang je to, co to bylo. Byl prostě pronouns in English text – him time. Like in basketball.1 ve vzduchu. Jako and it. In the Czech version, Bound to be something v basketbale.1 Alespoň to tak these references were united and like that.' vypadalo.“ some of them were omitted as it is the system of the Czech language.

103

6 'I've found us somewhere „Našel jsem místo, kde In this example, there is a to play!' said Glod. budeme moci hrát!“ zvolal dialogue among three friends 'Where?' said Lias. Zlotan. who want to earn money by Glod told them. „Kde?“ zeptal se Jura. playing somewhere. They were 'The Mended Drum?' Zlotan jim to řekl. in a city and looking for a place said Lias. „U toho Zašitého where to play. The Mended 'We'd be safe there. The bubnu?“zeptal se Jura. Drum was the only place where Guild won't play in there,' „Budeme tam v bezpečí. they could play even though it is said Glod. Lidé z cechu tam a very dangerous place to play. It The troll hesitated. nebudou,“ řekl Zlotan. is said that to go to the Mended 'I could use five dollars,' Trol zaváhal. Drum means to commit a he concerned. „Mohl bych použít pět suicide. The last sentence of this 'One-third of five dolarů,“ poznamenal. example we can see no linking dollars,'said Glod. „Jednu třetinu pěti device in English version but to Lias's brow creased. dolarů,“ řekl Zlotan. fit the naturalness of the Czech 'Is that more or less than Jurovo obočí se svraštělo. environment, it was necessary to five dollars?' he said. „Je to víc nebo míň než pět add more words to follow the 'Look, it'll get us dolarů?“ zeptal se. Czech system of the language. exposure,' said Glod. „Podívej, bude na nás víc The last sequence of sentences 'I don't want exposure in vidět,“ řekl Zlotan. presents omitting some words de Drum,' said Lias. „Nechci být vidět v and adding some extra 'Exposure's the last thing I Bubnu,“ řekl Jura. „Být vidět information. want in de Drum. In de v Bubnu je ta poslední věc, Drum, I want something kterou bych chtěl. Chci něco, to hide behind.' za co bych se tam mohl schovat.“

7 As Susan ran past, the Jak Zuzana běžela kolem, Descriptive parts of the English Purple Bindweed was fialový svlačec se zrovna text were sometimes difficult to opening and Love-in-a- otevíral a rožec plstnatý se translate. To follow the purpose Spin was closing. This zavíral. To znamenalo, že je of the author of the initial text, it meant that it was about tak půl jedenácté. was good to be specific in half past ten. Ulice byly opuštěné. Kvirm names. Short sentences were The streets were nebyl noční město. Lidé, maintained in the Czech deserted. Quirm wasn't a kteří přišli do Kvirmu a translation. There is a referential night town. People who hledali zábavu, šli někam pronoun this which is referring came to Quirm looking jinam. Kvirm byl tak to actions made by flowers on a for a good time went spořádaný, že i psi se nejprve clock. somewhere else. Quirm dovolovali, jestli mohou jít was so respectable that na záchod. even dogs asked permission before going to the lavatory.

8 Quirm vanished behind Kvirm za ní zmizel a svět se Examples in bold show various her, and the world opened rozevřel v temnotě a differences between Czech and up in a pattern of měsíčním stříbře. V English language. The intention darkness and moonlight měsíčním světle byla vidět of the translation was to follow silver. A chequer-board šachovnice polí a tu a tam the author’s intention and pattern of fields strobed světlo osamělé farmy. describe Susan’s ride on Binky. by in the moonlight, with Roztrhané mraky svištěly This was a very difficult part of the occasional light of an pryč. translation because it had to be isolated farm. Ragged rewritten many times in order to

