MASARYK UNIVERSITY BRNO Faculty of Education Department of English Language and Literature
Everybody Loves Raymond Translation and Analysis
Diploma Thesis
Brno 2008 Supervisor: Written by: Mgr. Martin Němec Ivana Strapinová
Declaration
I hereby declare that I worked on my diploma thesis on my own and that I used the sources listed in the bibliography.
I agree with the thesis being stored in the library of the Faculty of Education at Masaryk University in Brno and made accessible for study purposes. Prohlášení Prohlašuji, že jsem magisterskou práci zpracovala samostatně a použila jen prameny uvedené v seznamu literatury.
Souhlasím, aby práce byla uložena na Masarykově univerzitě v Brně v knihovně Pedagogické fakulty a zpřístupněna ke studijním účelům.
...... Ivana Strapinová
2 Contents
Introduction 5 1. Situation Comedy 6 1.1 Everybody Loves Raymond 7 1.2 Authors of Everybody Loves Raymond 9 1.3 Translated episodes 12
2. Translation 2.1 Italy, Episodes 1 and 2 13 2.2 Stefania arrives, Episode 17 39
3. Analysis of the translation 53 3.1 Television and film 53 3.2 Specification 54 3.3 Interjections, expressive connotations 55 3.4 Comparison 58 3.5 Idiomatology 59 3.6 Vulgarisms 60 3.7 Stylistic connotation 61 3.8 Lexical equivalence 63 3.9 Grammatical equivalence 64 3.10 Slang expressions 64 3.11 Language creativity 66 3.12 Onomatopoeic expressions 66 3.13 Translation of phrases in a foreign language 67 3.14 Deformation of literal language 68 3.15 Translation of proper and local names 68 3.16 Addressing names of persons 70 3.17 Difference in connotation 71 3.18 Phatic expressions 71 3.19 Textual Equivalence 72
Conclusion 73 Summary 75 Resources 76
3
Acknowledgements :
I would like to thank to my supervisor Mgr. Martin Němec for his kind help, support and guidance of my thesis. I am really grateful to him for giving me advice to both practical and theoretical parts. I would also like to thank to Miss Vlasta Zajícová for her valuable comments and remarks during consulting this thesis.
4 Introduction
This diploma thesis deals with the script translation of three episodes of the situation comedy Everybody Loves Raymond. My attempt is to analyse the spoken language of the main characters. I chose a sitcom because according to my opinion this particular sitcom contains a very rich source of expressions and utterances suitable for observing the contemporary spoken American English. The episodes that I selected provide us with different registers of spoken English that the main characters use (e.g. Debra, Marie – tend to use neutral language, Raymond, Robert – speak with more colloquial, neutral language, Frank – uses colloquial language, swear words). Spoken English by non native speakers (Italians) will be observed as well. Their speech is comprehensible but not always correct and they speak with an Italian accent. The choice of the material was partly influenced by my personal experience. I lived in the United States for seven years and I can see how the language from the media can influence spoken language. This particular sitcom has become very popular in the United States because the actors performed their roles in an outstanding way. Another point is that the sitcom is full of real life and humorous situations. The language is simple yet very powerful in the right moment at the right place. My attempt is to transfer the same or very similar effect of the language into Czech as was mastered by the authors in English. I employed my best efforts to achieve such an effect. The analysis of the translation comprises approaches from various points of view (e.g. lexical, stylistic, grammatical and textual equivalence). I would like to prove the theory that Czech language provides a very rich source of expressions on stylistic level compared to English that lacks such stylictic variety. Czech language enables translators to play with the language and create new words and collocations in many layers (neutral, colloquial, expressive, general Czech, general Czech colloquial, vulgar, slang and others) whereas English distinguishes only neutral, informal, slang and local dialect layers. The translation and analysis was a challenge and an opportunity to achieve the best possible results with a professional supervision.
5 1 Situation comedy
A situation comedy, usually referred to as a sitcom , is a genre of comedy programmes which originated on the radio. Today, sitcoms are found almost exclusively on television as one of its dominant narrative forms. Sitcoms are usually based on recurring characters in an ordinary environment such as home or workplace. The first sitcoms were broadcast on radio on 12 th January, 1926. The title of the show was Sam 'n' Henry on WGN in Chicago and it became very successful in this period. Fibber McGee and Molly was one of the most successful sitcoms of all time, airing on radio from 1935 to 1959. Probably the most well known and successful early television sitcom was I Love Lucy starring the real life couple of Lucille Ball and Desi Arnaz, which was groundbreaking for many reasons including the shooting of episodes on film thereby inventing reruns.1 The story for one episode in most American sitcoms is written to run for twenty two minutes, eight minutes are left for a TV commercial. Sitcoms that are produced outside the US may have a little bit longer running time. The usual season for American sitcoms (as well as other American television series) includes twenty or more episodes. British sitcoms are traditionally made in series of six episodes. American sitcoms are often written by large teams of script writers during round table sessions, while most British sitcoms are written exclusively by one or two authors. The usual length of one episode is thirty minutes and they are aired weekly. In the 1960s a considerable development of the film art led to the creation of special effects, features and editing. Most of the sitcoms are not filmed in the presence of live audiences, therefore there is a significant feature of a recorded laugh track. In the 1970s a Korean war sitcom MASH aired for the first time on CBS and became an instant hit. The use of raw humour was successful in shows as for example Married with Children. 1 Wikipedia the free encyclopaedia (online), 2001. (retrieved 16 March 2008) Available at http://en.wikipedia.org/wiki/Sitcom 6 In the 1980s Bill Cosby in The Cosby Show or Roseanne Barr in Roseanne introduced popular sitcoms based on self starring characters. Later on Jerry Seinfeld on Seinfeld and Ray Romano made this transition of eponymous sitcom. The typical sitcom situation is usually that of a family, workplace or a group of friends. In the mid 1990s several sitcoms have gained vast popularity. The sitcom Friends built their characters on the story arcs and became the most popular American sitcom. Other earlier popular sitcoms with story arcs are Frasier , The Fresh Prince of Bel Air , Roseanne , Moesha , Boy Meets World and Seinfeld. The Simpsons is another very successful sitcom, which has become the longest running program of its kind in the United States (it was first broadcast in 1989 and new episodes are still in production as of 2008). The show is unusual in that it is animated. These sitcoms including Everybody Loves Raymond carry typical features for a soap opera such as regular end of season cliffhanger and gradually developing relationships of the characters during the course of series. 2 1.1 Everybody loves Raymond This sitcom was broadcast on CBS from September 13, 1996 to May 16, 2005 and belongs among the most popular American sitcoms. Everybody Loves Raymond was Golden Globe nominated and is an Emmy, SAG, WGA winner. It is ranked among the most critically acclaimed American sitcoms. The main character Ray Roman used his own real life experience as inspiration and also gathered the experience of the writing staff. Ray Romano represents a character Ray Barone to whom he is closely connected. Some of Ray Romano's family members are reflected in the characters of the Barone family. Content of the sitcom The Barone family lives in Lynbrook, Long Island, New York. The main character is Ray Barone, a newspaper sportswriter. His family is Italian American.
2 Wikipedia the free encyclopaedia (online), 2001. Modified (retrieved 16 March 2008) Available at http://en.wikipedia.org/wiki/Sitcom 7 Ray is married to Debra and they have three children: a girl Ally and identical twin boys Michael and Geoffrey. Ray's parents Frank and Marie Barone live across the street and that is why they are frequent and unexpected visitors to Ray's house. Debra is often criticized by Marie and Ray finds himself in the middle of the two women. Marie's indirect critical comments of Debra as a poor housewife are very frustrating to her. Raymond's older brother Robert is divorced and lives with his parents. Raymond is a preferred son, which bothers Robert. This is often a source of their never ending arguments. Robert is often insecure about himself and about his relationships with women. Despite of all problems, the brothers are devoted to each other very much. Robert works as a police officer and thus is highy admired by Raymond for having such a demanding job. This sitcom consists of nine seasons that contain two hundred and ten episodes. Running time for each episode is thirty minutes (including commercial time). The original TV channel where the sitcom has been broadcast is CBS. The original run for the sitcom was from September 13, 1996 till May 16, 2005.
Main characters and actors The main characters and actors of the three episodes are: Ray Barone – Ray Romano Debra Barone – Patricia Heaton Robert Barone – Brad Garrett Marie Barone – Doris Roberts Frank Barone – Peter Boyle Ally Barone – Madylin Sweeten Geoffrey Barone – Sawyer Sweeten Michael Barone – Sullivan Sweeten Stefania Fogagnolo – Alex Meneses Signore Fogagnolo – David Proval Aunt Colletta – Silvana De Santis Giorgio – Pierrino Mascarino
8 1.2 Authors of Everybody Loves Raymond Philip Rosenthal Everybody Loves Raymond was created by Philip Rosenthal. He was born in 1960 and is best known as the creator and executive producer for this sitcom. Rosenthal graduated from theatre studies at Hofstra University, Long Island, New York in 1981. Before he began his production work he worked as an actor. Later he started writing and producing shows such as: Coach with Craig T. Nelson and Baby Talk . He also occasionally appears in film roles such as in James L. Brooks' Spanglish. At present Rosenthal is the author of the book You're Lucky, You're Funny: How Life Becomes a Sitcom which was released on October 21, 2006. He recounts how his hilarious life led to one of the most successful shows in the history. Rosenthal's wife, the actress Monica Horan, played the role of Amy Mac Dougall Barone in Everybody Loves Raymond. They have two children. 3 His awards include Emmy for Everybody Loves Raymond in 2003 and 2005. Raymond Albert Romano (Ray Romano) Ray Romano is an Emmy Award winning (in 2002 and 2003) and Golden Globe nominated American actor and comedian best known for his starring role on the long running CBS sitcom Everybody Loves Raymond. Other awards include American Comedy Awards in 2000, People's Choice Awards, USA in 2002, 2003, 2004 and 2006, Screen Actors Guild Awards in 2003, TV Guide Awards in 2001 and many others. 4 His roles as an actor include: Manfred Manny the Mammoth in Ice Age and Ice Age: The Meltdown and Handy Harrison in Welcome to Mooseport. Bibliography of Ray Romano Ray Romano was born on December 21, 1957 in Queens, New York. Romano grew up in Queens neighbourhood of Forest Hills in an Italian American family. He graduated from Hillcrest Highschool in 1975 and after that attended Queens College in Flushing, New York where he graduated from accounting. He married 3 http://www.imdb.com/name/nm0005380/awards (retrieved 22 March 2008) 4 Wikipedia the free encyclopaedia (online), 2001. (retrieved 18 March 2008) Available at http://en.wikipedia.org/wiki/Ray_Romano 9 his wife Anna Scarpulla in 1987. They met in a bank where they both worked. They have four children: one daughter Alexandra (born in 1990), and three sons: twins Matthew and Gregory (born in 1993) and Joseph Raymond (born in 1998). 5 Career of Ray Romano The carren of Ray Romano started on the shows as Dr. Katz, Professional Therapist . He was also a contestant on Star Search in the stand up comedy category. Romano was replaced by another actor, but shortly thereafter, he became the star of his own show, Everybody Loves Raymond . This sitcom featured a cast and a format that was more appropriate to Romano's brand of humour. In 2001 he was named on of E!'s top twenty entertainers of the year. In 2004 Romano became the highest paid television actor in history for his role of Raymond on CBS. Filmography of Ray Romano Romano's filmography includes: Ice Age 3: Dawn of the Dinosaurs (2009) pre production, voice of Manny Hannah Monana (2008) guest star The last Word (2008) The Grand (2007) Lost Historical Films on the Ice Age Period (2006) voice of Manny 'Til Death (2007) Man in restaurant that talks to Eddie (Brad Garett) and his wife The Knights of Prosperity (2007) The King of Queens (1997 2007) Ray Barone (4 episodes, 1998 2005) Grilled (2006) film, the role of Maurice Ice Age 2: The Meltdown (2006) voice of Manny Mafiosa (2006) TV programme, the role of Anthony Making the Cut (2006) HBO documentary Everybody Loves Raymond (1996 2005) TV series, the role of Ray Barone
5 http://en.wikipedia.org/wiki/Ray_Romano (retrieved 18 March 2008) Available at http://en.wikipedia.org/wiki/Ray_Romano 10 The Simpsons (2005) TV series, guest voice – Ray Magini (appeared in Don't fear the Roofer , as Homer Simpson's supposedly imaginary friend). 95 Miles to Go (2004) film Eulogy (2004) film, the role of Skip Collins Welcome to Mooseport (2004) film, the role of Handy Harrison Ice Age (2002) voice of Manny The Nanny (TV series) guest star, the role of Ray Barone Cosby (TV series) guest star, the role of Ray Barone 6 Production work of Ray Romano Production work of Ray Romano includes: Everybody Loves Raymond: The Last Laugh (2005) TV, he was an executive producer. Everybody Loves Raymond: He worked on 97 episodes from 1997 till 2005 and also on The Finale in 2005. The Power of No (2005) TV episode, executive producer Sister In Law (2005) TV episode, executive producer Tasteless Frank (2005) TV episode, executive producer 95 Miles to Go (2004) producer Ray Romano as writer Everybody Loves Raymond (1997 2005) 16 episodes The Finale (2005) TV episode Angry Sex (2005) TV episode The Bachelor Party (2003) TV episode She's the One (2002) TV episode The First Time (2002) 11 TV episodes HBO Comedy Half Hour (1996) TV episode
6 http://en.wikipedia.org/wiki/Ray_Romano (retrieved 18 March 2008) Available at http://en.wikipedia.org/wiki/Ray_Romano 11 1.3 Translated episodes
For the translation and analysis I chose three episodes of the sitcom Everybody Loves Raymond. The genre of the sitcom is a comedy. The first two episodes are taken from season 5 that is called Italy . Original air date of these episodes was on October 2, 2000. Director of the episodes was Gary Halvorson and they were written and created by Philip Rosenthal. The third episode is from the same season, and it is called Stefania arrives. The writer of this episode is Tucker Cawley and it was created by Philip Rosenthal.
Season 5, Italy, part 1, Season 5, original air date: October 2, 2000
Plot of this episode is very simple. Marie Barone has been saving money for a long time and she invites all family on a trip to Italy. After the arrival to Italy Ray does not feel well because he caught a cold. Robert met the woman of his dreams and the father of the beautiful Italian does not like him. There are many comical situations and circumstances.
Season 5, Italy, part 2, original air date: October 2, 2000 The story continues in Italy. The Barone family is enjoying their time in Rome. Ray starts to appreciate Italy and the people. Robert falls in love with Stefania and is sad that he must leave Italy. The whole family says goodbye to aunt Colletta and goes home to America. Season 5, Episode 17: Stefania Arrives, original air date: February 26, 2001 Stefania comes to the United States as a surprise but she also brings her father along, which Robert does not appreciate that much. Marie invited her because she thought Robert and Stefania would stay together. As the couple gets to know each other more, Robert finds out that he cannot stand Stefania because of her behaviour. He wants to explain to her gently that they should not be together. 12 2 Translation Everybody Loves Raymond 2.1 Italy Season 5, Episodes 1 and 2 Raymond: Why, huh? Why would you take Proč? Proč sis vzal Joanninu kartu? Joann Joanne's card? Robert: What? I could take her card. A proč bych nemohl?. Robert: You never know when I'm gonna need Nikdy nevíš, some.... kdy se ti to může hodit.... Robert: „dental insurance“ „zdravotní pojištění“ Raymond: You know, there's a reason she's your Víš, není tvoje bývalá ex wife. manželka jenom náhodou. Ray, Robert: All right, already. Dobrá teda. Raymond: Hey Deb. Debro. Debra: You know, I know it's none of my Já vím, že mi do toho nic není, business, but I cannot believe you took the card. ale je neuvěřitelné, žes vzal tu kartu. Debra: Ugh! Why do we even... Phe! Proč se vůbec... weren't you trying to make it work with Amy? nechtěl ses dát zase dohromady s Amy? Debra: I thought you were happy with Amy Myslela jsem, že jsi s Amy šťastný and unhappy with Joanne „the Nutcracker“. a nešťastný s potrhlou Joanne. Debra: But you know what? You and Ray do Víš co? Ty a Ray si what you want. dělejte co chcete. Raymond: Me? Já? Frank: All right, listen up. Tak, poslouchejte mě. Frank: Your mother wants to ... Vaše matka chce... Frank: I don't know. Já nevím. Marie: I said announce me, Frank. Řekla jsem, abys mě uvedl, Franku. Marie: What kind of announcing is that? Co je tohle za uvedení? Frank: Just do it. Everything has to be a big deal. Tak řekni to. Ty kolem všeho naděláš. Marie: You have to ruin everything? Is that why Musíš všechno pokazit? you're here? Proto jsi tady?