104 clouds whipped past and find the right expressions. away. Daleko po její levici tvořily Sometimes, there were fewer Away on her left the hory Beraní hlavy studenou words used but on the contrary, Ramtop Mountains were bílou zeď. Napravo Okrajový some words had to be added. a cold white wall. On her oceán tvořil cestu k měsíci. Conjunctions and substitution right, the Rim Ocean Bylo bezvětří, ani necítila were kept and used so as the carried a pathway to the rychlost – jen viděla, jak pod reader of this text felt as he or moon. There was no ní ubíhala země a Rakvíkovy she was on the horse’s back. wind, or even a great dlouhé pomalé kroky. sensation of speed - just A potom někdo na noc rozlil the land flashing by, and zlato. Mraky se před ní the long slow strides of rozdělovaly, a tam, rozložen Binky. pod ní, byl Ankh-Morpork – And then someone město, které obsahovalo více spilled gold on the night. nebezpečí, než si slečna Clouds parted in front of Knoflíčková dokázala her and there, spread představit. below, was Ankh- Světla pochodní rýsovala síť Morpork – a city ulic, ve kterých by se Kvirm containing more peril nejen ztratil, ale byl by také than even Miss Butts přepaden a svržen do řeky. could imagine. Rakvík lehce cválal nad Torchlight outlined a špičkami střech. Zuzana pattern of streets in which slyšela zvuk ulic, dokonce Quirm would have not jednotlivé hlasy, ale i město only been lost, but hučelo jako roj hmyzu. mugged and pushed into Kolem ubíhala horní okna, v the river as well. každém z nich plamének Binky cantered easily svíčky. over the rooftops. Susan could hear the sounds of Kůň se prodral hustým the streets, even vzduchem, přistál ladným individual voices, but klusem v ulici, která byla there was also the great prázdná. Až na zavřené dveře roar of the city, like some se znakem a pochodní nad kind of insect hive. Upper nimi. windows drifted by, each one a glow of candlelight. The horse dropped through the smoky air and landed neatly and at the trot in an alley which was otherwise empty except for a closed door and a sign with a torch over it.

Baker in her work talks about textual equivalence – cohesion as a mean of linking within the translated text. There are some linking devices offered by Halliday and Hasan, and primarily, conjunction, reference and substitution were used by Terry Pratchett. All these

105 devices were used with an attempt to stay natural in the Czech version, and therefore make an attractive and readable text.

3. 4. 2 Functional sentence perspective The theory of functional sentence perspective is tightly connected with Prague School of Linguistic. Its main aim is to follow synchronic approach, how the language works within the communicative act of humans and focuses on information processing. Firbas’ (1992) theory is based on so called communicative dynamism. This is associated with various factors – linear modification, context, semantic structure and intonation. (Adam 10-17) Functional sentence perspective (FSP) is inevitably concerned with translations. FSP deals with ordering elements of each sentence and it depends on situational, linguistic and cultural context. (Newmark 61) And this is considered to be the main problem of translator, how to transform given information form a source language into a target language. Each sentence consists of two parts – theme and rheme. Newmark’s work says that these two sequences are divided into new information – the rheme and what is known in the sentence is called theme. (Newmark 60-61) And Baker says that “the theme is what the clause is about and rheme is what is said or written about the theme. (Baker 121-122) Newmark claims that “rheme as a new piece of information is represented by an indefinite article, a determiner or a specific term (‘Robert Smith’)”. On the other hand, “theme is usually represented by a definite article, a determiner or a generic term (‘Smith’)” (Newmark 61) Communicative dynamism is another underlying principle of FSP. A sentence consists of units which can be called the components of communication, and it is the most important element of a sentence is at the end of the sentence. This is the end-focus principle. Linear modification should not be omitted. Word order is the mean of linear modification and works together with context and semantics. English keeps strict word order comparing to Czech language which is quite free in its word order. It depends on stress and what the speaker wants to put the emphasis. The last part of FSP framework is the context. There are three types of a context: - pragmatic – shared knowledge of the speaker and the receiver - situational – describing a concrete situation - verbal context – it deals with anaphoric and cataphoric reference (Adam 19- 26)

106 Functional sentence perspective deals with immediately relevant context, and the closest one is the verbal context. Context plays important role in translation. The translator should take these into consideration. The context, the system of the target language and how to transfer these elements from one language into another is very important. Word order (how English language and Czech language work) and context (usage definite and indefinite articles) will be dealt in this chapter.

3. 4. 2. 1 Context English is a language which uses articles – definite and indefinite. Czech language does not have articles, and thus there have to be other means how to express these articles in Czech language. Kufnerová explains that this problem of translation can have more solutions. Informal language uses demonstrative pronouns if there is definite article used in a sentence and neutral text uses functional sentence perspective. (49) Again, it was necessary to keep the translation natural, to follow principles of Czech language, and at the same time, to keep author’s intention and transfer his message and not to come up with a different text.

Fig. 13 Ex English version Czech version Explanation am ple 1 ‘We’d be safe there. The Guild „Budeme tam v bezpečí. The definite article is in the won’t play in there,’ said Glod Lidé z cechu tam nebudou,“ English version is used to řekl Zlotan. point out concrete people, and in order to sound natural in Czech version the word lidé was used. 2 ‘I saw someone outside who „Venku jsem viděla někoho, In this case the first the is said she was the Tooth Fairy,’ kdo si říkal Víla zubnička,“ used for a fairy tale she said. ‘Nah, couldn’t’ve been řekla. „No, to nemohla být character, where only one is the Tooth Fairy,’ said the ta,“ řekl havran. „Jsou tu expected. Unfortunately, raven. There’s at least three of nejméně tři.“ there are more as it is them.’ explained later. 3 ‘You believe in the „Věříš na Otce prasátek?“ Here we talk about only one Hogsfather? “person”. 4 … Probably a teacher or … Pravděpodobně učitel Talking about professions, philosopher, something of that nebo filozof nebo tak něco. indefinite article is always kidney. And now I’m on a A teď jsem na lavici used but it does not have bench with a bird crapping my s ptákem, který mi kálí na any equivalent in Czech head.’ hlavu.“ language – it was not nějaký učitel it was the skull’s

107 profession. The other examples show general information given by the skull, and therefore it is fully omitted in Czech version. 5 She stared at a menu nailed to Zírala na jídelní lístek Most of the idefinite and the wall. It was misspelled, of přibitý na zeď. Samozřejmě definite articles were course, because the menu of the tam byly pravopisné chyby, overpassed since there was folkier kind of restaurant protože tyto lidové no need for their Czech always has to have misspellings restaurace vždy musely mít equivalent. The underlined in it, so that customers can be v jídelním lístku chyby, aby sentence had to be changed lured into a false sense of v zákaznících vyvolaly a bit in order to sound superiority. She couldn’t falešný pocit nadřazenosti. natural in Czech – the menu recognize the names of most of Nebyla schopná rozpoznat of the folkier – tam. the dishes, … názvy většiny jídel, … 6 It was a landscape, hanging in Byla to krajina, která visela Again, there was no need space. There was a squat little v prostoru. Stál tam malý for substituting indefinite house, with a garden around it. podsaditý domek se article, and thus they were There were fields, and distant zahradou. Rozléhala se tam fully omitted. mountains. pole a vzdálené hory. 7 Susan walked around the patch Zuzana šla kolem kusu This example is very similar of carpet. The man took no koberce. Muž si jí vůbec to the previous one – notice. The Death of Rats nevšiml. Krysí smrťáček articles were omitted in shinned up the table leg and šplhal vzhůru po noze stolu a Czech version. landed on a slice of fried bread. přistál na krajíčku topinky. 8 The man’s wrinkled face Mužova vrásčitá tvář se His hands at the end of the wrinkled still further as he ještě více svraštěla, jak se example show possessive strove to comprehend this. Then tomu snažil porozumět. pronoun which is omitted in he turned away and threw his Potom se otočil a vyhodil the Czech text because too hands up in the air. ruce do vzduchu. much usage of possessive pronouns is unnatural. 9 You really mean the tall figure „Ty vážně myslíš tu vysokou In this case, the definite with the scythe and everything?’ postavu s kosou a tak?“ article was not omitted but substituted with a Czech equivalent tu when pointing to a particular person. If tu was omitted, it would change the meaning of the sentence. 10 ‘Never even woke up, the little „Ti malí andělíčci se nikdy As in the previous case, the cherub,’ she said. nevzbudí,“ řekla. was substituted with Czech it as the Tooth Fairy was pointing to concrete people.

As it was explained in the figure, in most cases, definite and indefinite artilces are not sustituted, and they are usually omitted in translation from English into Czech language. Basically, there is no accurate equivalent between these two languages in articles. Context and linearity in the source text play the most important role in translation. The translation ought to be natural, and the translator shoul not loose the intention of the author of the initial text.