13 Frank: Why don't you jump a cow's ... Jdi se vycpat... Ray: Hey hey! No tak!! Ray: What? Co je? Frank: We're going to Italy. Jedeme do Itálie. Marie: Yeah. Jo. Debra: Forever? Napořád? Marie: We're all going to Italy. Jedeme všichni do Itálie. Robert: What? Cože? Maurie: For two weeks. Na dva týdny. Debra: How? Vážně? Marie: You see, it's a big deal. To je, co?. Marie: As you know, my birthday is coming up, Víte přece, že budu mít narozeniny, and I have secretly been putting aside money a tajně jsem si ukládala peníze for 45 years, čtyřicet pět let Marie: And this is what I want. a tohle chci. Frank: I want half that money. I want all the Chci půlku těch peněz. Chci všechny ty money. That money's mine! peníze. Jsou to moje peníze! Marie: Quiet. So I've been in touch with my Ticho. Jsem v kontaktu se sestřenicí mojí mother's cousin Colletta, matky Collettou, Marie: who lives in a little village outside of která žije v malé vesničce Rome, u Říma, Marie: and we're invited, jsme tam pozvaní, Marie: and I'm paying.... já to platím.... The whole family. Celé rodině. Debra: Me too? Mně taky? Marie: Of course you, dear. Jistěže i tobě, zlato. You're family. Jsi rodina. Robert: Me too? Já taky? Marie: Yes yes, and the kids too... Ano, dětem taky... everyone. všem. Robert: Maybe I can tell my lady troubles to the Mohl bych se svěřit papeži o svých Pope. problémech se ženskýma. Marie: It's a little, tiny village... Je to malá vesnička...
14 Debra: Oh my God. Oh my God! Pane Bože. Pane Bože! Raymond: Yeah, listen listen, stop dancing, stop. No,počkej, počkej. Přestaň tancovat, přestaň. Raymond: Stop. You understand that this is a Přestaň. Je ti jasné, že to bude dovolená vacation with my family, okay? s mojí rodinou, že? Raymond: Don't we want a vacation from my Chtěli jsme přece dovolenou bez mojí family? rodiny, ne? Debra: If they're gonna bother me anyway, I'll Stejně mě štvou, tak ať mě radši štvou take bothered in Italy. v Itálii. Raymond: But we were gonna go to the Jersey Ale chtěli jsme jet na pobřeží shore. k New Jersey. Debra.: Italy. Itálie. Debra: Free trip to Italy. Výlet zadarmo do Itálie. Raymond: I don't know. Já nevím. Raymond: I'm not really interested in other Mě ostatní kultury cultures. moc nezajímají. Debra: Ok, you know, in the past, Tak hele, doteď, your dumbness... mi tvoje omezenost... has gotten in the way of just like a few things bránila dělat věci, které jsem chtěla, that I've wanted to do... the book club, theater, ... knižní klub, divadlo, Debra: Having conversaions, popovídat si, Debra: I just wanna say this one thing, řeknu ti jedno, and we won't have to discuss it anymore: a už se o tom nebudeme bavit. Debra: You're not blowing this for me, pal! Tohle mi nepokazíš, kámo. Debra: We're going to Italy. Pojedeme do Itálie. Marie: (In Italy) I'm so happy. (v Itálii) Jsem tak šťastná. Marie: Oh look. Look at that. Hele, podívejte se. Marie: I can't believe we're here. Nemůžu uvěřit, že jsme tady. Marie: Do you know it's been 60 years. Víš, že je to už šedesát let, since we've seen each other? co jsme se naposled viděly? Colletta: I remember you were Pamatuju si, žes byla dost a very needy baby. ukňourané dítě. Colletta: Do you remember my Dario? Dead. Pamatuješ na mého Daria? Je mrtvý. Gone over 40 years. Už přes čtyřicet let.
15 Colletta: He looks like Burt Lancaster, no? Vypadá jako Burt Lancaster, že? Colletta: Dario. Dario. Colletta: Like Burt Lancaster. Jako Burt Lancaster. Allie: Who's that? Kdo to je? Colletta: That's my second To je můj druhý manžel husband, Giorgio. Giorgio. Everybody: Hi, nice to meet you. Těší mě. Colletta: I don't know what he looks like. Nevím, na koho je podobný. Colletta: He's good with wood. Umí to se dřevem. Colletta: Come, you are hungry. Pojďte, musíte mít hlad. Robert: We actually had a lot to eat on the plane. Najedli jsme se v letadle. Colletta: You'll eat now. Teď budete jíst. Debra: All right. Dobře. Come on, kids. Isn't this good? Pojd’te děcka, není to skvělé? Deborah: Look at this. Podívejte se. Debra: Oh my God, this is amazing. Pane Bože, to je vynikající. Rayi, Ray, taste this. ochutnej to. Raymond: No, I can't taste anything. Nechci, nic nebudu chutnat. Raymond: I got a cold from that damn air Z té zatracené klimatizace v autě conditioner on the van. jsem se nachladil. Raymond: Freezing in there. Byla tam strašná zima. Colletta: You'll eat now. Jezte. Frank: Jeez oh Lou! Šmankote! Frank: You made this? Tos uvařila ty? Colletta: Of course. Samozřejmě.. Frank: I married the wrong broad. Vzal jsem si špatnou babu. Debra: You have a lovely home. Máte hezký dům. Colletta: Come, come. Pojďte. I'll show you the rest. Ukážu vám zbytek. Colletta: This will be for Debra and Raymond Tady bude Debra s Raymondem and the children. a dětmi. Debra: Oh, oh. It's wonderful. Jé, to je krása. Debra: Oh, I love this. To je skvělé.
16 Raymond: This is it? To má být všechno? Debra: What, Ray? Co je, Rayi? Raymond: Nothing. Nic. Raymond: Had more room in coach. V autě jsem měl víc místa. Debra: My God, look at this, look at this. Pane bože, podívej, podívej. Raymond: What? Co? Debra: Oh my God. Pane bože. Debra: I'm gonna cry. Asi budu brečet. Debra: Can you believe this? Nemůžu tomu uvěřit. Raymond: It's nice, the water, yeah. Je to pěkné, ta voda, hmm. Raymond: That room's kinda small, though, Nezdá se ti ten pokoj don't you think? trochu malý? Raymond: I mean, we're gonna be jammed there. Budeme se tam všichni mačkat with the kids for two weeks. s dětma, dva týdny. Raymond: Did you look at the place, really? Prohlédla sis to tam vůbec? Raymond: It's all kind of ...old. Je to všechno takové nějaké...staré. Raymond: It's just... Já jen že... Raymond: This is not the ideal vacation for a Tohle prostě není ideální dovolená pro guy who works like a dog this whole year. chlapa, který dře celý rok jak mezek. Raymond: It's chilly now. Už je chladno. Raymond: I'm going to in. My nose is running Jdu dovnitř. here. Teče mi z nosu. Frank: Thank you, Giorgio. This is great. Díky Giorgio. To je báječné. Giorgio: I speak English little. Já mluvím anglicky, trošku. Frank: Oh, yeah? Hey, beautiful. Jo? Ty jo, paráda. Giorgio: I'm glad you're here. Jsem rád, že jste tady. Giorgio: Is better. Je lepší. Giorgio: Not so much... Ne tolik... Frank: What? Co? Frank: Oh, I get it, yeah... Aha, už to mám... Giorgio: Sì... Sì... Colletta: Giorgio, what are you doing? Giorgio, co to děláš? You're spilling on the table. You're a pig. Bryndáš na stůl, ty čuně.
17 Giorgio: Yes, my sweet. Sorry. Promiň, drahoušku, Marie: All right, everyone, now we don't have Tak, není čas time to dawdle. na lelkování. Marie: We've gotta start sightseeing. Musíme začít chodit po památkách. Marie: We're going to stick to my itinerary. Budeme se držet mého cestovního plánu. Get up, Frank. Zvedni se, Franku. Marie: Come on, everyone. We're gonna have Pojd’te. fun, fun with Grandma. S babičkou to bude bezva. Marie: Come on, come on. Whoo, here we go. Jdeme, jdeme. Á, jde se na to. Debra: She did pay for the trip. Zaplatila ten výlet. Raymond: And now we pay. A teď platíme my. Marie: Who wants the best ice cream in the Kdo si dá nejlepší zmrzlinu world? na světě? Raymond: Cheap foreign napkins. Levné zahraniční ubrousky. Robert: Hey. Jo. Raymond: Come on, what are you all mopey Prosím tě, co ti zase přelítlo about? přes nos? Robert: I don't know. I can't enjoy myself Nevím. Nemůžu se bavit, protože mám because of my dilemma. dilema. Raymond: It's not a dilemma. To není dilema. Robert: It is a dilemma, Raymond. Ale je to dilema, Raymonde. Robert: You're not the only one with dilemmas. Nejsi sám, kdo má nějaké dilema. Robert: I got Amy, but I keep thinking about Mám Amy, ale pořád myslím Joanne. na Joannu. Robert: I can't sort out my feelings. Neumím si udělat pořádek v citech. Robert: And I'm in the most gorgeous place in A jsem na nejúžasnějším místě na světě, a the world, and I'm sitting next to you. sedím tu s tebou. Marie: Robby, here's your peach. Raymond, you Robby, tady máš broskvovou. Raymonde, sure you don't want anything? opravdu si nic nedáš? Raymond: No, I can't taste anything, Ma. Ne, nemám chuť, mami. Marie: Don't be sick here. Tady nesmíš být nemocný. Robert: You know, I called Joanne today. Víš, dnes jsem volal Joanně. Raymond: What what, from here? Cože, co, odtud?
18 What's wrong with you? Jsi normální? Robert: I hung up when she answered. Zavěsil jsem, když to zvedla. Robert: I couldn't talk to her. Nevydal jsem ze sebe ani hlásku. Cost me 20 bucks. Stálo mě to dvacet babek. Robert: I'm a loser. Jsem smolař. Robert: It's just that I wanna... Já jen chci... Robert: Holy Mother of God. Ježišmarjá. Raymond: What? Co je? Robert: This. This... Tohle je... Robert: This is... Je to... Robert: It's as if I've never tasted a peach before. Je to jako bych nikdy nejedl broskev. Robert: Mmm... Mňam... Raymond: It's as if you've never been in public Je to jako bys nikdy nebyl na veřejnosti. before. Would you stop it? Necháš toho už? Stefania: Buon giorno. Buon giorno. Stefania: Giorno. Giorno. Stefania: Would you like something to drink? Dáte si něco k pití? Robert: Sì Sì. Stefania: Limonata? Limonádu? Robert: Sì. Sì. Stefania: Excuse, please. Omluvte, prosím. Raymond: What? What the hell are you doing? Co to k sakru děláš? Robert: Ray, it's that thing. It's that thing. Rayi, to je ono. Je to ono. Robert: You know what dad always talks about, Víš, o čem táta vždycky mluví? the thunderbolt. Blesk z čistého nebe. Raymond: Who, the gelato girl? Kdo, ta zmrzlinářka? Robert: Don't call her that. Neříkej jí tak. Raymond: What are you talking about? Co to plácáš? That's what she is. Vždyť je to tak. Raymond: I don't know her long term goals. Neznám sice její životní cíle. Stefania: Excuse, please. Omluvte, prosím. Robert: Oh, my lord. Grazie. Můj ty bože. Grazie.
19 Raymond: Okay, I'm gonna blow my nose in the V pohodě, jdu se vysmrkat tablecloth. do ubrusu. Robert: So...speak English? Takže...mluvíte anglicky? Stefania: A little. Trošku. Robert: So you're in gelato. Tak, vy děláte do zmrzliny. Stefania: Yes, for now. Ano, prozatím. Padre: Stefania! Stefania! Robert: I think your boss wants you back. Myslím, že vás shání šéf. Stefania: I better go. Radši půjdu. Robert: Wait. Počkejte. Padre: Stefania! Stefania! Robert: All right, pal, Jeez. Klídek kámo, bože. Robert: Gotta learn how to chill out a little. Měl by sis dát pohov. Robert: What's with this guy? O co mu jde? Stefania: He's my father. Je to můj otec. Robert: Oh, that's nice. Á, to je milé. Robert: He's a hard worker. Je pracovitý. Stefania: I will see you again? Uvidíme se zase? Robert: See me again? My dva? Robert: Oh oh, yes. Á, ano. Padre: Stefania! Stefania! Stefania: Ciao. Ciao. Robert: Ciao. Ciao. Debra: Hey, sexy! Ahoj, fešáku. Raymond: What do you want? Co chceš? Debra: Hey, listen, Rome today. Dnes uvidíme Řím. Debra: Can you believe it? It's half hour away. Chápeš to? Je to jen půl hodiny odsud. Debra: And Colletta's gonna watch the kids. A Colletta pohlídá děti. Raymond: Great. Super. Raymond: I hate this damn thing. Nenávidím tu zatracenou věc. Raymond: The spray has no pressure. Ta sprcha nemá žádný tlak. Raymond: It's like a third world country. Je to jak v rozvojové zemi. Raymond: Stupid place. Blbá Itálie.
20 Debra: Would you lighten up? Vzpamatuj se! Look where we are. Nevidíš kde jsme? Raymond: I am looking. Vidím. I'm taking bath like Columbus. Koupu se jako Kolumbus. Raymond: How about that Giorgio guy? A co ten chlápek, Giorgio? Debra: What? Co je s ním? Raymond: I saw him drinking my Listerine, Viděl jsem ho pít moji ústní vodu, that's what. to je s ním. Raymond: Whole place is annoying. Všechno mě tu štve. Raymond: You gotta change money. Musí se tu měnit peníze. That's a scam. Vždyť je to podvod. Raymond: Nobody sees that? How could they Jakto že, to nikomu nevadí? not see that? Raymond: Tell you what, say what you want Hele, říkej si o New Jersey co chceš... about New Jersey... Raymond: Are you crazy? I'm taking a shower. Co to děláte? Sprchuju se. Raymond: Oh my god. No! To snad ne! Debra: I would do what she says, Ray. Udělej, co chce, Rayi. Raymond: No! Ne! Raymond: Would everybody leave, please? Všichni odejděte, prosím! Debra: Hey, you want me to get the video Hele, mám jít pro kameru? camera? Raymond: No, would you stop hitting me, all Ne, přestaňte mě mlátit, ano?. right? Raymond: You can't do this to me. Tohle nemůžete. I'm an American. Jsem Američan. Raymond: This wasn't in the brochure. O tomhle v příručce nepsali. Marie: Aw, look how cute. Jé, podívejte, jak roztomilé. Giorgio: Okay. Jo. Frank: We're all getting in that? Tam se vejdeme všichni? Frank: Good luck, sweetie. Hodně štěstí, zlato. Robert: I don't think I'm gonna fit in there, either. Asi se tam taky nevejdu.
21 Raymond: You can sit on top and push with your Můžeš si sednout na střechu a odrážet se arms. rukama. Raymond: Oh, hello there. Ahoj. Robert: Hello. Ahoj. Stefania: Where do you go? Kam jedete? Robert: I was, you know, gonna go to Rome. Chtěl jsem, no, jet do Říma. Robert: Look around, „Rome“ around. Prohlédnout si Řím.. Stefania: Come with me. I can show you. Pojeď se mnou. Provedu tě. Frank: Okay. Tak jo. Robert: Not you. Get back. Get back! Ty ne. Uhni! Uhni! Stefania: I show you Roma and ...Il Lago di Ukážu ti Řím a jezero Bracciano, where I grow up, okay? Bracciano, kde jsem vyrostla, jo? Robert: Yes, very nice. No výborně. Stefania: Hurry up before my father sees. Pospěš si, než otec uvidí. Marie: Robert, I don't understand. What is this? Roberte, nechápu to. Co je to? Frank: This is luck. Toots, over here. To je štěstí. Drahouši, kuk. Stefania: Ciao. Ciao. Robert: Ciao. Ciao. Raymond: Look at this. No to je dobré. Raymond: Robert gets the gelato girl, Robert klofne zmrzlinářku, and I get hosed down by Mrs. Mussolini. a já dostanu sprchu od paní Mussoliniové. Debra: This is something! To je něco! Debra: Look at the fountain. Podívej na tu fontánu. Debra: Oh, Raymond, I can't believe we're here. Raymonde, nemůžu uvěřit, že jsme tady. Debra: These are the Spanish Steps. Tohle jsou Španělské schody. Raymond: Spanish? I knew we were walking too Španělské? Zdálo se mi, že jdeme nějak long. dlouho. Debra: La Isla del Corda, according to my V průvodci se píše, na ostrově Corda... book... Raymond: Okay, sorry I asked. Ok, promiňte, že jsem se vůbec ptal. Debra: Okay, come on, we're going up. Tak, jdeme nahoru Raymond: Do we have to, really? Fakt musíme? Debra: Ray, this is the Spanish Steps. Rayi, to jsou Španělské schody.
22 Raymond: Where's the Spanish Elevator? A kde je španělský výtah? Marie: I'll go with you. Půjdu s tebou. Debra: Thank you, Marie. Děkuji, Marie. Debra: Only you would think of these as stairs. Jenom ty si myslíš, že je to obyčejné schodiště. Raymond: What are they then? A co to teda je? Frank: Hey, let me carry that stuff for you, Pomůžu vám s tím, cara mia. cara mia. Marie: Thank you, Frank. Díky, Franku. Raymond: One, two, three, four. Raz, dva, tři, čtyři. Raymond: Walk, walk, walk. Běž, běž, běž. Raymond: four, five, six, seven... Čtyři, pět, šest, sedm... Unknown: Excuse me. Promiňte. Unknown: I said “bellisssima“... very beautiful. Řekl jsem „bellissima“... velmi krásná. Unknown: Nice hair. Hezké vlasy. Debra: Thank you. Děkuji. Raymond: All right, let's go. Tak jo, jdeme. Unknown: Ciao, beautiful girl. Ciao, krásná holka. Debra: Okay, bye bye. Ok, ahoj. Raymond: Don't say “bye“ to them. Neříkej jim „ahoj“. Debra: Why not? They were very nice. Proč ne? Byli moc milí. Raymond: Very nice. You talked to them. Moc milí? Tys s nima mluvila. Raymond: Now they're gonna follow you home. Teď tě budou pronásledovat domů. Debra: Would you stop it? Necháš toho už? Raymond: No, you stop. Ne, ty toho nech. Raymond: You like that. Tobě to dělá dobře. Debra: Hey... Hej... Raymond: Hey, now listen, you've gotta watch Hele, musíš si dávat pozor, jasné? yourself, okay? Raymond: They got one thing on their mind. Oni myslí jenom na jedno. Raymond: That's how Italian men are. Takoví už jsou Italové. Debra: Not all of them. Všichni ne.
23 Raymond: Hey, what? Hej, co je? What's that supposed to mean? Co to má znamenat? Raymond: You got nothing better to do but ogle Nemáš nic lepšího na práci než očumovat women? ženské? Raymond: Start working on a stand up shower. Začni pracovat na sprchovém koutu. Raymond: Anyway, so the kids wanna sleep with Jo, děti chtějí spát Grandma and Debra, s babičkou a s Debrou, so I'm gonna sleep here with you, okay? tak já budu spát tady s tebou, jo? Frank: No problem. Jasně. Frank: Just don't hog the covers and it'll be an Ale neber mi přikrývku a bude to fajn. upgrade for me. Raymond: You getting undressed or what? Ty se svlíkáš? Raymond: I'll make a deal with you. I'll take Uděláme dohodu. Já si něco svlíknu, ty si something off, you put something on. něco oblečeš. Frank: Good night there, son. Dobrou noc, synu. Raymond: Yeah, all right. Good night. Jo, jasně. Dobrou. Frank: It's a beautiful place, huh? Je tu krásně, že? Frank: I'll tell ya, when your mother told me Teda, povím ti, když mi tvá matka řekla, že she'd been hiding that money from me, přede mnou schovávala ty peníze, I was thinking what dress to lay her out in. přemýšlel jsem, v jakých šatech ji pohřbím. Frank: And now I'm here in friggin' Italy. A teď jsem tu v pitomé Itálii. Frank: It's like a dream. Je to jako sen. Frank: I'm from Lynbrook. Jsem z Lynbrooku. I worked my whole life. Pracoval jsem celý život. Frank: I never thought I'd be in such a place. Nikdy jsem si nemyslel, že se dostanu na takové místo. Raymond: I was just wondering, could your leg Zajímalo by mě, jestli by tvoje noha mohla be in another place? být na jiném místě? Raymond: I happen to be serious. Myslím to vážně. Frank: All right, okay. No dobrá. Frank: No, I know I... Ne, já vím, že... Frank: I complain about stuff and all that, si pořád stěžuju a tak, Frank: but... ale...
24 Frank: I'm a lucky man. Jsem šťastný muž. Frank: I'm a very lucky man. Jsem velmi šťastný muž. Raymond: I'm not holding him. Já ho utěšovat nebudu. Marie: “There were gladiators and reenacted sea Pořádaly se tady gladiátorské hry a námořní battles here until the 5th century.“ bitvy až do pátého století. Marie: So should we go see the Forum now? Tak, půjdeme se teď podívat na Forum? Debra: Oh, you know, actually, I could use a Marie, uvítala bych malou přestávku. little break, Marie. Marie: But it's right over there. Ale je to hned tady. Debra: I know. Já vím. Debra: And I wanna really go see it, but... A opravdu to chci vidět, ale... Marie: But if we don't stick to my schedule, we Ale když se nebudeme držet mého plánu, tak won't see it. to nestihneme. Marie: And we did stop for your other thing A kvůli tobě jsme zastavovali předtím. before. Debra: My other thing before? Kvůli mně? You mean the bathroom? Myslíš, jak jsem šla na záchod? Marie: 40 minutes. Čtyřicet minut. Debra: First of all, you're timing me now? Tak zaprvé, ty mi tostopuješ? Debra: And second of all, I do not take A za druhé, netrvalo mi to 40 minutes. čtyřicet minut. Marie: Yes, dear, but when you go, Jistě zlato, ale když se chce tobě, everyone else has to go. tak všem ostatním taky. Debra: I need a little time to myself. That's all. Jenom potřebuju být chvilku sama. Debra: I mean, we have been doing everything Děláme všechno jak jsi chtěla, ne? you've wanted to do, right? Marie: Are you saying you feel obligated Chceš říct, že se mi cítíš zavázaná, protože because I'm paying for this trip? platím tuhle dovolenou? Marie: 'Cause that's not what I want. Tohle jsem vážně nechtěla. Debra: No, of course not. Ale jistěže ne. Debra: And I'm really grateful. A jsem opravdu vděčná. Marie: Really? Vážně? Debra: Ray. Rayi.
25 Raymond: No comment. Bez komentáře. Debra: Say, say something. Rayi, tak řekni něco. Raymond: I said something. No comment. Já jsem řekl, bez komentáře. Debra: Ray. Rayi. Raymond: What, want me to say something? Chceš abych něco řekl? Raymond: I'll say something. Já teda něco řeknu. This is what you get. To máš za to. Raymond: 'Cause I told you it was gonna get like Já jsem věděl, this, že to tak dopadne, but you never listen to me, huh? ale ty mě nikdy neposlechneš, že? Raymond: No no no, I'm just dumb Ray who Ne, ne, ne, jsem jenom blbý Ray, likes New Jersey. co má rád New Jersey. Raymond: I wish I was in New Jersey right now, Teď bych chtěl být v New Jersey, 'cause I saw this coming, all right? já věděl, že tohle přijde. Raymond: I just didn't think Akorát jsem nevěděl, it would take so long že to bude tak dlouho trvat, or I would get sick from hot and then cold and nebo že budu nemocný z horka a zimy a zase then hot and then cold z horka a zimy, or get a Mamma Leone handwash nebo že mě bude vlastnoručně umývat matka pluku, or have to sleep with my father. nebo že budu muset spát s tátou v posteli. Debra: Why don't you stuff it, Ray? Co si ještě vymyslíš, Rayi? Na rozdíl od tebe Your parents are fine compared to you. jsou tví rodiče úplně v pohodě. Raymond: Me, what the hell did I do? Na rozdíl ode mě? Co jsem sakra udělal já? Debra: At least they're trying to have a good Oni se aspoň snaží si to užít. time. Debra: You've been nothing but a grumpy pain Celou dobu jsi otravný in the ass the whole trip. jak tříska v zadku. Marie: Don't fight here. It's the Coloseum. Tady se nehádejte. Jsme u Colosea. Raymond: I'm a pain in the ass? Já jsem otravný? I'm a pain in the ass? Tak já jsem otravný?
26 Raymond: Fine, I will not be a pain Fajn, tak já už nebudu in anyone's ass anymore! nikoho víc otravovat! Frank: And I'm not sleeping with you anymore! A s tebou už nespím! Frank: What are you looking at? Na co čumíš? Robert: Mm mm mm! Mňam, mňam,mňam! Robert: Thanks for all the gelato, Stefania. Dík za tu zmrzlinu, Stefanie. Robert: All the gelato you want. Zmrzlina, co hrdlo ráčí. Robert: You have a great life. Máš skvělý život. Stefania: I'm glad you like. Jsem ráda, že se ti líbí. Robert: I like everything. Mně se všechno líbí. Robert: I fully intend to pay for this. Chci to vše plně uhradit. Giorgio: Hey, what's your problem? Hej, co máš za problém? Raymond: Nothing nothing. Nic, nic. Raymond: I'm just ready to go home, that's all. Už chci jet domů, to je všechno. Giorgio: Oh. Aha. Giorgio: You got more Listerine? Máš ještě tu ústní vodu? Marie: I told you to wear a hat. Řekla jsem ti, ať si dáš klobouk. Why can't you listen to me? Proč mě neposloucháš? Frank: All right, enough. I'm fine! Nech toho už. Nic mi není. Marie: You're fine? Nic ti není? Marie: You look like the top of a police car. Jsi červený jak rak. Marie: Put some cream on that. Namaž si to. Frank: No! Ne. Marie: Frank, you put some cream on that head Namaž si tu hlavu, okamžitě. right now. Marie: You're gonna be in pain later. Víš, jak budeš trpět? Frank: I've been in pain since the wedding. Já už trpím od svatby. Marie: He refuses to accept the fact that he has Nedokáže se smířit s tím, no hair. že nemá vlasy. Marie: What? Co je? Marie: What's the matter, dear? Co se děje, zlato? Marie: Oh, I know what it is. Já vím. Marie: It's Debra. Zase Debra.
27 Raymond: Ma, please. Mami, prosím tě. Marie: You know what you and I need? Víš co my dva teď potřebujeme? Marie: A nice long walk. Hezkou procházku. Marie: That would be so wonderful, wouldn't it? To by bylo báječné, ne? Robert: Hey, Ma, do you know if we have any Mami, nemáme ve městě nějaké styky mob connection here in town? s mafií? Robert: Because I might need a little help. Asi budu potřebovat trochu pomoct. Marie: What's the matter? You look so terrible. Co se děje? Vypadáš hrozně. Tuck in your shirt. Zastrč si košili. Robert: No no, I'm fine, Ma. It's just that Ale ne, jsem v pořádku, mami. Jenom Stefania's father wasn't too thrilled to find me Stefaniin otec nebyl moc nadšený, když nás with his daughter. spolu načapal. Marie: What? Cože? Raymond: Now he's having a vacation. Tomuhle říkám dovolená. Robert: This is wild. I went out the window Je to šílené. Vyskočil jsem z okna, když si when Pops went to get a shovel. pantáta na mě bral lopatu. Giorgio: Congratulation. Stefania Fogagnolo. Gratuluju. Stefania Fogagnolo. Robert: Thanks there, Giorgio. Díky, Giorgio. Giorgio: Signore Fogagnolo, he will kill you. Pan Fogagnolo tě zabije. Marie: You'd better stay away from that girl, Radši se od té holky drž dál, Robby. Robby. Robert: Yeah, right. To víš, že jo. Robert: Nothing like this has ever happened to Nic takového se mi ještě nestalo. me before. Robert: Hey, Ray, you wanna go get a gelato? Hele, Rayi, chceš zmrzlinu? Raymond: I’m not going there with that father. Nejdu tam, když tam bude její otec. Robert: Come on. No tak. Raymond: Get out of here. He'll use me to beat Vypadni odsud. Použije mě jako štít, aby tě you to death. spráskal jako psa. Robert: Come on, look, hey, maybe he'll chase Ale no tak, možná nás bude honit s lopatou, us with the shovel, huh? co? Robert: Come on... No tak...
28 Raymond: Get off me, you nut. Odprejskni, ty cvoku. I'm not going there. Já tam nejdu. Robert: Hey hey hey, you gotta wake up here, Vzbuď se bráško. little bro. Robert: Look where you are, man. Koukni kde jsi, chlape. You're missing it! Copak to nevidíš? Marie: I've never seen him like this, so happy. Nikdy jsem ho neviděla tak šťastného. Marie: I don't like that. To se mi nelíbí. Children: Hi, Daddy. Ahoj, tati. Hi, Daddy. Raymond: Hey, what did you do? Co jste dělaly? Feed the ducks or something? Krmily jste kačenky? Allie: You wanna feed'em with us tomorrow? Chceš je s náma zítra krmit? Raymond: Yeah, maybe, we'll see. Jo, možná, uvidíme. Debra: Yeah yeah, daddy's very busy, you guys. Tatínek má moc práce, víte. Debra: He really doesn't have time for fun this On nemá čas užít si tuhle dovolenou. trip. Debra: He has a lot of moping to do, which is Jeho věčné brblání totiž zabere quite time consuming. hodně času. Raymond: Gimme a break, please. Dej mi pokoj, prosím tě. Debra: Why don't you give me a break? Ty mi dej pokoj. Debra: I thought that this could be a time for all Chtěla jsem, abysme byli of us to be together. všichni spolu. Raymond: Listen, I can't do this right now Hele, teď nemůžu, 'cause I just promised my mother I would take protože jsem slíbil matce, že s ní půjdu na a walk. procházku. Marie: That's true, dear. To je pravda, zlato. Debra: Have a nice time. Užijte si to. Marie: I'm so glad we could do this, Raymond. Jsem tak ráda, že jsme spolu, Raymonde. Marie: You really seem to need it. Opravdu to potřebuješ. Raymond: Need what? Co potřebuju? Marie: This. Tohle. Marie: Just the two of us walking and walking. Jen my dva na procházce.