108

3. 4. 2. 2 Word order Word order (linear modification) in English is rather fixed compared to Czech word order which is relatively flexible. It is thanks to inflections which Czech language uses but English does not have so many. “Word order is extremely important in translation because it plays major role in maintaining a coherent point of view and orienting messages at text level” (Baker 110). Dušková explains that it always depends on grammatical structures of a certain language and can be dealt in various levels. When a level of functional sentence perspective discussed, it is important to note that English language is primarily grammatical - analytic, and on contrary Czech language is inflected - synthetic. Word order in both languages plays the role of a mean of emotive expressing. (518-527) Dealing with functional sentence perspective in transaltion forces translators to be aware of the position of theme and rheme in both languages. English word order, which is relatively fixed, requires the position of subject at the beginning of a sentence. Fixed word order is used to express relations between sentence elements, and thus it is uttered who or what does what. Nevertheless, rheme in Czech language with “free” word order is at the end of the sentence. This word order depends on its connection into context. This word order expresses differences in meaning or a speaker’s or writer’s attitude. Inflexion and conjugation is used to express the relations. (Dušková 527–541) It is the grammatical structure of a sentence that is the most significant for English language unlike Czech language which applies sentence linearity. It depends on what is the governing principle in the given language in a sentence. The principle which makes Czech and English language different is word order, where English word order is relatively fixed (subject – verb – other sentence elements if necessary), and on contrary Czech language it is not that fixed but rheme has to be at the end of an unmarked sentence, thus following the end- focus principle. (Dušková 528-530) Therefore, it was the aim of the translation to follow these rules and focus on differences between these two languages, and create a natural target text. The figure below shows examples of word order issues, their dissimilarities for the purpose of translating and remaining natural in Czech language

109 Fig. 14 Example English version Czech version 1 They walked in silence for a while. Chvilku šly v tichosti. 2 A couple of the jodhpured girls were Pobíhalo kolem něj několik dívek, které byly fussing around him. posedlé jezdectvím. 3 She hadn’t thought of her grandfather Na svého dědečka si nevzpomněla už spoustu let. for years. 4 There was a pattering across the Na dlažebních kostkách se ozval klapot a … cobbles and … 5 They did not figure in Miss Butt’s Ty ve světě slečny Knoflíčkové nefigurovaly. … universe. … A torch burned in a V držáku na jednom konci hořela pochodeň a bracket at one end. It merely made the pouze dělala stíny ještě tmavší. shadows darker. 6 Two men staggered out, arm in arm, Směrem k hlavní ulici si to šťastně vrávorali, and zigzagged happily towards the opřeni o sebe, dva muži. main street. 7 A chequer-board pattern of fields V měsíčním světle byla vidět šachovnice polí a strobed by in the moonlight, with the tu a tam světlo osamělé farmy. occasional light of an isolated farm. 8 The hatch snapped open again and a Poklop se znovu otevřel a na malou římsu large brown bag of allegedly but not položili velký hnědý pytlík, který sice vypadal, really waterproof paper was dumped ale rozhodně nebyl z voděodolného papíru. on the little ledge in front of it. 9 And the hall stretched away in front of A před ní se rozprostřela obrovská hala, … her, … 10 Doors lined the hall at wide intervals. Hala byla lemována dveřmi, které byly umístěny daleko od sebe, … 11 A suspicion was beginning to form in V mysli se jí začalo rodit podezření. her mind. 12 She put a lot of troubles down to an Absenci Denního zdraví považovala za hodně absence of Daily Health. špatnou. 13 The Death of Rats landed on the Krysí smrťáček přistál na toaletním stolku a dressing table, claws scrabbling for a snažil se zachytit pařátky. Z čelistí si vyndal purchase. He removed the tiny scythe malou kosičku. from his jaws. 14 They weren’t paying any attention to O jeviště se vůbec nezajímali. the stage. 15 There was a small stage at one end of Na jednom konci baru bylo malé pódium. the bar. The owner had tried a lunch- Majitel to v době oběda zkoušel se striptýzem, time stripper, but only once. At the ale jen jednou. Ubohé děvče při pohledu na sight of a large orang-utan in the front obrovského orangutana sedícího v první řadě se row with a big innocent grin, a big bag širokým nevinným úsměvem, velkým sáčkem s of penny pieces and a big banana the drobnými a s velkým banánem uteklo. A tak se poor girl had fled. Yet, another dostal Buben na černou listinu dalšího cechu entertainment Guild had blacklisted věnujícího se zábavě. the Drum. 16 The Death of Rats poked its head out Z její kapsy vystrčil hlavu Krysí smrťáček. of her pocket. 17 It’d rot in a few hundred years. Za pár stovek let by shnilo. 18 Around them, sometimes walking Pozůstalí stáli kolem nich a někdy jimi i prošli. through them were the mourners. Když teď stařík zemřel, zdálo se, že truchlení Mourning seemed to have stopped, ustalo. now the old man had died.