29 Marie: You know, we never get a chance to talk. Vůbec nemáme čas spolu mluvit. Raymond: We don't? Nemáme? Marie: No, not like this. Ne, ne takhle. Marie: We rarely get a chance to just talk... Skoro nikdy není čas mluvit jen tak... no interruptions, distractions, Deb... bez rušení, bez rozptylování, bez Deb... Marie: Anyway, first of all, To je jedno, no prostě, I'm feeling a little bit upset about something. jsem kvůli něčemu trochu naštvaná. Raymond: That water is kinda nice, huh? To jezero je pěkné, že? Marie: It's beautiful. Je krásné. I'm feeling that everyone else Zdá se mi, že si každý myslí, seems to think that they have the right to do že na tomto výletě si může dělat, co se mu just exactly what they want on this trip. zlíbí. Raymond: And they don't? No a nemůže? Marie: Well, they do. Of course they do. No, může. Samozřejmě že může. Marie: But they could at least consult with me Ale mohli by se aspoň předtím se mnou first. poradit. Marie: I know. No, he's your father. Vím, je to tvůj otec. Marie: Between you and me, Mezi náma, I can't take it anymore. už to dál nesnesu. Raymond: He seemed to be having a good time. Vypadá, že se mu tady líbí. Marie: What, this morning? That's finished. Co, dnes ráno? S tím je konec. Marie: I had the nerve to tell him to wear a hat. Dovolila jsem si říct mu, ať si dá klobouk. Marie: Of course, everything has to be his way. Jistě, vždycky musí být po jeho. Marie: I begged him 50 times, “Please, please, Stokrát jsem ho prosila, „Prosím tě, sežeň get someone to fix the garage door.“ někoho na opravu garážových vrat.“ Marie: You know what he says? A víš co on? “I can do it myself.“ „To spravím sám.“ Marie: And of course, you know what happens. A samozřejmě, víš jak to dopadne. Ještě to He doesn't do it. neudělal. Marie. It's been three months. Už jsou to tři měsíce. Marie: Anybody could get into that garage if Kdokoliv se může dostat they wanted. do garáže. Marie: Please. Prosím tě.
30 Marie: What are you stopping for? Proč ses zastavil? Raymond: Nothing, no, I just never seen'em like Ale nic, jen, že jsem je nikdy this before. takto neviděl. Raymond: Pretty. Hezké. Raymond: You see the way they're wrapped? Vidíš, jak jsou zabalené? You look at these? Dívej. Marie: I've seen flowers. Vím, jak vypadají kytky. Marie: My point is I can't talk to him. Chtěla jsem říct, že s ním se prostě nedá bavit. Marie: Ooh, there's a butcher shop. I gotta run in Jé, tam je řeznictví. Skočím tam a koupím there and get some meat for the barbecue later. maso na grilování. Marie: You wanna come with me? Jdeš se mnou? Raymond: No no, go ahead. Ne, běž sama. Raymond: It's okay. To je v pohodě. Marie: I'll be right back and don't forget what we Hned jsem zpátky a nezapomeň, were talking about. o čem jsme mluvili. Raymond: Okay. Dobře. Raymond: Here, guys. Tady, kluci. Raymond: Want it with the foot, okay. Mám přihrát nohou, dobrá. Raymond: Oh, what, I'm in it? Já hraju taky? There, there you go. Tu máš. Raymond: Wanna play a little game, huh? Chcete si trochu zahrát, co? Raymond: I'll pass it. There you go. Přihraju ti, tady. You guys are good at this. Jde vám to, kluci. Raymond: I don't play this, yeah. Já to neumím. Mother: Alessandro! Alessandro! Boy: Grazie, arrivederci, ciao. Grazie, arrivederci, ciao. Raymond: Okay. Okay. Boy: Ciao. Ciao. Raymond: Hey, ciao. Ciao. Raymond: Yeah. Jo. Raymond: Hey...pizza. Hele...pizza. Vendor: Yes, pizza Ano, pizza.
31 Raymond: Okay, gimme one. Can I get one? Tak, jednu. Dám si jednu. Vendor: Yeah. Jo. Raymond: Yeah, thank you. Jo, díky. Raymond: Wow. Mňam. Vendor: It's okay? Je to dobré? Raymond: Yeah yeah, I had a cold, Jo, jo, byl jsem nachlazený, but it's gone now. ale je to pryč. Raymond: This is awesome. Je to vynikající. Vendor: Hmm? Co ? Raymond: Awesome. Strašně dobré. Raymond: Awesome, you know “awesome“? Znáte „strašně dobré“? Raymond: Magnifico. Magnifico. Vendor: Grazie. Grazie. Raymond: Prego. Prego. Raymond: This is like the best pizza I ever had, To je snad nejlepší pizza, jakou jsem kdy man. měl, chlape. Vendor: You like more? Ještě chtít? Raymond: Hell, yes, I want more. To si piš, že jo. Raymond: You made this? To jste dělal vy? Vendor: I make, yes. Já dělat, ano. Raymond: So you're like a genius then. Jste uplný génius. Raymond: Mmm! Mňam. Marie: All done. Hotovo. Marie: I've got some chops for later. What... Koupila jsem kotlety na potom. Co... Marie: you're having pizza now? ty si teď dáváš pizzu? Marie: Will you be able to eat your lunch? Budeš obědvat? Raymond: Yeah, sure. You want a bite? Jasně. Chceš kousnout? Marie: No no no. Ne ne. Raymond:Good. To je dobře. Marie: Come on, come on. Tak jdeme. Marie: Let's go up this way. Pojďme tudy. Marie: I forgot what I was saying. Zapomněla jsem o čem jsme se bavili. Raymond: How you can't talk to anyone but me. O tom, jak se dokážeš bavit jenom se mnou.
32 Marie: Oh, yes, right. Ano, správně. Marie: Because I mean nobody values Protože dneska už lidé spolu communicating anymore. skoro nemluví. Marie: To me, that's the most important thing. Pro mě je to to nejdůležitější. Marie: Don't you agree with me? Nemám pravdu? Raymond: Mm hmm, absolutely. Hmm, naprosto. Marie: Oh, Raymond, this is so nice. Raymonde, to je tak hezké. Marie: Did I tell you the other thing you father Říkala jsem ti co tuhle zase vyvedl did? tvůj otec? Raymond: No, go ahead. Ne, povídej. Marie: Well, I had forbid him to use my cutting No, zakázala jsem mu používat moje dřevěné board. prkýnko. Marie: Hello, dear. Ahoj, zlato. Debra: Hey, Marie. Nazdar, Marie. Marie: Have you seen Raymond? Where is he? Viděli jste Raymonda? Kde je? Debra: I don't know and don't care. Nevím a je mi to jedno. Debra: He's been a drip this entire vacation. Celou dovolenou je otravný. Debra: I've decided I'm not gonna let him ruin it Rozhodla jsem se, že si to od něj nenechám for me. zkazit. Marie: I had a lovely walk with him this Dnes ráno jsme spolu šli na krásnou morning. procházku. Debra: It's so nice that you two have each other. To je fajn, že vy dva si rozumíte. Frank: Stupid, stinkin' hump. Blbý, podělaný hrb. Giorgio: Stupid, stinkin' hump. Blbý, podělaný hrb. Frank: I got a million of 'em. Takových mám milion. Robert: Unbelievable. Unbelievable. To je neuvěřitelné. Robert: Signore Fogagnolo. Pan Fogagnolo. Robert: Come va? Jak se máte? Fogagnolo: Don't see my daughter no more. Přestaň se víc scházet s mojí dcerou. Robert: Oh. Aha. Robert: You know, sir, if I may, here let´s... Pane, jestli můžu... Robert: Let's sit down. Posaďme se. Please please, come here. Can we sit down? Prosím, prosím, pojďte sem. Posadíme se?
33 Robert: Per favore. Per favore. Robert: Let's sit. Grazie. Mille grazie. Sedněme si. Děkuji. Grazie. Robert: Signore Fogagnolo... Pane Fogagnolo... Robert: I'm going to speak Italian. Budu mluvit italsky. Robert: I understand how you feel. Chápu, jak se cítíte. Robert: A daughter such as yours is a precious Vaše dcera je prostě poklad. thing. Robert: But I want you to know that I am an A já chci, abyste věděl, že jsem slušný honorable person. člověk. Robert: And that I come from an honorable A že pocházím ze family. slušné rodiny. Frank: Ah, your mother's ass. Do prčic. Robert: Let me explain. Vysvětlím Vám to. Robert: I think your Stefania is wonderful. Myslím, že Vaše Stefania je úžasná. Robert: I am quite fond of her. Opravdu o ni stojím. Robert: She is very special Je vyjímečná. Fogagnolo: I don't like you. Nemám tě rád. Children: Hi, Daddy. Ahoj, tati. Raymond: Ciao. Hello, everybody. Ciao. Ahoj. Raymond: Beautiful day, huh? Dnes je krásně, že? Raymond: Oh, look what I have. Podívejte, co mám. Raymond: Signora bellissima. Signora bellissima. Raymond: For you. You can have those. Pro vás. Tyhle jsou vaše. Raymond: Beautiful. See how they wrap'em? Nádhera, vidíte jak jsou svázané? Raymond: Mom... and aunt Colletta. Pro mámu... a tetu Collettu. Raymond: For you. Pro tebe. Debra: What are you doing? Co to děláš? Raymond: Oh, you look good. Come here, I Vypadáš skvěle. want to talk to you. Pojď sem, chci ti něco říct. Raymond: Come here, come here, come here, Pojď sem, pojď sem, pojď sem, come here. pojď sem. Raymond: Listen... Poslyš...
34 Raymond: Um, I know you wanted to talk to me Hmm, vím, že jsi se mnou chtěla předtím before, mluvit, Raymond: and I know what you were gonna a vím, cos chtěla říct. say. Debra: No, you don't. Ne, nevíš. Raymond: Well, whatever you were gonna say, Máš pravdu ve všem, you were right. co jsi chtěla říct. Raymond: I was wrong and you were right, and Já jsem se mýlil a tys měla pravdu, a neříkám I'm not just saying that so we don't have to talk to jen proto, abysme o tom už třeba doma about it anymore, like at home. nemuseli mluvit. Raymond: Just there's something about this Prostě tady to má něco do sebe. place. Do you get that? Cítíš to taky? Raymond: There's like a feeling here. Má to určitou atmosféru. Raymond: I don't know how to describe it, Nevím, jak to popsat, Raymond: but it's more simple. ale je to přirozenější. Raymond: The way the whole place shuts down Jak se všechno in the middle of the day, v poledne zavře, so the people can just, you know, enjoy the day. aby si lidé mohli prostě užít den. Raymond: It's like they know how to live here. Je to jakoby tady věděli, jak žít. Raymond: Don't you think? Don't you think it's Že? kind of beautiful here? Že je tady krásně? Debra: Yes. Ano. Raymond: Okay. Dobře. Raymond: So we agree... and the history. Takže souhlasíš... a ta historie. Raymond: I was thinking, thousands of years Ty tisíce let historie. here. Raymond: We got no history at home. My nemáme žádnou historii. Raymond: Everything was built last week. Všechno se postavilo minulý týden. Debra: Where have you been? Kdes byl? Raymond: I had a bike ride. Jel jsem se projet na kole. Debra: No, not today. I mean this whole trip. Ne dnes. Celou dovolenou. Raymond: Okay, so what do you want me to Co ti mám povídat? say?
35 Raymond: Your hair does look nice, though. Ale sluší ti to. Debra: So now you're being romantic. A teď jsi romantický. Raymond: Look, I don't know what I'm being, Hele, nevím, jaký jsem, ale zbývá nám tu jen but we got couple of days left. pár dní. Raymond: You wanna enjoy it Chceš si to užít or you wanna mope around? nebo si to kazit? Debra: Okay, I think that's everything. Tak jo, myslím, že to je všechno. Raymond: Oh, God. Bože. Raymond: Would you look at this? Podívej na to! Raymond: What are you rebelling against? Proti čemu se bouříš? Frank: What do you got? Co mi nabídneš? Raymond: Yeah. You see? They rode one. Vidíš? Oni na tom jeli. Marie: That was fun. To bylo dobré. Frank: Yeah, I gotta get one of these. To si musím pořídit. Frank: All right, fun's over here. Time to go. Konec srandy. Jede se domů. Frank: Thanks for everything there, Giorgio. Díky za všechno, Giorgio. Giorgio: My tires are shot. Mám sjeté pneumatiky. Marie: Arrivederci, Colletta. Arrivederci, Colletto. Colletta: Marie. Marie. Marie: Thank you so much. Am I still a baby? Mockrát děkuji. Pořád jsem baby? Colletta: Yes. Ano. Raymond: Bye bye. Ahoj. Raymond: Listen, anytime you want to come to Poslyš, kdykoliv budeš chtít přijet do America and give me a shower, it's fine with me. Ameriky a vysprchovat mě, je to v pohodě. Raymond: Giorgio, I'll see you, okay? Giorgio, uvidíme se, jasné? Giorgio: Bravo bravo. Dobrá, dobrá. Colletta: What's wrong? Co je ti? Raymond: No, nothing. It's...it's just... Nic. Jenom...jenom... Raymond: I was just starting to understand it Zrovna se mi tady začalo líbit... here...and it's over already. a už je všem. Colletta: That's what my Dario said. To říkával můj Dario. Colletta: And the he died. A pak umřel. Colletta: Live your life! Žij naplno!
36 Raymond: Sì sì. Sì sì. Debra: Hey, where's Robert? Kde je Robert? Stefania: Oh, Roberto. Ach, Roberte. Robert: Oh boy, Stefania. Ach jo, Stefanie. Stefania: Must you be leaving so soon? Musíš odjet tak brzy? Roberto: Yes yes, I must. Ano, ano, musím. Stefania: I will miss you. Budeš mi chybět. Robert: Me too. Ty mně taky. Robert: Maybe you can come and visit me in Můžeš za mnou přijet America sometime. do Ameriky. Robert: Bring your father along for laughs. Vem sebou i otce, ať se zasmějeme. Stefania: Here, for you. Tu máš. Robert: Oh, you don't have to pay me. Nemusíš mi platit. Stefania: You throw a coin in the water. Hoď minci do vody. Stefania: It means someday you return to Il Lago Znamená to, že se sem k jezeru di Bracciano. Bracciano jednou vrátíš. Stefania: You like that? Souhlasíš? Robert: Would I like that? Jestli souhlasím? Robert: My credit cards, travelers' checks. Moje kreditky, cestovní šeky. Stefania: Roberto. Roberte. Robert: Okay, all right, everybody, I'm sorry. Promiňte, všem se omlouvám. Robert. Mille grazie. Mockrát děkuji. Robert: Mille grazie, eh? Mockrát děkuji. Robert: Okay, ciao, thank you. Ciao, díky. Colletta: Ciao ciao ciao. Ciao ciao ciao. Frank: Hey, did you say goodbye to „Gelato“ Rozloučil ses se zmrzlinovou Lollobrigida? Lollobrigidou? Robert: All right, Dad. Jo, tati. Raymond: Grazie. Děkuji. Raymond: We love you. Máme vás rádi. Raymond: See you soon! Come to America! Nashle! Přijeďte do Ameriky! Colletta: Grazie. Díky. Giorgio: Grazie. Díky.
37 Stewardess: Sir, could you please keep it down? Pane, mohl byste se prosím ztišit? Stewardess: Some of the other passengers are Někteří cestující starting to complain. si začínají stěžovat. Raymond: Oh oh, sorry. Ano, promiňte.
38 Stefania arrives Season 5, Episode 17 Marie: Where is Robert? Raymond will be back Kde je Robert? Raymond přiveze Stefanii from the airport with Stefania any minute. z letiště každou chvíli. Marie: And look at this place. Podívej, jak to tady vypadá. Marie: Frank, are you helping? Franku, děláš něco? Frank: Yeah, I'm brushing up on my Jo, piluju si italštinu Italian for Stefania. kvůli Stefanii. Marie: Oh, Frank. Ach, Franku. Debra: I'm still not so sure this is a good idea to Pořád nevím, jestli je to dobrý nápad ho surprise him. překvapit. Debra: Do we even know if he's still Máme vůbec jistotu, interested in her? že o ni pořád stojí? Marie: Debra, what are you saying? Debro, co to říkáš? Debra: Just we shouldn't push him into anything. Jenom bysme ho neměli do ničeho nutit. Marie: Well, far be it from me to push. No, já ho do ničeho nutit nebudu. Marie: I just happen to know what my son wants. Já náhodou vím, co můj syn chce. Marie: He wants to finally have someone special Chce mít konečně někoho rád and he wants to settle down and have a chce se usadit grandchildren. a mít vnoučata. Debra: You mean children. Myslíš děti. Marie: Right, children, whatever. Jo, děti, to je jedno. Frank: I think you did a good thing bringing Myslím, že to byl dobrý nápad přivézt sem Stefania here. Stefanii. Marie: Thank you, Frank. Díky, Franku. Frank: We should do a foreign exchange. Měli bychom uskutečnit zahraniční výměnu. Frank: She comes here, you go there. Ona přijede sem, ty pojedeš tam. Marie: Oh, Robby! Á, Robby! Frank: Hello, son. Ahoj, synu. Robert: What's wrong? Co se děje? Marie: What do you mean dear? Co tím myslíš, zlato? Robert: The happiness. Ta dobrá nálada. Robert: What gives? Čím to je?
39 Frank: What, we can't be happy to see you? Copak nemůžeme být rádi, že tě vidíme? Robert: Historically, no. Historicky vzato, ne. Marie: You funny bunny. Hlupáčku. Marie: Come on, sit down. Pojď sem, sedni si. Robert: Am I dying? Umírám? Marie: Why don't you get the door, Robby? Běž otevřít, Robby. Robert: No. Ne. Frank: Come on, idiot, do it. No tak, pitomče, otevři. Robert: Why do you want me to get it? Proč mám jít otevřít já? Frank: Get the door! Otevři. Robert: You're forcing me! Vy mě nutíte! Frank: Come on! Dělej! Debra: Trust me, Robert, it's okay. Věř mi, Roberte, je to v pořádku. Frank: Come on! Tak dělej! Marie: You know, Robby... Víš Robby... Marie: Robby, I know that you've been lonely Robby, vím, že jsi dlouho sám and in need of some company, a někoho potřebuješ, Marie: so I have a little surprise for you. tak mám pro tebe malé překvapení. Raymond: What took you so long? Proč ti to trvalo tak dlouho? I got bags here. Mám plno zavazadel. Robert: This is it? To je všechno? Robert: I didn't like the surprise when you gave Tohle překvápko se mi nelíbilo it to me 40 years ago. už před čtyřiceti lety. Raymond: Hey, how about „Thank you“? Hele, a co tak říct „děkuju“? Robert: For what? Za co? Raymond: For this. Za tohle. Stefania: Roberto. Roberte. Robert: Stefania. Stefania. Robert: What... Co... Robert: How did you get here? Jak ses sem dostala? Raymond: I had to take the Belt Parkway to the Byla hrozná zácpa, musel jsem jet po Belt Cross Island, bumper to bumper. Parkway na Cross Island. Marie: Oh, Robby, are you happy? Á, Robby, jsi šťastný?
40 Marie: I asked her to visit to cheer you up. Požádala jsem ji, aby tě navštívila a trochu rozveselila. Marie: Me, I did it. To já jsem zařídila. Robert: Stefania, let me help you. Stefanie, pomůžu ti. Stefania: It is good to see you. Ráda tě vidím. Robert: Oh, it is good to see you. Jak já tebe rád vidím. Robert: Ma, you did this? Mami, to ty? Marie: Who else? Kdo jiný? Stefania: Thank you for inviting me. Děkuji za pozvání. Stefania: You are nice and beautiful. Jste hodná a krásná. Frank: Man, does she need an English lesson. Páni, ta potřebuje lekci angličtiny. Stefania: Hi, I remember your head. Ahoj, pamatuji si vaši hlavu. Frank: Hey, she remebers me. Jé, ona si mě pamatuje. Debra: Hi, nice to see you again. Ahoj, ráda tě zas vidím. Debra: So this is you after a 10 hour plane ride, Takže takhle vypadáš po huh? deseti hodinovém letu, jo? Debra: Well, I give up. Já to vzdávám. Stefania: Hello. Ahoj. Raymond: Hi. Ahoj. Stefania: Thank you for getting us. Díky, žes pro nás přijel. Robert: Did you say us? Řeklas nás? Stefania: Yes. Ano. Stefania: You remember my father, Pamatuješ si na mého otce, Marco Fogagnolo. Marca Fogagnola? Robert: Yes yes. Of course. Ano ano. Jistěže. Stefania: You show me this, huh? Ukážeš mi to? Robert: Of course. All right. Jistě. Takže. Robert: Okay. Tak jo. Robert: You wanna hold your putter Budeš držet like this, okay? hůl takhle, jo? Robert: And then you swing it back. A pak se rozmáchneš. Robert: Oh boy, okay. All right. Ach bože, okay. Tak jo. Robert: What's happening? Co se děje?
41 Robert: Okay. You...you take the putter back like Dobrá. this and then you... Chytneš tu hůl takto a pak... Robert: Hey, look at that! Hele, podívej. Stefania: Oh, yeah! Jo. Robert: Hell of a shot there. Dobrá trefa. Stefania: You buy me another hot dog now. Ty koupíš mi další párek v rohlíku. Robert: Well, you know, there's more to America Amerika nejsou jenom than just hot dogs. párky v rohlíku. Stefania: I like hot dogs. Mám ráda párky v rohlíku. Robert: Okay, well, I'll tell you what, I'll buy you Okay, víš co, koupím ti další párek v rohlíku, another hot dog later, if you're good. když budeš hodná. Stefania: Okay, you hit now. Teď odpaluješ. Robert: All right. Dobře. Robert: Hey, there! What do you think you're Hej, co to děláš? doing? Stefania: What? I do nothing. Co? Já nedělám nic. Robert: I think you did, you naughty monkey. Ale ano, ty zlobivá opičko. Robert: Oh, come on. No tak. Stefani: Hey, you are a good golf player. Hej, hraješ dobře golf. Robert: Well, I'm trying to be. No, snažím se. Robert: Listen listen, look, I know... Poslyš, vím... Robert: I know you're just trying to have fun. Vím, že si děláš srandu. Robert: But there's something you should know. Ale jedno bys měla vědět. Robert: See, when Raymond and I were kids, Když jsme s Raymondem byli malí, he used to poke quite a bit, all right? často do mě šťouchal, víš? Robert: Poke poke poke poke Pích pích pích pích pích Robert: He was, how you say... a jerk, okay? Choval se, jak bych tak řekl, jako blbeček, víš? Robert: So that's why now I'm sort of antipoke, Proto jsem teď okay? proti šťouchání. Robert: Oh, no no no, but listen, if I had to Ale ne. Poslyš, kdybych si měl někoho choose someone to poke me, it would be you. vybrat, aby do mě šťouchal, byla bys to ty. But don't poke me. Ale nešťouchej do mě.
42 Robert: All right, here, you go first. Dobře, ty začni. Stefania: Okay. Okay. Robert: All right, very good, try again. Velmi dobře, zkus to znova. Robert: Okay, all right, take... Okay, správně ... Robert: All right, take your time. Správně, pomalu. Robert: Okay, all right, that's a... Okay, správně, to je... Robert: that's an interesting technique, all right. zajímavý styl, dobrá. Robert: All right, very nice. Správně, velmi dobře. Robert: Okay. Okay. Robert: Okay, over there. Okay, tam. Robert: Thank you. Okay. Díky. Stefania: Hey, bravo, Roberto. Very good. Roberte, bravo. Velmi dobře. Robert: Thank you. Thank... Děkuji. Děk... Robert: All righty, let's do the score now, Tak jo, podíváme se, shall we? kdo vyhrál, ano? Stefania: Oh, I like. Jé, mám ráda. Raymond: So you two having a good time? Co vy dva, užíváte si to? Robert: Yeah, a blast. Things are fantastic. Jo, bomba. Je to fantastické. Raymond: Did you two do the, uh... Už jste měli, hmm... Robert: The what? Co měli? Raymond: The huckle buckle. Techtle mechtle. Robert: Mind your own business, okay? Starej se o sebe, jo? Raymond: Oh, come on. Ale no tak. Raymond: I'm married, man. Jsem ženatý, kruci. Raymond: I don't even huckle. Já nemám ani techtle. Waitress: Here you go. Tu máte. Frank: Hey, Suzy, I got that. Hej, Suzy, já platím. Waitress: Really? Hey, Nemo, Frank's picking Fakt? Ty, Nemo, up a tab. dnes platí Frank. Nemo: Don't take a check from him. Neber od něj šek. Frank: Hey, don't embarrass me in front of my Ty, neurážej mě před international guests, all right? mými zahraničními hosty, jo? Frank: I'm buying. Je to na mě.
43 Frank: Hey, you two, we're splitting this. Hej vy dva, to si rozdělíme. Fogagnolo: Grazie. Grazie. Fogagnolo: I want to say something. I come to Chtěl bych něco říct. Přijel jsem do Ameriky, America to take care for Stefania. abych se postaral o Stefanii. Fogagnolo: But I also dream always to come to Vždycky jsem snil, že vždycky přijedu sem this country and it is like a dream. do této zemi a ono je to jako sen. Fogagnolo: I like the people. I like the life here Líbí se mi tady lidé a život tady velmi moc, very much, with the large drinks and s vašimi velké drinky so much ice. se spoustou ledu. Fogagnolo: And I have to say, I did not like so Musím přiznat, tady tenhle se mi moc much this one. But now I do. nezamlouval. Ale teď už jo. Fogagnolo: And I know Stefania do. A vím, že Stefanii taky jo. Fogagnolo: So what I will tell you now is... Teď vám řeknu, že... Fogagnolo: we stay. zůstaneme. Robert: What? Where? Co? Kde? Fogagnolo: Here... Lynbrook, America. Tady... v Lynbrooku, v Americe. Everybody: Congratulations to you both! Blahopřejeme! Stefania: It's great surprise, no? To je ale překvapení, ne? Robert: Yeah yeah yeah. Jo jo. Robert: But you just can't live here. Ale nemůžete tu přece být jen tak. Robert. What will you do, sir? Co budete dělat, pane? Fogagnolo: Who knows? I like this place. Kdo ví? Líbí se mi tato restaurace. Maybe I buy. Možná koupím. Robert: Nemo would never sell. Nemo by to nikdy neprodal. Fogagnolo: I think maybe he do. Možná, že ano. Fogagnolo: I want to thank you for taking Chci ti poděkovat, že se staráš care of my daughter. o mou dceru. Robert: Don't mention it. To nestojí za řeč. Robert: Hey, everybody. Ahoj všichni. Marie: Hi, Robby. Ahoj Robby. Marie: Cookie? Sušenku? Robert: What's the point? Jaký to má smysl? Raymond: What's your problem? Co zas máš?
44 Robert: I don't think it's going to work out with Myslím, že se Stefanií nám Stefania. to nebude klapat. Raymond: Oh, give me a break. Co to meleš? Marie: What are you talking about? O čem to mluvíš? Marie: In Italy, the two of you couldn't get V Itálii jste se nemohli jeden enough of each other. druhého nabažit. Robert: I don't know. It's not the same. Já nevím. Není to ono. Frank: Hey, look at her. Look at you. Hele, podívej se na ni. Podívej se na sebe. Frank: Grab on and don't let go. Chňapni ji a nepouštěj. Raymond: Of course it's not the same. I know Jasně, že to není to samé. what your problem is. Vím, v čem to je. Robert: No, you don't. Ne, nevíš. Raymond: Yeah, I do. Jo, vím. Raymond: You guys were going too fast over Vy jste to totiž there. uspěchali. Raymond: Right away, boom, we're in love. Bum, hned jsme zamilovaní. You can't do that. To se prostě nedělá. Robert: What are you talking about? O čem to mluvíš? Raymond: You know, you... No, víš... Raymond: Here, let me show you something. Tady, něco ti ukážu. What do you got here, Ma? Mami, co tu máš? Marie: Cream of Wheat for the boys. Want Krupicovou kaši pro kluky. Chceš? some? I'll make some more. Přidělám ještě. Raymond: Relax. Okay, see this? This Cream of Klídek. Vidíš? Wheat, that's you and Stefania. Ty a Stefanie jste jako ta kaše. Robert: What? Cože? Raymond: Stay with me. All right? Sleduješ, jo? Raymond: Now here's you guys in Italy. Toto jste vy dva v Itálii. Raymond: See, hot and heavy. Vidíš, nažhavení, v ohni. Marie: No, that's too much. To je moc. Raymond: Right. You can't keep it like that. Správně. Takhle to nemůžeš nechat. Marie: No, turn it down. Ne, zeslab to.
45 Raymond: What's gonna happen to Robert and Co se stane s Robertem a Stefanií, když Stefania if I keep it like that? nezeslabí žár? Marie: They'll get dried out and crusty. Budou mít škraloup a vyschnou. Raymond: Right. Správně. Raymond: Right right. Správně, správně. Raymond: Robert, you want it to last, Roberte, jestli chceš, aby vám to vydrželo, you gotta cool things down a little. nesmíš být tak hr. Raymond: See, like this. Vidíš, takto. Marie: Thank God. Díky bohu. Raymond: That's how it is for me and Debra. Tak jsem na tom já s Debrou. Raymond: Just a little low flame. Jen malý doutnající plamínek. Raymond: Our Cream of Wheat could just Naše krupice tu může bublat sit on that for years. celou věčnost. Debra: Hands off, girls, he's mine. Holky, ruce od něj pryč, je jen můj. Frank: I'm gonna tell you about my marriage Teď ti řeknu já něco o manželství, now, but I'll need a garbage disposal. ale budu potřebovat drtič odpadků. Debra: You know, Robert, I wouldn't be Roberte, chápu tvoje pocity surprised if you're having these feelings because a nedivila bych se, kdybys pořád deep down inside you still care for Amy. něco cítil k Amy. Robert: No no, it's not Amy and it's not Ne ne, není to Cream of Wheat. ani Amy ani krupice. Robert: The truth is... Pravda je, že... Robert: Stefania's annoying. Stefania je otravná. Raymond: What? Co? Frank: If by „annoying,“ ha cha cha cha cha, Jestli otravná znamená „ťu ťu ňu ňu“, then I'm with you. tak to beru. Robert: No, she's always touching me. Pořád se mě dotýká. Raymond: Oh, that's gotta be rough. Jo, to musí být strašné. Frank: Why the hell would you not want her Proč sakra nechceš, to touch you? aby se tě dotýkala? Robert: She poked me in the ass with the putter. Šťouchala mě pálkou do zadku. Frank: She could hit me in the head Mě by mohla praštit kladivem do hlavy a with a hammer. I wouldn't care. nevadilo by mi to.