110

Comparing both texts, it is clear that there is difference in both texts. The word order in sentences depends on theme and rheme in English and Czech. It is also a problem of a naturalness of the translated text. A translator ought to distinguish between dissimilarities between the source and the target language and not follow the original text without thinking. In some cases some parts of the translated sentences had to be changed – given more words or less words so that the meaning – what is communicated – was retained, as it is shown in examples 2, 6-8, 10, 15 and 18. Examples 1, 3-5, 9, 11-13, 16 and 17 show differences in functional sentence perspective in English and Czech languge, thus position of theme and rheme. Word order is of a great importance in translations. It has to be changed for purpose of the target text, and at the same time, it ought to be flowing and readable for addressees of the translated text. Addresses of the translated text ought to become absorbed in reading without realizing that they read a translated text.

3. 4. 2. 3 Translation teasers Translation teasers, which may be understood as idiomatic or phraseological phrases, play an important role in transferring from one language into another. There are always forms which are very hard to translate, and in this case a translator has to be well acquainted with the source language or has to try to guess meanings of these teasers. Kufnerová presents various opinions about translation teasers. She claims that it is possible to translate everything or to follow functional continuity. She also discusses that each translation teaser needs its own consideration and cannot be given in general. (158-160). Dealing with Pratchett’s text, it is absolutely essential to focus on his intention. His books contain translation teasers; it is full of comic language which should be followed by a translator. They may come with new words; add extra information so that the target remains comic. The following figure shows various translation teasers which were transferred into Czech language. The intention of this translation was to stay comic and keep the given information in the source text. Moreover, explanation why such language forms were used is given in the figure, too.

Fig. 15

111 Example English version Czech version Explanation 1 ‘Probably can’t afford „Pravděpodobně si je Dictionary definition helped to them out in the sticks.’ nemůžeš dovolit, když jsi translate this idiom. ze zapadákova.“ 2 ‘Anything. The new „Cokoliv. Nový majitel se Here we can talk about landlord is dead keen velmi zajímá o zábavu transferred meaning where dead on pub entertainment.’ v hospodě.“ mean very, thus velmi in Czech. ‘I thought they had a „Myslel jsem, že tam mají one-arm bandit.’ Yes, mašinu – jednorukého but he got arrested.’ banditu.“ „Ano, ale zatkli ho.“ 3 Anyway, I’m the brains Jinak, já jsem ten mozek, Creativity of was used in this of the outfit. co rozhoduje. case – outfit – meaning some clothes – could be regarded as Czech krk, co hýbe hlavou which means that he is the one who makes decisions. 5 She knew about curry. Znala kari. Mívali kari a This Czech part was shortened to They had curry at school říkali mu něco s rýží. keep its meaning and bogey under the name of Bylo to žluté. Byly v tom which is an informal word which Bogey and Rice. It was lepkavé rozinky a hrášek. could be regarded to something yellow. There were unidentifiable. soggy raisins and peas on it. 6 Porn cracker 4p Pupuřičná pracka 4p This example shows playing with words, particulary with spelling. 7 The Soul Cake Tuesday Kachna, coby symbol Any Czech equivalent was not Duck didn’t apparently svátku pečené duše, found, therefore further have any kind of a zřejmě neměla vůbec explanation was added. Probably home. žádný domov. the comic of the English version was lost in translation. 8 An old man was eating Starý muž večeřel. Velmi The only problem was to find the his supper, very noisily. hlučně. Mezi sousty right equivalent for forkfuls In between forkfuls, he mluvil sám se sebou s which would sound natural and was talking to himself plnou pusou. Byl to the it was the same with the with his mouth full. It zlozvyk. second translator teaser. The was a kind of auto bad intention of the text was to keep manners. the irony even though English version sounds more ironic. 9 What I reckon’s Myslím si, že tě to vtáhlo. In this case whole sentence was happening is you’re Cítím to v kostech. transferred into Czech idiom. being sucked in. It’s in The equivalent – Je to v kostech- the bone. could be considered it is inside but the feeling was more adequate. 10 ‘It’s no skin off my „Je mi úplně jedno, The intention of the translation nose what you believe, čemu věříš, dámo,“ řekl. of this sentence was to madam,’ he said. emphasize indignation of the speaker and keep the message at the same time. 11 ‘Listen, ordinary kids „Poslouchej, normální It was necessary to add extra get a xylophone. They děti dostávají xylofon. infromation so that the reader don’t ask their Prostě nechtějí po svém would clearly understand the