46 Robert: It's just that she's always poking me Ona do mě prostě pořád šťouchá and I hate being poked. a já to nesnáším. Raymond: Oh, yeah. No jo. Robert: Hey, cut it out, okay? Sklapni, jo? Robert: I told her I didn't like it, Řekl jsem jí, že se mi to nelíbí, but she wouldn't stop. ale ona toho nenechala. Marie: That's like flirting. Ona tak flirtuje. Raymond: Yeah, it sounds like you're Hele, nitpicking, man. jsi hnidopich. Robert: Look, I know Stefania Já vím, is beautiful, okay? že Stefania je krásná. Robert: But, you know, we've been out a few Byli jsme spolu párkrát na rande a čím víc times now and the more time I spend with her, času s ní trávím, tím víc si uvědomuju, I realize that there's nothing there. že k ní nic necítím. Marie: Robby, are you very sure you're not a Robby, jsi si naprosto jistý, že nejsi homosexual? homosexuál? Robert: Ma! Mami! Marie: I'm just asking. Jen se ptám. Robert: Raymond! Raymonde! Raymond: It's still funny. Pořád to zabírá. Robert: You know what? Víte co? Robert: If Stefania was staying for, like, a week, Kdyby tady byla na týden, I could put up with it, dalo by se to vydržet, but now they're talking about staying ale oni tu chtějí here for good. zůstat na pořád. Robert: So what, am I supposed to take care of To s ní mám být na vždycky? her forever, huh? Robert: I gotta marry her now? Mám si ji snad vzít? Marie: There are worse things, dear. Jsou i horší věci, zlato. Robert: Plus, I got her father Signore Scary ola Navíc, její otec pan Straši ola se na mě watching me with those eyes. pořád tak kouká. Robert: It's too much. I can't take it. Už to dál nezvládnu. Debra: Robert, look, you're obviously unhappy. Roberte, jsi opravdu nešťastný.
47 Debra: You gotta talk to her. Musíš s ní promluvit. Robert: And say what? A co mám říct. Debra: I don't know. Nevím. Prostě jí řekni, že chceš, Tell her you just wanna be friends. abyste zůstali přátelé. Frank: That broad ain't build up for friendship. Ta ženská není stvořená pro přátelství. Debra: Look, you shouldn't be pressured into Hele, nikdo tě nebude nutit, being in a relationship. abys v tom vztahu zůstal. Marie: No one here means to pressure him. Nikdo ho přece nenutí. Marie: But you know something, Robby? You're Ale Robby, víš, not getting any younger. už máš dost roků. Marie: And I read, you know, that as men Četla jsem, jak muži stárnou, get older, their sperm production... jejich tvorba spermií... Robert: Ma Ma Ma Ma! Mami! Raymond: Back it up. Brzdi. Marie: Please, it's science. To je věda. Raymond: You're really thinking Fakt se s ní of breaking with her? chceš rozejít? Debra: That is the only decent thing to do. To je jediná rozumná věc, co může udělat. Debra: This is about morality. Je to otázka mravních zásad. Debra: You don't string someone along. Nebude nikoho vodit za nos. Raymond: Yeah, but Stefania, she's so... Jo, ale Stefania je taková.... Debra: She's so what, Ray? Jaká taková, Rayi? Raymond: Just do what she says. Prostě udělej, co říká. Stefania: I like your house. Máš hezký dům. Robert: It's an apartment, really. No, je to byt. Stefania: I don't like this. Tohle se mi nelíbí. Robert: Okay, um, listen, we need to talk, okay? Okay, poslyš, musíme si promluvit. Robert: Okay. Tak jo. Stefania: Okay. Tak jo.. Robert: I think that it's very exciting that you and Je skvělé, že s otcem uvažujete, your dad are talking about moving here. že se sem přestěhujete. Stefania: Ooh, polizia. Jé, policie. Robert: Attention span of a moth. Neudrží pozornost ani chvilinku.
48 Robert: Listen, look, I just had this drycleaned. Hele, zrovna jsem to přinesl z čistírny. Stefania: You put on for me, huh? Dej to pro mě na sebe, jo? Robert: No, no, this is for work, okay? Ne, to mám do práce. Robert: Let's put this back. Dejme to zpátky. Robert: You come over here. Pojď sem. Stefania: To the ugly sofa. Na ten škaredý gauč. Robert: Yeah. Jo. Stefania: I am hungry. Do you have food for me? Mám hlad. Máš pro mě jídlo? Robert: More? Ještě víc? Robert: Just a second. Moment. Stefania: Maybe you have hot dogs. Třeba párky v rohlíku. Robert: One second. Moment. Robert: It's like dropping wood into a chipper. Je jako kyselina. Robert: Well, I have Captain Salty Pretzel Mám slané preclíky. Nuggets. Stefania: I like hot dogs. Mám ráda párky v rohlíku. Robert: Pretzel nuggets! Preclíky! Stefania: What's wrong, Berto? Co je, Bertíku? Robert: Nothing, it's just, there's your tummy. Nic, jenom, kouká ti bříško. Stefania: You do not put it on, so... Ty sis to neobléct, tak... Robert: Well, actually, that is police property. No, to je majetek policie. Robert: You need to take that off. Musíš to vysvléct. Stefania: Okay. Tak jo. Robert: Wait wait! Halt, no, wait. Počkat, počkat. Zadrž, počkej. Robert: All right, look, look keep it on. Dobrá, hele, nevysvlékej to. Robert: Here, sit down here. Tady se posaď. Have some pretzels, okay? Dej si preclík. Stefania: No, thank you. Ne, díky. Stefania: I wasn't really hungry for pretzels, Neměla jsem chuť okay? na preclíky. Robert: No. Stefania... Ne. Stefanie... Robert: You are a beautiful woman and a lovely Jsi krásná žena person and a beautiful woman. a milá a krásná žena.
49 Robert: And I think that's very nice that you Chápu, že se v této want to make a life for yourself here in this zemi chceš country. mít dobře. Robert: Let me finish. Nech mě dokončit. Robert: Okay, here's the thing. Dívej. Robert: You know, it's been said that love is like Říká se, že láska je Cream of Wheat. jako krupicová kaše. Stefania: Maybe no more talking. Snad dost už řečí. Robert: You want to... you want to... oh, boy. Chceš...chceš...páni. Robert: Hard to argue. Těžké se s tebou přít. Robert: No no no, Stefania. Ne, Stefanie. Stefania: What do you mean no? Co myslíš ne? Robert: No means no. Same in Italian. Ne znamená ne. Stejně jako italsky. Robert: No means no. Ne znamená ne. Stefania: Berto, we have waited so long. Bertíku, čekali jsme tak dlouho. It will be nice. Bude to hezké. Robert: I'm not saying it wouldn't be nice and Vím, že by to bylo hezké a něžné, ale není to soft, but it would be wrong, because, Stefania, správné, protože nemůžeme být spolu, we shouldn't be together. Stefanie. Stefania: It's okay. My father will not know. Je to v pohodě. Otec to nebude vědět. Robert: No no no no. Ne ne ne ne. Robert: No, look, you misunderstand, all right? Dívej, ty to nechápeš. Robert: I shouldn't lead you on. Nemůžu tě svést. Robert: It's morally wrong, I think. Myslím, že to není morálně správné. Stefania: What do you mean? Co tím myslíš? Robert: We should break up. Měli bychom se rozejít. Robert. You, me, no more. Ty, já, konec. Robert: Listen, Stefania, I'll always cherish the Stefanie, vždycky budu s láskou vzpomínat moments we had together, na ty chvíle, co jsme spolu prožili, Robert: but I just didn't want you to move here ale nechci, aby ses sem přestěhovala jen for the wrong reasons. proto, že sis to špatně vyložila. Robert: Hey, come on. No tak. Stefania: (In Italian) Don't touch me! Nedotýkej se mě!
50 Stefania: I can't believe I came To snad není možné, to America for you. že jsem přijela za tebou do Ameriky. Stefania: You couldn't even call me yourself. Nezmohl ses ani na to mi zavolat. Stefania: You had to have your mother beg me to Tvoje matka mě prosila, come! abych přijela. Robert: No no no no no, that was her idea. Ne ne ne ne ne, to byl její nápad. She's crazy. Ona je šílená. Stefania: What are you, her puppet? A ty jsi její loutka? Stefania: She pulls the strings and you dance like Ty tančíš jak Pinocchio? ona píská? Robert: No no no, no Pinocchio this time. Ne ne ne, pro tentokrát žádná loutka. Robert: You see, she wanted me to marry you, Víš, ona chtěla, abych si tě vzal, ale já jsem but I said I couldn't becuase you're annoying. řekl, že nemůžu, protože jsi protivná. Stefania: Annoying? Protivná? Stefania: What does this mean, annoying? Co znamená, protivná? Robert: I don't know. Nevím. Stefania: Liar! I am sick to look to you! Lháři! Je mi z tebe zle. Robert: Well, listen, we can still be friends. Poslyš, můžeme zůstat přátelé. Robert: You see, in America, you don't break up. Víš, v Americe se nerozchází. You stay friends. That's what you do. Zůstaneme přátelé, tak se to dělá. Stefania: Not in Italy. V Itálii ne. Robert: Annoying. Protivná. Robert: Listen, I did the right thing. Hele, rozhodl jsem se správně. Robert: Morally, Z mravního hlediska, jsem se rozhodl I did the right thing. správně. Robert: There better be heaven. Musím přijít do nebe. Robert: Hey, Nemo, I'll take a slice. Ahoj Nemo, dám si jednu. Robert: Signore Fogagnolo, hi. Pane Fogagnolo, zdravím. Robert: What are you doing here? Co tady děláte? Fogagnolo: I told you. We stay in America. Říkal jsem ti. Zůstaneme v Americe. Robert: Oh, so you work here now? Aha, tak vy tady pracujete? Fogagnolo: I own here now. Já tady vlastním. Robert: You own? To je vaše?
51 Robert: What happened to Nemo? Kde je Nemo? Fogagnolo: He go away. Je pryč. Robert: W what? W where? Co? Kde? Fogagnolo: Away. Pryč. Robert: Listen, Signore Fogagnolo, Poslyšte, pane Fogagnolo, about Stefania... se s Stefanií... Robert: I am a homosexual. Jsem homosexuál.
52 3 Analysis of the translation Translation science is an interdisciplinary branch of study. Many disciplines (linguistics, psycholinguistics, cultural and other history, literary theory, aesthetics and others) have to be employed to deal with translation from a source language (SL) into a target language (TL). Important prerequisites for a good translation are translator's knowledge of the source and target languages, his creativity and his feeling of proportion, his readiness to find equivalent sequences of units in the target language. There also exist certain rules and procedures that are typical of the translating process. These rules and procedures have been incorporated in number of translation theories since the 1950s. The types of translation theories are: • linguistically oriented theories (comparing the structures of the languages in question and examining their interrelations) • semantically oriented theories (following the line of re coding the meanings) • communicatively oriented theories (which prefer conveying an analogous message at the expense of other things) 6 3.1 Television and film The language of television and film has introduced various types of spoken English to broad public. Media in general deliver linguistic and non linguistic experience. Film and television is a visual and auditive communication medium. Some of the varieties of the language can even bear a significant function. It is often stated, for example, that a Scottish accent in American films represents lack of humour, users of French accent are depicted as romantic etc. The main character may also be described by his or her use of grammar. Main characters usually speak literary, standard language. The aim of the director is to idealize the heroes. Non standard utterances such as she ain't or breaking the rule of one negation in a sentence He never said nothin' to me are usually assigned to subordinated or negative characters. As far as vocabulary is concerned, American films have enriched and popularized plenty of typical American expressions for
6 Svoboda A., Hrehovčík T. AN ABC of theoretical and applied LINGUISTICS, Silesian University, Opava, 2006, p. 161 162 53 instance: creep, dough (money), dude, tough buys, hooked on drugs, joint, ragtime, rock (jewels), on the run, smashed etc. The linguistic means in the communication media are not stable, they instantly move and shift and that is why it is rather difficult to depict and characterize them in a definite manner. A translator brings his own perspective, attitude and knowledge into the translation so it necessarily reflects his emotional and cultural insight. 7 The sitcom provides us with some characteristic features that are typical for spoken language. I tried to analyze some expressions that I found in the text.
3.2 Specification “Specification, generalizing translation, which is rendering a source text expression by a target language hyperonym – that is, the literal meaning of the target text expression is wider and less specific than that of the corresponding source text expression. A generalizing translation omits details that are explicitly present in the literal meaning of the source text.” 8 The translation of some expressions depends on different social context. For instance, the specific semantic component is omitted e.g. ranch house : ranč Some words that have no exact Czech equivalent can be substituted by a general word. Or some information can be eliminated or neglected in order to make the utterance more comprehensible for the reader. In the text I found the following examples: Dental Insurance : pojistka, pojištění , since there does not exist any special dental insurance in The Czech Republic (generalization) Listerine : ústní voda, this is a known brand of mouth wash in the USA (generalization). Cream of Wheat : krupicová kaše , this is again a brand of farina in the USA (substitution).
7 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 190 191 8 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 201 54 Captain Salty Pretzel Nuggets : slané preclíky , where Captain Salty is the name of the brand, pretzel is the ingredients and nuggets means the shape of the pretzel (substitution). Substitution by a hyperonym is less frequent in Czech than in English. Most often this generalisation occurs with nouns. “Nejčastěji abstrahuje český protějšek od specifického typu pojmenovaného objektu, není li specifičnost příslušného druhu v češtině známa, např. Hickory nut: ořech. S tímto aspektem úzce souvisí nezvyklost pojmenování příliš určitě specifikujícího diferenční vlastnosti nebo typy substantiv: route: ulice, watermelon: meloun. U nás neznámé proprium bývá nahrazeno obecnějším apelativem: dr Pepper: limonáda.”9 3.3 Interjections, expressive connotations The text is full of interjections and expressive words. Interjections are words with emotional character. General interjections lack the quality of denotation. English uses interjections more frequently than Czech and very often without any purposeful meaning that is why such words can be omitted by a translator because they do not carry any significant meaning for the text. The Czech translation can be with modal particles or contact devices. 10 Oh, yeah? Hey, beautiful. Jo? Ty jo, paráda. Okay, sorry I asked. Okay, promiňte, že jsem se vůbec ptal. Hey, OK, okay, Yeah, Oh, oh, Ah, Wow… Ugh! Why do we even… Pche! Proč se vůbec… Hey, hey! No tak! Yeah, listen listen, stop dancing. No, počkej, počkej! Přestaň tancovat! Oh look. Look at that. Hele, podívejte se.