112 granddad to take his dědečkovi, aby si sundal joke which is hidden in the first shirt off!’ košili, a zahrát si tak na part of the translated sentence in jeho žebra!“ bold. 12 They disappeared Jezdkyně mizely ve výši The expression shuttle service abruptly a few hundred několika stovek metrů a has its meaning kyvadlová yards up and reappeared téměř okamžitě se znovu doprava there was a problem again almost instantly objevily pro dalšího with integrating into the complex for a fresh passenger. pasažéra. Brzy se zde text. Soon there was a busy rozjela čilá kyvadlová shuttle service doprava. operating. 13 ‘Negger grossed by „To bvy mě ani This was a very tricky part – at bind,’ said the raven nenapaduo,“ řekl first a question appeared – What indistinctly. ‘Sure?’ nesrozumitelně havran. to do with these sentences? A ‘Leg go ogg by beak „Ne?“ „Pufť mi vobák, mouth was held in order to glease?’ pvosím?“ pronounce something and guess its meaning. The same was done with Czech equivalent.

Translation teasers are very dangerous for a translator. Translators should be aware of them and have a rich knowledge of the translated language. Also, it was necessary to have a very good dictionary containing many entries i. e. idioms and informal vocabulary. Whether a translation teaser is not fully understood, it leads to misunderstanging, and thus these wrongly translated teasers can loose their humour or irony. Pratchett’s book is full of translation teasers and idioms, it a style typical for him. He uses them for the purpose of his books – irony and comicality.

3. 5 Syntactic equivalence The last analytic chapter of this diploma thesis deals with differences between Czech and English language from the point of view of syntactic features which each language uses. Means that each language uses vary and this can significantly change meaning of a translated text. The source language which is written in English carries a particular meaning, and not fully understanding its system causes irreversible mistakes in the target language. It is suggested by Knittlová that it is always up to a translator to decide whether they will follow the system of English syntax - and in this case the text could sound unnaturally; or, they will transfer the system into the Czech system – in order not to sound stiff. A translator, who translates a text English into Czech, should be creative so as not to lose the naturalness and message of the initial text. She also explains that the core of information in English stands in the main clause comparing to Czech language where thoughts are usually put next to each

113 other. Knittlová puts stress on the fact that it is always the translator’s decision what means of language they will use. (Knittlová 123-125) Participles, infinitive forms and –ing gerund clauses (i. e. non-finite clauses) will be discussed in this chapter as word order and context were handled in the previous chapters. These types of sentences are more frequent in English than in Czech, and therefore usage of such types of sentences in translation into the target language which is Czech is not common. Czech language uses finite subordinate clauses. Again, transference of English system into Czech language causes misunderstanding and the target Czech text can lose its naturalness. Such texts may sound “non-Czech”. Dušková explains different functions of infinitives, participles and gerunds. Infinitives can work as a subject, a predicate, an object, an adjective supplement, an adverbial, an attributive. Gerunds are used similarly as infinitives; they work as a subject, an adverbial, as a part of a verb and adjective government. Participle is used in function of attribute, participle and as an object complement. (Dušková 542-587) Following figure shows differences between both languages, and there is explanation provided why it was necessary to choose other means of sentence structures during the translation. Dušková’s different functions of infinitives, particles and gerunds, and her partition were indicators for understanding meaning of the translated text.

Fig. 16 Example English version Czech version Explanation 1 To show willing, Gloria Aby Glorie ukázala Infinitive as an object. In the left off her iron helmet and, svou ochotu, sundávala subordinate clause in Czech while not having off her si svou železnou helmu, version, there is a subject beard – there was no actual ale vous si neholila – Gloria added and it is omitted rule about girls not having vlastně ani neexistovalo in the main clause. In the beards a foot long – at least žádné pravidlo pro second case in bold, the gerund plaited it. děvčata, že by nemohla form is expressed in nosit třiceticentimetrový subordinate clause as well. knír – a tak si ho aspoň zaplétala. 2 ‘I don’t understand sport,’ „Nerozumím Gerunds in English version are said Gloria, watching the sportu,“ řekla Glorie, substituted by subordinate gaggle of panting young zatímco se dívala na clauses apart from panting women stampeding across hordu supících mladých which was replaced by an the pitch. žen, jak se splašeně adjective – supících – in order žene napříč hřištěm. to keep the fluency of the Czech text. 3 Compared to the bulbous V porovnání s Participle in English text was ponies that normally bachratými poníky, kteří transfered into verbless clause; occupied the loose-boxes, běžně okupovali and there was a noun used in