9 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 53 10 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 63 55 It's nice, the water, yeah. Je to pěkné, ta voda, hmm. Hey, now listen, you've gotta watch yourself, okay? Hele, musíš si dávat pozor, jasné? Aw, look how cute. Jé, podívejte, jak roztomilé. The interjection okay, or OK is penetrating into Czech and is also used widely. I decided to translate this expression with okay in sentences where it seemed appropriate within the context. Whereas as shown in the first sentence, I supplemented okay with the Czech word dobrá . Okay. You… you take the putter back like this and then you… : Dobrá. Chytneš tu hůl takto a pak… Okay, well, I'll tell you what, I'll buy you another hot dog later, if you're good. : Okay, víš co, koupím ti další párek v rohlíku, když budeš hodná. Other type of interjections are present in the text as well, they are secondary, derived interjections. “Sekundární, odvozená citoslovce si mohou někdy ještě podržovat část svého původního denotačního významu, který je však vždy silně převážen významem konotačním: Boy, ...He was the perfect host, boy : Páni ...Páni, ten kluk byl ale vzor hostitele!“ 11 Oh boy, okay. All right. : Ach bože, okay. Tak jo. You want to...you want to...oh,boy. : Chceš...chceš...páni. In the first example the oh boy I felt that bože would be more suitable for intensifying the situation than in the second example where páni expresses Robert's astonishment. Words and collocations with the function of interjection very often contain expressions with God and Christ. These particular words have expressive function of the immediacy of the situation. Some authors distinguish the difference 11 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 63 56 between expressions containing the word God which does not express such an urgency, whereas the terms with Christ can bear more urgent message. These words can have both positive and negative meaning. One interesting feature can be observed here: it is the deformation of sounds and proper spelling are present in Czech and in English words. For God's sake : pro pána krále, for Chrissake : prokrindapána 12 In the text were found many colourful and rich utterances with the function of interjection: Jeez oh Lou! : Šmankote! Oh my Lord. Oh my God, this is amazing! : Pane Bože, to je vynikající! Holy Mother of God. : Ježišmarjá. All right, pal, Jeez. : Klídek, kámo, bože. Thank God! : Díky bohu. Other terms comprising the hell usually act as intensifiers of the negative meaning. An euphemism of the hell is the heck. What the heck ya wanna talk about? Hernajs, vo čem si chceš povídat? Czech equivalents can be: k sakru, kruci, hergot, proboha, krucipísek, krucinálfagot etc. The expressions as the hell, the heck, God damn, damn are regarded as swearwords. I chose following examples from the text: I hate this damn thing. : Nenávidím tu zatracenou věc. Me, what the hell did I do? : Se mnou: Co jsem sakrá udělal já? In this case I decided to translate this damn thing as zatracenou věc where author refers to a non properly working shower and in the second case hell as sakra to intensify the emotions of the speaker. Damn and hell bear negative connotations. In the Czech translation the emphasis on the intensifier (usually with negative emotive attribute) can also intensify the function of positive adjective and it enhances it's expressivity. 12 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 64 57 Why the hell would you not want her to touch you? : Proč sakra nechceš, aby se tě dotýkala? Hell of a shot there. : Dobrá trefa. And now I'm here in friggin' Italy. : Teď jsem tu v pitomé Itáli. Hell yes I want more. : To si piš, že chci The last example is translated by an idiomatic expression into Czech substituting the intensifier hell with Czech to si piš. 3.4 Comparison One of the means of intensification of the expressivity is also comparison . “K zvýšení expresivity dochází také v důsledku zvýšení obrazovosti v českém překladu. Obrazy mohou být na obou stranách, ale výrazovými prostředky se výchozí jazyk a cílový jazyk více nebo méně liší, i když účinek je v podstatě stejný, jak se u funkčního překladu předpokládá: Eat till one's belly is all aout : nacpat se k prasknutí 13 “ In the text I dealt with these expressions: Work like a dog : dřít jak mezek You look like the top of a police car. : Jsi červený jak rak. It's like dropping wood into a chipper. : Je jako kyselina. He'll use me to beat you to death. : Použije mě jako štít, aby tě spráskal jako psa. In the first two examples there exists difference between the Czech and English translation but they bear similar meaning. In the Czech translation the intensification and comparison augment the expressivity. I'm taking bath like Columbus. : Koupu se jako Kolumbus. The latter example does not have any Czech equivalent but the literal translation contributes to the exact intention of the author, i.e. the shower was very primitive which is compared with the times when Columbus lived when there showers did not exist.
13 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p.76 58 “Often the self effacing “invisible“ nature of the translator's activity will emphasize the differences between the source and the target languages, and thus the fact of the translation. A language such as English would gain by the literal translation of many foreign key words, idioms and possibly even proverbs most of them not particularly culture bound. If translation means filling up the gaps between languages, this is what translators should be doing. A translation is wanted for words such as aménagement (aménagement du territoire: “spatial management“ or “planning“).“14 3.5 Idiomatology Idiom is a group of words with a meaning of its own. The meaning is different from the meanings of each separate word. It is difficult to distinguish the transition between idioms and word collocations. One of the criteria is the literalness or non literalness (i.e. whether the meaning may or may not be deciphered from the meanings of the separate words). The whole system of language is more idiomatic than was assumed in the past. Today idiomatology is at the forefront of linguistic research. 15 The destruction of expressions and idioms: Berman 16 considers the replacing of an idiom or proverb by its TL ‘equivalent‘ to be an “ethnocentrism“: ‘to play with “equivalence“ is to attack the discourse of the foreign work‘, he says (p. 295) 17 I translated the following expressions in the following way in the text. Some of them are very similar to Czech collocations but some are completely different. Gimme a break please. : Dej mi pokoj, prosím tě. Gotta learn how to chill out a little. : Měl by sis dát pohov. You’ve been nothing but a grumpy pain in the ass the whole trip. : Celou dobu jsi otravný jak tříska v zadku. You look like the top of a police car. : Jsi červený jak rak. It's like dropping wood into a chipper. : Je jako kyselina.
14 Newmark, P : About Translation , Multilingual Matters, ISBN 1 85359 117 3, p. 35 15 Svoboda A., Hrehovčík T. AN ABC of theoretical and applied LINGUISTICS , Silesian University, Opava, 2006, p. 174 175 16 Berman, A. L’epreuve de l’étranger: Culture et traduction dans l’Allemagne romantique, Paris,Éditions Gallimard (1984) 17 Munday J. Introducing Translation Studies, Routledg e, 2001, p. 151 59 She pulls the strings and you dance like Pinocchio? : Ty tančíš jak ona píská? I begged him 50 times, “Please, please, get someone to fix the garage door.“ Stokrát jsem ho prosila, „Prosím tě, sežeň někoho na opravu garážových vrat.“ Bumper to bumper : hrozná zácpa Hey, cut it out, okay? : Sklapni, jo. 3.6 Vulgarisms Generally regarded as taboo words but it always depends on the social conventions which expressions are still allowed and which are considered unacceptable. The translator has to respect this fact when translating certain literary works. The more frequent the vulgar expressions are the less significant their actual meaning is and the more receding is the restriction of usage of these terms. It is crucial for the translator to approach the analysis and the translation itself with the consideration of the broad linguistic context and also hyper linguistic context and to respect the pragmatic concept as well. 18 American films are full of very vulgar expressions and their significance is losing the power although they are present in abundance. The translation of any such expression would certainly be rather taboo in Czech and the context would lose its expressiveness. Words such as fuck are often translated by words as vole , ty jo etc. Czech language does not use such vulgarisms so frequently and when they are used they have the function of intensification or belonging to a certain social group. I translated vulgar expressions in the following way: Come on, idiot, do it:: No tak, pitomče, otevři. Stupid stinking hump : Blbý, podělaný hrb. Why don't you jump a cow. : Jdi se vycpat! You’ve been nothing but a grumpy pain in the ass the whole trip. : Celou dobu jsi otravný jak tříska v zadku. He was, how you say... a jerk, okay? : Choval se, jak bych to řekl… jako blbeček, chápeš? Ah, your mother's ass. : Do prčic. Friggin' Italy : pitomá Itálie 18 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p.65 60 3.7 Stylistic connotation Stylistic connotation is crucial for translation from English into Czech and translator ought to search the possibilities of the most appropriate equivalent. In general Czech language provides wider choice of language layers (neutral, colloquial, expressive, general Czech, general Czech expressive, general Czech colloquial, general Czech vulgar, slang, professional slang, local dialect, argot) in comparison with English that distinguishes only neutral, informal, slang and local dialect. Czech range of terms is twice that ample compared to English. This is a result of formulating expression in typologically different languages. Translator can decide which linguistic means are most appropriate based on collocations, personal experience and instinct plus context.
In the three episodes of the sitcom there are examples of colloquial, general or expressive collocations. The majority of expressions was found with the colloquial expressive, colloquial Czech equivalents.
Names with colloquial connotation In English such words bear expressive connotation while in Czech their connotation is colloquial. Examples: Ma, mom : mami, dad : táta, ok : dobrá
Colloquial expressive Following examples bear colloquial expressive connotation in English whilst in Czech their connotation is regarded as slang or expressive (e.g. baba, ty cvoku, pantáta, bráško, zlato etc.) Broad : baba (meaning that Stefania is very attractive) 19 Idiot : pitomče Pops . pantáta (Robert makes fun of Stefania's father) Little bro : bráško Dear : drahoušku, zlato
19 Chapman R. L., American Slang , Harper Collins, New York, 1994, p. 46 broad n A woman, used almost entirely by men, and considered offensive by many women 61 My sweet : drahoušku Sweetie : zlato Toots: Drahouši 20 You nut : ty cvoku Man : chlape Sir : pane (Robert wants to express his distance and subordination from Signore Fogagnolo) Subject omission Omitting subject in colloquial speech is another typical feature of using colloquial language in English. The expressions are translated into Czech with colloquial or general Czech equivalents. Examples: Had more room in coach. : V autobuse jsem měl víc místa. Gotta learn how to chill out a little. : Měl by sis dát pohov. Tell you what, say what you want about New Jersey... : Víš co, říkej si o New Jersey, co chceš... Feed the ducks or something? : Krmily jste kačenky? Colloquial expressions English.uses expressions as wanna, gonna, ya, kinda etc. That are colloquial and non literary language. Such terms are generally regarded as Americanisms but they are present in British English as well. The pronunciation of such words is not stressed and often misspeled. These terms are used frequently in spoken language by ordinary people as well as by politicians and businessmen. In the text were found many examples of colloquial expressions. They are translated into Czech by general or colloquial Czech equivalent but in English they carry colloquial or slang connotation. 21 20 Chapman R. L., American Slang , Harper Collins, New York, 1994, p. 454 toots n (also tootsies or tootsy) A woman, often used in address, often disparagingly, and as a nickname http://www.helpforenglish.cz/cz/slovni zasoba/slang/c2006111301 Hovorova anglictina Gonna wanna gotta....html (retrieved April 8, 2008) 62 Kinda – kind of Wanna – want to Gotta, 've gotta – have got to Ya – you Gimme – give me That room's kinda small, though, don't you think? : Nezdá se ti ten pokoj trochu malý? I mean, we're gonna be jammed there. : Budeme se tam všichni mačkat. It's just that I wanna... : Já jen chci... Hey, now listen, you've gotta watch yourself, okay? : Hej, teď poslouchej, musíš si dávat pozor, jasné? I'll tell ya , when your mother told me she'd been hiding that money from me, : Teda povím ti, když mi tvá matka řekla, že přede mnou schovávala ty peníze, Hey hey hey, you gotta wake up here, little bro.: Hej, vzbuď se bráško. Gimme a break, please. : Dej mi pokoj, prosím tě. Another typical feature of colloquial English is inserting an apostrophe in place of a letter or a syllable in order to abbreviate the word or the phrase and to simplify the pronunciation. You wanna feed'em with us tomorrow? : Chceš je s náma zítra krmit? 'Cause that's not what I want. : Protože tohle jsem nechtěla. Stupid, stinkin' hump. : Blbý, podělaný hrb. 3.8 Lexical equivalence From the point of view of lexical equivalence, following examples were observed. In the translation there were found many examples of expressions that are neutral or informal in English but in Czech they can be translated by expressive, colloquial or slang equivalents. Czech language provides an abundant amount of equivalents that are suitable for the translation. In Czech it is not advisable to repeat certain words too often, whereas in English this feature is common (as shown in the first example).
63 Robert gets the gelato girl and I get hosed down by Mrs. Mussolini.. : Robert klofne zmrzlinářku a já dostanu sprchu od paní Mussoliniové. What are you talking about? : Co to plácáš? What are you all mopey about? : Co ti zase přelítlo přes nos? I couldn't talk to her.: Nevydal jsem ze sebe ani hlásku. What are you looking at? : Na co čumíš? Get off me, you nut. : Odprejskni, ty cvoku. Look where you are. : Koukni kde jsi. It's just that Stefania's father wasn't too thrilled to find me with his daughter. : Jenom Stefaniin otec nebyl moc nadšený, když nás spolu načapal. 3.9 Grammatical equivalence The difference between grammatical equivalence is that English can use conditional for a request in comparison with Czech that usually uses imperative for the same purpose. Polite request in English is commonly used to express a request in a cultivated manner whereas Czech language prefers using a direct request or a command. In some cases such a polite request can have a strong emphasis on the demand and in fact the real meaning of the phrase is a direct command. In the translation were following expressions bearing a polite request and were translated by an imperative into Czech. Would everybody leave, please? : Všichni odejděte, prosím! I would do what she says, Ray. : Udělej, co chce, Rayi. Would you lighten up? : Vzpamatuj se! Would you stop it? : Necháš toho už? Why would you take Joanne's card? : Proč sis vzal Joanninu kartu? 3.10 Slang expressions Konfrontace slangových slov, která mají v různých jazycích různé systémové relace – někde se cítí jako příznakovější – je velmi obtížná. Ve slangu zejména mladých je typickým znakem snaha po bizarnosti, po zveličeném expresívním gestu. Slang chce šokovat, provokovat, je to jistý projev vzpoury či neposlušnosti. Projevuje se to na příklad přeexponováním některých výrazových kategorií, nadsázkou, metaforickými frazeologismy, hovorovými metaforami,
64 nadsazenou expresivitou, ironizováním, komičností, ale i lidovým vyjadřováním, a zejména hravostí s jazykem. (Fr. Miko). 22 There exist several studies about standard and substandard English slang. Slang is a definition of a special vocabulary, colloquial language, eventually jargon of a certain social group. Dictionaries indicate words or phrases that are not part of a literary language. The border between colloquial English and slang is very unstable. Slang is a substance of colloquial language but is more vivid, colourful, flexible and contains a richer vocabulary. For American slang the characteristic feature is novelty, inconsistency and is not necessarily connected to the term “informal“. Slang is a result of the need of creation of new words. Every generation has their own fashion and some expressions are not even stated in slang dictionaries. 23 Some dictionaries state these terms as argot or slang. Czech equivalents found for such terms are neutral, expressive, colloquial, vulgar, slang, professional and argot. I had to cope with expressions as huckle buckle that were not stated in slang dictionary but I think I found a parallel solution to the problem. I couldn't talk to her. Cost me twenty bucks. : Stálo mě to dvacet babek. Huckle buckle : techtle mechtle Funny bunny : hlupáčku You're not blowing this for me, pal! : Tohle mi nepokazíš, kámo. Naughty monkey : zlobivá opička Debra: I thought you were happy with Amy nd unhappy with Joanne „the Nutcracker“. : Myslela jsem, že jsi s Amy šťastný a nešťastný s potrhlou Joanne. The last example shows a slang example of nutcracker. Definition: Nutcracker a tool for cracking nuts, 24 I started from the expression nut that means mad, crazy, eccentric, not normal etc. 25 This particular expression nutcracker is not stated in the slang dictionary. I decided to translate this word with an adjective potrhlá that expresses the meaning of being eccentric and crazy. 22 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 110 23 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 111 24 Webster´s Universal Dictionary and Thesaurus , Tormont Publications Inc., Montreal, 1993, p.368 25 Chapman R. L., American Slang , Harper Collins, New York, 1994, p. 305 nut n A crazy or eccentric person, maniac 65 3.11 Language creativity Jazyková tvořivost Tvořivost překladatele je omezena na oblast jazykovou, nejen tím, že nové výrazy vytváří (neologismy), ale i tím, že cizí výrazy ve svém prostředí zdomácňuje (exotismy). Přejímání jazykových prostředků nebo vytváření českých ekvivalentů se ovšem neomezuje na lexikální jednotky, zahrnuje i hodnoty stylistické (blankvers, sonet, gazel, haiku, blues). 26 In the translation I had to engage an effort to create certain utterances that do not have any exact Czech equivalent. The stylistic connotation of the expressions had to be sustained. Examples: Huckle buckle : techtle mechtle Funny bunny : hlupáčku Nutcracker : potrhlá blast : bomba (in a sense of having a good time) 3.12 Onomatopoeic expressions Czech and English interjections sound similarly but the imitativenessof the interjections in the source text should be maintained in the target language. For this reason I was looking for a suitable equivalent for these expressions. The utterances have an onomatopoeic character in both languages, for example: Ha cha cha cha : ťu ťu ňu ňu Poke poke poke poke : pích pích pích pích pích Huckle buckle : techtle mechtle Mm mm mm : mňam mňam Ugh! : Pche, Whoo : Á Funny bunny (onomatopoeic in English) : hlupáčku this particular term does not have a Czech onomatopoeic equivalent and thus I decided for a zero equivalent where the diminutive bears the meaning of a positive quality. Huckle buckle does have a Czech onomatopoeic equivalent therefore a very suitable translation into Czech as techtle mechtle.