114 he was a giant. prostorné kóje, to byl Czech instead of a verb. obr. 4 Without her moving a Aniž by musela Gerund substituted by a muscle, the horse turned pohnout svalem, kůň se subordinate clause in the Czech and trotted into the paddock otočil a klusal směrem text, and it describes an action and turned towards the do výběhu k nejvyšší in both texts. highest jump. překážce. 5 Lady Sara seemed to have Lady Sára vypadala, Infinitive in English used with something boiling in her jako by se jí něco a verb seem is commonly mind. honilo hlavou. transferred as a complex sentence in Czech. 6 And, halfway along in the A v pološeru uprostřed There are gerunds used as a gloom, there was a ladder stál žebřík opřený o part of a verb structure and it is leaning against the wall zeď a mladá žena se showing an action. and a young woman just právě chystala na něj preparing to climb it. vyšplhat. 7 And she might at least have Alespoň se chtěla Participle in English is gone to look for a podívat po hlídači, substituted by a subordinate watchman, had it not been kdyby se vtom dál clause in Czech, and a gerund for the opening of a door v aleji neotevřely opening replaced by a verb in further up the alley. dveře. past simple tense in Czech.

8 But the point was, the Šlo však o to, Infinitive showing a verb horrible, inescapable point nevyhnutelně o to, že pattern. Additional sentence was, that someone had to někdo to dělat musel. A was used to emphasis strongly do it. to bez debat. the meaning of what is communicated in the English text. 9 'You listen to me,' said „Poslouchej,“ řekl Verb pattern – verb plus Albert. 'You'd better start Albert, „měl bys raději gerund is in Czech language. looking for him right away. začít hledat jeho, a to Expliciteness in Czech version hned.“ is represented by an additional sentence – a to hned. 10 'Ambience,' said Imp, „Atmosféra,“ hlesl Imp, Gerund in English was looking around the Drum. rozhlížeje se po Bubnu. substituted by participle in Czech. It was possible to replace the participle by a subordinate clause as well. 11 At the foot of the bed, V nohách postele ležela Both examples of gerunds were paying no attention velká tlustá zrzavá sustituted by two subordinate whatsoever to the keening kočka, která jako by clauses in order to maintain the around it, was a large, very nevnímala, co se děje naturalness of the text. fat, ginger cat. kolem.

12 'I thought we were going „Už jsem si myslela, že In this case a slight difference to be here all day,' said the tady budeme tvrdnout between the two sentences is woman next to him, celý den,“ řekla žena visible, as the English sentence standing up. vedle něj means that she was talking and a vstala. standing up at the same time. The Czech version shows two actions which said is followed by standing up. Not keeping the message does not mean a

115 serious interference of what is communicated in English. 13 The Death of Rats Krysí smrťáček se Gerund in Engish is transfered clambered up Binky's vyškrábal po Rakvíkově by a main clause which is mane and took up station hřívě, zaujal místo mezi giving descriptive information between the horse's ears, jeho ušima a jeho a verb in action. There could be tiny robe flapping in the rouško vlálo ve větru. another possibility taken into wind. consideration – s rouškem vlajícím ve větru. Both translations are possible in Czech language but a jeho rouško vlálo ve větru may sound more natural in Czech. 14 Susan had a sensation of Zuzana měla pocit, že se Gerund substituted by a falling backwards. někam propadá. subordinate clause.

The use of participles, gerunds and infinitives in Pratchett’s book is frequent, it was very important to find out the meaning in order to translate it into a natural way. Naturaleness is a very significant feature in translation approached from the point of view of dynamic equivalence. Both target and initial languages have different grammatical structures which can be translated similarly but it is not possible very often. Given examples are mostly translated with a support of subordinate clauses so that the translated text is natural and it maintains its linearity. The English language is in this case more implicit and more words – expliciteness – were needed during the translation into the Czech language.

116 4. Conclusion

Before starting writing my thesis I set my aims of what is going to be the goal of this thesis. I chose Terry Pratchett’s book for my translation because he belongs to my favourite writers and his books are full of humour. The genre of comic fantasy is pleasant to read. After having read the book, I decided not to translate from the very beginning of the book, but in my opinion the most interesting part of the book from the perspective of analysis. The intention of this thesis was to provide analysis from the point of view graphical, lexical and textual equivalence. First, the translation principles were set. My aims were to come up with a quality translation but not to follow the only Pratchett’s translator into Czech language Jan Kantůrek, with whose translation I am well aquianted with. As was mentioned before, first I read the book. Then, I tried to choose the best part of the book for the analysis. It was for the first time when I tried to translate a book, and it was a pleasure regardless how time-consuming it was. Translating this book was a challenging process because I could have never imagined how arduous is to translate this piece of literary work. Translation principles given at the beginning of the theoretical part were key features for my translation. A translator has to know both source and target languages throughly and discover what is communicated irrespective of what is written. It was also necessary to get acquainted with theoretical works of Jiří Levý, Dagmar Knittlová, Peter Newmark, Mona Baker, Milan Hrdlička, Libuše Dušková and Jan Firbas which were cruicial for my analysis. Naturally, I have come across several problems as a translator-beginner. Not only is this work very difficult and time-consuming, which I could have never imagined before, but any translation could be considered as an endless process because it forced me to read the translation over and over again in order to make it better and better. One of the problems I had to face was whether to translate proper names, and how. There were idiomatic phrases which were discussed in the chapter of translation teasers. Still, the main problem appeared at the beginning of translation. How to make the text natural for a Czech reader, that the reader did not recognize it is a translation, and that the story does not lose its message. Pratchett in his work uses a number of hidden messages – there may appear two possible explanations, a vast number of interjections to make the text lively, capital letters which show different voice which may be considered as his typical style. Another typical

117 Pratchett’s style is the usage of footnotes where he adds further information, explanation or he tells us another story. Presumably, this translation reads well, it is entertaining and it has not lost much of spirit of original text. Lexical features were the most interesting part during the translation – they were both difficult and challenging. As Pratchett loves to play with words, it was to see how a single word can change meaning of a whole sentence. Descriptive parts of the text are fluent, and probably they do not distract the story at all. However, this translation is different from Jan Kantůrek’s one. To sum it up, the analysis pointed up Pratchett’s writing style and his typical features. As emerged from the above, translators’ work is demanding. An apparently easy translation is becoming creative, never ending and challenging work.

118 Bibliography

Adam, Martin. A handbook of functional sentence perspective :( FSP in theory and practice), Brno: Masarykova univerzita, 2007. Print. Anglicko-český česko-anglický velký slovník. Brno: Lingea. 2007. Print. Baker, Mona. In other words: a coursebook on translation.London: Routledge, 1992. Print. Cabel, Craig. Terry Pratchett. The Spirit of Fantasy. London: John Blake Publishing Ltd. 2012. Print. Catford, J. C. A Linguistic Theory of Translation. London: Oxford, 1967. Print. Dušková, Libuše et al. Mluvnice současné angličtiny na pozadí češtiny. Praha: Academia, 2006. Print. Firbas, Jan. Functional Sentence Perspective in Written and Spoken Communication. Cambridge: Cambridge University Press. 1992. Print. Fronek, Josef. Velký anglicko-český slovník. Praha: Leda, 2006. Print Hrdlička, Milan. Literární překlad a komunikace. Praha: ISV, 2003. Print. Hrdlička, Milan. Překladatelské miniatury. Praha: Karolinum, 1995. Print. Knittlová, Dagmar et al. Překlad a překládání. Olomouc: Univerzita Palackého Olomouc, 2010. Print. Kufnerová, Zlata et al. Překládání a čeština. Jinočany: H&H, 1994. Print. Levý, Jiři. Umění překladu. Praha: Panorama, 1983. Print. Newmark, Peter. About Translation. Clevedon: Multilingual matters, 1991. Print. Newmark, Peter. A Textbook of Translation. London: Prentice-Hall, 1987. Print. Poldauf, Ivan. Velký česko – anglický slovník. Čelákovice: WD Publications, 1996. Print. Pratchett, Terry. Soul Music. London: Corgi books, 1995. Print. Webster’s II New Riverside University Dictionary. Boston: The Riverside Publishing Company. 1984.Print.

119 Internet sources

“When do we use Capital letters”. EnglishClub. n. d. Web. 2 Feb 2013. .

“Terry Pratchett”. British Council. 2011. Web. 26 Oct 2012. .

Smythe, Collin. “Terry Pratchett”. The L-Space. n. d. Web. 26 Oct. 2012. .

“Terry Pratchett”. Discworld. n. d. Web. 26 Oct 2012. .

Červenková, Adéla. “Jan Kantůrek”. Discworld. 2006. Web. 27 Oct 2012. .

120