26 Levý, J. Umění překladu , Panorama Praha, 1983, p. 108 66 3.13 Translation of phrases in a foreign language In the text I had to deal with Italian language that was used by Italians and that had to be maintained in Italian. Some expressions such as addressing, greetings, social phrases ought to remain in the original language in order to create the atmosphere of the place, in this case of Italy. It is clear from the context that these expressions are fully comprehensible. In the text were found following phrases: Ciao, buon giorno, cara mia bellissima, sí, no, come va, magnifico, prego, cara mia. I had to consider the translation of the utterances of non native speakers when they use English with mistakes. The message of the content of their speech is clear but they utter the sentences with mistakes and Italian accent. Distorting of English causes a humorous effect, which certainly was author's aim. I chose these expressions as examples of a foreign language in English text. Don't see my daughter no more. : Přestaň se víc scházet s mojí dcerou . I own here now. : Já tady vlastním. He go away. : Je pryč. I will see you again? : Uvidíme se zase? You put on for me? : Dej to pro mě na sebe, jo? Oh, I like.: Jé, mám ráda. Excuse please. Omluvte, prosím. I'm glad you like. : Jsem ráda, že se ti líbí. . (Raymond asks ) Did you make this? : (vendor )Yes, I make. Já dělat, ano. Is better. : Je lepší. Ciao, beautiful girl.: Ciao, krásná holka. I want to say something. I come to America to take care for Stefania. : Chtěl bych něco říct. Přijel jsem do Ameriky, abych se postaral o Stefanii. I like the people. I like the life here very much, with the large drinks and so much ice. : Líbí se mi tady lidé a život tady velmi moc, s vašimi velké drinky se spoustou ledu. You like more? : Ještě chtít? You buy me another hot dog now. Ty koupíš mi další párek v rohlíku. And I know Stefania do . : A vím, že Stefanii taky jo.
67 Who knows? I like this place. Maybe I buy. : Kdo ví? Líbí se mi tato restaurace. Možná koupím. I am hungry. Do you have food for me? : Mám hlad. Máš pro mě jídlo? You do not put it on, so... : Ty sis to neobléct, tak... It's okay. My father will not know. : Je to v pohodě. Otec to nebude vědět. Liar! I am sick to look to you! : Lháři! Je mi z tebe zle. 3.14 Deformation of literal language Literal language in speech can be deformed by stutter, by a certain form of speech disorder, astonishment etc. For example in K. Kesey's novel One Flew Over the Cockoo's Nest : I c c couldn't take it. Wh wh wh whenever the officer in charge of class would cal roll, call... 27 In the three episodes of the sitcom were found examples of deformed language in the utterances W what? W where? In this case these expressions were pronounced in a reluctant way express speaker's astonishment of the situation. (i.e. when Robert finds out that Signore Fogagnolo bought the restaurant). 3.15 Translation of proper and local names Cultural equivalence It is important to emphasise that translators ought to be aware of cultural and pragmatic aspects and consider when it is proper to translate certain phrases into Czech and when to leave their original form. Some proper names are internationally known or already do have a Czech equivalent. In this case I decided to translate the words into Czech (e.g: the Spanish Steps/Španělské schody ) whereas in the further cases of Il Lago di Bracciano , la Isla del Corda, the Belt Parkway and the Cross Island the proper names remained unchanged because they are not well known and they serve for creating of the atmosphere of the particular location. Titles such as the Belt Parkway and the Cross Island were kept unchanged in the translation. No explanation is necessary and it could even have a disruptive character. It is comprehensible from the context that both refer to roads and for this
27 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p.118 68 reason any further explanatory word would be redundant. In Czech the verb jet : to take a road clarifies that these proper names are names of roads and highways. Examples: I had to take the Belt Parkway to the Cross Island, bumper to bumper. : Byla hrozná zácpa, musel jsem jet po Belt Parkway na Cross Island. Adding information was necessary especially where the meaning of an expression would not be clear from the context. I decided to put New before Jersey to avoid any confusion and to make sure that the reader is certain the characters talk about New Jersey and not any other. Example: But we were gonna go to the Jersey shore. : Ale chtěli jsme jet na pobřeží k New Jersey. Following examples require an additional explanatory noun, firstly because their common name is used in Italian and secondly for the specification of the proper name. I show you Roma and ...Il Lago di Bracciano, : Ukážu ti Řím a jezero Bracciano, These are the Spanish Steps. : Tohle jsou Španělské schody. Only you would think of these as stairs. : Jenom ty si myslíš, že je to obyčejné schodiště. There exists a semantic difference between English steps/stairs. Czech language lacks this distinction. It is possible to use schod/ schodek in Czech without the distinction whether it is a step or stairs : schodek, schodiště . This difference is shown as a comic feature in the text. La Isla del Corda, according to my book...: V průvodci se píše, na ostrově Corda... It is important to find proper equivalent in Czech for the foreign words to avoid misunderstanding. In this case la Isla del Corda refers to an island/ostrov. But the official name remains written in Spanish where la isla means ostrov although in Italian the name would be l’isola del Corda . For the purpose of this context the name does not have any significant importance thus it can be translated as na ostrově Corda.
69 3.16 Addressing names of persons Original form of a name Specializing and creating of own proper names in this context has a comic nature. The translation of such terms have remained in the original form to keep the comic issues. To maintain the comic air, the phrases were translated by transpcription, that is to say they were retained as in the source text. 1. I get hosed down by Mrs. Mussolini. : já dostanu sprchu od paní Mussoliniové. 2. Hey, did you say goodby to „Gelato“ Lollobrigida? : Rozloučil ses se zmrzlinovou Lollobrigidou? 3. or get a Mamma Leone handwash : nebo že mě bude vlastnoručně umývat matka pluku, Addressing aunt Colletta as Mrs Mussolini or mamma Leone was the aim of the author to express the nature of this woman who was very strict and uncompromising. In the first example it is expected that readers know who was Mrs Mussolini and that is why the name remained unchanged. The same situation is expected in the second example when Lollobrigida is a name of a famous actress and the awareness of readers is anticipated. Whereas in the third example mamma Leone 28 : matka pluku had to be translated in an explanatory way in order to clarify that it refers to a very strong and independent woman because Czech does not possess any similar equivalent. Other forms of proper names Other proper names translations in the text were found such as Scary ola. This expression had to be translated by analogy. In English Scary ola bears an ending ola that is typical for Italian surnames and scary evokes a negative quality. Again, for a comic purpose the author uses a combined form of a surname with a very witty point. I had to cope with this special name and preserve the comic character combined with a Czech equivalent, thus my result is Straši ola. Plus, I got her father Signore Scary ola watching me with those eyes. : Navíc, její otec pan Straši ola se na mě pořád tak kouká. 28 Mamma Leone is a very popular song in Italy and since the Barone family in the sitcom have Italian roots and know Italian culture, the author made a comparison to this song and aunt Colletta which resulted in a humorous situation. 70 3.17 Difference in connotation Partial equivalents are motivated by the pragmatic differences, i.e. they are the cause of different language and non language experience of the speakers in both source and target languages. There exist several different types of analysis. Adding information occurs when the message would be misleading for readers. Omitting information is often applied when a redundant statement would be the outcome of the translation. Substitution is regarded as the most common solution to the fact applying the analogy . This group comprises a substitution of social clichés, phatic expressions, phrases, salutations, greetings etc. These analogies must adhere to local usage but must remain in balance with the foreign customs. 29 3.18 Phatic expressions Source language is adapted to the rules of target language when translating phatic and general social phrases such as you know, I guess, ok, you see etc. It is important to take in consideration the general context of the language. According to this criteria a stylistically proper option is selected. 30 In the translation I chose some of phatic phrases that are used abundantly in English but in Czech they have to be transferred in compliance with the context. The phatic expressions are often omitted in Czech as seen below in the examples. Hey Deb.: Debro. Well, I give up. : Já to vzdávám. Well, you know, there's more to America than just hot dogs. : Amerika nejsou jenom párky v rohlíku. Whereas in some cases they can be translated as tak, hej, víš co etc. Ok, you know, in the past, : Tak hele, doteď, All right, everyone, now we don't have time to dawdle. : Tak, není čas na lelkování. Hey, you two, we're splitting this. : Hej vy dva, to si rozdělíme.
Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 81 30 Knittlová, D: K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, p. 84 71 Okay, well, I'll tell you what, I'll buy you another hot dog later, if you're good. : Okay, víš co, koupím ti další párek v rohlíku, když budeš hodná. Am I still a baby? : Pořád jsem baby? The last two examples show that okay and baby can sustain their position because some English expressions have penetrated into Czech and are being used in the same manner as in English. For this reason I opted not to change and not to translate the expressions into Czech. The meaning is fully comprehensible from the text and thus the translation would have a disruptive character. 3.19 Textual Equivalence English and Czech are languages typologically different and they use different means to emphasize some information. English has a fixed word order of the sentence. Therefore it is necessary to take some structural steps that need to signalize the constituent of the sentence which is going to be accentuated. Czech in comparison with English has a flexible word order and thus more possibilities of its exploitation. Czech can use lexical means in case of absence of grammatical devices. In spoken language the intonation and sentence stress play a significant role in both languages. In written language it is not possible to reckon upon these suprasegmental devices. In the text were found following examples of foregrounding the auxiliary verb of past and present tenses (did, does) which imply an emphasis on uttered structures. In the speech they were conveyed with an emphasis. She did pay for the trip. : To ona zaplatila ten výlet. Man, does she need an English lesson.: Páni, ta potřebuje lekci angličtiny. And we did stop for your other thing before. : A kvůli tobě jsme se zastavovali předtím. Your hair does look nice, though. : Ale sluší ti to.
72 Conclusion
This diploma thesis is based on the translation of three episodes of the American sitcom Everybody Loves Raymond . The thesis consists of three parts. The first part deals with general information about a sitcom. This section covers the introduction of the authors Philip Rosenthal and Ray Romano and also provides the introduction to this particular sitcom . The second part includes the translation of the three episodes. All of them were selected from the fifth season of the sitcom. They are the episodes Italy 1 and 2 , and the episode 17, Stefania arrives . The spoken language of the characters is very natural because they deal with everyday situations. This was the reason why I attempted the Czech translation to look as natural as possible. I considered the use of colloquial, neutral and even slang language expressions in Czech. Some parts of the translation were deceitful but I had to find a solution to the problem. As American English is constantly changing I find the sitcom a useful source of contemporary spoken language. The language of the sitcom draws from the experience of real life situations and is very realistic and up to date. The last section of the work focuses on the analysis of the translation. The analysis was the most challenging part of the thesis. I must admit how valuable the primary literature resources were, especially the books: K teorii i praxi překladu by Mrs Dagmar Knittlová and Umění překladu by Mr Jiří Levý. These materials and others served as the backbone for my search and analysis. I examined the translated material from the linguistic point of view (e.g. comparison, interjections). Also the stylistic connotation had to be taken in consideration (e.g. colloquial expressions, use of proper names). Lexical, grammatical, textual equivalence and slang expressions and their Czech counterparts were discussed as well. The theory mentioned in the introduction proved to be right, i.e. that Czech language provides an ample source of vocabulary, collocations, expressive words in comparison with English that does not possess such linguistic means because of the typological difference of both languages. I believe the translation and analysis to be a creative and breakthrough process for every translator. According to my opinion, the demanding work on my
73 thesis has enriched me as a translator. I have also gathered contributory experience and support from my supervisor whose help I respect and appreciate very much.
74 Summary This diploma thesis deals with the translation of three episodes of the American sitcom Everybody Loves Raymond. The work includes the practical part the translation of three episodes. The theoretical part is the analysis of the translated episodes. This section discusses the translated material from different linguistic points of view (e.g. lexical, textual, slang, idioms etc.). My focus was to find the best possible equivalents in Czech language.
75 Resources Levý, J. Umění překladu , Panorama Praha, 2. vydání 1983, ISBN 11 122 83 Knittlová, D. K teorii i praxi překladu, Univerzita Palackého, Olomouc, 2003, ISBN 80 244 0143 6 Munday J. Introducing Translation Studies, Routledg e, 2001, ISBN 0 415 22927 8 Svoboda A., Hrehovčík T. AN ABC of theoretical and applied LINGUISTICS , Silesian University, Opava, 2006, ISBN 80 7248 382 X Nicholas S. Velký americko český slovník , ČAV a Karlova Univerzita, Praha 1998, ISBN 80 238 0456 1
Poldauf, I. Velký česko anglický slovník , 3. vydání, WD Publications, Praha, 1996, ISBN 80 902180 3 2 Webster´s Universal Dictionary and Thesaurus , Tormont Publications Inc., Montreal, 1993, ISBN 2 89429 176 0 Kaplan Books. Success with American Idioms , Kaplan Educational Centers, New York, 1998, ISBN 0 684 85402 3
Cappon, R. J. Guide to Punctuation , Perseus Publishing, Cambridge, Massachusetts, 2003, ISBN 0 7382 0785 3
Chapman R. L., American Slang , Harper Collins, New York, 1994, ISBN 0 06 109284 3
Samuelson Brown, G., A Practical Guide for Translators , Multilingual Matters Ltd, Clevedon, 2004
Vacek J., Hendy D, Analýza odborného anglického textu , PedF MU, Brno, 2006, ISBN 80 210 3967 1
AV ČR , Pravidla českého pravopisu , Academia, Praha, 2002, ISBN 80 200 0992 2
76 Online resources Newmark, P : About Translation , Multilingual Matters,1991, ISBN 1 85359 117 3 Newmark, P, Word, Text, Translation: Liber Amicorum for Peter Newmark , Multilingual Matters, 1999, ISBN 1853594601 http://books.google.com/books?id=WcZif6kPDvAC&hl=cs Imdb.com http://www.imdb.com/name/nm005380 Wikipedia Ray Romano http://en.wikipedia.org/wiki/Ray_Romano Strickland, Carol. "Can Sitcom Make It With L.I. Setting?" , The New York Times, December 1, 1996. Accessed November 12, 2007 Wikipedia the free encyclopaedia (online), 2001. (retrieved 18 March 2008) Available at http://en.wikipedia.org/wiki/Sitcom TWiztv.com http://www.twiztv.com/cgi bin/elr.cgi?episode=http://dmca.free.fr/scripts/raymond/season1/elr 110.htm Google books http://books.google.com/books?id=WcZif6kPDvAC&hl=cs http://slovnik.seznam.cz/ Lingea Lexicon
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